Kellen Hoxworth is Assistant Professor in the School of Theatre at Florida State University. He holds a Ph.D. in Theater and Performance Studies from Stanford University, where he has also received a Graduate Certificate in African Studies. He also holds a B.A. in English Literature from Washington University in St. Louis, and an M.A. in Theatre and Performance Studies from the University of Pittsburgh.
His academic interests focus on the formations of race and coloniality, particularly in the transhistorical performance networks of the global south. His book project, Transoceanic Blackface: Empire, Race, Performance (under advance contract with Northwestern University Press), traces the formation of blackface minstrel performance networks throughout the British Empire and the global Anglophone world. His writing has been published in Modern Drama, Theatre Survey, Contemporary Theatre Review, and Performance Research. He also co-edited and co-curated the PSi19 performance blog, from which several posts were selected for publication in Performance Research 19.3 (2014). He has presented his research at several academic conferences such as the American Society for Theatre Research (ASTR), the African Studies Association, the International Federation for Theatre Research (IFTR), Performance Studies international (PSi), the Modern Language Association (MLA), and the Association for Theatre in Higher Education (ATHE), where he was awarded the Theatre History Focus Group Emerging Scholars Award in 2011. In 2018, his essay "The Many Racial Effigies of Sara Baartman" was selected by the American Society for Theatre Research as the recipient of the Errol Hill Award for outstanding scholarship in African American theatre, drama, and/or performance studies.
As an artist, Kellen is a director, dramaturg, and performer. He approaches performance as a charged site at the intersections of affect, representation, corporeality, and material practice. As such, the theatre offers a space for interrogating and undoing historical formations of race, gender, class, sexuality, and access. Recently, he has directed productions of Argentine playwright Lola Arias’s A Kingdom, a Country or a Wasteland, in the Snow and María Irene Fornés’s Mud. He has performed in fox mirror forest by the Becky Collective as well as The Collected Works’ site-specific production of Jean Genet’s The Balcony at the San Francisco Mint. He has also served as a dramaturg for productions of Lucas Hnath's A Doll's House, Part 2 at the Repertory Theatre of St. Louis, Athol Fugard's A Lesson From Aloes at Z Below, San Francisco, and for productions of Athol Fugard’s “Master Harold”…and the Boys and Fraser Grace’s Breakfast with Mugabe at the Aurora Theatre, Berkeley.