phd educational theatre

Ph.D. Theatre and Performance Studies

The doctoral program in theatre and performance studies is an interdisciplinary course of study that prepares students for careers as educators, professors in higher education, publishing scholars and cultural critics.

About the program

The doctoral program offers a rigorous exploration of both theatre history and performance studies through the critical analysis of archival histories, theoretical approaches and performance texts relevant to these interrelated fields.

Applicants who do not hold an undergraduate or graduate degree in theatre (or an equivalent field) may be required to take preparatory coursework prior to admission into the Ph.D. program.

Prospective students

Friday, January 19, 2024 is the school's deadline for best consideration for all M.A. and Ph.D. domestic and international applications.  ​​​​​​​

If you would like to visit the University of Maryland to learn more about our program, please contact: 

Professor Franklin J. Hildy, Ph.D. Director of the M.A. / Ph.D. Program  in Theatre and Performance Studies [email protected]   

Apply to the program

Friday, January 19, 2024  is the school's deadline for best consideration for all domestic and international M.A. and Ph.D. applications. Wednesday, February 14, 2024 is the final deadline for all M.A. and Ph.D. applications. Please see the information below to prepare for the Fall 2024 application. For additional information, please contact:

• Crystal Gaston, TDPS graduate services coordinator: [email protected] OR
• Franklin J. Hildy, TDPS director of M.A./Ph.D. in theatre and performance studies: [email protected]

The University of Maryland’s Graduate School accepts applications through its online application system . Before completing the application, applicants are asked to check the Graduate School  admissions requirements site for specific instructions.

As required by the Graduate School, all application materials are to be submitted electronically:

• Graduate application
• Transcripts
• Statement of purpose
• Letters of recommendation
• Program/department supporting documents ( application requirements )
• Non-refundable application fee ($75) for each program to which an applicant applies (fee eligibility waiver: https://gradschool.umd.edu/feewaiverinformation )

The electronic submission of application materials helps expedite the review of an application. Completed applications are reviewed by an admissions committee in each graduate degree program. The recommendations of the committees are submitted to the dean of the Graduate School, who will make the final admission decision. Students seeking to complete graduate work at the University of Maryland for degree purposes must be formally admitted to the Graduate School by the dean. To ensure the integrity of the application process, the University of Maryland authenticates submitted materials through TurnItIn for admissions.

Requirements

Ph.d. in theatre and performance studies application requirements:.

• You must have earned a four-year baccalaureate degree from a regionally-accredited U.S. institution, or an equivalent degree earned at a non-U.S. institution with at least a 3.0 GPA.
• Applicants for the Ph.D. must also have earned an M.A. or M.F.A. degree from a regionally-accredited U.S. institution, or an equivalent degree earned at a non-U.S. institution with at least a 3.0 GPA.
• All international students must show evidence of acceptable scores on the Test of English as a Foreign Language ( TOEFL ). See information on the International Educational Services website for specific admissions requirements , including minimum TOEFL score.

Please be sure to include the following in your application:

• Three recommenders and their email addresses for the electronic recommendation forms to be sent to them.
• Please consider that we are a program of theatre and performance studies and that our students study both areas, not one or the other. Include information on what attracts you to scholarship, what attracts you to our program (which faculty member or members would you most want to work with, for example) and what your primary research interests are. Consider too that we are dedicated to developing scholar/artists, so indicate what practical areas your skills are in or how you hope to develop such skills while engaged in rigorous scholarly work. How might you use this degree in the future if it does not lead directly to a job in higher education?
• A writing sample that shows your ability to do research.

Information for international graduate students

The University of Maryland is dedicated to maintaining a vibrant international graduate student community. The office of International Students and Scholars Services (ISSS) is a valuable source of information and assistance for prospective and current international students. International applicants are encouraged to explore the services they offer and contact them with related questions.

The University of Maryland Graduate School offers admission to international students based on academic information; it is not a guarantee of attendance. Admitted international students will then receive instructions about obtaining the appropriate visa to study at the University of Maryland, which will require submission of additional documents. Please see the graduate admissions process for international applicants for more information.

Financial assistance

The school is committed to fully funding all graduate students accepted into its programs and makes every effort to meet that goal. If you are unable to pursue your education without financial support, check the appropriate box on the application form and note this in your statement of goals, research interests and experience.

Opportunities for financial support are available to graduate students in three forms: fellowships, assistantships and loans. Research grants are also available to our graduate students.

Fellowships

Some types of financial aid for outstanding students, such as the Flagship Fellowship program sponsored by the Graduate School, must be applied for by the school on your behalf. To be considered for these special awards, we recommend you complete the application process by December 15th.

Fellowships can provide full-time funding for up to two years and include:

• Stipends of approximately $21,930 to $24,360 paid 50 percent at the start of fall and winter terms.
• Tuition waivers (tuition remission) for 10 hours of course credit in fall term; 4 hours of course credit in January term and 10 hours course credit in spring term.
• A supplement of 50 percent on student health insurance.

Half fellowships and summer research fellowships are also offered as supplements to other forms of funding.

Assistantships

Assistantships can provide full-time funding for up to four years for Ph.D. students. Full assistantships require 20 hours of work per week and include:

• Stipends of approximately $25,500 paid bi-weekly.
• Tuition waivers (tuition remission) for 10 hours of course credit in the fall term; six hours of course credit in the January term, and 10 hours of course credit in the spring term.PhD Theatre and Performance Studies.
• A supplement of 80% on employee health insurance.

Half assistantships (10 hours of work per week) are also offered as supplements to other forms of funding.

Loans are arranged through the Office of Financial Aid and can be subsidized or unsubsidized. Please visit their website for criteria and deadlines.

The Graduate School encourages graduate students and postdoctoral fellows to seek funding for their work and research at the University of Maryland, College Park. Students may seek funding for a variety of needs including research, stipend support and travel to meetings or conferences. The Graduate School lists various funding sources for all disciplines.

Grants and awards

To find out about other funding opportunities, please visit the ARHU website page for fellowships, grants and awards .

For questions related to the admissions process, prospective students may contact the Graduate School .

If you have any questions about the Ph.D. in theatre and performance studies program or application, please contact Franklin J. Hildy, TDPS director of M.A./Ph.D. in theatre and performance studies at [email protected] . 

Current Students

Requirements for degree completion.

The Ph.D. program in theatre and performance studies is designed to be completed in four years of full-time study. If necessary, students will be assisted in applying for funding from other sources to cover additional years.

The program requires a minimum of 58 credit hours beyond an M.A. or M.F.A. degree, 40 hours of which must be taken on campus. Students are normally advanced to candidacy in their third year, at which point they are classified as ABD (“all but dissertation”). This timeline must be followed for students to be classified as “making satisfactory progress” towards their degrees. The Graduate School allows up to a total of five years to advance to candidacy. Failure to advance within five years will result in the student’s removal from the program. Students who must extend their time to advance to candidacy are advised to check the “Full-Time Status” section for the website of the Office of the Registrar to see the difference between course units and course credit hours to ensure they do not fall below full time status.

The Graduate School also requires that a Ph.D. be completed within nine years of entry into the program. After nine years, credits earned from coursework are invalidated and the student must start over. In certain circumstances, students may apply for a one-year extension, and may apply for this two times (thus allowing a maximum two-year extension). If two extensions are requested and granted, this could potentially allow up to 11 years to complete the degree.

View the  one-page course description and credit requirements for the Ph.D. in theatre and performance studies program .

40 credit hours of the required minimum of 58 credit hours required for the Ph.D. are generally taken in the first two years at a rate of ten credit hours per semester (three 3-credit hour courses and one 1-credit hour course). Each student may also take up to four credit hours of coursework during the winter term, thereby reducing the load in later semesters or allowing a broadening of their education. Graduate-level courses in TDPS are not available in the summer. Students with graduate assistantships should never take more than 10 credit hours in any fall or spring semester or more than four credit hours in any winter term, and will be charged for any extra credit hours if they do so.

For details about coursework requirements, please see the Ph.D. in theatre and performance studies handbook . 

Comprehensive exams

Ph.D. comprehensive exams are intended to assess a student’s overall level of knowledge in the fields of theatre and performance studies. They go beyond the exams taken during coursework and are designed to test a student’s ability to integrate knowledge gathered across a range of courses. They survey the breadth of a student’s knowledge of theatre and performance studies in general, knowledge students are expected to acquire above and beyond what is covered during coursework.

For details about comprehensive exam requirements, please see the Ph.D. in theatre and performance studies handbook . 

Qualifying examination and advancement to candidacy

To advance to candidacy, students will form a dissertation committee, take the qualifying examination (consisting of two parts: a literature review and a dissertation prospectus) and defend the qualifying examination.

For details about qualifying exam (literature review and prospectus) requirements, please see the Ph.D. in theatre and performance studies handbook . 

Dissertation

Under the supervision of their advisor, the doctoral candidate conducts research and writes a dissertation. The candidate should follow the prospectus approved by the dissertation committee. While aspects of its scope and content may grow and evolve, any significant changes in the dissertation plan may require a new draft of the prospectus to be approved by the dissertation committee.

Once the dissertation has been completed, the candidate must defend the dissertation orally.

For details about dissertation requirements, please see the  Ph.D. in theatre and performance studies handbook .

Ph.D. in Theatre and Performance Studies Handbook and Graduate Catalog

View the  Ph.D. in theatre and performance studies handbook . 

For more general information about graduate requirements, fees and registration, see UMD's Graduate Catalog: ​ http://apps.gradschool.umd.edu/catalog/ .

Dissertations

Dissertations in progress.

• Pourzal, Kristopher . "Dancing In and Out of Place: Black Concert Dance Histories and New York City's Clark Center, 1959-1989." Chair: James M. Harding .
• Sturges, Melissa Lin . “The Intoxicated Stage: Modernist Theatres of Addiction.” Chair: James M. Harding .
• Lockley, Gianina K . “Explicating the Detroit and Zimbabwe Jit: On Blackness, Being, and Performance.” Chair: Faedra Chatard Carpenter.

Completed dissertations

• Haeri, Q-mars Mazandarani.    “Popular Theater in Iran: A Social History of Lalehzari Performances.” Fall 2023. Chair: Franklin J. Hildy.
• Ealey, Jordan . "The Songs of Her Possibilities: Black Women-Authored Musicals from the Nineteenth Century to the Present." Spring 2023. Chair: Faedra Chatard Carpenter.
• Kaleba, Casey.  “The White Arm in the Smoke: The Meaning of Theatrical Violence on the Victorian Stage.”  Spring 2023. Chair: Franklin J. Hildy.
• Barr, Lindsey . "Making Madness on Stage: American Musical Theatre Since the Americans with Disabilities Act." Spring 2023. Co-Chairs: Caitlin Marshal. and Faedra Chatard Carpenter.
• Miller, Alexander Williams . "The Performance of Remastery in Theatre and Media." Spring 2023. Chair: James M. Harding.
• Strange, Jared . "After Bend It Like Beckham: Soccer in 21st Century Theatre and Performance." Spring 2023. Chair: James M. Harding.
• Thomas, Laronika "Civic Dramaturgy: Cultural Space, Artistic Labor, and Performances of Urban Planning in 21st Century Chicago" Fall 2022. Chair: James M. Harding.
• Demmy, Tara Noelle.  “The Comedy Propaganda Machine: The Soldier Sketch Writing Contest of World War II.” Spring 2022. Chair: Franklin J. Hildy. 
• Hedges, Allison.  “Spoken Words, Embodied Words: A New Approach to Ancient Egyptian Theatre.” Spring 2022. Chair: Franklin J. Hildy. 
• Holley, Kelley.  "Experiencing Place: Dramaturgies of Site-specific Performance." Spring 2022. Chair: Faedra Chatard Carpenter.
• Scrimer, Victoria.  “Beyond Resistance: Performing Protest in a Postdramatic Age.” Spring 2022. Chair: James M. Harding. 
• Mandracchia, Christen. “The Broadwayfication of Disney: A Production History of Beauty and the Beast from Film to Stage.” Fall 2021. Chair: Franklin J. Hildy.
• Walker, Jonelle. "Women in White: Performing White Femininity 1865-Present." Fall 2021. Chair: James M. Harding.
• Chu, Po-Hsien. "The Experimental Aesthetics of Global Sinophone Theatre: The Present, the Absent, and the Avant-Garde." Summer 2021. Chair: James M. Harding.
• Gerdsen, Jenna. “Huikaʻi Moʻo ʻōlelo: Theatre in Hawai‘i during the 21st Century.” Summer 2021. Chairs: Faedra Chatard Carpenter and Esther Kim Lee.
• Ridley, Leticia R. “Fleshy Matters: Fragmentary Performance and Hypervisible Renderings in Black Women's Popular Culture.” Summer 2021. Chair: Faedra Chatard Carpenter.
• Stevens, Fraser. "Cultural Camouflage/Suspicious Behaviour: Performing Identities in WWII Espionage." Spring 2021. Chair: James M. Harding.
• Crowley, Patrick. "The Life and Death of Living Stage: Towards a Rebirth of Radical Theatre in the United States."  Fall 2020. Chair: James M. Harding .
• Balasundram, Jeeta. “Recapturing the Essence of Shakespeare’s Plays through Original Practices: A Case Study on The New Shakespeare Tavern in Atlanta, Georgia and the American Shakespeare Center in Staunton, Virginia." Spring 2020. Chair: Laurie Frederik.
• Fallica, Elisabeth. “Of Flesh and Feathers: A Study of Artistic Labor and the Politics of the Sensuous in New York Neo-Burlesque.” Spring 2020. Chair: Laurie Frederik.
• Gray, Les. "Moving Pain Home: Cultural Production and Performance Out of Black Trauma and Terror." Spring 2020. Chair: James M. Harding.
• Gregory, David. "Musical Theater in Spain and its Spectacular American Roots." Spring 2019. Chair: Laurie Frederik.
• Ginder, Brittany. "Of Muses and Monstrosities: English Travestie Performances of the Eighteenth Century."  Spring 2018. Chair: Esther Kim Lee.
• Long, Khalid.  "Staging Black Women’s Histories: Recovery and Recuperation in the Theatre of Glenda Dickerson." Spring 2018. Chair: Faedra Chatard Carpenter.
• Mantillake, Sudesh.  "Colonial Choreography: Staging Sri Lankan Dancers during British Colonial Rule from the 1870s-1930s." Spring 2018. Chair: Esther Kim Lee.
• Nixon, Adam.  "Film, Television, and the Digital Age." May 2018. Chair: Laurie Frederik.
• Shaeffer, Adam.  "Building Public(s): The Early History of the New York Shakespeare Festival." Spring 2018. Chair: Franklin J. Hildy.
• Thompson, Sara.  "Craft Beer, Vintage Gear, and Shakespeare: A Study of the Postmodern Hipster, the New York Shakespeare Exchange, and the Production of Cultural Capital in the 21st Century."  Spring 2018. Chair: Esther Kim Lee.
• Wilson, Matthew.  "Moving from the Archive: Historiography and 'Authenticity' in Commedia dell'Arte Performance." Spring 2018. Chair: Franklin J. Hildy.
• Banapoulou, Christina. "Tragedy and Indebtedness in Contemporary Greece: Deleuze, Guattari and Performances of Transnational Power and Resistance Before and After the Referendum of 2015." Fall 2017. Chair: James Harding.
• Boynton, Michael.  "Performing Nerd:  The American Nerd, Popular Culture, and Identity Formation. Ph.D. dissertation, University of Maryland, College Park. School of Theatre, Dance and Performance Studies." Fall 2017. Chair: Faedra Chatard Carpenter.
• Davis, Allan.  "Organizing Whiteness: Racial Formation through Gendered Leisure and Amateur Performance in the Drama League of America." Spring 2017. Chair: Esther Kim Lee.
• Kaplan, Jeffrey.  " A Show of One’s Own: Dorothy Sands and the Rise of Solo Performance in America." Spring 2017. Chair: Faedra Chatard Carpenter.
• Krenek, Jessica.  "Sexuality, Gender, and the Performance of Wrestling Fan Culture." Spring 2017. Chair: Faedra Chatard Carpenter.
• Warheit, Emily. "Forum Theatre and Theatre for Development in East Africa." May 2017. Chair: Laurie Frederik.
• Hesla, James.  "The Idiosyncratic Body: Clown Theory and Practice." March 2016. Chair: Laurie Frederik.
• Spanos, Kathleen. "Dancing the Archive: Rhythms of Change in Post-Volcano Identities on Monsterrat, West Indies." December 2015. Chair: Laurie Frederik.
• Gavrila, Rebecca.  "'That Wasn’t Just a Party': Re-Considering the Works of Robert Chesley." Fall 2014. Chair: Faedra Chatard Carpenter.
• Dawn, Karalee. "Today We are All Scottish: Highland Festivals and the Construction of National Identity." February 2014. Chair: Laurie Frederik.
• Shifflett, Matthew.  "Ideologies of Family and Empire in Eighteenth-Century Circum-Atlantic Performance." Spring 2014. Chair: Heather Nathans.
• Tobiason, Aaron.  "So as to Compass the Interest: Artisan Dramaturgy, Copyright Reform, and the Theatrical Insurgency of 1856." Spring 2014. Chair: Heather Nathans.
• Alman, Elizabeth.  "Shakespeare's Stage in America: The Early History of the Folger Shakespeare Theatre." Spring 2013. Chair: Franklin J. Hildy. 
• Derr, Ashley.  "Understanding Shakespeare to Understand America: The NEA's Shakespeare in American Communities Initiative." Spring 2013. Chair: Franklin J. Hildy. 
• Thompson, Robert. "The Phenomenology of Spirit Communication: Spiritualist Mediumship in the Eastern United States." February 2013. Chair: Laurie Frederik.
• Steele, Erin. "Material Murders: 'Authenticity' in Early Nineteenth-Century True Crime Melodramas." Fall 2012. Chair: Franklin J. Hildy.
• Chessum, Tracey.  "Sales Pitches from the 'Salesman of Americanism': Selling American Identity in the Comic Operas of John Philip Sousa." Spring 2012. Chair: Heather Nathans.
• Saunders, Annmarie.  "The Quest for a National Playhouse: Early Theatres of Washington, D.C., 1800-1836." Spring 2012. Chair: Heather Nathans.
• Tenner, Natalie. "‘New wine shall be put into old bottles’: Elizabethan Revivals in the time of the Nazarenes and the Pre-Raphaelites." Spring 2012. Chair: Franklin J. Hildy. 
• Poole, Justin Aaron.  "Vienna’s Transnational Fringe: Arts Funding, Aesthetic Agitation, and Europeanization." Spring 2011. Chair: Franklin J. Hildy. 
• Dail, Chrystyna Marta.  "Theatrical Militants: Stage For Action and Social Activist Performance, 1943—1953." Spring 2010. Chair: Heather Nathans.
• Martin, Christopher Tremewan.  "How the Waltz Was Won: Towards a Waltz Aesthetic." Spring 2010. Chair: Faedra Chatard Carpenter.
• Tharp, Richard K.  "How Wide Is Broadway?: The Theatre Guild’s Radio and Television Productions in Post-World War II America." Spring 2010. Chair: Heather Nathans.
• Cole, Carrie J.  "'She Will Not Submit to Be Ignored': Kate Douglas Wiggin and Performing American Femininity at the end of the Nineteenth Century." Spring 2009. Chair: Heather Nathans.
• Messer, Kristen Anne.  "Everyman's No Exit: An Examination of Christian Community-Based Performances Practices on the North America Landscape." Spring 2009. Chair: Franklin J. Hildy. 
• Snyder, Lindsey. "Sawing the Air Thus: Translating Shakespeare into American Sign Language and the Echoes of Rhetorical Gesture." Spring 2009. Chair: Franklin J. Hildy. 
• Castle-Smith, Heidi.  "'I should go near to say he lies with her, yet She’s a Maid.': From Virgins to Whores, Actresses and Portraits 1660 -1737." Spring 2008. Chair: Heather Nathans.
• Du Toit, Simon.  "The Antitheatrical Body: Puritans and Performance in Early Modern England, 1577-1620." Spring 2008. Chair: Franklin J. Hildy. 
• Joyce, Valerie Michelle. "'You can't get a man with a gun' and Other Life Lessons: Biography in the American Musical Theatre." Spring 2008. Chair: Heather Nathans.
• Bain, Carolyn. "Searching for Tennessee:  Identity, Performance and the Theatrical Event - The Tennessee Williams/New Orleans Literary Festival." Spring 2007. Co-chairs: Franklin J. Hildy and John Fugi.
• Clupper, Wendy.  "The Performance Culture Of Burning Man." Spring 2007. Chair: Franklin J. Hildy.
• Masura, Nadja.  "Digital Theatre:  A 'Live' and Mediated Art Form Expanding Perceptions of Body, Place, and Community." Spring 2007. Chair: Franklin J. Hildy.
• Osborne, Elizabeth A.  "Circles of Community, Intersections of Infamy: The Federal Theatre Project’s Regional Successes and Failures." Spring 2007. Chair: Heather Nathans.
• White, Andrew W. "The Artifice   of Eternity: Studies of Representational Practices in the Byzantine Theatre and Orthodox Church." Spring 2006. Chair: Franklin J. Hildy.
• Coyle, Margaret Anne. "'The Sauce is Better Than The Fish': The Use of Food To Signify Class In The Comedies of Carlo Goldoni, 1737--1762." Spring 2006. Chair: Heather Nathans.
• Fisler, Benjamin Daniel.  "The Phenomenology of Racialism: Blackface Puppetry in American Theatre, 1872-1939." Spring 2005. Chair: Franklin J. Hildy.
• Oliver, Robert Michael.  "National Theater Or Public Theater: The Transformation of the Theatrical Geography of Washington, D.C., Circa 1970--1990." Spring 2005. Chair: Catherine Schuler.
• Rothman, Korey.  "Somewhere There's Music: Nancy Hamilton, The Old Girls's Network, and The American Musical Theatre of The 1930s and 1940s." Spring 2005. Chair: Heather Nathans.
• Stewart, Stacey A.  "Nothing Ladylike About It: The Theatrical Career of Anna Elizabeth Dickinson." Spring 2004. Chair: Catherine Schuler.
• Boisseau, Robin Jackson.  "The Women  of The Abbey Theatre, 1897-1925. Spring 2004. Chair: Patti Gillespie.
• Kippola, Karl M.  "Out of The Forrest and Into The Booth: Performance of Masculinity On The American Stage, 1828--1865. Spring 2003. Chair: Heather Nathans.
• Crawford, Brett Ashley.  'Maxine Elliott: An Actress-Producer With Cultural Savvy and Money On Her Mind." Spring 2001. Chair: Patti Gillespie.
• Kaahwa, Jessica Atwooki.  "Theater and Human Rights In Uganda." Spring 2001. Chair: Patti Gillespie.
• Hart, Norman Phillip.  "Life Upon The Wicked Stage: A History  of Musical Biographies In America, 1783-1993. 2000. Chair: Patti Gillespie.
• Choi, Sung Hee.  "Performing The Other: Asians On The New York Stage Before 1970." 2000. Chair: Patti Gillespie.
• Davis, Brook Marie. "Constance D'Arcy Mackay: Playwright, Director, and Educator. Inspiring Women, Children, and Communities Through Amateur Theatre." 1999. Chair: Patti Gillespie.
• Trainor, Patrick W.  "The Aesthetic Principles  of E. Gordon Craig Placed in the Imaginative Context." 1999. Chair: Roger Meersman.
• Black, Cheryl D.  "The Women of Provincetown, 1915-1922. 1998. Chair: Patti Gillespie. 
• Berkeley, Anne R.  "Toward A Critical Aesthetic Praxis: Theorizing Undergraduate Theatre Curriculum For A Culturally Diverse Democracy." 1998. Chair: Roger Meersman.
• Ferris, Julianne.  "University-Based Performing Arts Center: A Delphi Approach." 1998.
• Marecki, Elizabeth.  "Reclaiming Place: The Plays of Clara Lipman Mann 1869." 1998
• Moffitt, Elliott.  "Black American in Theatre: The First Hundred Years. 1998.
• Ammen, Sharon Irene.  "May Irwin's Strategies  of Influence: A Look Back At America's 'Secretary  of Laughter.'" 1997 Chair: Patti Gillespie. 
• Anthony, M. Susan.  "'Some Deed  of Dreadful Note': Productions of Gothic Dramas in the United States,1790 To 1830." 1997. Chair: Patti Gillespie.
• Fliotsos, Anne Louraine.  "Teaching The Unteachable: Directing Pedagogy In Colleges  and Universities  of The United States, 1920 To 1990." 1997. Chair: Patti Gillespie. 
• O'Hara, Michael Mullen.  "Bernard Shaw and The Federal Theatre Project: Plays, Productions,  and Politics." 1997. Chair: Patti Gillespie.
• Olsen, Christopher A.  "The Arts Lab Phenomenon In Great Britain: 1968-1971." 1997. Chair: Catherine Schuler.
• Medford, Gailann Stewart.  "An Examination  of the Development  of Educational Theatre at Selected Historically Black Colleges and Universities in the United States,1867-1990." 1994. Chair: Patti Gillespie.
• Shull, Michael Slade.  "Tinted Shades of Red: The Popular American Cinematic Treatment of Militant Labor, Domestic Radicalism and Russian Revolutionaries, 1909-1929." 1994. Chair: Roger Meersman.
• Barnes, Elizabeth Anne.  "Spatial Contexts for the Shakespearean Soliloquy: 'Macbeth' Adapted from Stage to Film and Television." 1992. Chair: Roger Meersman.
• Housley, Helen Marie.  "To Inherit the Wind: Margo Jones as Director." 1991. Chair: Patti Gillespie.
• Trumbull, Eric Winship.  "Musicals of the American Workers' Theatre Movement 1928-1941: Propaganda and Ritual in Documents of a Social Movement." 1991. Chair: Roger Meersman.
• Belgrade, Paul S. "The Literary Journalism as Illuminator of Subjectivity." 1990. Chair: Patti Gillespie.
• Casey, Jennie Clare Carroll.  "An Analysis of the Drama Reviews of Chicago's Claudia Cassidy, 1925-1965." 1990. Chair: Patti Gillespie. 
• Donahue, Thomas Francis.  "The Genesis of Light Symbol for the Medici Festival of 1589." 1990. Chair: Roger Meersman.
• Greeley, Lynne.  "Spirals from the Matrix: The Feminist Plays of Martha Boesing, an Analysis." 1987. Chair: Patti Gillespie.
• Cornwell, Terri Lynn.  "Democracy and the Arts: The Role of Participation." 1987. Chair: Roger Meersman.
• Cooley, Edna.  "Women in American Theatre 1850-1870: A Study in Professional Equity." 1987.

History/Theory faculty

Carla della gatta.

Associate Professor, School of Theatre, Dance, and Performance Studies

James Harding

Professor, Theatre Scholarship and Performance Studies School of Theatre, Dance, and Performance Studies

2822 The Clarice Smith Performing Arts Center College Park MD, 20742

Franklin J. Hildy

Professor, Theatre Scholarship and Performance Studies Head of History/Theory; Head of MA/PhD in Theatre and Performance Studies, School of Theatre, Dance, and Performance Studies

2828 The Clarice Smith Performing Arts Center College Park MD, 20742

Maura Keefe

Associate Professor, Dance Performance and Scholarship Director of the School, School of Theatre, Dance, and Performance Studies

2811 The Clarice Smith Performing Arts Center College Park MD, 20742

Caitlin Marshall

Senior Lecturer, Theatre Scholarship and Performance Studies

2810 The Clarice Smith Performing Arts Center College Park MD, 20742

Van Tran Nguyen

Lecturer, Theatre Scholarship and Performance Studies

2816 Clarice Smith Performing Arts Center College Park MD, 20742

Affiliate faculty

The research expertise of our affiliate faculty brings a deeper understanding to histories and theories of performance, art and culture. Affiliate faculty collaborate with our TDPS faculty through classes, academic talks, seminars, post-show talkbacks and other events. They may also serve on graduate thesis and dissertation committees.

Jyana S. Browne , Japanese, School of Languages, Literatures, and Cultures

• Ph.D. (University of Washington, 2017)
• Studies the performance and cultural history of early modern Japan, 18 th century puppet theatre in Osaka, how early modern forms are altered and adapted in contemporary performance

La Marr Jurelle Bruce , Department of American Studies

• Ph.D. in African American and American Studies (Yale University)
• Studies affect theory, critical race and ethnic studies, cultural studies, disability studies, performance studies, pop culture, queer theory

Merle Collins , Department of English

• Ph.D. from London School of Economics and Political Science (1990)
• Writer of fiction, poetry, and critical essays, cultural expression, Caribbean, Grenada

Ronit Eisenbach , School of Architecture, Planning and Preservation

• M. in Architecture (Cranbook Academy of Art, 1992)
• Studies spatial practice, perception of subjective, invisible, and ephemeral objects

Jason Farman , American Studies

• Ph.D. in performance Studies and Digital Media (University of California, Los Angeles, 2006)
• Studies embodiment, performance studies, space and place
• Website: www.jasonfarman.com

Julius Fleming, Jr. , English

• Ph.D. in English, graduate certificate in Africana Studies (University of Pennsylvania)
• Studies Afro-Diasporic literatures and cultures, performance studies, black political culture, diaspora, and colonialism

Saverio Giovacchini , History

• Ph.D. (University of Wisconsin, 1970)
• Studies transnational histories of film, US and Western European film industry, film culture, genres, and post-World War II cultural history

Christina Hanhardt , Women’s Studies

• Ph.D. in American Studies (New York University)
• Studies U.S. social movements and cities, politics of stigma, punishment, and uneven development, queer studies and LGBT activism

Siv Lie , Ethnomusicology, School of Music

• Ph.D. in Ethnomusicology (New York University, 2017)
• Studies cultural production and minority rights, Romani (“Gypsy”) music and language, ethnorace, citizenship, and Jazz Manouche in France

Alexis Lothian , Women’s Studies

• Ph.D. in English (University of Southern California, 2012)
• Studies queer theory, cultural studies, digital media, and speculative fiction
• Website: www.queergeektheory.org

Michael Olmert , Department of English

• Ph.D. in English (University of Maryland, College Park)
• Studies, folklore, Shakespeare, Modern British Drama

Jan Padios , American Studies

• Studies postcolonialism in the Philippines, also technology, science, and emotion

Iván Ramos , Women’s Studies

• Ph.D. in Performance Studies (University of California, Berkeley, 2015)
• Studies gender and sexuality, Mexican and Latino/a/x artists, Latino/a American aesthetics in relation to contemporary and historical violence

Fernando Rios , Ethnomusicology

• Ph.D. in Ethnomusicology (University of Illinois at Urbana-Champaign)
• Studies Latin American with concentration on the expressive practices of the Andean countries, especially Bolivia, folkorization and nation building, globalization, music and political movements

Laura Rosenthal ,  Department of English

• Ph.D. (Northwestern, 1990)
• Studies playwrights in early modern drama, authorship, gender, prostitution in 18 th century literature and culture

Psyche A. Williams-Forson , American Studies

• Ph.D. in Government and MA in Latin American Studies
• Studies cultural studies, material culture, food, social and cultural history of the U.S.

John Lawrence Witzleben , Ethnomusicology

• Ph.D. in Ethnomusicology at University of Hawaii, Manoa and University of Pittsburgh
• Studies Southeast Asia, Chinese instrumental performance, intercultural fusion, gender, popular music and jazz

Latest news from M.A./Ph.D. theatre and performance studies

Tdps faculty nominated for 2024 tony awards, amith chandrashaker and jared mezzocchi nominated for lucille lortel awards, dead outlaw and the outsiders top list of 2024 drama desk awards nominations, hear ye, but you can’t hear me can this program make live theater more accessible, ‘are we at war yet’ narrates the turmoil of war, ‘are we at war yet’ at university of maryland captures a global unease, with terps’ captioning system, a silent revolution could take center stage, how two students harnessed bt-1 to transform the production of, 'a bicycle country' at the university of maryland, lynn nottage's fabulation, or the re-education of undine getting nyc revival.

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Educational Theatre

ANNOUNCEMENTS

- Interested in the Graduate Program in Educational Theatre? Please join us for an Information Session on all of the Arts Education Programs at CCNY which includes Educational Theatre. You can sign up for an Info Session here: https://forms.gle/WcvkaCzoidP8oSYEA

Faculty Office Hours Read our latest blogs Community Outreach

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School of Education:

Welcome to our 2023 entering students, Wesley Cornwell, B.A. Princeton, M.A. Harvard; Kristin Perkins, B.A. Brigham Young, M.A. Texas; Aisha Zamor, B.A. Brown, M.A. Brandeis

Congratulations to Laurie Bashford, Charles Green, and Jehbreal Jackson for passing Ph.D. Oral Examinations in April, 2023!

Congratulations to Annie Potter, for successfully defending her dissertation, “The Musical as History Play: Form, Gender, Race, and Historical Representation,” May 2023

Congratulations to Anna Waller for successfully defending her dissertation, “Mass Performance and the Dancing Chorus Between the Wars, 1918-1939,” May 2023

Congratulations to Ilana Gilovich-Wave, for successfully defending her dissertation “Form and Conformity: Bodysnatching and Contemporary Anglophone Drama, 1996-2022,” April 2023

Congratulations to Abby Noelle Schroering, for successfully defending her dissertation “Cultivating Collectives: Performance and Ecology in the Anthropocene,” April 2023

Theatre and Performance Colloquium: Mondays 6:15 pm (in-person and hybrid). Open to faculty and students in the Ph.D. Program in Theatre and Performance

Ph.d. program in theatre and performance.

The Ph.D. Program in Theatre and Performance at Columbia University encourages students to explore the reciprocal relationships between performance and scholarship, criticism and creation, theory and practice in one of the world’s great centers of theatrical performance, New York City. The program is designed at once to provide the opportunity for students to familiarize themselves with the prevailing traditions of Western and non-Western drama, theatre, and performance scholarship, as well as to identify a specific trajectory of individual research. Overseen by an interdepartmental faculty committee–drawn from the Department of English and Comparative Literature, the Theatre Program of the School of the Arts, the Institute for Comparative Literature and Society, various language departments, Philosophy, Classics, and the Barnard College Department of Theatre–the program encourages students to pursue interdisciplinary research across the wide spectrum of theatre and performance studies. The relatively small size of the program ensures a close working relationship with supervising faculty; doctoral students in Theatre and Performance often work with doctoral students in other humanities fields, as well as with Theatre Program M.F.A. students in directing, dramaturgy, and playwriting. Doctoral students are admitted with a six-year package of funding, which combines both fellowship and teaching support. Ph.D. students from the program have been appointed to tenure-track positions in a range of fields (English, Theatre, Performance Studies) at Stanford, Princeton, Boston University, Indiana University, King’s College London, The University of Texas at Austin, Skidmore College, the Ohio State University, the University of Chicago, Carnegie Mellon University, the University of Michigan, Vassar College, and elsewhere. Several students from the program have also gone on to creative careers in fiction, playwriting, screenwriting, and directing.

Degree Programs: Full-Time: M.A., M.Phil., Ph.D.

Co-Chair: W. B. Worthen, Ph.D. Alice Brady Pels Professor in the Arts 506 Milbank Hall Barnard College 212-854-2757 [email protected]

Co-Chair: Julie Stone Peters, Ph.D. H. Gordon Garbedian Professor of English and Comparative Literature 602 Philosophy Hall 212-854-3215 [email protected]

Theatre Arts & Performance Studies

Ph.d. program.

The Ph.D. Program in Theatre and Performance Studies at Brown University offers a rigorous environment for pursuing doctoral research.

Taking a broad-spectrum approach to the histories, theories, and methods of theatre and performance studies from a global perspective, the Ph.D. program trains doctoral students to use performance as an analytical lens to explore the labor of mimesis in the social.

Cross-currents

Brown’s environment is alive with the intersections of performance practice and theory: Ph.D. students benefit from formal and informal cross-currents with:

• Brown’s acclaimed  MFA Playwriting Program
• Brown/Trinity MFA Programs in Acting and Directing  (offered in consortium with the Tony Award winning  Trinity Repertory Company ),
• Brown Arts Institute
• Rhode Island School of Design (RISD )

Brown’s  libraries  provide exceptional special collections for performance-related research, including:

• Harris Collection of American Drama and Poetry
• Smith Collection of Conjuring, Magicana, and Popular Entertainment
• Albert-Bernard Shaw Collection

Open Graduate Education Program

Our students take full advantage of Brown’s unique interdisciplinary opportunities—including the  Open Graduate Education Program , which enables doctoral students to apply to pursue a Master’s degree in a secondary field of study at Brown—and gain teaching experience through a variety of opportunities in and beyond the department.

How to Apply

_______________________

Applications are due   January 4, 2024   and must be submitted via the Graduate School’s Online Application portal . You can find detailed instructions about the application process and components on the Graduate Website.  For other questions refer to The Graduate School’s application FAQ .

Application requirements.

• A statement of purpose (also called a personal statement, generally 2-3 pages) that should address your current academic research interests, why you wish to pursue a Ph.D. in Theatre and Performance Studies, and how you see your work benefiting from the broader context of the department and Brown as a whole. The most successful personal statements make a compelling case for why your research would best be served by our program given the current composition of our faculty and the resources that are available at Brown. 
• An academic writing sample (10- 25 pages). This is an especially  important element of the application, so be sure to submit an example of your strongest scholarly writing to date. 
• Three letters of recommendation. 
• Transcripts from all academic institutions where you have previously studied (graduate and undergraduate).

International applicants whose native language is not English must also submit an official Test of English as a Foreign Language (TOEFL) or International English Language Testing System (IELTS) score. 

• The GRE is no longer required in order to apply for the Ph.D. Program in Theatre and Performance Studies at Brown.

Financial Aid

Brown guarantees 6 years of funding for all admitted Ph.D. students, which includes full tuition remission, a generous living stipend, and health insurance. This financial support applies to both domestic and international students admitted to our doctoral program. Funding is provided through a combination of fellowships (two years) and teaching/research assistantships (four years). Our students have also been very successful in securing funding for their studies, as needed, through external and internal fellowships and grants. Further details about financial support is available through Brown’s Graduate School website  and the  Graduate Student Funding and Support website .

Frequently Asked Questions

Students in our Ph.D. program have many opportunities to gain teaching experience during their time at Brown. Typically students in their second year serve as Teaching Assistants for undergraduate courses in the Department of Theatre Arts and Performance Studies. More advanced students can develop and teach their own classes. Our students find additional opportunities to hone their pedagogical skills through Brown's  Sheridan Center for Teaching and Learning ,  Summer@Brown , the  Brown/Wheaton Faculty Fellows Program , and elsewhere.

As an intentionally small program with an emphasis on intensive mentorship and advising, we accept a cohort of approximately 2 to 3 students per year. Most of our Ph.D. students complete the degree within 5 to 7 years.

We welcome applicants who are interested in all aspects of theatre and performance studies research. The best way to learn about the range of research topics and methods that are being pursued in our program is by looking through the profiles of our  current faculty  and  Ph.D. students .

Yes. We accept students who have obtained Bachelor's degrees as well as students who have previously completed an MA or MFA. Depending on the field of study and with the approval of our graduate faculty, students may receive credit toward the Ph.D. degree for previous graduate coursework completed at other institutions.

Graduates of our PhD program have achieved a stellar placement rate into academic positions. Many have gone on to become leaders in the field, holding tenured or tenure-track positions at Yale, Tufts, NYU, UCLA, Washington University-St. Louis, Colgate, Emerson, the University of Pittsburgh, and the University of Rhode Island, among other institutions. A  recent national study of Theatre and Performance Studies graduate programs  showed that Brown was the top program in terms of placement, with 100% of our graduates holding tenure-track positions.

Please do not email the department with technical questions or requests to troubleshoot your online application submission. For questions about the application process (including how to submit TOEFL scores, Letters of Recommendation, and other technical matters), please contact the Graduate School directly at  a [email protected] .

Patricia Ybarra

Program handbooks.

• TAPS Doctoral Program Handbook (PDF)
• All TAPS Graduate Handbooks

Recent News

Phd student şeyda nur yıldırım published in theatre research international vol. 38, no. 3 (2023)., taps at the american society for theatre research conference, phd candidate marlon jiménez oviedo published in global performance studies.

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Interdisciplinary PhD in Theatre and Drama (IPTD)

Degree requirements.

Learn more about the program by visiting the Department of Theatre

See related Interdisciplinary Clusters and Certificates

Degree Types: PhD

The Interdisciplinary PhD in Theatre and Drama (IPTD) is a cross-school program featuring faculty and coursework that span the Humanities, Social Sciences, and Visual and Performing Arts. We train outstanding students for lifetime careers both within and beyond the academy, emphasizing the simultaneous development of intellectual excellence in scholarship with pedagogical skills. We seek students with exceptional promise as researchers who may also have backgrounds in theatre, dance, or performance in order to examine historical and contemporary theatrical practice from multi- and inter-disciplinary perspectives.

IPTD gives students the opportunity to choose classes and work with professors from any department in the School of Communication or the Weinberg College of Arts and Sciences, while providing a home base in the Department of Theatre. Individual students in IPTD work with a committee unique to their interests and, in consultation with the Director of Graduate Studies and their advisors, design a program of study incorporating theatre, dance, or performance research with one or more other academic fields.  

Students in this program are encouraged to participate in TGS’s Interdisciplinary Initiative program. For more information on how you can have a second intellectual “home” outside of your department or program, please visit the Interdisciplinary Clusters page .

The Department of Theatre also offers MFA programs in Acting ,  Directing , and Stage Design .

Additional resources:

• Department website
• Program handbook(s)

Program Statistics

Visit PhD Program Statistics for statistics such as program admissions, enrollment, student demographics and more.

Program Contact

Contact David Kleineick Program Assistant II 847-491-3589

The following requirements are in addition to, or further elaborate upon, those requirements outlined in  The Graduate School Policy Guide .

PhD (For students starting in Fall 2023 or later)

(Students starting in Fall 2022 have the choice of adhering to the new or former core course requirements) The PhD in Theatre and Drama consists of 18 course units, including six required core courses that emphasize a breadth of historical coverage as well as significant methodological inquiry into historical and theoretical practices. Courses satisfying these requirements are identified each year by the Director, and only those so approved can satisfy the requirement. 

Coursework Requirements

Total Units Required: 18

PhD (For students starting in Fall 2021 or earlier)

Courses satisfying theses requirements must have prior approval of the program director.

Other PhD Degree Requirements

• Examinations:  late in second year or early in third year, qualifying examination for admission to candidacy consisting of three three-hour written sections followed by one two-hour oral examination; examination materials focus on reading lists identifying (usually) three examination fields approved by the student's dissertation committee and the IPTD Executive Committee
• PhD Dissertation:  written dissertation and oral defense
• Other:  at the beginning and end of the academic year the student submits a statement of current progress and goals on GSTS, which is added to the student's program record; the Executive Committee reviews these statements each year and makes recommendations to program director and in written statements to student

Last Updated: September 12, 2023

Educational Theatre

Prepare for a rewarding career in theatre arts education by choosing one of these highly-ranked performing arts programs.

Why Choose a Career in Educational Theatre?

A degree in educational theatre will enable you to introduce and enhance the use of theatre in schools, cultural institutions, theatre companies and nonprofit organizations. For students with a background in the performing arts, the world of theatre education will open opportunities to become a teaching artist, theatre educator, artistic director or arts education coordinator.

As part of Adelphi’s Distance Graduate Programs in Education Group, the educational theatre program has partnered with graduate art education, educational technology, English education, and social studies education to provide accessible and meaningful online and blended learning.

Why Earn Your MA in Educational Theatre at Adelphi?

• Explore your creativity in our lively, meaningful and deeply personal online learning communities, freed from the constraints of traditional settings and supported by a university that has a long history of championing the arts as part of a rich and deeply human education.
• Benefit from our multi-arts approach that integrates creative writing, storytelling, movement, performance and visual arts and views traditional educational subjects such as literacy, special education, foundations, and psychology through an arts-based lens.
• Deepen your artistic work in our core course informed by the Michael Chekhov system of mind-body awareness.
• Join a program ranked among the Best Colleges in Education by the Colleges of Distinction.

• Graduate Student Admissions

I absolutely loved my time in the Educational Theatre program at Adelphi! There was such a beautiful focus on the importance of arts in schools that empowered me even more as an educator. The professors are incredible and so helpful and supportive. I feel that this program and the professors really set me up for success and I would do it all over again!

Degree & Certification Options

We offer three MA programs and one advanced certificate program:

This 33-credit program is designed for performers interested in earning theatre teaching certification online. There is also a program option to add English 7-12 or Social Studies 7-12 certification for six additional credits for qualified applicants.

Designed for educators without a theatre major interested in integrating dramatic play into their coursework; online. This 33 credit program offers a rich array of multi-disciplinary courses in arts education, with a focus on creative dramatics and storytelling. The non-certification program is open to all interested graduate candidates, regardless of prior study, and can meet the needs of already-certified English teachers seeking a master’s degree in a related area.

This fully online program is designed for individuals who already have a master’s degree and wish to attain a New York State teaching certification in theatre P-12. The program of study requires 12 credits (four courses). If the applicant has no prior NYS teaching certification, there is an additional 6-credit student teaching course required. All applicants must have the prerequisite 30 credits in theatre (undergraduate and/or graduate) to earn NYS certification in theatre.

Exceptional Hands-On Learning

At Adelphi, we believe in the power of hands-on experience to prepare graduates for careers in the classroom. The MA in Educational Theatre program culminates with a semester of student-teaching experience. Our students have also gained valuable experience in internships at many schools and organizations, including:

• Take A Bow Playhouse
• Long Beach High School
• Fordham High School for the Arts
• The Young Women’s Leadership School of Astoria
• Philippa Schuyler Middle School for the Gifted and Talented
• The Chapin School
• Mineola High School
• Calhoun High School
• Long Island High School for the Arts

Program Info

Application requirements.

Applicants for the online programs must have a minimum 3.0 GPA and should submit the following:

• Graduate application and $60 fee
• A letter of recommendation
• Personal essay
• Official transcripts from all prior institutions and proof of bachelor’s degree from an accredited four-year institution

Additional Requirements

Applicants for the MA in Educational Theatre, P-12 leading to certification must have an undergraduate degree in theatre or the equivalent 30 credits.

Applicants for the Advanced Certificate in Educational Theatre must already hold a master’s degree (in any subject area as long as they have at least 30 credits in theatre).

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Graduate Education in the Humanities: A National Convening will support the design, development, and implementation of a national convening on the state of, and prospects for, higher education in the humanities. Under the direction of a steering committee and related working groups, the national convening will provide participants the opportunity to explore current challenges and share best practices; offer guidance for graduate programs, departments, and other interested stakeholders; and help develop a strategic vision for graduate education in the humanities. In addition, the recipient will publish and disseminate a report based on the findings of the steering committee, working groups, and national convening.

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Impact Series: Theatre teacher education program fosters an appreciation of fine arts in younger generation

• Author By M Nance
• May 6, 2024

The Illinois State University School of Theatre and Dance (SoTD) is starting a new Impact Series which will feature the different ways that SoTD students impact the education of the fine arts in primary and secondary school students in the community. The SoTD’s theatre teacher education program has grown exponentially in the past few years, expanding the number of opportunities for secondary students in the Bloomington-Normal area to be able to work with new and up-and-coming theatre professionals. SoTD students foster a love for the fine arts in the next generation while also gaining invaluable experience that will prepare them for the next steps in their careers. This article looks at how the program prepares students to work in an educational setting and explores some of the recent projects of theatre teacher education students who are preparing to enter their student teaching.

SOTD’s theatre teacher education (or THED) program allows students to work with primary and secondary school students from the start, beginning clinical hours in their very first introductory class under the guidance and supervision of the head of the program, Dr. Jimmy Chrismon. According to Chrismon, this allows THED students to determine early in the program whether teaching is the right path for them.

THED students are also encouraged to seek a second endorsement to increase their teaching prospects, and several THED students double major in a second sequence within the theatre program so that they can continue to develop their skills as an artist outside of a classroom setting. Last fall semester, most senior THED students completed their capstone projects helping to prepare them for their student teaching assignments next semester. Below are reflections from these students on their capstone projects, experiences in the program, and upcoming student teaching assignment.

While capstone projects generally consist of working with students on a series of scenes, many of the students this past fall were able to work on full shows. Markos Carmona worked as a co-director with two other THED students, Sophie Reite and Spencer Fergison, on University High School’s production of Our Town under the supervision of their cooperating teacher, Ben Webb, the head of the school’s theatre program. Each of the students directed one of the show’s three acts, giving the high schoolers the chance to work with multiple directing styles. During his rehearsals, Carmona found that affirmation was an important part of the creative process.

“A lot of times, when I would encourage the students when it came to their ideas and the things they tried they were always so shocked. It reminded me of how scared I was when I was in high school. I had no idea what I was capable of back then, so I wanted to make sure the students knew they were more capable than what they gave themselves credit for,” said Carmona.

Lorelei Wernecke was one of two students to complete their capstone projects at Thomas Metcalf School—the other being Hannah Brigham, who directed Game of Tiaras . Wernecke’s capstone consisted of directing the one-act show, Goldilocks on Trial . Her cooperating teacher was Chad Talon, head of Metcalf’s theatre department. Wernecke was also responsible for designing all of the production elements of the show, and she said that multiple design classes that she was required to take in the School of Theatre and Dance program helped prepare her to meet that challenge. Wernecke worked with about 25 middle schoolers ranging from fifth to eighth grade, allowing her to work with various experience levels. She liked being able to play games that allowed the students to exercise acting skills and sitting down with them to walk them through the process of development.

When sharing her philosophy on teaching theatre, Wernecke had this to say: “It’s about spreading a love of theatre to kids who wouldn’t get the chance otherwise, letting them know it is an option, and giving them an experience that they could look back on and say, ‘I’m proud of myself,’ or ‘I had a good time.’”

Bebe Marzano completed her capstone project at Bloomington High School where she co-directed a show with her cooperating teacher, Hannah Peradotti. She was given a selection of plays to choose to work on, and she decided on a theatre for young audiences show, Peter Pan and the Pirates . “It was kind of a full circle moment since the very first show I was ever a part of was Peter Pan ,” said Marzano.

Marzano shared that previous experience in her clinical hours for another class was very challenging for her, so when it came to her capstone project, she was looking for reassurance that this was where she was supposed to be, and she found it. “They restored my faith in teaching,” Marzano said. When sharing how she approached the project she said, “I am new to this. I don’t know everything. I didn’t always have the answers, so I tried to create an environment that was open to questions and conversations so that we could figure it out together.”

Dilan Gursoy was one of three THED students—the others being Parker Daugherty and JP Lockwood—who had the unique opportunity to complete their capstone projects over the summer while working as a counselor for Illinois Shakespeare Festival’s (ISF) Youth Camps. Chrismon said that working with ISF was a relatively new development to account for the growing number of students in the THED program. Gursoy worked with middle school students on a show picked out by Chrismon, The Seussification of a Midsummer Night’s Dream . She operated as director and as all of the designers for the show. Gursoy said she was terrified going into the project, especially when it came to working with middle schoolers but that it was a great experience. According to her, her saving grace was her extensive portfolio of theatre games and activities as it helped her work with large groups of students on specific skills.

She appreciated being able to complete her capstone project over the summer as it took some of the pressure off her in THE385. She could talk about her experiences with her friends who were still working on their capstones and offer advice on what worked for her. When asked about her thoughts on her upcoming student teaching assignment, she said, “It’s one of those things that I have been trying not to think about for the past few years, and now it’s here, and I have to think about it. However, I was nervous about working with ISF, and that worked out, so I’m trying to look at it from that perspective.” Her motto throughout this process, as well as her advice for students preparing for their own capstones was, “believe in yourself and believe in what you’ve been taught here. We have been trained for this and it’s a wonderful program.”

Parker Daugherty was another one of the students to complete their capstone over the summer with ISF. However, he had been working with the youth camps since the summer before his sophomore year. He was able to work with a previous student during the camp as the assistant director for their capstone project, so being able to direct his own show with ISF felt like a full circle moment. His project consisted of a self-devised musical theatre cabaret. Because he wanted to cater the cabaret to his students’ voices, he could not fully plan out the event ahead of time. The first day consisted of having the students sing for him and doing a little coaching with them.

“We were able to pull costumes to create a fully realized Cabaret ,” said Daugherty. His goal was to feature the students as much as possible. Because most of the students did not have much experience with theatre, he had them work as their own stage crew and worked with them on character development. “The students absolutely amazed me,” said Daugherty. “In order to memorize some of the concepts I taught them, they came up with the acronym B.O.O.Ts: Beets, Objectives, Obstacles, and Tactics. I am definitely using it in my teaching going forward, and it just goes to show you that we are also constantly learning from our students as well.” When asked for any advice he would give for upcoming seniors, he said, “if you remember to keep the fun in it, it will keep you going. Don’t get bogged down by perfectionism. There is a difference between trying to force something to be what you think it should be and working your hardest to make something the best it can be.”

Due to the program’s size, it was not possible to feature every THED student’s journey through their capstone projects this year. However, a common thread that seems to run through all these experiences is that each student felt anxiety leading up to their projects, but once they got rolling, the experience was rewarding. It allowed them to find validation for their chosen path as teachers, and it gave them additional experience to prepare them for their upcoming student teaching assignments and for their career that lies beyond that.

Learn more about the theatre teacher education program at the Illinois State University School of Theatre and Dance by visiting the webpage .

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Meet Derek LeFebre, a PhD outstanding graduate and emerging educational historian shedding light on untold stories in history

As an accomplished teacher, emerging educational historian and rigorous scholar, PhD graduate Derek LeFebre demonstrates exemplary passion and commitment to his work. 

A Colorado native raised in Aurora, Colorado, LeFebre taught history, science and Spanish in Greeley for over 10 years before starting his doctoral studies. He chose to complete his PhD in Educational Foundations, Policy and Practice at the CU Boulder School of Education to work with renowned Professor Rubén Donato, as LeFebre was familiar with Donato’s educational history research into the experiences of Mexican Americans in Colorado. Instead of Colorado, his research, however, focuses on northern New Mexico, where he and his family have deep roots.

LeFebre’s dissertation examines how Hispano education evolved in relation to the Hispano land rights struggle from 1846 to 1919 in Northern New Mexico after the U.S. occupied New Mexico in 1846. His dissertation argues that Hispanos (individuals with multigenerational roots in southern Colorado and northern New Mexico) established schools to defend their land and autonomy, and his research “underscores how Hispano schools strengthened and fueled the land rights struggle during the late nineteenth and early twentieth centuries.” 

To complete his research, LeFebre poured over primary source documents from the late nineteenth and early twentieth centuries, including Spanish-language sources by Hispano educators and community members. In doing so, he also found and told stories of educators who became leaders in the struggle for Hispano land rights.

“Derek illustrates early examples of social justice educators in the late 19th century, including principles of social justice unionism, wherein education was oriented toward social change, linguistic preservation, and critiques of power and domination,” said Donato, his award nominator and dissertation advisor.

LeFebre’s outstanding dissertation and commitment to telling these untold histories of a community not well-represented in history is why the Donato nominated LeFebre for the 2024 Outstanding Dissertation Award. 

“He is one of the hardest-working students I have advised through my 35-year career in higher education. As a committed and rigorous scholar, Derek has demonstrated to be a remarkable student, instructor, researcher and community member with true critical consciousness of racial inequities within the educational system.”

LeFebre is excited to share his research with relatives and community members who, like his family, have deep roots in northern New Mexico and southern Colorado. 

After graduation, LeFebre will begin preparing for the 2024 Western History Association Conference in Kansas City, where he will present on a panel, “Pedagogies of Liberation.” Not only does this graduation represent a significant milestone for LeFebre, it also marks Donato’s retirement after multiple decades. The legacy of scholarship documenting the many powerful contributions of Hispano educators and activists is in good hands as Donato passes the torch, and leaders like LeFebre take up this impactful and overdue scholarship.

In his own words

Please tell us a bit about yourself

I was born in Denver and raised in Aurora, Colorado. All my K-12 schooling experiences occurred in Colorado public schools. I graduated from high school in 1999 and became the first-generation in my family to attend and graduate from a university in 2004. I earned a bachelor's degree in Spanish and master's degree in history from the University of Northern Colorado. I chose CU Boulder because I wanted to study the history of education in northern New Mexico with Dr. Rubén Donato.”

What is one of the most significant lessons from your time at CU Boulder that you’ll carry with you into the next chapter of your life?

I learned a lot about generosity during my time at CU Boulder. There were so many generous people who assisted and supported me on the PhD journey. For example, Bill and Connie Barclay funded my dissertation research with a Miramontes Doctoral Scholars fellowship. During the COVID-19 pandemic, there were many generous archivists and librarians who digitized archival sources and opened archival repositories for me. My advisor, Dr. Rubén Donato, was especially generous with his time. He spent hours reading and discussing my dissertation drafts. Finally, there was family. My primos Marc and Ida in Albuquerque hosted me during several research trips, discussed my project, and helped me translate old archival records. My wife, Elizabeth, and my children, Elias and Sylvain, were especially generous as they allowed me the time and space to complete this work. I am inspired by these acts of generosity. In the next chapter of my life, I am excited to be similarly generous to others.”

What does graduating from CU Boulder represent for you or your family/community?

My family is very proud that I will graduate from CU Boulder. They are proud that I will earn a PhD in Education. Many of my relatives and community members are also excited to read my research about the history of education in New Mexico. I have already shared it with several individuals who, like me and my family, have deep roots in northern New Mexico and southern Colorado.”

What is your best piece of advice for incoming students?

Start writing. Dedicate an hour of time to writing in the early morning. Write at your local coffee shop. Be the first one to order a drink. Get to know the baristas. They should expect to see you every day. Keep a journal. Write a term paper. Compose a letter to your grandmother. It does not matter what you write. It matters that writing becomes a normal part of your daily routine. You will thank yourself for establishing this habit. Writing your dissertation will not be easy, but with a writing routine in place, it will come more naturally. You might even enjoy it. So...start writing.”  

What are your next steps after graduation?

After graduation, I will begin preparing for the 2024 Western History Association Conference in Kansas City. I am one of four historians who will present on panel called, ‘Pedagogies of Liberation.’” 

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The 100% online PhD in Marriage and Family Therapy (60 credits) is specially designed for people looking to expand their hearts and minds while developing skills to meet the challenges of 21st Century life. Research and study in counseling theories and practice are integrated with theological inquiry in this vibrant doctoral program.  

You may also be interested in: Doctor of Marriage and Family Therapy .

Program Details

• Note: Internship placements will be in-person at a location near you.
• Additional credits required until the completion of dissertation; additional credits may also be required if interested in pursuing state license)
• Enrolling New Students: August
• $28,800 total in tuition & fees for the full 60-credit program (2023-2024)
• Financial Aid: Explore our federal financial aid options that may be available to you.

100% Online. Flexible. Affordable.

• Integration of Psychology & Christianity : Students assess individuals, couples, families, and congregations from an integrated point of view, incorporating theological issues with Marriage and Family systems theory and pertinent psychological perspectives in pastoral or clinical settings.
• Broad Audience : Students demonstrate advanced counseling skills appropriate to meet the needs of individuals, couples, families, and congregations seeking mental health services and programs.
• Self-Reflection : Students practice in-depth self-reflection to enhance their ongoing personal and professional development.
• Significant Research Project: Students create and present a significant research project resulting in a dissertation that contributes to the field of marriage and family therapy.
• Enrichment Programs : Students create and deliver integrated psychological and spiritual enrichment programs.  Examples of previous enrichment programs created by Eastern doctoral students include workshops for individuals, couples, and families, as well as seminars offered on special topics in a clinical or church setting.

Our Mission

The PhD in Marriage and Family Therapy trains students in professional mental health and pastoral counseling fields to be skilled scholar/practitioners in marriage and family therapy who apply their minds and hearts to promoting processes of change and growth in individuals, couples, families, and communities. This scholar/practitioner research program prepares students for leadership roles in academia, research, behavioral healthcare, and pastoral care.

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Please check the  State Authorizations page  to determine if Eastern University’s program fulfills your state credentialing requirements. Students who seek similar credentialing in states other than Pennsylvania are advised to contact the appropriate credentialing agency within their home state to seek information and additional guidance about credentialing in your state of residence. Additional state or local requirements may exist for field placements or practica in this state. Out-of-state student placements/practica cannot be guaranteed by the program or the College of Education and Behavioral Sciences. Students are responsible for following all state and local requirements and regulations for their field placement/practica coursework.

Learn More: PhD in Marriage and Family Therapy

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Watch CBS News

Thousands of students cross the border from Mexico to U.S. for school. Some are now set to graduate.

By Lauren Fichten

Updated on: May 11, 2024 / 2:16 PM EDT / CBS News

For most high school students, forgotten homework or gym clothes might entail a text to a parent. In Jose M. Vazquez's case, one forgotten item in particular— his birth certificate— meant no school that day.

Vazquez, 24, now a senior at San Diego State University Imperial Valley, has been crossing the U.S-Mexico border into California to attend school for around nine years. On May 12, he will graduate during a convocation in Mexicali, Mexico. His mother is attending the ceremony, put together by his college, something she would otherwise be unable to do because she can't get a visa to enter the United States.

Vazquez is one of tens of thousands of transborder students, some as young as kindergarteners, who cross the border from Mexico into California, Arizona, New Mexico and Texas to pursue an education in the United States.

Transborder students have documentation that allows them to cross into the U.S. for school, like a passport, birth certificate or naturalization certificate, but living in Mexico is often more cost-effective and allows them to stay with their families. Students crossing the border during middle and high school often use a U.S. address, sometimes of a friend or family member, to avoid scrutiny from the school district.

Some students are U.S. citizens who have lived in Mexico the majority of their lives, while others return to Mexico after living in America for economic reasons or family reunification, said Laura Dicochea, a Ph.D candidate at Arizona State University, who researches transborder students.

"It's like a circular migration," Dicochea told CBS News.

The first in his family to graduate college, Vazquez reflected on his – and so many others – educational journey.

A transborder school commute  

After his father was deported from the United States in 2006, Vazquez — who was born in Arizona — moved to Mexicali, Mexico when he began crossing the border a few years later to attend Central Union High School in El Centro, California.

Although he is a U.S. citizen, for Vazquez, like many transborder — or transfronterizo — students, living in Mexico with his family made sense because it is "so part of my culture, of me, that I think it's going to be so hard for me if I have to leave that," he said, noting that he's grateful to study in the United States.

During high school, Vazquez would wake up at 4:30 a.m. local time, wait at the border for around two hours, and arrive at school before his first class at 8 a.m. In 2019, he enrolled at Imperial Valley College, a community college 15 miles from Mexicali, before landing at San Diego State University Imperial Valley.

Vazquez's story mirrors that of Diana Lara Zamora, 21, now a senior at Arizona State University, who crossed into the U.S. from eighth grade through high school. 

"I would cross three different states: Baja California, Sonora and Arizona every single day," Lara Zamora said.

She began attending school in the U.S. at 14, living with a family friend in San Luis, Arizona, at times. A typical school day for Lara Zamora began around 4 a.m. local time.

Her mom would drive 30 minutes to the border to drop off her and her younger sister, where they would wait among other students before walking 25 minutes or taking a cab to PPEP TEC High School in San Luis. During the winter, when seasonal farmworkers cross into Arizona, the wait at the border could be up to two hours. 

"They're freezing," she said of the mornings. "I remember my nose being red."

When Lara Zamora became a student at ASU in 2020, she secured on-campus housing, a meaningful experience that allowed her "to get to know people from around the world," Lara Zamora said. 

Javier Melara, 21, who will be graduating alongside Vazquez in Mexico, has been crossing the border to attend school in California since he was 11. 

"You have to face a lot of challenges," he said. "You have to face a lot of fear, a lot of pushback from some people."

Melara said that up until college, he would not share with his friends that he crossed the border daily out of concern that the school district might find out.

"I lived with the fear because some people were kicked out of school," he said, noting that it was something he saw happen to several classmates including a friend.

Lara Zamora told CBS News it doesn't "feel like for me transborder means the border itself." 

"For me, it's more about having two cultures in yourself."

For transborder students, the benefits of living in Mexico mean regularly confronting the challenges of crossing the border: long wait times, tense interactions with U.S. Customs and Border Protection agents and backlash from community members— all against the backdrop of a nationwide migration debate centered on the border. This week, CBS News reported that illegal crossings along the U.S. southern border dropped by more than 40% this year to 129,000 crossings in April, defying historical trends. Though transborder students cross into the U.S. legally, the act of crossing the border makes them vulnerable to scrutiny. 

Scrutiny, fear and then graduation

Another source of unease for Melara was his interactions with Customs and Border Protection officers. 

"I feel like we have this ingrained fear, this constant fear, like flight or fight," Melara said of being sent often for secondary inspection, which allows officers to conduct additional questioning.

Lara Zamora, noticing that her male friends were often pulled into secondary inspection, said that she was careful about her interactions with customs officers. Vazquez said that he felt that CBP personnel sought to intimidate— a consistent issue that tarnished his commute. "They think you're a criminal," he said.

CBS News reached out to the U.S. Customs and Border Protection agents for comment but didn't receive a response before publication. 

Some students are put under a microscope by residents of their school district. For Lara Zamora, the frustration of community members who felt their taxes benefitted non-residents resulted in her transferring to a different high school.

"I felt like that was really unfair because it's not my fault," Lara Zamora said. "My parents don't want to be illegal immigrants here." 

Lara Zamora, Vazquez and Melara graduate this month. Lara Zamora, plans to enroll in graduate school. Vazquez is taking a gap year to pursue his passion of performing as a drag queen. Melara plans to pursue a master's in education, someday achieve a doctorate degree and "dream without barriers," he said.

Vazquez's mother, who has attended his drag performances, will have the opportunity to see him on a different stage in the coming days at SDSU's graduation convocation in Mexicali. Since she was unable to cross the border to attend his high school graduation, Vazquez said having her at the ceremony in Mexico is important— particularly given that he is the first in his family to graduate. 

Lara Zamora, also a first-generation student, says the realization that millions of other students have experienced similar challenges inspires her to help students like herself.

"First generation means that you are the first one, but hopefully you won't be the last one," she said.

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40 Facts About Elektrostal

Written by Lanette Mayes

Modified & Updated: 10 May 2024

Reviewed by Jessica Corbett

Elektrostal is a vibrant city located in the Moscow Oblast region of Russia. With a rich history, stunning architecture, and a thriving community, Elektrostal is a city that has much to offer. Whether you are a history buff, nature enthusiast, or simply curious about different cultures, Elektrostal is sure to captivate you.

This article will provide you with 40 fascinating facts about Elektrostal, giving you a better understanding of why this city is worth exploring. From its origins as an industrial hub to its modern-day charm, we will delve into the various aspects that make Elektrostal a unique and must-visit destination.

So, join us as we uncover the hidden treasures of Elektrostal and discover what makes this city a true gem in the heart of Russia.

Key Takeaways:

• Elektrostal, known as the “Motor City of Russia,” is a vibrant and growing city with a rich industrial history, offering diverse cultural experiences and a strong commitment to environmental sustainability.
• With its convenient location near Moscow, Elektrostal provides a picturesque landscape, vibrant nightlife, and a range of recreational activities, making it an ideal destination for residents and visitors alike.

Known as the “Motor City of Russia.”

Elektrostal, a city located in the Moscow Oblast region of Russia, earned the nickname “Motor City” due to its significant involvement in the automotive industry.

Home to the Elektrostal Metallurgical Plant.

Elektrostal is renowned for its metallurgical plant, which has been producing high-quality steel and alloys since its establishment in 1916.

Boasts a rich industrial heritage.

Elektrostal has a long history of industrial development, contributing to the growth and progress of the region.

Founded in 1916.

The city of Elektrostal was founded in 1916 as a result of the construction of the Elektrostal Metallurgical Plant.

Located approximately 50 kilometers east of Moscow.

Elektrostal is situated in close proximity to the Russian capital, making it easily accessible for both residents and visitors.

Known for its vibrant cultural scene.

Elektrostal is home to several cultural institutions, including museums, theaters, and art galleries that showcase the city’s rich artistic heritage.

A popular destination for nature lovers.

Surrounded by picturesque landscapes and forests, Elektrostal offers ample opportunities for outdoor activities such as hiking, camping, and birdwatching.

Hosts the annual Elektrostal City Day celebrations.

Every year, Elektrostal organizes festive events and activities to celebrate its founding, bringing together residents and visitors in a spirit of unity and joy.

Has a population of approximately 160,000 people.

Elektrostal is home to a diverse and vibrant community of around 160,000 residents, contributing to its dynamic atmosphere.

Boasts excellent education facilities.

The city is known for its well-established educational institutions, providing quality education to students of all ages.

A center for scientific research and innovation.

Elektrostal serves as an important hub for scientific research, particularly in the fields of metallurgy, materials science, and engineering.

Surrounded by picturesque lakes.

The city is blessed with numerous beautiful lakes, offering scenic views and recreational opportunities for locals and visitors alike.

Well-connected transportation system.

Elektrostal benefits from an efficient transportation network, including highways, railways, and public transportation options, ensuring convenient travel within and beyond the city.

Famous for its traditional Russian cuisine.

Food enthusiasts can indulge in authentic Russian dishes at numerous restaurants and cafes scattered throughout Elektrostal.

Home to notable architectural landmarks.

Elektrostal boasts impressive architecture, including the Church of the Transfiguration of the Lord and the Elektrostal Palace of Culture.

Offers a wide range of recreational facilities.

Residents and visitors can enjoy various recreational activities, such as sports complexes, swimming pools, and fitness centers, enhancing the overall quality of life.

Provides a high standard of healthcare.

Elektrostal is equipped with modern medical facilities, ensuring residents have access to quality healthcare services.

Home to the Elektrostal History Museum.

The Elektrostal History Museum showcases the city’s fascinating past through exhibitions and displays.

A hub for sports enthusiasts.

Elektrostal is passionate about sports, with numerous stadiums, arenas, and sports clubs offering opportunities for athletes and spectators.

Celebrates diverse cultural festivals.

Throughout the year, Elektrostal hosts a variety of cultural festivals, celebrating different ethnicities, traditions, and art forms.

Electric power played a significant role in its early development.

Elektrostal owes its name and initial growth to the establishment of electric power stations and the utilization of electricity in the industrial sector.

Boasts a thriving economy.

The city’s strong industrial base, coupled with its strategic location near Moscow, has contributed to Elektrostal’s prosperous economic status.

Houses the Elektrostal Drama Theater.

The Elektrostal Drama Theater is a cultural centerpiece, attracting theater enthusiasts from far and wide.

Popular destination for winter sports.

Elektrostal’s proximity to ski resorts and winter sport facilities makes it a favorite destination for skiing, snowboarding, and other winter activities.

Promotes environmental sustainability.

Elektrostal prioritizes environmental protection and sustainability, implementing initiatives to reduce pollution and preserve natural resources.

Home to renowned educational institutions.

Elektrostal is known for its prestigious schools and universities, offering a wide range of academic programs to students.

Committed to cultural preservation.

The city values its cultural heritage and takes active steps to preserve and promote traditional customs, crafts, and arts.

Hosts an annual International Film Festival.

The Elektrostal International Film Festival attracts filmmakers and cinema enthusiasts from around the world, showcasing a diverse range of films.

Encourages entrepreneurship and innovation.

Elektrostal supports aspiring entrepreneurs and fosters a culture of innovation, providing opportunities for startups and business development.

Offers a range of housing options.

Elektrostal provides diverse housing options, including apartments, houses, and residential complexes, catering to different lifestyles and budgets.

Home to notable sports teams.

Elektrostal is proud of its sports legacy, with several successful sports teams competing at regional and national levels.

Boasts a vibrant nightlife scene.

Residents and visitors can enjoy a lively nightlife in Elektrostal, with numerous bars, clubs, and entertainment venues.

Promotes cultural exchange and international relations.

Elektrostal actively engages in international partnerships, cultural exchanges, and diplomatic collaborations to foster global connections.

Surrounded by beautiful nature reserves.

Nearby nature reserves, such as the Barybino Forest and Luchinskoye Lake, offer opportunities for nature enthusiasts to explore and appreciate the region’s biodiversity.

Commemorates historical events.

The city pays tribute to significant historical events through memorials, monuments, and exhibitions, ensuring the preservation of collective memory.

Promotes sports and youth development.

Elektrostal invests in sports infrastructure and programs to encourage youth participation, health, and physical fitness.

Hosts annual cultural and artistic festivals.

Throughout the year, Elektrostal celebrates its cultural diversity through festivals dedicated to music, dance, art, and theater.

Provides a picturesque landscape for photography enthusiasts.

The city’s scenic beauty, architectural landmarks, and natural surroundings make it a paradise for photographers.

Connects to Moscow via a direct train line.

The convenient train connection between Elektrostal and Moscow makes commuting between the two cities effortless.

A city with a bright future.

Elektrostal continues to grow and develop, aiming to become a model city in terms of infrastructure, sustainability, and quality of life for its residents.

In conclusion, Elektrostal is a fascinating city with a rich history and a vibrant present. From its origins as a center of steel production to its modern-day status as a hub for education and industry, Elektrostal has plenty to offer both residents and visitors. With its beautiful parks, cultural attractions, and proximity to Moscow, there is no shortage of things to see and do in this dynamic city. Whether you’re interested in exploring its historical landmarks, enjoying outdoor activities, or immersing yourself in the local culture, Elektrostal has something for everyone. So, next time you find yourself in the Moscow region, don’t miss the opportunity to discover the hidden gems of Elektrostal.

Q: What is the population of Elektrostal?

A: As of the latest data, the population of Elektrostal is approximately XXXX.

Q: How far is Elektrostal from Moscow?

A: Elektrostal is located approximately XX kilometers away from Moscow.

Q: Are there any famous landmarks in Elektrostal?

A: Yes, Elektrostal is home to several notable landmarks, including XXXX and XXXX.

Q: What industries are prominent in Elektrostal?

A: Elektrostal is known for its steel production industry and is also a center for engineering and manufacturing.

Q: Are there any universities or educational institutions in Elektrostal?

A: Yes, Elektrostal is home to XXXX University and several other educational institutions.

Q: What are some popular outdoor activities in Elektrostal?

A: Elektrostal offers several outdoor activities, such as hiking, cycling, and picnicking in its beautiful parks.

Q: Is Elektrostal well-connected in terms of transportation?

A: Yes, Elektrostal has good transportation links, including trains and buses, making it easily accessible from nearby cities.

Q: Are there any annual events or festivals in Elektrostal?

A: Yes, Elektrostal hosts various events and festivals throughout the year, including XXXX and XXXX.

Elektrostal's fascinating history, vibrant culture, and promising future make it a city worth exploring. For more captivating facts about cities around the world, discover the unique characteristics that define each city . Uncover the hidden gems of Moscow Oblast through our in-depth look at Kolomna. Lastly, dive into the rich industrial heritage of Teesside, a thriving industrial center with its own story to tell.

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