Page 1
Richard C. Jones III School of Theatre
Box 6090 SFA Station, Nacogdoches, TX 75962
[email protected]
936-468-1290 (o) 936-468-7601 (f)
Summary of qualifications:
• Award-winning teacher, mentor, and student organization advisor.
• Administrative experience.
• Continuing research and publication program.
Extensive and eclectic directing credits.
• Active in professional organizations, including holding elected and appointed
offices.
• Demonstrated commitment to liberal arts and inter-disciplinarity.
Education:
PhD University of Kansas, Department of Theatre & Film, Lawrence, KS, 1999.
Honors on Admission to Candidacy (1996) and Dissertation (1999).
MA University of Birmingham, England, Department of Drama and Theatre Arts,
1978.
AB Dartmouth College, Hanover, NH, 1977.
Magna cum laude, with Highest Distinction in Drama major.
Also studied at: Cornell University (1982-86), State University of New York at Cortland
(1974).
Teaching:
Stephen F. Austin State University, Nacogdoches, TX.
Professor of Theatre, 2011-present; Associate Professor, 2005-11; Assistant Professor,
2001-05.
Teaching responsibilities in theatre history, beginning and advanced play
analysis, topics courses, directing, acting, theatre appreciation.
Departmental service:
Current: Artistic Manager for Student Productions, on- and off-campus
recruiting, coordinating student production eligibility, supervising
student directors, serving on curriculum committee.
Formerly: administering high school one-act play festival and contest,
compiling production programs, writing/editing several sections of
departmental self-study, supervising student directors, serving on
curriculum committee, etc.
Page 2
Richard C. Jones III, p. 2 Accurate to August 25, 2020
Committees: College of Fine Arts Promotion/Tenure (Chair twice), Faculty
Activity Reporting, Faculty Development Leave (Chair once), Fine Arts
Council (Chair three times), Interdisciplinary Programs, Library/Academic
Assistance and Resource Center Advisory, Program Review, Undergraduate
Curriculum, Undergraduate Research Conference.
Search committees: Dean, College of Fine Arts; International Studies & Programs
Director. Faculty and staff searches in School of Theatre (six as chair) and
Department of English.
Production responsibilities as director, dramaturg, actor.
Academic advising.
Principal liaison for exchange program with Rose Bruford College, UK.
Associate member of Graduate Faculty.
Advisor to cast of theatre honor society (2011-date).
University of Kansas, Lawrence, KS.
Lecturer in East Asian Languages & Cultures, 2000-01.
Lecturer in Theatre & Film, 1997-2000; Graduate Teaching Assistant in Theatre &
Film, 1995-1997.
Teaching responsibilities in acting, introduction to theatre, Eastern civilizations.
Emporia State University, Emporia, KS.
Lecturer in Communication & Theatre Arts, 2000-01; Lecturer in Art, 2001.
Teaching responsibilities in analysis of fine arts (inter-disciplinary general
education course).
Colby-Sawyer College, New London, NH.
Adjunct Faculty Member in Fine and Performing Arts, 1994.
Teaching responsibilities in speech.
Cornell College, Mount Vernon, IA.
Assistant Professor of Theatre & Communications Studies, 1986-1993.
Teaching responsibilities in theatre history, dramatic literature, directing, acting,
technical theatre, topics courses.
Production responsibilities as director, producer, designer, technician, actor.
Academic advising.
Committees: Education advisory; Learning Skills Center Advisory; Lectures,
Artists and Cultural Events; Media; Student Life. Faculty and staff searches.
Advisor or co-advisor to three theatre or speech-related student organizations.
Cornell University, Ithaca, NY.
Teaching Assistant, 1984-86.
Complete responsibility for one class per semester in Emphasis-on-Writing
Freshman Seminar Series: total three semesters in Theatre Arts, one in
Classics.
Page 3
Richard C. Jones III, p. 3 Accurate to August 25, 2020
Union College, Barbourville, KY.
Instructor of Drama & Speech, 1979-82.
Teaching responsibilities in acting, directing, theatre history, technical theatre,
speech, journalism.
Production responsibilities as director, producer, designer, technician, actor.
Academic advising.
Committees: Cultural Events, Drama Advisory (chair), Publications and
Communications.
Advisor to two student theatre organizations, college newspaper.
Publications:
Articles and Chapters:
“Harold Clurman, the Group, and the Legacy of a Director.” The Director in the
Company, ed. Jonathan Chambers. The Great North American Stage Directors, vol. 2.
Bloomsday Methuen. (At press.)
“World Drama in Translation: In the Classroom and on the Stage.” Teaching Literature
in Translation: Pedsgogical Contexts and Reading Practices, ed. Brian James Baer and
Michelle Woods. Taylor and Francis. (Contracted.)
“Peter Handke.” Revised and expanded article. Magill’s Survey of World Literature, rev.
ed., ed. Steven G. Kellman. (Pasadena, CA: Salem Press, 2009) 1123-30.
“Topdog/Underdog.” Masterplots II: African-American Literature, rev. ed., ed. Tyrone
Williams (Pasadena: Salem Press, 2008), 1902-05.
“1360-1440: Kan’ami and Zeami Perfect Nō Drama (Japanese theatre).” Great Events
from History: The Middle Ages and Pre-Renaissance (Pasadena: Salem Press, 2005), 769-
72.
“Rachel Crothers.” Cyclopedia of World Authors, 4th rev. ed. (Pasadena: Salem Press,
2004), 732-33.
“Dramatic Interpretation as Theatrical Translation: Friel’s Adaptations of Chekhov.” A
Companion to Brian Friel, ed. Richard Harp and Robert Evans (West Cornwall, CT:
Locust Hill Press, 2002) 31-53.
“Jason the Protestant, Antigone the Catholic, Menelaus the Jew: Modern Religion(s) in
Irish Adaptations of Greek Tragedy.” Religion and Theatre (Summer 1999) 2-11.
“Degradation, Defiance, Dachau, Dublin: The Troiades Adaptations of Brendan Kennelly
and Aidan Carl Mathews.” (Dis)Placing Classical Greek Theatre, ed. Savas Patsalidis
and Elizabeth Sakellaridou (Thessaloniki, Greece: University Studio Press, 1999) 107-
14.
“’Talking amongst Ourselves’: Language, Politics and Sophocles on the Field Day
Stage,” International Journal of the Classical Tradition, 4.2 (Fall 1997) 232-46.
Page 4
Richard C. Jones III, p. 4 Accurate to August 25, 2020
“Audience and Otherness in La Dame aux Camélias,” New England Theatre Journal 8 (1997)
111-26.
“John Millington Synge (1871-1909),” Irish Playwrights, 1880-1995: A Research and
Production Sourcebook, ed. Bernice Schrank and William W. Demastes (Westport, CT:
Greenwood, 1997) 356-66.
“Critical Evaluation” of Euripides’ Iphigenia in Aulis. Masterplots, rev. 2nd ed.
(Pasadena: Salem Press, 1996) 3241-3243.
“Author(s) and Authority: Brian Friel’s Living Quarters,” The Reception of Classical Texts
and Images, Part Two: From Medieval to Modern Reception. Selected Proceedings of a
Conference Sponsored by the Department of Classical Studies, The Open University.
(Milton Keynes, UK: The Open University, 1996) 253-64.
“Notes on the Net,” Journal of Dramatic Theory and Criticism 9.2 (1995) 155-65.
“The White Male Canon: Some Statistics about Dramatic Literature Anthologies,”
Theatre InSight 5.3 (1994) 5-11.
“In Favor of a Fine Arts Practicum Requirement,” The Core and the Canon: A National
Debate, ed. L. Robert Stevens et al., ([Denton:] University of North Texas Press, 1993)
335-41.
“Integrating the Arts into the Liberal Arts,” Proceedings of the Third Annual National
Conference on Liberal Arts and the Education of Artists, (New York: School of the Visual
Arts Press, 1990) 17-19.
Interviews:
“’Cognizant of the Past, While Trying to Invent the Future’: Conversations with Aidan
Mathews and Michael Scott.” Journal of Dramatic Theory and Criticism 13.2 (Spring
1999) 95-117.
“’Listening Sponge’: An Interview with Brendan Kennelly.” Nua: Studies in
Contemporary Irish Writing 1.2 (Spring 1998) 63-80.
Performance Reviews:
Love à la Mode, after Charles Macklin. Felicity Productions, Smock Alley Theatre,
Dublin, June 2018. Theatre Journal 71.2 (June 2019) 225-27.
El Amor es un Francotirador by Lola Arias. Compañía Postnuclear, Project Arts Centre,
Dublin, June 2008. Theatre Journal 61.2 (May 2009) 308-11.
Iph . . . After Euripides' Iphigeneia in Aulis, by Colin Teevan. Lyric Theatre, Belfast,
March 1999. Theatre Journal 51.3 (October 1999) 334-36.
Book Reviews:
Emma Cole, Postdramatic Tragedies. Bryn Mawr Classical Review. (Commissioned.)
Frances Babbage, Adaptation in Contemporary Theatre: Performing Literature. Journal of
Dramatic Theory and Criticism 34.1 (Fall 2019) 169-71.
Page 5
Richard C. Jones III, p. 5 Accurate to August 25, 2020
Natka Bianchini, Samuel Beckett’s Theatre in America: The Legacy of Alan Schneider as
Beckett’s American Director. Journal of American Drama and Theatre 30.2 (Spring 2018)
[https://jadtjournal.org/2018/05/28/samuel-becketts-theatre/].
Christopher Morash, A History of Irish Theatre, 1601-2000. Theatre Journal 55.1 (March
2003) 194-95.
Philip Freeman, Ireland and the Classical World. Bryn Mawr Classical Review 2002.6.31.
[http://ccat.sas.upenn.edu/bmcr/2002/2002-06-31.html].
Kirsten Shepherd-Barr, Ibsen and Early Modernist Theatre, 1890-1900. Theatre Survey 40.1
(May 1999) 124-26.
Theoharis C. Theoharis, Ibsen's Drama: Right Action and Tragic Joy. International Review of
Modernism 2.1 (Fall/Winter 1998) 50-51.
Alexander G. Gonzalez, ed., Assessing the Achievement of J. M. Synge. New England
Theatre Journal 9 (1998) 137-39.
Barbara Goff, ed., History, Tragedy, Theory: Dialogues on Athenian Drama. Classical World
91.5 (May/June 1998) 437-38.
Deborah Fleming, “A Man Who Does Not Exist”: The Irish Peasant in the Work of W. B.
Yeats and J. M. Synge. Journal of Dramatic Theory and Criticism 12.2 (Spring 1998) 162-
64.
Richard Green and Eric Handley, Images of the Greek Theatre. Classical World 90.6 (1997)
452.
Benito Ortolani, The Japanese Theatre: From Shamanistic Ritual to Contemporary Pluralism.
Pacific Affairs 69.3 (1996) 425-26.
Marilynn J. Richtarik, Acting between the Lines: The Field Day Theatre Company and Irish
Cultural Politics, 1980-1984. Journal of Dramatic Theory and Criticism 11.1 (1996) 137-
39.
Rush Rehm, Greek Tragic Theatre. Classical World 89.3 (1996) 229-30.
Anne Barton, Essays, Mostly Shakespearean. Journal of Dramatic Theory and Criticism 10.1
(1995) 137-39.
Fiona Macintosh, Dying Acts: Death in Ancient Greek and Modern Irish Tragic Drama.
Didaskalia: Ancient Theatre Today [http://didaskalia.berkeley.edu] 2.2 (1995) n.p.
Jonathan Shay, Achilles in Vietnam: Combat Trauma and the Undoing of Character. Journal of
Dramatic Theory and Criticism 9.2 (1995) 186-88.
John H. Astington, ed., The Development of Shakespeare's Theater; Douglas Bruster, Drama
and Market in the Age of Shakespeare; R. A. Foakes, Hamlet versus Lear: Cultural Politics
and Shakespeare's Art; James C. Humes, Citizen Shakespeare: A Social and Political
Portrait. Theatre Survey 35.2 (1994) 95-99.
James C. Hogan, A Commentary on the Plays of Sophocles. Classical World 87 (1994) 518-
19.
Page 6
Richard C. Jones III, p. 6 Accurate to August 25, 2020
Albert Bermel, Comic Agony: Mixed Impressions in the Modern Theatre. New England
Theatre Journal 5 (1994) 128-30.
Ruth Scodel, ed., Theater and Society in the Classical World. Didaskalia: Ancient Theatre
Today 1.2 (1994) n.p.
John J. Winkler and Froma I. Zeitlin, eds., Nothing to Do with Dionysos?: Athenian Drama
in Its Social Context. New England Theatre Journal 4 (1993) 117-19.
R. G. Ussher, ed. and trans., Sophocles: Philoctetes. Classical World 85 (1991) 137.
Peter D. Arnott, Public and Performance in the Greek Theatre. Theatre Survey 32 (1991) 240-
42.
Mae J. Smethurst, The Artistry of Aeschylus and Zeami: A Comparative Study of Greek
Tragedy and Nō. Classical World 85 (1991) 48.
J. Michael Walton, Living Greek Theatre: A Handbook of Classical Performance and Modern
Production. Theatre Journal 41 (1989) 121-23.
Conference Papers and Panels:
“’Pure Propaganda for a Socialist Agenda’ (or not): The Reception(s) of James Plunkett’s
The Risen People.” Association for Theatre in Higher Education (ATHE), Virtual
conference, 2020.
“Bracing Up for Chekhov: Using the Wooster Group to Examine Their Source.” ATHE,
Virtual conference, 2020.
Panelist: “Staging Plays in Translation at Universities and Colleges.” American Literary
Translators Association, Rochester, NY, 2019.
“Ulick O’Connor’s ‘Extremely Modern Form’: Noh or No?” and Session
Coordinator/Chair, “Change of Scene: Noh and the West.” ATHE, Orlando, 2019.
“A Rebel Foretells the Rebellion: Thomas MacDonagh’s When the Dawn Is Come” and
Session Coordinator/Chair, “The Imaginary Revolution: Prediction, History, and
Myth.” ATHE, Boston, 2018.
“The Four Green Fields: Myth and Verisimilitude in Early 20th Century Irish Drama.”
ATHE, Boston, 2018.
“The Long View: ATHE’s Development over the Past Thirty Years.” ATHE, Chicago,
2016.
“History, Myth, and National Identity in Samuel Lover’s The White Horse of the Peppers”
and Session Coordinator/Chair, “Forgotten Playwrights and the Construction of
Irish Memory.” ATHE, Montreal, 2015.
Panelist: “The Truth about Higher Ed: Full-Time, Part-Time, and Everything in
Between.” ATHE, Montreal, 2015.
“The Inextinguishable Torch: Apollinaire and Inspiration.” Mid-America Theatre
Conference (MATC), Kansas City, MO, 2015.
Page 7
Richard C. Jones III, p. 7 Accurate to August 25, 2020
“Teaching It Backward: A Modest Proposal for Theatre History II.” “Theatre History in
the Trenches” Pre-Conference, Theatre History and Theatre as a Liberal Art Focus
Groups, ATHE, Scottsdale, AZ, 2014.
“Brian Friel, Hilton Edwards, and Broadway in the ‘60s.” American Conference for
Irish Studies (ACIS), Dublin, Ireland, 2014.
“Gratuitous Difficulty and the Performance of Play” and Session Coordinator, “Playing
with Playing: Brecht, Huizinga, Sutton-Smith.” ATHE, Orlando, 2013.
“From Cuchulain to Oedipus and Back: The Mythological Journey of W.B. Yeats.”
MATC, St. Louis, 2013.
“Antiphon’s Advocacy and Oedipus’s Guilt.” ATHE, Washington, DC, 2012.
Chair/Respondent, “The Actor as Activist in Irish Performance, 1950-Present.” ATHE,
Washington, 2012.
“The Twice-Staged Irishman: Stewart Parker’s Dion Boucicault.” ACIS, New Orleans,
2012.
Chair: “Dramatic Wanderings with Barry and Joyce.” ACIS, New Orleans, 2012.
“How Disciplined Is Interdisciplinarity?” ATHE, Chicago, 2011.
“Patriotism, Propriety, and Precedent: Two Centuries of Dublin Theatre Riots.” SETC
Symposium on “Gods and Groundlings: Historical Theatrical Audiences.”
Greenville, SC, 2011.
“Impregnation by the Impotent: Self-Cuckolding in Machiavelli and McCabe.”
Comparative Drama Conference (CDC), Culver City, CA, 2010.
Co-Chair, “Promotion and Tenure—Reducing the Risk for Our Membership.”
Association for Theatre in Higher Education (ATHE), New York, 2009.
“Thirteen at Dinner: Variations on a Theme in Ibsen, Maeterlinck, and Chekhov.” CDC,
Culver City, 2009.
Chair, “American Political Drama,” CDC, Culver City, 2009.
“Of Pre-Meditation and Precedent: Thoughts on the ‘Bottle Riot’ of 1822” and Session
Coordinator, “The Ultimate ‘Difficult Dialogue’: Theatre Riots.” ATHE, Denver,
2008.
“Primary Sources,” Roundtable on Theatre History Textbooks, ATHE, Denver, 2008.
Co-Chair, “Difficult Dialogues about Promotion and Tenure: Seeking a Unified Voice.”
ATHE, Denver, 2008.
“Phaedra, Hippolytus and Theseus in Ireland and Irish-America: Autumn Fire and
Desire Under the Elms.” CDC, Culver City, 2008.
Chair, “Understanding O’Neill.” CDC, Culver City, 2008.
“Form and Content: Friel, the New Abbey, and the Troubles.” ATHE, Chicago, 2006.
“The American Theatre (Wing), World War II and the Question of Efficacy,” SETC
Symposium on “Theatre, War and Propaganda.” Auburn, AL, 2005.
“On the Ethics of ‘The Right to Fail.’” ATHE, Toronto, 2004.
Page 8
Richard C. Jones III, p. 8 Accurate to August 25, 2020
Chair and Session Coordinator, “The BA in Theatre: What It Is and What It Ought to
Be.” ATHE, Toronto, 2004.
Chair and Session Coordinator, “Creating a New Identity: Irish Theatre after The
Playboy of the Western World.” ATHE, New York, 2003.
Session Coordinator, “Struggling with Stereotypes: Women in the Irish Renaissance
Theatre.” ATHE, 2003.
“‘I Know I Am in a Dream’: Ibsen, Edward Martyn, and the Dawn of Expressionism.”
CDC, Columbus, OH, 2003.
“Of Rokujō and Rokudō: Noh, Shinto, and the Pure Land.” ATHE, San Diego, 2002.
“More and Less than Medea: Marina Carr’s By the Bog of Cats.” CDC, Columbus, 2002.
Chair, “Contemporary Revivals of Myth and Music.” CDC, Columbus, 2002.
Chair and Session Coordinator, Debut Panel in Theatre History. ATHE, Chicago, 2001.
“Lugh, Obi, Minerva and the Catholic Home: The Religious Landscape of Dancing at
Lughnasa” and Session Coordinator/Chair, “Images of Religion in Contemporary
Irish Drama,” ATHE, Washington, DC, 2000.
Panelist, “Teaching the Conflicts in Theatre History,” Southeastern Theatre Conference,
Norfolk, 2000.
Chair, Modern Drama section, Central New York Conference on Language and
Literature (CNYCLL), Cortland, NY, 1999.
Chair and Session Coordinator, “Theatre History Pedagogy: ‘To Survey or Not to
Survey,’ and ‘The Best of Both Worlds--Variations on the Theme of the Survey
Course.’” (Double session.) ATHE, Toronto, 1999.
Chair, “Visions for the Future: Young Directors within the Academy.” ATHE, Toronto,
1999.
Session Coordinator, “Young Directors: Integrating Theory and Practice.” ATHE,
Toronto, 1999.
“Imposed Closure and Cognitive Dissonance in Modern Drama.” CNYCLL, 1998.
Chair, Modern Irish Drama section and “Marina Carr, et al.” panel, CNYCLL, 1998.
“Jason the Protestant, Antigone the Catholic, Menelaus the Jew: Modern Religion(s) in
Irish Adaptations of Greek Tragedy.” ATHE, San Antonio, 1998. [Longer, updated
version published in Religion and Theatre.]
“95% or 5%: Credentials for Real Jobs.” ATHE, San Antonio, 1998.
“Reform(ulat)ing Greek Tragedy: The Irish Example.” American Culture
Association/Popular Culture Association (ACA/PCA), Orlando, 1998.
“‘A Bitter Bitch in Disguise’: Brendan Kennelly and the Female Protagonist.” CNYCLL,
1997.
“Degradation, Defiance, Dachau, Dublin: The Troiades Adaptations of Brendan Kennelly
and Aidan Carl Mathews.” Conference on “Millennium Responses: (Dis)placing
Classical Greek Theatre,” Aristotle University, Thessaloniki, Greece, 1997. [Revised
version published in the collection (Dis)Placing Classical Greek Theatre.]
Page 9
Richard C. Jones III, p. 9 Accurate to August 25, 2020
Panelist, “Is Graduate Education Meeting the Needs of the Academic Job Market—And
Should It?”, ATHE, Chicago, 1997.
Chair, “i.e.VR: Experiments in New Media and Performance,” ATHE, Chicago, 1997.
“Numen ex Machina: Feminism, Rachel Crothers, and He and She”; Chair and Session
Coordinator, “Another Look at American High Comedy.” ACA/PCA, San Antonio,
1997.
“Anne Devlin's After Easter: A Fabric of Referents,” CNYCLL, 1996.
“Paganism and Christianity in Yeats's Pre-Abbey Plays”; Chair and Session
Coordinator, “Yeats and Religion.” ATHE, New York, 1996.
“Journalistic Self-Interest: Print, Television and Internet Coverage of the
Communications Decency Act,” International Communication Association, Chicago,
1996.
“Author(s) and Authority: Brian Friel's Living Quarters,” Conference on the Reception of
Classical Texts, The Open University, Milton Keynes, UK, 1996. [Revised version
published in a Selected Proceedings.]
“‘. . . and (s)he is us’: A Manifesto for Theatre Faculty,” ATHE, San Francisco, 1995.
Panelist, “Ethics and Adjuncts,” ATHE, San Francisco, 1995.
“Visual Rhythm in the Theory and Practice of Alexander Tairov,” ACA/PCA,
Philadelphia, 1995.
“‘Talking amongst Ourselves’: Language, Politics and Sophocles on the Field Day
Stage,” International Society for the Classical Tradition, Boston University, 1995.
[Revised version published in the International Journal of the Classical Tradition.]
“The Plays We Do: A Statistical Analysis of College and University Theatre Seasons”;
Chair and Session Coordinator, "Social and Ethical Issues in Season Selection,"
ATHE, Chicago, 1994.
“Autobiography, Joe Egg and Authorial Intent,” MATC, Kansas City, MO, 1993.
Panelist, “Student Exploitation: How to Know When They've Reached Their Limits,”
ATHE, Atlanta, 1992.
Chair and Respondent, “And Then There Were the Irish, Who Never Knew What They
Wanted, But Were Willing to Fight for It, Anyway: The Continuing Tradition of Irish
Theatre,” ATHE, Atlanta, 1992.
“The White Male Canon: Some Statistics about Dramatic Literature Anthologies,”
ATHE, Seattle, 1991. [Revised and updated version published in Theatre InSight.]
Also Session Coordinator, "Theatre Pedagogy: The Textbook Dilemma."
“Dreaming of the Apolitical: Non-Traditional Casting in Academic Theatre,” Speech
Communication Association (SCA), Atlanta, 1991.
Respondent, “Actors and Audiences in Nineteenth Century America,” SCA, Atlanta,
1991.
“Theatre and Anthropology,” ATHE, Chicago, 1990.
Page 10
Richard C. Jones III, p. 10 Accurate to August 25, 2020
“In Favor of a Fine Arts Practicum Requirement,” The Core and the Canon: A National
Debate, University of North Texas, Denton, TX, 1989. [Revised version published in
the collection The Core and the Canon.]
“Synge the Impressionist,” Midwest Conference for Irish Studies, Normal, IL, 1989.
“Triptych: An Approach to Dramatic Literature,” National Conference on Coherence in
the Liberal Arts Curriculum, University of North Texas, Denton, TX, 1988.
Respondent, “The O'Neill Legacy: Assessments and Assumptions,” SCA, Chicago, 1986.
“Nationalism vs. Patriotism: W. B. Yeats and Cathleen ni Houlihan,” ACIS, Boston, 1986.
Administration:
School of Theatre, Stephen F. Austin State University, Nacogdoches, TX.
Interim Director, 2016-17.
Personnel, budgeting, promotion, recruitment, general administration.
Department of Theatre and Film, University of Kansas, Lawrence, KS.
Graduate student representative to Executive Committee, 1996-97.
PhD student representative to Curriculum Committee, 1995-97.
Cornell College, Mount Vernon, IA.
Chair, Department of Theatre & Communications Studies, 1986-92 (two 3-year
terms).
Budgeting, curriculum, hiring adjunct faculty, facilities management, general
administration.
Mount Vernon (IA) Community Theatre.
Member, Board of Directors, 1986-89.
Dryden (NY) Footlighters.
Member, Executive Board, 1985-86. Chair, Season Planning Committee, 1984-85.
Cornell University, Ithaca, NY.
Chair, New Plays Project of Theatre Cornell, 1985-86.
Mount Washington Valley Theatre Company, North Conway, NH.
Business Manager, House Manager, Press Agent, 1979.
Undergraduate credits available on request.
Editing:
Referee, Theatre Topics, 2003, 2006, 2010.
Referee, International Journal of the Classical Tradition, 1998, 1999.
Contributing Correspondent, Didaskalia: Ancient Theatre Today, 1993-98.
Referee, Journal of Dramatic Theory and Criticism, 1995.
Proofreader, Journal of Dramatic Theory and Criticism, 1994, 1996.
Books in Review Editor, New England Theatre Journal, 1993-94.
Consultant, McGraw-Hill, Inc., 1991.
Page 11
Richard C. Jones III, p. 11 Accurate to August 25, 2020
Assistant Editor, Theatre Design and Technology, 1985-86.
Undergraduate credits on request.
Other professional activity:
Judge, Young Scholars Award, Southeastern Theatre Conference, 2020.
Mentor, Theatre and Social Change Début panelist, Association for Theatre in Higher
Education (ATHE), Orlando, 2019.
Panelist, Interdisciplinary Discussion on Three One-Act Plays by Asian Authors,
sponsored by Stephen F. Austin Interdisciplinary Studies program, 2019.
Member, Drama Field of Study Advisory Committee, Texas Higher Education
Coordinating Board, 2018-present.
Senior Faculty Respondent, “Graduate Student Teaching Demo & Feedback,” ATHE,
Las Vegas, 2017.
Panelist, Interdisciplinary Discussion on By the Bog of Cats, sponsored by Stephen F.
Austin Interdisciplinary Studies program, 2016.
Panelist, “Art, History, and Everyday Life: A Dialogue about Gender,” sponsored by
Stephen F. Austin State University Gender Studies program, 2011.
Judge, Graduate Student Paper Award, Theory & Criticism Focus Group, ATHE, 2005.
Coordinator, Brian Friel Project of the International Dialects of English Archive (IDEA):
http://www.ukans.edu/~idea, 1997-2002.
Adjudicator for Theatre as a Liberal Art (TLA) Focus Group, ATHE, “Dancing with the
Dragons: Training Teachers of Theatre.” Chicago, 1997.
Annotated bibliographies for Euripides' Iphigenia in Aulis and John Lyly's Endymion.
Masterplots, 2nd rev. ed. (Pasadena: Salem, 1996) 2015, 3243.
Adjudicator (TLA/ATHE), “Theatre Pedagogy: Strategies for Junior High, High School
and College.” New York, 1996.
Adjudicator (TLA/ATHE), “The Electronic Classroom: Applications of Software in
Teaching Theatre.” San Francisco, 1995.
Assistant/Secretary, International Theatre Studies Center, University of Kansas, summer
1995.
Member, Task force on K-12 Speaking, Listening and Media Literacy Standards, Speech
Communication Association, 1995.
Adjudicator (TLA/ATHE), “Teaching Wartime Drama.” Chicago, 1994.
Coordinator of adjudication (TLA/ATHE) and adjudicator, “Developing Multi-Media
Learning Aids for the Study of Shakespeare” and “Grading and Evaluating Students
in Performance.” Philadelphia, 1993.
Coordinator of adjudication (TLA/ATHE). Atlanta, 1992.
Adjudicator (TLA/ATHE), “Non-Traditional Approaches to Traditional Plays” and
“Small Department Revitalization: Survival Strategies for the '90s.” Seattle, 1991.
Page 12
Richard C. Jones III, p. 12 Accurate to August 25, 2020
“Havel Dedicated to Illuminating Truth,” Cedar Rapids Gazette Accent Series, Aug. 13,
1990: 4A.
Adjudicator (TLA/ATHE), “The Theatre Educator's Participation in Inter-Disciplinary
Courses” and “Outcomes Assessment: The Tip of the Iceberg.” Chicago, 1990.
“Theater Technology vs. Aesthetics,” Cedar Rapids Gazette Accent Series, Oct. 2, 1989.
Adjudicator (TLA/ATHE), “Setting Competencies for the Theatre Curriculum” and
“The Quality of Life for Theatre Artists in Higher Education--An Ongoing
Discussion: Income Issues.” New York, 1989.
Participant, Conference on the Arts and the Liberal Arts, Associated Colleges of the
Midwest, Ripon College, Oct. 1987.
Participant, Midwest Faculty Seminar: Familiarizing Devices and the Study of
Civilizations, University of Chicago, June, 1987.
Judge, Forbes Heermans/George McCalmon Playwriting Prize, Cornell University,
1985, 1986.
“Staging the Unstageable: A Director's Perspective of Camus' Le Malentendu,” Union
College Faculty Lecture Series, 1982.
“The Layered Look: Modes of Meaning in the Dramaturgy of John Lyly,” Union College
Faculty Lecture Series, 1980.
Undergraduate information on request.
Awards and Honors:
Student Organization Advisor of the Year, Lumberjack Achievement Awards, Stephen
F. Austin State University, 2019.
Faculty Mentor of the Year, Stephen F. Austin State University Undergraduate Research
Conference, 2016.
Summer Scholar, National Endowment for the Humanities Summer Institute, “What Is
Gained in Translation.” Kent State (OH) University, 2015.
SFASU Foundation Faculty Achievement Award for Research (nominee), 2008.
Teaching Excellence Award, College of Fine Arts, Stephen F. Austin State University,
2007.
Kuhlke Humanitarian Award, University Theatre and Department of Theatre & Film,
University of Kansas, 1998.
Ethel Hinds Burch Outstanding Graduate Teaching Assistant in Theatre Award,
University of Kansas, 1997.
Cornell University Summer Fellowship, 1983, 1986.
Special citation for Technical Production, production of Stevie, New York Theatre
Festival Association, 1986.
Special citation for Command of Dialect, production of In the Shadow of the Glen, New
York Theatre Festival Association, 1984.
Martin M. McVoy, Jr. Trust Fellowship, Cornell University, 1983-84.
Page 13
Richard C. Jones III, p. 13 Accurate to August 25, 2020
Sage Graduate Fellowship, Cornell University, 1982-83.
Marcus Heiman Award for Achievement in the Arts, Dartmouth College, 1977.
Critic Fellowship, National Critics Institute, Eugene O'Neill Memorial Theatre Center,
Waterford, CT, 1976.
Rufus Choate Scholar, Dartmouth College, 1975.
Academic citations in two courses, Dartmouth College, 1975, 1976.
Professional affiliations:
Alpha Psi Omega National Theatre Honor Society.
National President, 2017-present.
Cast sponsor, 1979-82 (Zeta Chi Cast), 1987-93 (founding sponsor, Alpha Alpha
Gamma Cast), 2011-present (Beta Phi Cast).
American Conference for Irish Studies.
American Society for Theatre Research.
Association for Theatre in Higher Education.
Advocacy Committee, 1996-2003.
Co-Chair, Advocacy Watch Sub-Committee, 1997-2000, 2001-02.
Listowner and Moderator, ADVWATCH listserver ([email protected] ),
1999-2001.
Expanding Roles Task Force, 2000-01.
Conference Committee, 2011-12.
Directing Program:
Graduate Student Representative to Executive Committee, 1997-99.
Nominations Committee, 2010, 2011, 2016-17.
Chair, 2010-11.
Professional Development Committee, 2007-10, 2018-present.
Co-Chair, Task Force on Promotion and Tenure Guidelines, 2007-10.
Member, Task Force on Tenure and Promotion Guidelines, 2018-present.
Research and Publications Committee, 2007-10.
Strategic Planning Committee:
Chair, 2001-02.
Task Force on the Un- and Under-Employed, 1992-93.
Theatre as a Liberal Art Focus Group:
Brochure Committee, 1995.
Conference Planning Committee, 1994-95.
Nominating Committee, 1993-94.
Research and Development Coordinator, 1991-93.
Theatre History Focus Group:
Focus Group Representative, 2007-09; FGR-elect, 2006-07.
Chair and Conference Planner, 2001-03; Vice Chair, 2000-01.
Page 14
Richard C. Jones III, p. 14 Accurate to August 25, 2020
Chair, Nominating Committee, 2004-05.
Bylaws Committee, 2003-04 (chair), 2012-13.
International Association for the Study of Irish Literatures.
International Federation for Theatre Research.
International Society for the Classical Tradition.
Professional Advisory Board, Department of Theatre, University of Kansas, 2013-
present.
Languages:
Proficient in French. Efficient in German, Ancient Greek.
Courses taught (including total sections; through Fall 2020.) Not including
independent studies, student production supervision, etc.
Dramatic Literature, Script Analysis, and Theatre History:
Advanced Play Analysis (13), American Theatre in the 1930s-‘50s (1), Asian Theatre
(5), Chekhov (1), Dramatic Theory, Criticism & History II [graduate level] (1),
History of Comedy (1), History of the Theatre I (20), History of the Theatre II
(19), Irish Theatre & Drama (7), Neoclassicisms in the Theatre (2), Non-Realism
between the Wars (2), Play Analysis & Dramatic Literature (30), Russian Theatre:
1890-1930 (1), The Vietnam War and the American Theatre (1), at Stephen F.
Austin State University (SFA).
Classical Theatre (2), History of the Modern Theatre (2), History of the Pre-Modern
Theatre (1), Irish Theatre (1), Modern Realistic Theatre (2), Neo-Classical Theatre
(2), War and Peace in 20th Century Drama (1), Western Theatre: Büchner to
World War I (1), Western Theatre: 1576 to Goethe (2), Western Theatre: Pre-
History to 1576 (2) at Cornell College (CC).
American Myth in Drama (2) at Cornell University (CU).
History of the Modern Theatre (1), History of the Theatre (1) at Union College
(Union).
Acting and Directing:
Beginning Acting (9: 5 for American Theatre Arts [British exchange] students, 4
regular sections), Introduction to Play Directing (8) at SFA.
Acting I (14: 2 for majors, 12 for non-majors) at University of Kansas (KU).
Acting II (2), Directing I (7) and Directing II (1) at CC.
Advanced Acting (1), Directing (3) and Fundamentals of Acting (3) at Union.
Introductory Theatre:
Theatre Appreciation (17) at SFA.
Introduction to the Theatre (2 as lecturer/co-teacher of record, 4 as discussion leader
and grader) at KU.
Page 15
Richard C. Jones III, p. 15 Accurate to August 25, 2020
Introduction to the Theatre (2) at CC.
From Script to Stage: Writing about the Theatrical Process (1) at CU.
Introduction to the Theatre (3) at Union.
Technical Theatre:
Technical Production: Scenery Construction & Stage Lighting (2) at CC.
Play Production I [Scenery & lighting] (2), Play Production II [Costume history &
design] (2) at Union.
Humanities, Interdisciplinary, Speech/Communications:
Irish Theatre & Culture [including Study Abroad component] (7) at SFA.
Eastern Civilizations (4: 2 lower division, 1 upper division, 1 upper division honors)
at KU.
Analysis of Fine Arts (5) at Emporia State University.
Public Speaking (1) at Colby-Sawyer College.
Theatre & Anthropology (1) at CC.
Myths of Greece and Rome (1) at CU.
Debate (1), Fundamentals of Speech (4), Interpretative Reading (3), Journalism
Practicum (4), Persuasion (2) at Union.
Representative post-college theatre production credits
(Complete theatre résumé, including dialect coaching, translating, design and technical
credits on request.)
Directing:
Stephen F. Austin State University: The Maids (J. Genet), scheduled for February
2021; The Wolves (S. DeLappe); Lady Aoi (Y. Mishima), The Post Office (R. Tagore),
Hiding from the Rain (X. Gao); (Biedermann and) The Firebugs (M. Frisch); By the Bog
of Cats (M. Carr); Macbeth (W. Shakespeare); Trojan Barbie (C. Evans); Blood
Wedding (F. García Lorca); Godspell (J-M. Tebelak & S. Schwartz); The Madwoman
of Chaillot (J. Giraudoux/M. Valency); Three Sisters (A. Chekhov); The Uninvited
(D. Macardle/T. Kelly); The Breasts of Tiresias (G. Apollinaire); Woyzeck (G.
Büchner); “Master Harold”… and the boys (A. Fugard); As You Like It (W.
Shakespeare); Dimly Perceived Threats to the System (J. Klein); The Servant of Two
Masters (C. Goldoni); Six Characters in Search of an Author (L. Pirandello); The Two
Maples (E. Shwartz); The Increased Difficulty of Concentration (V. Havel); The Land
of the Dragon (M. Miller); Ghosts (H. Ibsen).
Johnson County (KS) Community College: Cat on a Hot Tin Roof (T. Williams).
University of Kansas: The Dragon (E. Shvarts); The Memorandum (V. Havel)
Cornell College: Hedda Gabler (H. Ibsen); Right You Are! (If You Think You Are) (L.
Pirandello); Tartuffe (Molière); The Musical Comedy Murders of 1940 (J. Bishop);
Iphigenia in Aulis (Euripides); The Well of the Saints (J.M. Synge); The Rivals (R.B.
Sheridan).
Page 16
Richard C. Jones III, p. 16 Accurate to August 25, 2020
Dryden (NY) Footlighters: Stevie (H. Whitemore); In the Shadow of the Glen (J.M.
Synge); Verdict (A. Christie).
Cornell University: Phaedra (J. Racine).
Union College: Losers (B. Friel); Joe Egg (P. Nichols); A Bad Year for Tomatoes (J.
Patrick); Gypsy (A. Laurents, J. Styne & S. Sondheim); The Misunderstanding (A.
Camus); Once Upon a Mattress (M. Barer, D. Fuller, J. Thompson & M. Rodgers);
Blithe Spirit (N. Coward); Electra (Euripides); Godspell (J-M. Tebelak & S.
Schwartz).
Mount Washington Valley Theatre Company: Hansel and Gretel (M. Goldberg) [co-
director with Annette Holloway].
Dramaturgy:
Stephen F. Austin State University: China Dolls (J. Heifner); Women in Flames (T.
Howe); The Seagull (A. Chekhov); Dancing at Lughnasa (B. Friel).
University of Kansas: Here and Now (D. Weaver); Dancing at Lughnasa (B. Friel).
Acting:
Stephen F. Austin State University: Egeus in A Midsummer Night’s Dream; Narrator
in La Périchole (J. Offenbach).
University of Kansas: Escalus in Measure for Measure (W. Shakespeare); Luka in The
Bear (A. Chekhov).
Bittersweet Theatre Company (Lawrence, KS): Jake in A Stye of the Eye (C. Durang).
Cornell College: Leopold Nettles in Largo Desolato (V. Havel).
SUNY Cortland and Cortland Summer Arts Festival: Donald Evans in Ten Times
Table (A. Ayckbourn); Creon in Oedipus the King (Sophocles/W.B. Yeats);
Jaggers/Hamlet in Great Expectations (C. Dickens/T. Hischak); Adam in As You
Like It (W. Shakespeare).
Cornell University: Policeman/Reporter in Friends (K. Abe).
Union College: Joe in Winners (B. Friel); Doctor of Theology in Everyman
(anonymous); Charles Condomine in Blithe Spirit (N. Coward).
