AboutMy research focuses on contemporary storytelling practices, spoken-word performance, Greek tragedy and classical receptions, and performer training. I’m currently working on a monograph exploring new collaborative platforms for story-led performance, and female storytelling artists as innovators in interdisciplinary creativity. Contemporary Storytelling Performance: Female Artists on Practices, Platforms, Presences is forthcoming from Routledge.
- PhD Drama (Royal Holloway, University of London)
- MA English: Writing and Performance (University of York)
- BA (Hons) English Literature and History (University of York)
Work Shared in CORE
- Dunbar, Z. and Harrop, S. (2018), Greek Tragedy and the Contemporary Actor. Basingstoke: Palgrave Macmillan.
- Hall, E. and Harrop, S. (eds) (2010), Theorising Performance: Greek Drama, Cultural History and Critical Practice. London: Duckworth.
- Harrop, S. (2018) ‘Greek Tragedy, Agonistic Space, and Contemporary Performance’. New Theatre Quarterly 34.2 (99-114).
- Harrop, S. (2018) ‘Athens: A Work-in-Progress‘, Kritika Kultura 30/31 (129-137).
- Harrop, S. (2015). ‘Grounded, Heracles and the Gorgon’s Gaze’, Arion: A Journal of Humanities and the Classics 23.1 (169-185).
- Harrop, S. (2014). ‘Ercles’ Vein: Heracles as Bottom in Ted Hughes’ Alcestis’, Classical Receptions Journal 6.3 (364-381).
- Harrop, S. (2013). ‘Speech, Silence and Epic Performance: Alice Oswald’s Memorial’, New Voices in Classical Reception Studies 8 (79-91).
- Harrop, S. and Wiles, D. (2008). ‘Poetic Language and Corporeality in Translations of Greek Tragedy’, New Theatre Quarterly 24.1 (51-64).
- Harrop, S. (2020) ‘Herakles on Chesil Bank: The Archers, Disavowable Classicism, and The Small Back Room‘, in Blanshard, A.J.L and Stafford, E. (eds) The Modern Hercules: Images of the Hero from the Nineteenth to the Early Twenty-First Century. Leiden: Brill (333-350).
- Harrop, S. (2018) ‘Unfixing Epic: Homeric Orality and Contemporary Performance’, in Macintosh, F., McConnell, J., Harrison, S. and Kenward, C. (eds) Epic Performances from the Middle Ages into the Twenty-First Century. Oxford: OUP (262-274).
- Harrop, S. (2018) ‘”It Happens in Ballads”: Scotland, Utopia, and Traditional Song in The Strange Undoing of Prudencia Hart‘, in McKerrell, S. and West, G. (eds) Understanding Scotland Musically: Folk, Tradition and Policy. Abingdon: Routledge (109-121).
- Harrop, S. (2017). ‘Staging a Transforming Great Britain: Tamlane, the Social Turn, and the 2014 Referendum’, in Monros-Gaspar, L. (ed.), Re-Thinking Literary Identities: Great Britain, Europe and Beyond. Valencia: Valencia University Press (41-60).
- Harrop, S. (2010). ‘Physical Performance and the Languages of Translation’ in Hall, E. and Harrop, S. (eds), Theorising Performance: Greek Drama, Cultural History and Critical Practice. London: Duckworth (232-240).
- Harrop, S. (2021). ‘No Air Left in Your Lungs: Breathing With Kae Tempest’s The Book of Traps and Lessons‘. Contemporary Theatre Review 31.1&2 Backpages (246-9).
- Harrop, S. (2018). ‘Acting the Ancient World: Bringing Drama to the Class Civ Classroom’. Institute of Classical Studies blog.
- Harrop, S. (2017). ‘Bringing the Wild and the Barbaric into the Urban Space of the Theatre’. Programme essay for Knives in Hens (David Harrower, dir. Yael Farber) at The Donmar Warehouse.
- Harrop, S. (2016). ‘Eating Ovid: An Experiment in Staging Shakespeare’s Classical Sources’. Women’s Classical Committee UK blog.
- Harrop, S. (2015). ‘Fat Man (Move to Stand) and Orpheus (Little Bulb Theatre)’. Didaskalia 12.10 (63-5).
- Harrop, S. (2014). ‘To Keep Out Bad Things: Exploring ‘The Wall’ in A Song of Ice and Fire’. Strange Horizons, 25 August.
- Harrop, S. (2013). ‘The Paper Cinema’s Odyssey and The Factory, The Odyssey’, Didaskalia 10.11 (55-61).
- Harrop, S. (2012). An Introduction to the Tragic Body. APGRD Introductions series, APGRD website.
- Harrop, S. (2016). ‘Euripides and the Politics of Form, by Victoria Wohl’. Arion: A Journal of Humanities and the Classics 23.3 (137-144).
- Harrop, S. (2015). ‘The Politics of Adaptation: Contemporary African Drama and Greek Tragedy, by Astrid Van Weyenberg’. New Theatre Quarterly 31.1 (95).
- Harrop, S. (2013). ‘Becoming an Actor, by Thomasina Unsworth’, Stanislavski Studies 3 (301-305).
- Harrop, S. (2013). Dramatic Revisions of Myths, Fairy Tales and Legends, ed. Verna E. Foster’, Comparative Drama 47.2 (268-271).
- Harrop, S. (2009). ‘Reasoning Madness: The Reception and Performance of Euripides’ Herakles, by Kathleen Riley’, Platform E-Journal of Theatre and Performing Arts Spring (113-116).
- The Higher Education Academy (Senior Fellow)
- The Theatre and Performance Research Association, TaPRA (Prizes Sub-Committee; Postgraduate Essay Prize Mentor)
- The George Ewart Evans Centre for Storytelling (External Associate)
- Classical Reception Studies Network
- The Women’s Classical Committee (UK)
- Equity (UK)