Megan Lewis is a South African-American theatre and performance studies scholar based at the University of Massachusetts Amherst. She is the author of Performing Whitely in the Postcolony: Afrikaners in South African Theatrical and Public Life (University of Iowa Press, 2016) and Magnet Theatre: Three Decades of Making Space (with Dr. Anton Krueger, Intellect Books/Unisa Press, 2016). A Distinguished Teaching Award winner, Dr. Lewis is a multidisciplinary educator with a passion for inspiring intellectual curiosity and advocating for the performing arts as a powerful force for social activation and change. Each summer, Lewis leads students on an intensive study abroad program, called Arts & Culture in South Africa, that uses the performing arts as a lens through which to examine questions of social justice, race, class and gender politics, history, language, memory, and the role of the arts in our global world.
Submissions
Cranes : Gloss 1
Cranes
Possible structures are being created by their movements. Different shapes, sizes, and contour lines. They offer in their movements all of the cities Haifa could have been. Cities are formed and buried immediately.
Cranes : Gloss
It happened during the pandemic, when private, physical, intimate time was subjected to "state of emergency" regulations. While scrolling through my feed, reading about the severe blow to Israeli democracy, I saw an invitation ...
Couchscore
Couchscore works with and through distance to make a choreography possible even when the performers – and the audience – are not in the same physical place.
Correspondence : Gloss
Maybe these letters and numbers help me imagine a catastrophic snowfall in Shelby County, KY, or the action in Correspondence. But really the numbers aren’t for me. They’re for my laptop.
The OTHER Theatre : Gloss
The stage/performance space is black. It is black.
Daedalus : Gloss 1
A father laments the consequences of his creations, which do more harm than good.