Sidney R. Homan


Sidney HomanSeveral times an award-winning teacher at UF, Sidney R. Homan has published widely in Shakespeare, Renaissance, and modern drama. He was chosen as the university’s Teacher / Scholar of the Year for 2014-15. 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 he 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). More recently he has edited a special double issue of Comparative Drama entitled The Audience As Player: Interactive Theatre Over the Years, which includes an essay written with his son Daniel, “The Interactive Theatre of Video Games: The Gamer as Player, Director, and Actor.” 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.

His Hitler in the Movies: Finding Der Führer on Film, on which he collaborated with Hernán Vera, has just been published. Forthcoming are Comedy Acting for the Theatre: The Art and Craft of Performing in Comedies, with Brian Rhinehart (Methuen/Bloomsbury), and Playing Offstage: The Theatre As a Presence or Factor in the Real World, a collection of essays he has edited for Lexington Books and to which he contributed “Sticking It to the Audience.” He has also written two books with his son Danny: The Dove Society (a novel about a resistance group in Nazi Germany that tries to undermine Hitler with a theatrical trick) and Hamlet Online (Shakespeare’s prince as an English professor battling a department chairman seeking to convert Arrow State into an all-online university).

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 groups, “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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