Before joining Queens as Chair in Drama in January 2006, Anna McMullan was Senior Lecturer in the School of Drama at Trinity College Dublin, and from 1990-1994, she taught in the Department of Film and Drama (now Film, Theatre and Television) at Reading University. Her main teaching and research interests are the theatre of Samuel Beckett, gender and performance, contemporary Irish theatre, and the interrelationship of practical and theoretical contexts of performance. She was Senior Fulbright Fellow at New York University in 2004.
She is author of Theatre on Trial: The Later Drama of Samuel Beckett (Routledge, 1993), and has published articles on Beckett's theatre in collections such as ed. Lois Oppenheim, Palgrave Advances in Samuel Beckett, (London: Palgrave, 2003), ed. Jennifer Jeffers, Samuel Beckett: A Casebook (New York: Garland Press, 1998), and The Cambridge Companion to Samuel Beckett (Cambridge: Cambridge University Press, 1994). Performing Embodiment in Samuel Beckett's Theatre and Media Plays will be published by Routledge in 2007.She is on the Executive Board of the International Samuel Beckett Society, and on the editorial board of the Journal of Beckett Studies. She has lectured and published internationally on contemporary Irish theatre and performance.
Selected Recent Publications
Eds Catherine Leeney and Anna McMullan.The Theatre of Marina Carr: “before rules was made”. Dublin: Carysfort Press in association with the Arts Council, 2003.
Eds Brian Singleton and Anna McMullan. Special Issue of Australasian Drama Studies on Performing Ireland. 43 (2003)
“Contemporary Women Playwrights.” Eds and Introduction by Anna McMullan and Caroline Williams. Field Day Anthology of Irish Writing, Vol 5, Irish Women’s Writing and Traditions. General eds Angela Bourke, Siobhán Kilfeather, Maria Luddy, Margaret Mac Curtain, Geraldine Meaney, Máirín NíDhonnchadha, Mary O’Dowd, and Clair Wills. Cork: Cork University Press in association with Field Day, 2002. 1234-1289.
“Irish / Postcolonial Beckett.” Palgrave Advances in Beckett Studies. Ed. Lois Oppenheim. London: Palgrave, 2004. 89-109.
“The Blue Angel Beckett on Film Project: Questions of adaptation, aesthetics and audience in filming Beckett’s theatrical canon.” Co-authored with Professor Everett Frost. Drawing on Beckett: Portraits.Performances and Cultural Contexts.Ed. Linda Ben Zvi. Tel Aviv: Assaph Books, 2004. 215-238.
“Unhomely Bodies and Dislocated Identities in the Drama of Frank McGuinness and Marina Carr.” The In/Determinate Body.Eds Naomi Segal, Lib Taylor and Roger Cook. London: Palgrave Macmillan, 2003. 181-191.
“Masculinityand Masqueradein Tom Kilroy’s Double Cross and The Secret Fall of Constance Wilde,” Irish University Review, Special Kilroy edition. Ed. Anthony Roche. 32: 1 (2002). 126-136.
“Virtual Subjects: Performance, Technology and the Body in Beckett’s Late Theatre.” Journal of Beckett Studies. 10: 1& 2 (also issued in book form) (2002). 165-172.
‘Samuel Beckett’s Theatre: Liminal Subjects and the Politics of Perception’, The Princeton University Library Chronicle, eds. Michael Caddon, Paul Muldoon, and Gretchen Oberfranc. forthcoming Fall 2006.
‘Gender and Performance in Friel’s The Loves of Cass McGuire’, The Cambridge Companion to Brian Friel, ed. Anthony Roche, forthcoming Winter 2006.
Email Anna: email@example.com