Sidney R. Homan

Professor

Sidney HomanSeveral times an award-winning teacher at UF, Sidney R. Homan has published widely in Shakespeare, Renaissance, and modern drama. His scholarly interests have ranged from the metadramatic focus of his When the Theater Turns to Itself: The Aesthetic Metaphor in Shakespeare (1982) to the performance criticism of Shakespeare’s Theater of Presence: Language, Spectacle, and the Audience (1986) and Beckett’s Theaters: Interpretations for Performance (1983). This latter book emerged from a tour of Florida prisons with a production of Waiting for Godot. His most recent books are based on performances in which has worked as a director or actor: Directing Shakespeare: A Scholar Onstage (2004) and Staging Modern Playwrights: From Director’s Concept to Performance (2004).

Editor of Shakespeare’s “More Than Words Can Witness” (1980) and Shakespeare and the Triple Play (1988) and a co-editor of Shakespeare’s Personality (1989), Professor Homan has published The Audience as Actor and Character (1989), Filming Beckett’s Television Plays (1992), and Pinter’s Odd Man Out (1993). His A Fish in the Moonlight: Growing Up in the Bone Marrow Unit (2008) recounts stories of his youth in South Philly and his experience telling them to young patients in the Bone Marrow Unit of Shands Teaching Hospital in his role as Artist-in-Residence for the Arts in Medicine Program. The sequel to A Fish in the Moonlight is a memoir called An Embarrassment of Swans: A Life On Campus and Onstage.

At present he is at work on a piece of historical fiction (The Führer and the Dove), a novel (One Wednesday in New York City), a wide-ranging study called Challenge in the Theatre: A Personal Account, and is collaborating with a colleague in Sociology on a book about Hitler in the movies.

Working in professional, university, and community theatres, Professor Homan has directed and acted in the plays of Shakespeare, Beckett, Stoppard, Pinter, Feiffer, Shepard, Chekhov, Wilde, Shaw, Williams, Churchill, and Wasserstein, among others. In February, 2003 he made his New York debut in All Our Yesterdays, a piece in five movements for string quartet, piano, and actor. He has directed musicals ranging from Cabaret to the Brecht/Weill The Threepenny Opera. He has also adapted for the stage everything from Dylan Thomas and Machiavelli to slave diaries, as well as letters to the editor of the local newspaper in a show called More Letters to the Editor and a collage of African-American writings, songs, and dances entitled Black Voices. He has also been a member of two improv group, “Theater Strike Force” and “Yes, But… !” More recently, he has directed Stoppards play Arcadia, and formed a new improv group, “Much Ado about Doris.”

He is also a Member of the Academy of Distinguished Teaching Scholars and Visiting Professor of Jilin University in the People's Republic of China.

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Department of English

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