MA: Theatre – University of Montana
BA: Theatre Studies – Jagiellonian University, Cracow, Poland.
2019-2020 GTF Teaching Assignments: Acting I
Theatre as a medium of healing; role of theatre in oppressed and colonized communities; points of connection between Polish and Native American theatre; intercultural theatre.
Award for Outstanding Graduate Student Presentation at the University of Montana Faculty and Graduate Student Research Conference.
Happy by Robert Caisley, Pentecost by David Edgar, Cherry Orchard by Anton Chekhov, Oni by Witkacy, Dream Play by August Strindberg.
Listen/Eist: Documentary Theatre Monologues from the Gathering: Collected Oral Histories of the Irish in Montana
Anna Dulba-Barnett (PhD, 1st year) holds a BA in Theatre Studies from Jagiellonian University, Cracow, Poland (2007) and MA in Theatre from the University of Montana (2012). She co-edited Listen/Eist: Documentary Theatre Monologues from the Gathering: Collected Oral Histories of the Irish in Montana, a verbatim theatre project, and authored one chapter in Listen/Eist as well. Her dramaturgical credits include Happy by Robert Caisley, Pentecost by David Edgar, Cherry Orchard by Anton Chekhov, Oni by Witkacy, Dream Play by August Strindberg. While at the University of Oregon, she will further her research on theatre as a medium of healing and theatre’s role in forming identity within oppressed communities.
MA: Creative Writing, University of East Anglia
BA: Theatre Arts, Humboldt State University
2019-2029 Teaching Assignments: Acting I & II
Research Interests: Theatre of the Oppressed, Brecht, public theatre, feminism and intersectionality, adaptation, and science fiction for the stage.
Accomplishments: Arts and Humanities Research Council Tuition Scholarship at University of East Anglia, Kennedy Center Irene Ryan acting nomination, MA dissertation shortlisted for the Curtis Brown award.
Recent Production Credits:
Performance: Mantisse, Home for the Hellidays, Red Handed, Feeding Frenzy, Waste Management (48 Hour Film Project), School for Scandal (Lady Teazle), Street Scene (Mrs. Hildebrand, Ensemble), Laramie Project (Rebecca Hilliker, Reggie Fluty, Kristin Price, ensemble).
Direction: Mantisse (48 Hour Film Project), Regarding Robert Chang (HSU 10 Minute Play Festival).
Publications: The Missouri Review, “A Heavy Breath” July 2011
MA: Theoretical Linguistics- University of Oregon
BA: Theatre, Linguistics- University of New Mexico
2019-2020 GTF Teaching Assignments: Intro to Theatre Arts, Theatre History II, Acting I, II, or III (TBD)
Director- Machinal by Sophie Treadwell January 2019, University Theatre
Research Interests: cognitive processing of language and non-verbal communication in performance, verbatim and documentary theatre, digital platforms for theatre, and physical ensemble-based devising of new works.
Memberships: Founding member- Mud & Wine Theatre Collective; GTFF Theatre Steward;; VP for Operations, Graduate Teaching Fellows Federation, Linguistic Society of America- member; American Society for Theatre Research- member; Faculty at Upstart Crow Children’s Theatre
Awards: Winner- Panel presentation “Performative Lady Power” at 8th Annual Graduate Research Forum; Special “Opps” travel award- Summer 2018
Recent Production Credits:
Performance: Mr. Burns: a Post-Electric Play (Colleen), Sonrisa Del Coyote (ensemble), SILA (ensemble)
Direction: The Language Archive (UNM); AD- Mary Zimmerman’s Metamorphoses (UNM)
Stage Manager– The (Curious Case of the) Watson Intelligence (UO Summer SOUP), Assistant Stage manager- Gnit (UO Summer SOUP)
MFA: Dramaturgy – Stony Brook University
BA: Theatre Arts and German Studies with a Performance Emphasis – Lewis & Clark College
2019-2020 GTF teaching assignments: Acting I & III
Research Interests: Indigenous adaptions of Shakespeare, Native dick jokes, cartography
Awards and Professional Memberships: Native Artist Development Grant from The Evergreen State University Longhouse, Oregon State University Vice-Provost of Student Affairs grant for First Nations Readings, Puffin Grant, Advocates for Indigenous California Language Survival grant for Stories of Our People. Member of the Indigenous Performing Arts Alliance and the Literary Managers and Dramaturgs of the Americas.
Recent Dramaturgy Credits: Henry IV Pts. 1& 2 (translation by Yvette Nolan for the Play On! Shakespeare translation project), Off the Rails (Oregon Shakespeare Festival production to open in 2017), Richard II & The Winter’s Tale (Shakespeare Dramaturgy Resident at the Oregon Shakespeare Festival).
Waylon Lenk is Karuk from the villages of Ka’tim’îin and Taxasúfkara. He is currently working on his Ph.D. in Theatre Arts at the University of Oregon, and the dramaturg on Yvette Nolan’s translations of Henry IV Parts 1and 2 for Play on!. He has worked at the Oregon Shakespeare Festival’s as a dramaturg on Off the Rails, The Winter’s Tale and Richard II. He has presented work as a dramaturg and director at Oregon State University’s Native American Longhouse Eena Haws, and as a storyteller at Portland Public Schools, the Piggyback Fringe Festival in Wakefield, Quebec, and at the Sycuan Band of the Kumeyaay Nation’s U.S. Grant Hotel. His work approaches Native theatre from his positions as a dramaturg and a pikváhaan, or Karuk storyteller. As a dramaturg he actively promotes the work of Native playwrights and is involved research to extend the boundaries of what is considered “Native theater.” As a pikváhaan he uses tools from the field of theatre to (re)activate his people’s body of literature. His work has been funded by Oregon State University, Advocates for Indigenous California Languages, and the Yurok Tribe. He holds an M.F.A. in Dramaturgy from Stony Brook University, and a B.A. from Lewis & Clark College.
MA: Performing Arts Management, University of Oregon, 2018
MA: English, University of Nebraska Omaha, 2014
Graduate Certificate in Advanced Writing: University of Nebraska Omaha, 2013
MA: Theatre, University of Nebraska Omaha, 2011
BA: English, Minor in Theatre, Connecticut College, 1999
Research Interests: Restoration/18th C. British Comedy; Commedia dell’Arte; Gender and Queer Theory; Feminist/Performance Theory; Theatre of the Oppressed; Marxist Theory; Critical Race Theory/Diversity, Equity, Inclusion in Performing Arts Management; Performance as Conservation
Awards, Accomplishments, Professional Memberships:
Stage Directors & Choreographers Foundation 2017 – 2018 Observorship Class
Journeyman: IATSE Local 42 (Omaha and Sioux City); IATSE Local 675 (Eugene)
Publications: The Briar Cliff Review (2014); ConnotationPress (2014); The NonBinary Review (2014); The Thirteenth Floor Magazine (2015); Etudes (2018)
Director: The Emperor of the Moon, University Theatre 2017; Shelterskelter XVIII, Omaha, NE 2013
Scribe: Wonder If, Wonder Why, University Theatre 2016
Dramaturgy: The Comedy of Errors, University Theatre 2015; The Crucible, Iowa Western Community College 2012
Scenic Designer: Dracula, Skutt Catholic High School 2015; Metamorphoses, Skutt Catholic High School 2014; Laura, Skutt Catholic High School 2013; Arabian Nights, Skutt Catholic High School 2012
Stage Manager: Civilizing Lusby, Great Plains Theatre Conference 2014; Wood Music, Great Plains Theatre Conference 2014; Clybourne Park, SNAP! Productions 2013; Young Negress and South O Tapestry, Great Plains Theatre Conference 2013; At the Vanishing Point, Great Plains Theatre Conference 2012
Performance: Christmas Eve, Avenue Q, SNAP! Productions 2012; Gertrude, 12 Ophelias, UNO Theatre 2011
Film/TV: Production Coordinator, 2001 Maniacs: Field of Screams (film) 2009
JK Rogers (PhDc.) holds a BA in English Literature from Connecticut College (1999); MAs in Theatre (2011) and English (2014) from the University of Nebraska Omaha; and a Graduate Certificate in Advanced Writing (2013) also from UNO. She recently graduated with an MA in Arts Management (2018), focusing on Performing Arts Management/Artistic Direction from the University of Oregon. JK has taught theatre and English as Adjunct Faculty at several Nebraska colleges, and is a Journeyman member of I.A.T.S.E. Local 42 in Omaha and Local 675 in Eugene. Her writing has been published in The Briar Cliff Review (2014), ConnotationPress (April 2014), The NonBinary Review (December 2014), The Thirteenth Floor Magazine (Spring 2015), and in Etudes Online Theatre Journal (January 2018). JK’s research interests include Restoration and Eighteenth-Century theatre, Commedia dell’Arte, Diversity, Equity, and Inclusion in arts organization, Queer/Gender Theory and Performance, and Pop Culture/Visual Rhetoric. She has also designed numerous shows, as well as collaborated on adapting Shakespeare for the high school performer. Outside of the theatre, JK has a passion for cooking, knitting, cheese, and cats, and is always looking for the next adventure.
MS: Theatre for Educators – Florida State University
MA: English – University of North Florida
BA: English, Psychology, Theatre (Minor) – Jacksonville University
Dissertation: “Arab American Female Solo Performance”
Research Interests: Arab American Theatre, Acting & Theatre Pedagogy, Applied Theatre, Site, Gender, Body & Beauty Politics, Identity, Diaspora, Home, Trauma and Performance as Disclosure;
Memberships & Service: Co-Founder – The 5 & Dime, A Theatre Company; GTFF Theatre Steward (2013-16); Theatre Arts Graduate Representative (2015-16);
Recent Awards: UO “Graduate Student Award” for excellence in academic achievement, teaching, and service; Ramey Award (inaugural recipient) for excellence among graduate students in Theatre Arts; 2019 Eric Englund Research Fellowship from the UO Graduate School ( the first Theatre Arts student to be selected for this prestigious award) which provides funding for an entire year of research and writing.
Recent Production Credits:
Performance: Water by the Spoonful (Odessa/Haikumom), Between The Acts (Manresa), 9 Parts of Desire (solo), A Moon for the Misbegotten (Josie), Fat Pig (Helen)
Direction: Director, Stage Kiss (UO 2016); AD: SILA (UO 2015); AD: Ecstasy | A Water Fable (UO 2014); Batboy: The Musical, Urinetown, Reasons to be Pretty, I Hate Hamlet (Daytona State College)
Olga Sanchez Saltveit
MA: Human Development, Specialization: Bicultural Development – Pacific Oaks College, NW
BA: Theatre, Dance (Minor) – Hunter College, C.U.N.Y.
Research Interests: Latinx and Latin American Theatre, New Work, Devised Theatre, Social Justice, Aesthetics & Culture, Gender Studies, Philosophy, Latin American Studies.
Memberships: Artistic Director Emerita, Milagro; Steering Committee, Latinx Theatre Commons (HowlRound @ Emerson); AEA, SAG-AFTRA, SDC, GTFF; UO Graduate Advisory Council; UO Latinx Strategies Group; Oregon Center for Translation Studies; Latin American, Latino and Iberian Studies Association of the Pacific Northwest (LALISA); ATHE Latinx and Indigenous of the Americas and Dramaturgy Focus Groups (DFG Grad. Student Rep.); ASTR.
Recent Awards: Howard L. Ramey Endowment for Theatre Arts (2018); KCACTF Region VII Meritorious Achievement Awards, Dramaturgy, Tricks to Inherit (2018) & New Voices (2017); Graduate Student Association Graduate Student Travel Award (2018); Center for Latina/o & Latin American Studies Graduate Student 2018 Summer Research Grant (2018); The Wilkes Theatre Arts Outstanding Graduate in the Field of Playwriting, Set Design and/or Acting/Directing Scholarship (2016, 2017); CAS Norman Brown Graduate Fellowship (2017); Global Studies Institute – TSWG Translation Project Award, (2017); Pat@s Award, UO Raza Unida Youth Conference (2017).
(Forthcoming) “Dreamscape” Introduction, Encuentro 2014 Anthology, Northwestern University Press, 2019.
“(Afro)Latinx Theatre: Embodiment and Articulation.” Label Me Latina/o online journal, Summer 2017 special issue: Black and Latin@: Conceptualizing Afro-Latinidad in Afro-Latina/o Literature and Performance.
Recent Production Credits:
Performance: Learn to be Latina by Enrique Urueta (Mary), Oedipus el Rey by Luis Alfaro (Jocasta); Mariela in the Desert by Karen Zacarías (Mariela)
Direction: Como Agua Para Chocolate (GALA Theatre); Tricks to Inherit by Fermín de Reygadas (University Theatre); Into the Beautiful North (co-direction, Milagro)
Dramaturgy: Tricks to Inherit by Fermín de Reygadas (University Theatre); On the Street Where We Used to Live by Cora Mills, and The Fruit Stand by Sravya Tadepalli, New Voices Playwriting Festival (University Theatre); Oye Oyá (Milagro Theatre); This Golden State, Part One: DELANO by Luis Alfaro (OSF Latina/o Play Project,)
Playwriting: Broken Promises (Teatro Milagro 2016 national touring production)
Upcoming Production Credits:
Producing: Black Latina The Play by Crystal Roman (University Theatre)
Olga Sanchez Saltveit (PhD, 4th year), Artistic Director Emerita, Milagro, the NW’s premier Latino arts & culture organization, served as the company’s Artistic Director from 2003-2015. She is an actor, director, writer, educator and arts activist. A graduate of Hunter College, C.U.N.Y., B.A. Theatre, her directorial work has been seen in Portland, Seattle, New York City, Washington DC, Martha’s Vineyard, Peru, Venezuela, and Cuba. Olga served as co-artistic director of the People’s Playhouse in New York City, artistic director of Seattle Teatro Latino, and co-founder of La Casa de Artes, a Seattle-based non-profit organization dedicated to celebrating the beauty of Latino arts and cultural heritage. She holds an MA in Human Development, specialization in Bicultural Development, from Pacific Oaks College Northwest. In 2015, her work received a Portland Drama Critics’ DRAMMY award for Outstanding Achievement in Devised Work for Milagro’s production of ¡O ROMEO!. She is a founding member of the Portland-based Latino writers’ group Los Porteños. Olga served on the Executive Committee and the Diversity Task Force on TCG’s (Theatre Communications Group) board of directors. She serves as a founding member of the Steering Committee of the Latinx Theatre Commons, a program of Howlround/Center for the Theatre Commons at Emerson College.