In addition to her dramaturgical training, Julia completed the National Critics Institute at the O’Neill Theater Center in 2017, where she studied with Chris Jones of the Chicago Tribune.
Upcoming and Recent Papers/Curation:
- Opera and Death, from Mozart to Mazzoli (upcoming) | Opera Philadelphia O19 Festival book.
- Guest Curator on Opera Dramaturgy, April 2019 | Literary Managers and Dramaturgy of the Americas (LMDA)
- Opera for All: Embracing Theatricality to Cultivate 21st Century Opera Audiences, Philadelphia Theatre Research Symposium at Villanova, May 2018
- Multi-Linguality and Modern Audiences, Literary Managers and Dramaturgs of America “Crossing Borders” Conference, June 2018 in Toronto, Ontario
Lessons from the Gogol Center | Theatre Communications Group (TCG) Circle.
“Although America and Russia’s theatrical landscapes have been transformed since Margo Jones came to Moscow, there is still much that the two nations can learn from one another, particularly from the companies and directors who push against the status quo. At Moscow’s newest government-funded theatrical endeavor, the Gogol Center, director Kirill Serebrennikov has attempted to rid the city’s theater scene of its cobwebs while respecting those who came before him, crafting a performance complex meant to ‘lead a constant dialogue with reality while creating a reality within its walls.'”
Rock ‘n’ Revolt! Pussy Riot and Moscow Theater vs. the Russian Status Quo | Culturebot: Maximum Performance.
“In a city where President Putin just placed a blanket ban on the use of certain swear words in theater and film; where the Moscow Art Theatre fights government-backed lawsuits for multiple productions; and where “Victory Day” on May 9, meant to honor the end of World War II, becomes an excuse for lauding neo-Sovietism and nationalist zeal, complete with tanks rolling down the streets; Russian artists cannot shake the lingering threat of artistic censorship.”
What History Can Teach Us About Arts Philanthropy in the Age of Obama | HowlRound Theatre Commons.
“Theater artists have the power to start national conversations, provide employment, support their local economies, and contribute valuable nuances to our society’s historical record. It’s high time the government acknowledged this fact by offering proper support. The government and foundations should—and must—continue supporting arts organizations and should strategically evaluate how do so in ways that help theaters attain long-term stability. But the rest of us—the theater makers, the artists, the musicians, the arts enthusiasts and advocates—must hold up our end of the bargain. To enact change that will bring newer, younger audiences into the seats, we need to start altering how we find the money to put them there…Instead of using flash-in-the-pan quick fixes, we need to put egos aside and, when necessary, rebuild these theaters’ business plans from the ground up.”
Rock and Revolution: How the Prague Spring’s Cultural Liberalism Transformed Czech Human Rights | Yale Historical Review, Spring 2012. “In 1976, Czech Soviet authorities arrested nineteen band members and followers of the Plastic People of the Universe under the pretense of “hooliganism.” In a high-security world of police surveillance and government propaganda, the Plastics’ music and message had become what Vaclav Havel called “a profoundly authentic expression of the sense of life among these people, battered as they were by the misery of the world.” Their subsequent trial exposed how the STB had been circumventing the international human rights provisions agreed to at Helsinki, and it led directly to the formation of Charter 77, a civic initiative that criticized the Czech government for failing to implement Helsinki’s human rights provisions.”