I am a Senior Lecturer in Theatre and Performance Studies at UNSW. I specialise in modern and contemporary German theatre, and have an ongoing research interest in socially engaged performance. My research focuses on the way in which theatre writing, staging and spectating respond to socio-historical contexts, ideologies and habitual modes of perception. This focus underpins my work on the following topics: the relation of Marxist discourse to the theory and practice of German playwright-director Bertolt Brecht (1898-1956); sex-gender ideology and intercultural encounter within German drama, performance and dance theatre since the early twentieth century; and the engagement with cultural diversity within innovative forms of contemporary Theatre of Real People from both Australia and Germany. My research advances disciplinary understanding of theatre’s capacities and strategies for engaging with social inequity and difference. It also speaks to a broader audience interested in the kinds of response that art can make to a world increasingly marked by interaction with complex cultural identities. I have recently worked as Asia-Pacific Book Reviews Editor for Theatre Research International, and am currently a member of the editorial board for The Brecht Yearbook / Das Brecht Jahrbuch.
Garde, Ulrike & Meg Mumford, Theatre of Real People: Diverse Encounters from Berlin's Hebbel am Ufer and Beyond (London: Bloomsbury, 2016).
Birgfeld, Johannes, Ulrike Garde & Meg Mumford (eds), Rimini Protokoll Close-Up: Lektüren (Hannover: Wehrhahn, 2015).
Mumford, Meg, Bertolt Brecht (London and New York: Routledge, 2009). [Included in Choice magazine's list of Outstanding Academic Titles for 2009. Revised edition re-issued 2018.]
Mumford, Meg & Ulrike Garde, 'Staging Real People: On the Arts and Effects of Non-Professional Theatre Performers', Performance Paradigm, 11 (2015): 5-15, http://www.performanceparadigm.net/index.php/journal/article/view/167
‘Rimini Protokoll's Reality Theatre and Intercultural Encounter: Towards an Ethical Art of Partial Proximity’, Contemporary Theatre Review, 23.3 (2013): 153-65.
‘Pina Bausch Choreographs Blaubart: A Transgressive or Regressive Act?’, German Life and Letters, LVII, 1 (2004): 44-57.
‘Barthes on Brecht’s Tableau: Fetish meets Flux’, Communications from the International Brecht Society, 32 (June 2003): 42-7.
Mumford, Meg & Alison Phipps, ‘Translating the Strange, Performing the Peculiar: Marieluise Fleißer's Fegefeuer in Ingolstadt’, Studies in Theatre and Performance, 22, 2 (2002): 69-81.
‘Gestic Masks in Brecht’s Theatre: A Testimony to the Contradictions and Parameters of a Realist Aesthetic’, The Brecht Yearbook, 26 (2001): 143-71.
‘Brecht on Acting for the 21st Century: Interrogating and Re-Inscribing the Fixed’, Communications from the International Brecht Society, 29, 1 & 2 (June 2000): 44-9.
‘Brecht Studies Stanislavski: Just a Tactical Move?’, New Theatre Quarterly, 11, 43 (1995): 241-58.
Mumford, Meg, "Brecht's Perspectives, Then and Now: Class, Gender and the Social Stakes of Performance", in David Barnett (ed.), The Great Stage Directors, vol. 2 (Meyerhold, Piscator, Brecht) (London: Bloomsbury Methuen Drama, 2018).
Mumford, Meg, '100% City and Popular Factual Television: A New Game Plan for Managing Proximity to People?', in Johannes Birgfeld, Ulrike Garde & Meg Mumford (eds), Rimini Protokoll Close-Up: Lektüren (Hannover: Wehrhahn, 2015), pp. 278-301.
Birgfeld, Johannes, Ulrike Garde & Meg Mumford, 'Introduction: Diverse and Close-Up Navigations of Rimini Protokoll's Theatre', in Johannes Birgfeld, Ulrike Garde & Meg Mumford (eds), Rimini Protokoll Close-Up: Lektüren (Hannover: Wehrhahn, 2015), pp. ix-xxv.
Mumford, Meg, 'Toward Transculturality in Reality Theatre from Berlin and Sydney: A Study of the Nomad in Rimini Protokoll's Cargo Sofia-X and the "Spiritual Medium" in Fast Cars and Tractor Engines by Urban Theatre Projects', in Alan Corkhill and Alison Lewis (eds), Intercultural Encounters in German Studies (St. Ingbert: Röhrig, 2014), pp. 181-196.
Garde, Ulrike & Meg Mumford, ‘Postdramatic Reality Theatre and Productive Insecurity: Destabilising Encounters with the Unfamiliar in Theatre from Sydney and Berlin’, in Jerome Carroll, Steve Giles and Karen Jürs-Munby (eds), Postdramatic Theatre and the Political: International Perspectives on Contemporary Performance (London: Bloomsbury (Methuen Drama), 2013), pp. 157-64.
‘Fluid Collectives of Friendly Strangers: The Creative Politics of Difference in the Reality Theatre of Rimini Protokoll and Urban Theatre Projects’, in Gerhard Fischer & Florian Vaßen (eds), Collective Creativity: Collaborative Work in the Sciences, Literature and the Arts (Amsterdam & New York: Rodopi, 2010), pp. 329-43.
‘Aftershocks: Voices from a Shaken Community', in Paul Brown (ed.), Verbatim: Staging Memory and Community (Currency Press: Sydney, 2010), pp. 37-48.
Wake, Caroline, Meg Mumford & Ulrike Garde, ‘A Short History of Verbatim Theatre', in Paul Brown (ed.), Verbatim: Staging Memory and Community (Currency Press: Sydney, 2010), pp. 9-17.
Mumford, Meg & Alison Phipps, ‘Encountering Stories from Contemporary German Theatre’, Contemporary German Cultural Studies (London: Arnold, 2002), pp. 219-40.
“Dragging” Brecht’s Gestus Onwards: A Feminist Challenge’, in Steve Giles and Rodney Livingstone (eds), Bertolt Brecht: Centenary Essays (Amsterdam: Rodopi, 1998), pp. 240-57.
Panel Discussion Transcripts
Mumford, Meg & John Severn (eds.), 'Putting Real People on Stage: Helgard Haug (Rimini Protokoll) in Conversation with Australian Practitioners and Academics', Performance Paradigm, 11 (2015): 101-15, http://www.performanceparadigm.net/index.php/journal/article/view/165
Mumford, Meg (ed.), panel discussion transcript, 'Panel Discussion 100% Melbourne: Contemporary Documentary Performance that Puts "Real Melbournians" on the Stage', in Johannes Birgfeld, Ulrike Garde and Meg Mumford (eds), Rimini Protokoll Close-Up: Lektüren (Hannover: Wehrhahn, 2015), pp. 302-17.
‘Polykulturelle Akteure im “Reality Theater” von Rimini Protokoll und Urban Theatre Projects', in Ortrud Gutjahr, Deniz Göktürk, Alexander Honold (eds), Interkulturalität als Herausforderung und Forschungsparadigma der Literatur- und Medienwissenschaft, section 21 in Franciszek Grucza (ed.), Akten des XII. internationalen Germanistenkongresses Warschau 2010. Vielheit und Einheit der Germanistik weltweit, vol. 12 (Frankfurt am Main et al.: Peter Lang, 2012), pp. 191-5.
Entries on ‘agitprop’, ‘bourgeois theatre’, ‘illusionism’, and ‘Verfremdung’, in Dennis Kennedy (ed.), The Oxford Encyclopedia of Theatre and Performance, vols. 1 & 2 (Oxford: O.U.P., 2003).
Mumford, Meg, film review of The Threepenny Opera, director Georg Wilhelm Pabst, Nero-Film/ Tobis /Warner Bros., 1931, in Michelle Langford (ed.), Directory of World Cinema: Germany 2 (Bristol: Intellect, 2013), pp. 210-12.
Garde, Ulrike & Meg Mumford, ‘Rimini Protokoll Presents “Real” Experts: 100% Melbourne and Radio Muezzin’, Kultur, Magazine of the Goethe-Institut in Australia, 23 (2012): 16-17. See also: http://issuu.com/goetheaustralia/docs/gi_kultur23_sep12/1 [accessed September 2012]
Garde, Ulrike & Meg Mumford, performance review of Radio Muezzin, by Rimini Protokoll, Everest Theatre, Sydney Festival, January 2012, in ‘Experts of the Everyday: Rimini Protokoll’, RealTime, 108 (2012): 26. See also: http://www.realtimearts.net/article/108/10617 [accessed May 2012]
Aurin, Andreas & Meg Mumford, performance review of Baal, director Simon Stone, a co-production of Sydney Theatre Company and Malthouse Melbourne, Wharf 1, Sydney Theatre Company, May 2011, in Communications from the International Brecht Society, 40 (2011): 58-62.
Contemporary Theatres in Europe: A Critical Companion. Edited by Joe Kelleher and Nicholas Ridout (London & New York: Routledge, 2006). Review in http://performanceparadigm.net/journal/issue-4/bookreviews/ [Issue 4, 2008]
Women and German Drama: Playwrights and Their Texts, 1860-194. By Sarah Colvin (Rochester, NY: Camden House, 2003). Review in Theatre Research International, (Summer 2005).
Brecht Sourcebook. Edited by Carol Martin & Henry Bial. London & New York: Routledge, 2000. Review in Theatre Research International (Autumn, 2000).
Schauspielerinnen im Europa des 18. Jahrhunderts: Ihr Leben, Ihre Schriften und Ihr Publikum. By Ruth Emde (Amsterdam-Atlanta: Rodopi, 1997). In Theatre Research International (Summer, 2000).
German Expressionist Theatre: The Actor and the Stage. By David F. Kuhns (Cambridge: Cambridge University Press, 1997). Review in Theatre Research International (Autumn, 1998).
German Theatre: A Bibliography from the Beginning to 1995. By Michael Patterson (Leicester: Motley Press, 1996). Review in Theatre Research International (Winter, 1997).
The Shocking Ballad Picture Show. By Tom Cheesman (Oxford: Berg Publishers, 1994). Review in Theatre Research International (Autumn, 1997).
Dr Barbara Panse, ‘Censorship in Nazi Germany: The Influence of the Reich’s Ministry of Propaganda on German Theatre and Drama, 1933-45’ in Günter Berghaus (ed.), Fascism and Theatre: Comparative Studies on the Aesthetics and Politics of Performance in Europe 1925-1945 (Providence US and Oxford UK: Berghahn Books, 1996), pp. 140-56.