Research Associates

Rachel Bryant Davies

Rachel’s research examines the reworking of classical mythology in tragedy and epic for new contexts and audiences, from opera to children’s games. She has focused in particular on the late antique religious adaptations of Greek Tragedy of Ezekiel’s Exagoge (GRBS, 2008) and Christus Patiens (forthcoming in JHS, 2017) and, more recently, on nineteenth-century British classical burlesques and toy theatres. She was a Doctoral Fellow of the Leverhulme-funded Cambridge Victorian Studies Group from 2007-2011 (supervisor: Professor Simon Goldhill), examining the manifold afterlives of the Trojan War myths in nineteenth-century Britain. Her resulting book, Imaginary Cities: Staging the Ruins of Troy and Carthage during the Nineteenth Century, is to be published in CUP’s ‘Classics after Antiquity’ series. Her latest project, ‘Classics at Play: Greco-Roman antiquity in British children’s culture, 1750-1914’ traces how knowledge of the ancient world was repackaged beyond formalised educational settings, with an emphasis on unravelling how toys, games and leisure entertainments (such as theatrical souvenirs and playscripts) interacted with more overtly pedagogical paraphernalia.

Małgorzata Budzowska

Małgorzata is Assistant Professor in the Department of Drama and Theatre, University of Lodz in Poland. She did her doctorate in the Classics Faculty and her MA by the Institute of Contemporary Culture (theatre and drama theory) at Lodz. Her publications include: Phaedra – Ethics of Emotions in the tragedies of Euripides, Seneca and Racine (Peter Lang 2012) and Sceniczne metamorfozy mitu. Teatr polski XXI wieku w perspektywie kulturowej (Stage Metamorphoses of Myth. Polish Theatre of the Twenty-First Century in the Cultural Perspective) (University of Lodz Press 2018). She is co-editor of two volumes: Ancient Myths in the Making of Culture (Peter Lang 2014) and Metamorphoses of Ancient Myths (Peter Lang 2017). Her co-authored book Starożytny teatr i dramat w świetle pism scholiastów (Ancient Theatre and Drama in the Work of Scholiasts) (University of Lodz Press 2020) consists of translations and analyses of the ancient scholia relating to theatre practice in Greece and Rome. Her internship at the APGRD (October 2014- March 2015) involved the management of interdisciplinary research projects and was funded by the Foundation for Polish Science.

Marie-Louise Crawley

Marie-Louise is a choreographer and artist-researcher and Assistant Professor at C-DaRE (the Centre for Dance Research), Coventry University. Her research interests include dance and museums, and areas of intersection between Classics and Dance Studies, notably ancient dance and the performance of epic. Educated at the University of Oxford (B.A. Hons, M.St.) and trained at the Ecole Marceau in Paris, Marie-Louise began her professional performance career with Ariane Mnouchkine's Théâtre du Soleil (2003-2009). Since 2010, she has been working in the UK as an independent choreographer and dance artist with companies as diverse as Birmingham Opera Company, Marc Brew, Gary Clarke, Ballet Cymru and Rosie Kay Dance Company. Recent new work has included pieces for a Tate / ARTIST ROOMS exhibit at mac Birmingham, and for the Ashmolean Museum, Oxford. She was Artist-in-Residence at the APGRD in 2017. Marie-Louise's PhD (2018), undertaken at C-DaRE investigated dance in the archaeological museum. She is an Associate Fellow of the HEA. Marie-Louise has previously worked on EU-funded research projects, CultureMoves (2018-2020) and REACH (2017-2020), and is currently working on EU-funded project, WEAVE (2021-).

Arabella Currie

Arabella Currie completed her doctorate, supervised by Fiona Macintosh, in 2017. She researched the history of Graeco-Celtic negotiations, tracking the difficult angles between Greek and Celt as found in the scholarly and artistic reconstruction of both traditions, from the eighteenth to the twentieth centuries. She was particularly interested in how these angles were interrogated in the work of the Irish playwright, J.M. Synge, a crucial and overlooked figure in the story of the Irish reception of Classics. Alongside academic research, she is interested in putting classical reception into practice, having translated and directed several Greek tragedies (including the 2014 Oxford Greek Play) and published a collection of poetry which draws substantially on the classical world (The Divers, Hurst Street Press, 2016).

Cécile Dudouyt

Cécile Dudouyt teaches French-English translation and Translation Studies at the University of Paris 13 (English Faculty, Her research focuses on early-modern translation practices and the reception of Greek tragedies in France and in England from the sixteenth to the eighteenth century. After a first research project on the reception of Sophoclean drama and its impact on early-modern tragedies and theories of the tragic (Sophoclean Revenge, Renaissance and Enlightement re-writings, 2009) she worked on the APGRD translation database, collecting French translations of ancient drama. Beyond comparisons between Antiquity and Modernity, and  between English and French literature, her research explores how French and English receptions of ancient texts interact, combine, and contrast.

Giovanna Di Martino

Giovanna is A. G. Leventis Fellow in Ancient Greek Literature at University College London, working on a research project on early modern translations of ancient Greek drama in Italy (1400-1600). She completed her undergraduate (2012) and Master’s (2014) degrees in Classics at the University of Milan, where she wrote a thesis (now a book) on the reception of Aeschylus’ Seven Against Thebes in the US. She was awarded her doctorate at Oxford (supervisor: Fiona Macintosh), with a project on the reception of Aeschylus’ tragedies in Italy (1550-1960), and was lecturer in Classics at both St Hilda’s (2017-2019) and St Anne’s (2019-2020) colleges as well as Language Instructor at the Classics Faculty and Tutor in Ancient Greek at the Department for Continuing Education. She is part of the APGRD ‘Translating Ancient Drama’ research project and co-host of the APGRD podcast series 'Staging the Archive’, and is currently collaborating on a project on fascist appropriations of the classics with Eleftheria Ioannidou (Groningen) and Sara Troiani (Trento).

Stephe Harrop

Stephe Harrop's PhD (Royal Holloway, University of London) was a PaR project examining poetic text and the dancing body in translations of Greek tragedy. Stephe is currently Lecturer in Drama (Shakespeare and the Classics) at Liverpool Hope University, having previously taught at The Royal Central School of Speech and Drama, Rose Bruford College of Theatre and Performance, and Goldsmiths College (University of London). Her major research areas are the re-performance of ancient tragedy and epic, the traditional arts in modern theatre-making, and contemporary storytelling practices. She co-edited Theorising Performance: Greek Drama, Cultural History and Critical Practice (Duckworth, 2010) and is currently co-authoring Greek Tragedy and the Contemporary Actor (Palgrave Macmillan). Other recent publications include ‘Speech, Silence and Epic Performance: Alice Oswald’s Memorial’ (New Voices in Classical Reception Studies, 2013), ‘Ercles’ Vein: Heracles as Bottom in Ted Hughes’ Alcestis’ (Classical Receptions Journal, 2014), ‘Grounded, Heracles and the Gorgon’s Gaze’ (Arion, 2015), and ‘Greek Tragedy, Agonistic Space, and Contemporary Performance’ (New Theatre Quarterly, 2018). 

Eleftheria Ioannidou

Eleftheria Ioannidou, Lecturer in Drama at Birmingham University. She studied theatre in Athens and London and read for a doctorate at the University of Oxford working on the rewriting of Greek tragic texts from 1970s to the present (supervisor: Fiona Macintosh). From 2010-2012 she held a Humboldt Research Fellowship at the Freie Universität Berlin. She is co-editor of the volume Epidaurus Encounters: Greek Drama, Ancient Theatre and Modern Performance (Parodos Verlag Berlin 2011). Her revised thesis will be published by OUP in 2013. Her current research focuses on fascist appropriations of Greek tragedy in the inter-war period. 

Lucy Jackson

Lucy Jackson is Assistant Professor in Classics (Greek Literature) at Durham University. She studied at the universities of Exeter and Oxford, and was a visiting graduate student at the Scuola Normale Superiore di Pisa, Princeton University, and the University of Sydney. Her first monograph, The Chorus of Drama in the Fourth Century BCE. Presence and Representation was published in 2020 by Oxford University Press. After teaching posts at King’s College London and Balliol College, Oxford, she was Leverhulme Early Career Fellow at King’s College London, researching the Latin translations and versions of Greek drama created and performed in sixteenth-century Europe. She joined the department of Classics and Ancient History in Durham in 2019. She has acted as academic consultant for the Medea at the National Theatre, London (2014), the Oresteia at Shakespeare’s Globe (2015), and the Iliad at the British Museum and Almeida Theatre (2015). Her research focuses on ancient performance culture, in particular choral song and dance performances, and the ways In which Greek drama has been revived, re-formed, and reperformed in the early modern and contemporary worlds.

Micha Lazarus

Micha studied at Oxford (MA, DPhil), Berkeley (MA), and the Hebrew University of Jerusalem. He works on classical reception in Renaissance and Reformation Europe, and in particular on the influence of Greek poetry and literary theory in Renaissance England. His first book, Aristotle’s Poetics in Renaissance England (forthcoming, OUP), traces the English influence of the Poetics from as early as the 1540s. His current work includes Alexander Nowell’s Early Life and Books (under contract, The Bibliographical Society), and Reforming the Classics, a book on the cross-currents between the Greek classics and Reformation theology across northern Europe. He also has two edited collections forthcoming with Classical Receptions Journal and OUP, under the umbrella of Poetics before Modernity, a project he co-founded with Vladimir Brljak (Durham). Other interests include the history of the book, Roger Ascham and Tudor humanism, Reformation tragedy, school drama, and the literary history of centaurs. He has held fellowships from the Harry Ransom Center, Dumbarton Oaks, the Renaissance Society of America, and the Folger Shakespeare Library; he was a Research Fellow of Trinity College, Cambridge, from 2015-2020, and will spend 2020-2021 as a Frances Yates Fellow at the Warburg Institute, London.

Hallie Marshall

Hallie Marshall is an Assistant Professor in the Department of Theatre & Film at the University of British Columbia. Her PhD thesis, on the classical plays of Tony Harrison and the history of performance of classical drama in England, is currently being revised as a monograph. Recent publications include chapters in Ancient Greek Women in Film (Oxford University Press, 2013), No Laughing Matter, Studies in Athenian Comedy (Bristol Classical Press, 2012), and The Blackwell Companion to Sophocles (Blackwell Publishing, 2012). 

Tom Sapsford

Tom Sapsford is an Assistant Professor in the Department of Classical Studies, Boston College and has taught at Bates College in Maine and at the University of Southern California, where he also received his PhD in Classics. He was a 2019 fellow at the Centre for Ballet and the Arts at NYU and has written a book entitled Performing the ‘Kinaidos': Unmanly Men in Ancient Mediterranean Cultures (forthcoming, OUP). Prior to pursuing the study of Classics, Tom was a professional dancer and choreographer working with institutions such as the Royal Ballet, the Royal Opera House, and the Institute of Contemporary Arts in London. His academic interests more broadly are ancient and modern performance cultures, contemporary dance and the classical world, and the history of sexuality. He joined the APGRD as a visiting scholar from Michaelmas 2014 to Hilary 2015.

Helen Slaney

Helen’s primary research interest is the embodied phenomenology of classical reception. She currently holds a British Academy Postdoctoral Fellowship at St Hilda’s College, investigating first encounters with ancient material culture in the late eighteenth century. A particular area of interest is how the sense of touch was involved in generating ideas about the ancient world. 

The monograph based on Helen's DPhil thesis, The Senecan Aesthetic: a performance history was published with OUP in 2015. Supported by the Randall McIver JRF, Helen went on to study the intersection of emotion and human movement in ancient dance. In 2013, Helen set up the TORCH network ‘Ancient Dance in Modern Dancers’, an interdisciplinary research project established in conjunction with the Institute of Social and Cultural Anthropology.

Henry Stead

Henry Stead is the Post-doctoral Research Associate on ‘Classics and Class in Britain 1789-1939’. His research interests include: the reception of classical poetry and drama in Britain, translation of ancient literature, cross-media poetry, and Romantic-era British culture. Henry also translates ancient poetry and plays — recent shows include: Attis (Catullus 63, 2013), Seneca’s Medea (Stephen Spender Prize, 2011), and Prometheus Chained (Sheffest, 2012). He is currently completing his first academic monograph on the reception of Catullus in the Romantic era, an expanded conversion of his PhD thesis, which he wrote at Open and Oxford Universities as the holder of the Michael Comber Studentship for Classical Reception.

Marchella Ward

Chella is the Tinsley Outreach Fellow at Worcester College (Oxford). She recently completed her doctorate in Classics at Oxford, on blindness in the theatre (both ancient and modern), but had been a frequent visitor to the APGRD study room through her undergraduate degree in Classics and English and her MSt. in Classical Languages and Literature, both from the University of Oxford. She has a chapter on Ted Hughes' and Shakespeare's reworkings of the Pyramus and Thisbe myth from Ovid's Metamorphosesin the APGRD's 2018 volume Epic Performances from the middle ages into the twenty-first century, ed. F. Macintosh, J. McConnell, S. Harrison and C. Kenward (OUP 2018). She has also written on Milton's classical blindness, and on Senecan echoes in the in-yer-face plays of the 1990s. Chella was the APGRD's acting Archivist-Administrator / Researcher in 2017-18. 

Rachael White

Rachael White completed her D.Phil, 'The Man on the Land: Classics in Colonial Australia', under the supervision of Professor Fiona Macintosh in 2017. She researched the reception of Greek and Latin literature in colonial Australia's literary and political culture, with a particular focus on the use of classical texts in laying claim to the Australian landscape. She completed her undergraduate degrees at the University of Adelaide, and an M.St in Greek and Latin Literature at Oxford in 2013. Her M.St thesis explored classical receptions in the works of three Australian poets, Les Murray, Peter Porter, and Judith Wright. She worked at the Archive as Associate Archivist-Administrator from 2017-2018.

Rosie Wyles

Rosie Wyles studied Classics as an undergraduate at Oxford and has been involved with the APGRD since 2004, when she was awarded the AHRC PhD studentship attached to the project on the reception of the tragic canon within antiquity. Her thesis, supervised by Professor Edith Hall and awarded 2007 (University of London), was on costume’s role in the ancient performance reception of Euripides’ Telephus, Heracles and Andromeda. Her research interests include: Greek and Roman performance arts, costume, reception within antiquity and beyond, and gender.She is now lecturer in Classics at the University of Kent, with publications including two monographs on Greek theatre: Costume in Greek Tragedy (2011) and Theatre Props and Civic Identity in Athens 458-405 BC (2020).