Dr. Leanne Groeneveld

Associate Professor of Theatre Studies
BA Hons, PhD (Alberta)

leanne.groeneveld@uregina.ca
Phone: 306.359.1222 | Fax: 306.359.1200 | Office: CM 313

Representative Publications

  • “The York Bakers and Their Play of the Last Supper.” Early Theatre 22.1 (2019): 37-70.
  • “Modernist Medievalism and the Expressionist Morality Play: Georg Kaiser’s From Morning to Midnight.” Acta Univ. Sapientiae, Film and Media Studies 16 (2019): 81-101.
  • “‘lyke unto a lyvelye thyng’: the Boxley Rood of Grace and Medieval Performance.” Medieval Theatre Performance: Actors, Dancers, Automata, and Their Audiences. Ed. Phillip Butterworth and Kate Normington. Woodbridge, Suffolk: Boydell and Brewer, 2017. 197-214.
  • “‘He showed Himself in response to your longing’: Women Spectators at the Oberammergau Passion Play.” Women Rewriting Boundaries: Victorian Women Travelers. Ed. Precious McKenzie. Newcastle-upon-Tyne: Cambridge Scholars Publishing, 2016. 133-66.
  • “‘I felt as never before, under any sermon that I ever heard preached’: Word, Image, and the Oberammergau Passion Play, 1840-1900.” Nineteenth Century Theatre and Film 43.2 (2016): 131-59.
  • “‘Þus for thy goode I schedde my bloode’: Violence and Beauty in the Late Medieval English Biblical Cycles.” Beauty, Violence, Representation. Eds. Lisa Dickson and Maryna Romanets. New York: Routledge, 2014. 29-41.
  • “The Play of the Sacrament as Fifteenth-century Masochistic Christian Fantasy.”
    Autopsia 1.1 (Vox Redux) (Fall 2010): 112-42. Online journal.
  • “Christ’s Burial and Christ’s Resurrection: Provenance and Performance.”
    Research Opportunities in Medieval and Renaissance Drama 48 (2009): 1-25.
  • “Remembering and Revenging the Death of Christ: Adriennne Kennedy’s Motherhood 2000 and the York Crucifixion.”
    The Journal of American Drama and Theatre 21.1 (Winter 2009): 65-85.
  • “A Theatrical Miracle: The Boxley Rood of Grace as Puppet.”
    Early Theatre 10.2 (2007): 11-50.
  • “Salvation, Damnation, and the Wounded (Corporate) Body of Christ in Late Medieval Culture.”
    Florilegium. 22 (2005): 81-104.
  • “Mourning, Heresy, and Resurrection in the York Corpus Christi Cycle.”
    Response to Death: The Literary Work of Mourning. Ed. Christian Riegel.
    Edmonton: University of Alberta Press and Canadian Review of Comparative Literature, 2005. 1-22.
  • “Letting or Leaking Blood? Christ’s Wounded Masculinity.”
    Tessera. 33/34 (Winter 2003): 136-51.

Representative Presentations

  • “The York Bakers and Their Play of the Last Supper.” Annual meeting of the Canadian Society of Medievalists, at the Congress of Humanities, University of Regina, Saskatchewan, June 2018.
  • “Early Twentieth-century Expressionist Theatre as Morality Play.” The Caligari Project: Festival of German Expressionism. Lectures, Symphony, Theatre, Dance, Exhibitions, Film, Puppetry. University of Regina, 6 October 2016.
  • “‘Consider a door’: Henri Lefebvre and the Door as End, Door as Herald on the Stage.” The Door: Site, Object and Threshold in Performance. Conference supported by the British Academy, Leverhulme Trust, the Delfina Foundation, and the University of Surrey. Delfina Foundation, London, UK. 8 July 2014.
  • “‘He showed Himself in response to your longing’: Women Spectators at the Oberammergau Passion Play, 1853-1905.” Moving Dangerously: Women and Travel, 1850-1950. School of English Literature, Language, and Linguistics, Newcastle University, Newcastle, UK, 14 April 2012.
  • “‘I felt as never before, under any sermon that I ever heard preached’: English and American Responses to and Representations of the Oberammergau Passion Play, 1840-1900.”  Shared Visions: Art, Theatre and Visual Culture in the Nineteenth Century, School of Theatre, Performance and Cultural Policy Studies, University of Warwick, Coventry, UK, 11 February 2012.
  • “The Wounded Corpus Christi as Communal Body: The Passion Play and Social Trauma.” Culture Conference, Humanities Institute, University of Regina. Regina, SK, 18 March 2012.
  • “Theatre of Blood: Violence and Beauty in the English Cycle Dramas.”
    Invited talk. Classical, Medieval, and Renaissance studies research group, St. Thomas More College, University of Saskatchewan, Saskatoon, Saskatchewan. 22 January 2010.
  • “Subjectivity, the Ars Moriendi, and the Place of Death.”
    Early Modern Dramatic and Literary Spaces Conference. California State University, Long Beach, California. 7 November 2009.
  • “Sixteenth-Century Carthusian Theatre at Kingston-on-Hull: Christ’s Burial and Christ’s Resurrection.”
    Meaningful Marginalities Conference, University of Alberta, Edmonton, Alberta. 12 May 2006.
  • “Cruel Allegory: Benjamin and the Melancholy Subject, Artaud and the Schizophrenic Object.”
    2004 ACCUTE Conference. University of Manitoba, Winnipeg, Manitoba, 31 May 2004.
  • “The Boxley Rood of Grace: Mechanical Marvel or Miraculous Object?”
    39th International Congress on Medieval Studies, University of Western Michigan, Kalamazoo, Michigan, 6 May 2004.

Theatre Productions

  • N-Town Parliament of Heaven and Annunciation.
    Musica Sacra. 2 December 2006.