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Matthew Roudané

Regents' Professor
Education

Ph.D., University of Oregon, 1982

Specializations

American Drama, Modern Drama, American Literature

Biography

Matthew Roudané came to Georgia State out of graduate school in 1982 — as an Instructor to teach freshman composition and courses in Western literature, the ancients through the Renaissance. Today, he’s pleased to report that the department allows him to teach courses in his specialty, American Drama. After being promoted to Professor in 1993, Roudané served as Chair from 2002-2012. He has been Regents’ Professor of English since 2009.

Dr. Roudané teaches undergraduate and graduate courses in American Drama, Modern Drama, and American literature. In the drama courses, students examine a variety of playwrights. Henrik Ibsen, Luigi Pirandello, Samuel Beckett, Caryl Churchill, Eugene O’Neill, Susan Glaspell, Arthur Miller, Tennessee Williams, Edward Albee, Sam Shepard, Sarah Ruhl, David Mamet, Lynn Nottage, Suzan-Lori Parks, August Wilson, Karen Finley, and, among many others, Paula Vogel, are but a few studied. Students gain an appreciation of these dramatists, whose plays shape an ongoing history of the modern and contemporary stage.

A recipient of Fulbright awards, Roudané taught as a Fulbright Scholar at the Universidad Complutense de Madrid, in 2004-05, and as a Senior Fulbright Specialist, at El Escorial, Spain, in 2007. He also received a Fulbright to teach at Moscow State University, but the collapse of the Soviet Union in 1989, the week before he was to depart, precluded that opportunity. He has delivered numerous keynote and guest lectures throughout the United States and, abroad, in Canada, Costa Rica, the Czech Republic, France, Germany, Italy, Morocco, Portugal, Romania, and Spain. He was Visiting Professor at the Université de Toulouse II-Le Mirail, France, in Spring 2009 and in Spring 2011.

Roudané had the honor of working professionally in the theater with the legendary actor, writer, and director Joseph Chaikin. Roudané served as dramaturge for 7 Stages Theatre’s productions of Albee’s A Delicate Balance and Miller’s Broken Glass, both of which Chaikin directed. Major theaters throughout the world often consult Roudané about their productions of American plays and use excerpts from his books as they prepare information for theatergoers.

Roudané enjoys interviewing writers, and he’s had conversations with a few of America’s best: Edward Albee, Saul Bellow, Karen Finley, David Mamet, Arthur Miller, and Sam Shepard. He also interviewed the Spanish writer Rosa Montero in Madrid.

Over the years he has worked on numerous editorial and advisory boards of scholarly journals, including PMLA, Estudios Ingleses de la Universidad Complutense (Spain), Miranda, Revue Pluridisplinaire du Monde Anglophone (France), and, among others, L’Ordinaire des Amériques (France). He was the Editor of the  South Atlantic Review from 1994-2013 and is Advisory Series Editor for Methuen Drama (London).

He has published a number of books and essays on various aspects of American drama, some of which appear below. Roudané plans on writing two new books, on Arthur Miller and Edward Albee, respectively, for Cambridge University Press.

Publications

Books

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11  12 collectedessays

The Cambridge Introduction to Arthur Miller (Cambridge: Cambridge University Press, forthcoming)

The Cambridge Introduction to Edward Albee (Cambridge: Cambridge University Press, forthcoming)

American Drama, 1960-Present: A Critical History (New York: Twayne, 1996; paperback edition, 1997). xv+299 pp.

‘Who’s Afraid of Virginia Woolf?’: Necessary Fictions, Terrifying Realities (Boston: Twayne, 1990). xv+125 pp. Reproduced on CD-ROM, 1996.

Understanding Edward Albee (Columbia: University of South Carolina Press, 1987). xii+221 pp.

Books Edited

The Collected Essays of Arthur Miller(London:  Bloomsbury, 2015). xi-xxvii+583pp.

The Methuen Drama Guide to Contemporary American Playwrights (London: Methuen/ Bloomsbury, 2014). Co-edited by Christopher Innes, Martin Middeke, Matthew Roudané, and Peter Paul Schnierer.  vii-xxiv+479 pp.

Drama Essentials: An Anthology of Plays (Boston: Houghton Mifflin, 2008).

The Cambridge Companion to Sam Shepard (Cambridge: Cambridge University Press, 2002). xx+319 pp.

The Cambridge Companion to Tennessee Williams (Cambridge: Cambridge University Press, 1997). xxiv+277 pp. Reprinted in Chinese edition, 2001.

Approaches to Teaching Miller’s ‘Death of a Salesman’ (New York: Modern Language Association, 1995). xii+178 pp.

Public Issues, Private Tensions: Contemporary American Drama (New York: AMS Press, 1993). xviii+332 pp.

American Dramatists: Contemporary Authors Bibliographic Series, Vol. 3 (Detroit: Gale Research, 1989). xvii+484 pp.

Conversations with Arthur Miller (Jackson: University of Mississippi Press, 1987). xvii+394 pp. Reproduced in electronic on-line version 2000.

Selected Articles, Book Chapters, and Interviews

“El lenguaje en Glengarry Glen Ross,” Pygmalion:  Revista de Teatro General y Comparado, Madrid, Ediciones Clásicas, 5 (2013):  43-60.

“Death of a Salesman and the Poetics of Arthur Miller,” in The Cambridge Companion to Arthur Miller, Second Edition, ed. Christopher Bigsby (Cambridge: Cambridge University Press, 2010): 63-88.

“Safe at Home?: August Wilson’s Fences,” in The Cambridge Companion to August Wilson, ed. Christopher Bigsby (Cambridge: Cambridge University Press, 2007): 135-144.

“An Interview with Karen Finley,” Five Points 11 (2007): 20-37

Who’s Afraid of Virginia Woolf?: Toward the Marrow,” in The Cambridge Companion to Edward Albee, ed. Stephen J. Bottoms (Cambridge: Cambridge University Press, 2005): 39-58.

“Betrayal and Friendship: David Mamet’s American Buffalo,” in The Cambridge Companion to David Mamet, ed. Christopher Bigsby (Cambridge: Cambridge University Press, 2004): 57-73.

“Between the Real and the Imaginary: The Theater of Arthur Miller,” in Arthur Miller: Visiones Desde El Nuevo Milenio, eds. Juan I. Guijarro y Ramón Espejo (València: Bibliotheca Javier Coy d’estudis nord-americans, 2004): 81-86.

“Global Challenges, Regional Responses: The Theater of Sam Shepard,” Contemporary Theatre and Drama in English X (Trier: Wissenschaftlicher Verlag Trier, 2003): 31-45.

“Something Out of Nothing: An Interview with David Mamet,” reprinted in David Mamet en Conversación (Barcelona: Alba Editorial, 2005, a Spanish translation of David Mamet in Conversation,” ed. Leslie Kane (Ann Arbor: University of Michigan Press, 2001): 46-53.  Originally appeared in Studies in American Drama, 1945-Present, 1 (1986): 73-81.

“Sam Shepard’s The Late Henry Moss,” in The Cambridge Companion to Sam Shepard, ed. Matthew Roudané (Cambridge: Cambridge University Press, 2002): 279-291.

“Plays and Playwrights Since 1970,” in The Cambridge History of American Theater and Drama, Vol. III: Post-World War II to the 1990s, eds. Don Wilmeth and Christopher Bigsby (Cambridge: Cambridge University Press, 2000): 331-418.