Erin Hurley
B.A. Honours (McGill); M.A. (Brown University); Ph.D. (City University of New York)
Quebecois theatre and cultural performance; national performatives; theatre historiography; performance studies; dramatic theory; 20th century theatre; feminist and LGBTQ theatre.
University of British Columbia; Brown University.
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Member of the College of New Scholars, Artists, and Scientists of the Royal Society of Canada, inducted in 2015.
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Fulbright Distinguished Chair in Quebec Studies, SUNY-Plattsburgh, Winter 2016.
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Louis Dudek Award for Excellence in Teaching, from the Department of English Student Association, McGill University, 2015.
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Visiting Scholar positions: Centro de Estudos de Teatro, Universidade de Lisboa, December 2014; Visiting Fellow, Queen Mary University of London, Department of Drama, June 2012
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Book Prizes (for National Performance) : Prix du meilleur ouvrage sur le théâtre québécois, prix trienniel de la Société québécoise d’études théâtrales, pour la période de 2011 à 2013, 2014; Pierre Savard Award, International Council for Canadian Studies, 2011-2012; Ann Saddlemyer Award, Canadian Association for Theatre Research, 2011.
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SSHRC Research grants: 2018-2023; 2015-17; 2008-2011.
(with Jennifer Harvie) ATHE Essay in Criticism Award, 2000.
Books:
“Introduction.” Revolt/Compassion: Six Scripts for Contemporary Performance by Michael Springate. Toronto: Guernica, 2019, ix-xvii. Look at its description online
National Performance: Representing Quebec from Expo 67 to Céline Dion. Toronto: University of Toronto Press, 2011. Look at its description online. French translation – De l’Expo 67 à Céline Dion. Essai sur la performance nationale. Montréal: Nota Bene, 2017.
Theatre & Feeling. Foreword Anne Bogart. Series "Theatre & . . ." Basingstoke: Palgrave Macmillan, July 2010. Look at its description online.
Edited Volumes
Theatres of Affect, Volume 4 in the New Essays on Canadian Theatre series, Gen. Ed. Ric Knowles. Toronto: Playwrights Canada Press, 2014.
Once More, With Feeling: Five Affecting Plays. Toronto: Playwrights Canada Press, 2014.
Special Journal Issues:
Hervé Guay and Erin Hurley, “Le théâtre québécois sans frontières,” Special section of Theatre Research in Canada / Recherches théâtrales au Canada 35:2 (Fall 2014).
Erin Hurley and Sara Warner, eds. “Affect, Performance, Politics,” special dossier of The Journal of Dramatic Theory and Criticism XXVI: 2 (Spring 2012).
Selected articles:
“Occupying the Object: Leslie Baker and Andréane Leclerc in Performance.” In Performance Studies in Canada. Eds. Laura Levin and Marlis Schweitzer. Montréal and Kingston: McGill-Queen’s University Press, 2017, 262-84.
“Monsters and Motivations: Nathalie Claude’s Solo Performances.” Interview with Nathalie Claude. Queer/ Play: Contemporary Queer Canadian Women’s Performance and Plays. Ed. Moynan King. Toronto: Playwrights Canada Press, 2017.
“Townships Theatres: Identities and Circuits 1935 – 1982.” Journal of Eastern Townships Studies/ Revue d’études des Cantons-de-l’Est 46 forthcoming (Fall 2016).
Double Identity: Performing (as) Objects on the contemporary Montreal stage.” Ireland and Quebec: Multidisciplinary Perspectives on History, Culture and Society. Eds. Margaret Kelleher and Michael Kenneally. Dublin: Four Courts Press, 2016, 227-42.
“The Multiple Bodies of the Cirque du Soleil.” Cirque Global: Québec's Expanding Circus Boundaries. Eds. Charles Batson and Louis Patrick Leroux. Montreal: McGill-Queen’s University Press, 2016. Revised and updated English-language version of “Les corps multiples du Cirque du Soleil.” 122-139.
“Performance Services: The Promises of the Cirque du Soleil.” Cirque Global: Québec's Expanding Circus Boundaries. Eds. Charles Batson and Louis Patrick Leroux. Montreal: McGill-Queen’s University Press, 2016, 71-78.
“Making Fun and Making Time: Pedagogic Principles.” The Only Way Home is Through the Show: The Performance Work of Lois Weaver. Ed. Jen Harvie and Lois Weaver. London: Intellect, 2015, 248.
« Que disent les objets ? Vers un discours de l’objet sur les scènes montréalaises contemporaines » Le jeu des positions: discours du théâtre québécois actuel. Dir. Louis Patrick Leroux et Hervé Guay. « Séminaires » Montréal : Nota Bene, 2014, 79-139.
Erin Hurley and Sara Warner, “Affect, Performance, Politics.” The Journal of Dramatic Theory and Criticism XXVI: 2 (Spring 2012). 99 – 107.
“Companioned Solos: Nathalie Claude’s “Madness Trilogy”. Canadian Theatre Review 149 (Winter 2012): 22-6. doi: 10.1353/ctr.2012.0013.
"Céline Dion à Las Vegas, ou les affects de la simulation." Trad. Isabelle Léger. L'Annuaire théâtral 45 (Printemps 2009 [published Spring 2010]): 21-44.
"Original Versions: 'L'affaire Nancy Huston' and Authorized Performance." Changing the Subject: Marvin Carlson and Theatre Studies 1959 - 2009. Ed. Joseph Roach. Ann Arbor: University of Michigan Press, 2009. 261-77.
“Theatre as National Export: On Being and Passing in the United States.” Reprinted in Spaces and the Geographies of Canadian Theatre, Ed. Michael McKinnie. Toronto: Playwrights Canada Press, 2007, 174-193.
“Blackout: Utopian Technologies in Adrienne Kennedy's Funnyhouse of a Negro” Modern Drama 47:2 (Summer 2004): 200-18
(with Jennifer Harvie) “States of Play: Locating Québec in the Performances of Robert Lepage, Ex Machina and the Cirque du Soleil,” Theatre Journal 51 (1999): 299-315.
Prof Hurley is currently researching English language drama, theatre and performance in Quebec from 1945 to today. She continues to follow contemporary performance by women artists in Quebec.
Research Group Memberships:
"Humanities and Human Flourishing Project" (UPenn, Boston U)
Groupe de recherche sur les régimes socio-esthétiques du théâtre au Québec (1945-2015) (Gilbert David, Université de Montréal, responsable), 2014 -
"Centre de recherche interdisciplinaire en études montréalaises (CRIEM)/Centre for Interdisciplinary Research on Montreal (CIRM), McGill University, 2013 - "
Montreal Working Group on circus/cirque, http://resonance.hexagram.ca/circus, 2010 -