Dr. Miranda Thomas

Dr. Miranda Thomas

Assistant Professor, Drama

3531896 1225

Biography

I joined Trinity in 2019, having previously taught at UCD, Central School of Speech and Drama, the University of Greenwich, King's College London, Shakespeare's Globe, and Oxford University. In 2017 I was a post-doctoral fellow at Shakespeare's Globe on the Read Not Dead rehearsed readings project. At Trinity I teach on a range of modules, from first-year survey courses to sophister special topics, and offer doctoral supervision. You can find me on Twitter @DrMirandaFay I am Visiting Student Co-ordinator for the Department of Drama, a College Tutor, Athena Swan co-champion, and the School Champion for the Trinity Inclusive Curriculum Project. I am also the co-convenor of the MPhil in Theatre and Performance, and the co-chair of the Trinity Staff LGBTQ Network. My responsibilities outside Trinity include being a Trustee of the British Shakespeare Association and being a peer reviewer for a number of leading journals and publishers. From time to time I write reviews for the Times Literary Supplement and contribute to podcasts such as That Shakespeare Life. I have also contributed programme notes for productions at Shakespeare's Globe, and written numerous pieces for the Globe magazine. I am also on the Advisory Board for Hedgepig Theatre's 'Expand The Canon' project. My research is on early modern drama, specialising in theatre history and dramatic afterlives, with particular interests in gender, embodiment, and accessibility. Work of mine has been published in Early Modern Literary Studies, The Palgrave Handbook of Shakespeare's Queens, How and Why We Teach Shakespeare, Playfulness in Shakespearean Adaptations, and The Palgrave Handbook of Theatre and Migration. My first monograph, published in 2020 with Arden Bloomsbury, is entitled Shakespeare's Body Language: Shaming Gestures and Gender Politics on the Renaissance Stage. This book explores gestures such as spitting, thumb-biting, hand-washing, and stillness as a way of interrogating gender norms in the age of Shakespeare, and considers non-verbal communication both as reactionary outbursts of conservatism as well as acts of resistance. I edited The Tempest for Arden Performance Editions (2021), and am a Contributing Editor to the New Oxford Shakespeare (my critical edition of the anonymous The Taming of A Shrew will appear in the New Oxford Shakespeare: Complete Alternative Versions). From 2022 - 2024 I am writing the annual review of books on Shakespeare in performance for Shakespeare Survey. Current research includes projects on the politics of casting practices in Shakespearean productions; a history of Shakespeare's Globe under the artistic directorships of Emma Rice and Michelle Terry; two co-edited collections (The Idea of the Shakespearean Actor, with Sally Barnden and Emer McHugh; and Early Modern Transgender Plays: A Critical Reader, with Aidan Norrie); and a short book about Caliban in twenty-first century performance.

Publications and Further Research Outputs

  • Miranda Fay Thomas, Shakespeare's Body Language: Shaming Gestures and Gender Politics on the Renaissance Stage, London, Arden Bloomsbury, 2019Book, 2019
  • Miranda Fay Thomas, 'The "fear of being found out": crises of confidence among first year undergraduates and first time teachers.' , HERN-J: The Higher Education Research Network Journal, 10, 2015, p72 - 81Journal Article, 2015
  • The Stranger's Case: Exile in (and out of) Shakespeare in, editor(s)Yana Meerzon and S. E. Wilmer , The Palgrave Handbook of Theatre and Migraation, Palgrave, 2022, [Miranda Fay Thomas]Book Chapter, 2022
  • Miranda Fay Thomas, Review: The Hand on the Shakespearean Stage: Gesture, Touch, and the Spectacle of Dismemberment, by Farah Karim-Cooper (Bloomsbury: Arden Shakespeare, 2016), Early Theatre, 20.1, 2017, p185-188Review, 2017
  • Miranda Fay Thomas, Time and Gender on the Shakespearean Stage, by Sarah Lewis, Review of Time and Gender on the Shakespearean Stage, by Sarah Lewis, by Sarah Lewis , Early Modern Women: An Interdisciplinary Journal, 2022Review, 2022
  • 'Covering the main points': Playing with The Tempest in Margaret Atwood's Hag-Seed' in, editor(s)Aidan Norrie and Marina Gerzic , Playfulness in Shakespearean Adaptations, Routledge, 2020, pp39 - 55, [Miranda Fay Thomas]Book Chapter, 2020
  • Miranda Fay Thomas, Error in Shakespeare: Shakespeare in Error, by Alice Leonard, Review of Error in Shakespeare: Shakespeare in Error, by Alice Leonard, by Alice Leonard , Shakespeare Quarterly, 2021Review, 2021
  • Miranda Fay Thomas, The Tempest, Arden Bloomsbury, 2021Book, 2021
  • Miranda Fay Thomas, Political acts and political acting: Roman gesture and Julius Caesar, Early Modern Literary Studies, Special Issue 25, 2016, p1 - 24Journal Article, 2016
  • Miranda Fay Thomas, Review: Dido, Queen of Carthage (Sam Wanamaker Playhouse, Shakespeare's Globe, London), Shakespeare Bulletin, 33.3, 2015, p531-534Review, 2015
  • '"Tremble at patience": Constant Queens and Female Solidarity in The Two Noble Kinsmen and The Winter's Tale' in, editor(s)Kavita Mudan Finn and Valerie Schutte , The Palgrave Handbook of Shakespeare's Queens , Palgrave Macmillan, 2018, pp87 - 103, [Miranda Fay Thomas]Book Chapter, 2018
  • Miranda Fay Thomas, Re-defining the Shakespearean Actor: Casting and Diversity at Shakespeare's Globe under Emma Rice and Michelle Terry, Socit Franais Shakespeare, 39, 2021Journal Article, 2021
  • Miranda Fay Thomas, Review: Dido, Queen of Carthage (Sam Wanamaker Playhouse, Shakespeare's Globe, London), Shakespeare Bulletin, 33.3, 2015, p531-534Review, 2015
  • Miranda Fay Thomas, Error in Shakespeare: Shakespeare in Error, by Alice Leonard, Review of Error in Shakespeare: Shakespeare in Error, by Alice Leonard, by Alice Leonard , Shakespeare Quarterly, 2021Review, 2021
  • '"And so everyone according to his cue": Practice-led Teaching and Cue Scripts in the Classroom' in, editor(s)Sidney R. Homan , How and Why We Teach Shakespeare , Routledge, 2019, pp128 - 137, [Miranda Fay Thomas]Book Chapter, 2019
  • Miranda Fay Thomas, Shakespeare's Body Language: Shaming Gestures and Gender Politics on the Renaissance Stage, London, Arden Bloomsbury, 2019Book, 2019
  • The Stranger's Case: Exile in (and out of) Shakespeare in, editor(s)Yana Meerzon and S. E. Wilmer , The Palgrave Handbook of Theatre and Migraation, Palgrave, 2022, [Miranda Fay Thomas]Book Chapter, 2022
  • Miranda Fay Thomas, Time and Gender on the Shakespearean Stage, by Sarah Lewis, Review of Time and Gender on the Shakespearean Stage, by Sarah Lewis, by Sarah Lewis , Early Modern Women: An Interdisciplinary Journal, 2022Review, 2022
  • Miranda Fay Thomas, Review: The Hand on the Shakespearean Stage: Gesture, Touch, and the Spectacle of Dismemberment, by Farah Karim-Cooper (Bloomsbury: Arden Shakespeare, 2016), Early Theatre, 20.1, 2017, p185-188Review, 2017
  • 'Covering the main points': Playing with The Tempest in Margaret Atwood's Hag-Seed' in, editor(s)Aidan Norrie and Marina Gerzic , Playfulness in Shakespearean Adaptations, Routledge, 2020, pp39 - 55, [Miranda Fay Thomas]Book Chapter, 2020
  • Miranda Fay Thomas, 'The "fear of being found out": crises of confidence among first year undergraduates and first time teachers.' , HERN-J: The Higher Education Research Network Journal, 10, 2015, p72 - 81Journal Article, 2015
  • Miranda Fay Thomas, Review: Shakespeare and Gesture in Practice, by Darren Tunstall (London: Palgrave Macmillan, 2016), Shakespeare Bulletin, (35.4), 2017, p731-735Review, 2017
  • '"Tremble at patience": Constant Queens and Female Solidarity in The Two Noble Kinsmen and The Winter's Tale' in, editor(s)Kavita Mudan Finn and Valerie Schutte , The Palgrave Handbook of Shakespeare's Queens , Palgrave Macmillan, 2018, pp87 - 103, [Miranda Fay Thomas]Book Chapter, 2018
  • Miranda Fay Thomas, The Tempest, Arden Bloomsbury, 2021Book, 2021
  • Miranda Fay Thomas, Political acts and political acting: Roman gesture and Julius Caesar, Early Modern Literary Studies, Special Issue 25, 2016, p1 - 24Journal Article, 2016
  • '"And so everyone according to his cue": Practice-led Teaching and Cue Scripts in the Classroom' in, editor(s)Sidney R. Homan , How and Why We Teach Shakespeare , Routledge, 2019, pp128 - 137, [Miranda Fay Thomas]Book Chapter, 2019
  • Miranda Fay Thomas, Review: Shakespeare's Storms, by Gwilym Jones (Manchester: Manchester University Press, 2014), Symbolism, 17, 2017, p281-285Review, 2017
  • Miranda Fay Thomas, Review: Shakespeare and Gesture in Practice, by Darren Tunstall (London: Palgrave Macmillan, 2016), Shakespeare Bulletin, (35.4), 2017, p731-735Review, 2017
  • Miranda Fay Thomas, Review: Shakespeare's Storms, by Gwilym Jones (Manchester: Manchester University Press, 2014), Symbolism, 17, 2017, p281-285Review, 2017
  • Miranda Fay Thomas, Re-defining the Shakespearean Actor: Casting and Diversity at Shakespeare's Globe under Emma Rice and Michelle Terry, Socit Franais Shakespeare, 39, 2021Journal Article, 2021

Research Expertise

Dr Thomas is an early modernist specialising in theatre history and dramatic afterlives, with research interests in gender, embodiment, and accessibility.

Recognition

  • Society for Renaissance Studies (member)
  • Socit Franaise Shakespeare (member)
  • British Shakespeare Association (trustee)
  • European Shakespeare Research Association (member)
  • Shakespeare Association of America (member)
  • Renaissance Society of America (member)
  • Higher Education Academy (Fellow)
  • Peer Reviewer, Arden Bloomsbury 2020
  • Peer reviewer, Peter Lang publishing
  • Peer Reviewer, Arden Bloomsbury 2020
  • Peer reviewer, Peter Lang publishing
  • Peer reviewer, Shakespeare journal
  • Peer reviewer, Shakespeare journal