Our department is one of the oldest and most respected theatre programs in the country. Throughout our history, we have focused on the collaborative development of new works that address the complexities of our human condition. In an era where rapid technological advancements have changed how we experience, how we tell stories, we seek to build on the strength of our legacy, while exploring ever-evolving ways of making theatre. The experience of theatre is transformative because it is communal, and because it opens us up to new perspectives and ideas. Therefore, we foster relationships, we nurture interconnectedness, and we actively engage our community in our work. Our faculty remains committed to the holistic training of theatre artists and scholars who embrace and promote this vision. It is through their excellence as theatre makers, researchers, and future educators that we will continue to have an impact through this art form.

Our mission is to:

• Sustain a world-class theatre arts program where we develop new work and new artists through the creative, collaborative process. With respect for the great global traditions, we continually push the boundaries of theatre, using sophisticated tools and technologies.
• Provide space to foster social responsibility and change.
• Nurture student artists and their work; prepare graduates for professional opportunities; support faculty as professional artists and scholars; and engage, delight, and challenge audiences. 

Teaching

Each year, regular faculty members are normally expected:

• to revise and improve their courses.
• to develop new courses as are required and appropriate for the department.
• to have their courses evaluated by students and peers to ensure that they are meeting department expectations.
• to advise undergraduate students and provide guidance to graduate students.
• to contribute on a regular basis to the creative and intellectual life of the department beyond classroom teaching. This departmental involvement may be in productions or in other ways suited to the faculty member’s expertise and the needs of the department. 

Service

• Faculty are expected to engage in tasks required for the effective functioning of the department and its programs. These include participation in faculty meetings and committees, curriculum development, departmental and program governance, student and faculty recruiting, and similar activities.
• Faculty must engage in activities in service to the department; tenured faculty are expected to engage in service to the College and the University.
• They are expected to engage in professional service that reflects the visibility of their own scholarship/creative work and teaching.
• As they progress through the ranks, they are expected to take roles of increasing responsibility in the department, university and profession. 

Research 

Usually, faculty members will elect to focus their work in a particular area, for example, design, directing, or playwriting. In certain cases, however, a faculty member's field requires work in a variety of areas. Dramaturgy, for example, includes critical or scholarly writing and participation in the production process. In other instances, a faculty member's interest and experience may lead to work in the theatre which crosses or combines the expertise of two or more of the commonly identified areas. While supporting the blurring of distinctions among areas, we affirm that diversity is not a substitute for excellence. New work development is central to the ethos of our department, and we support the viability of this work. Time spent by faculty on the development of new work including readings and workshops should be considered when reviewing faculty for tenure and promotion.

In all cases, a faculty member will be evaluated on the excellence of work as normally defined by the field in which a particular piece of work appears.

Creative Work

All production and developmental work, including that undertaken in the department and in other venues, is important as part of a pattern of creative development and is subject to evaluation both as independent creations and as part of an on-going pattern. It is the faculty member's responsibility, with the DEO's agreement, to determine the nature and venue of this work.  Faculty members must balance the requirement to work in production in the department with the necessity to establish and maintain standing among peers outside the university.

In some measure, the venue for creative work serves as de facto validation of the work. The suitability, quality, and regional or national importance of the producing organization are indicators of the standing of individuals working under its aegis. For example, selection to work at a major regional theatre creates a priori supposition of professional standing. Equally, selection to work with a group known and respected for experimental or developmental work in theatre, such as one of the leading new play development centers, is evidence of professional standing. In the same way, the standing and reputation of willing collaborators attests to the esteem in which the individual creator is held. It is the faculty member under review's responsibility to provide evidence of the appropriateness and standing of all venues in which they work.

A continuing pattern of creative production work will include achievements of artistic merit at the University of Iowa and respected venues elsewhere. The frequency with which a faculty member completes a meaningful piece of work will vary, but an acceptable pattern will indicate substantial, successful, ongoing engagement with the art each year.  A substantive pattern of professional work produced outside of the state of Iowa is expected.

Ranking of Creative work

The department chair must annually evaluate the reputation of each faculty members creative work and research. The following scale adds context for reviewers to evaluate the strength of a faculty member’s portfolio:

5 = A play, performance, direction, design, dramaturgy, stage management, vocal coaching, movement direction, intimacy direction, and/or fight direction commission that is:

1. Presented/Developed in nationally recognized venues
2. Produced/Developed by nationally recognized companies
3. Presented via juried selection at nationally recognized conferences/festivals
4. Presented as feature film
5. Presented on a major television network
6. Presented on a major streaming service  
7. A play published by a reputable leasing company or other established publisher.
8. Developed and/or workshopped at the University of Iowa through support of an internal and/or external grant funding/financial support that goes on to be disseminated at nationally and/or internationally recognized conferences/festivals and/or peer-reviewed publications. This type of dissemination of creative work could also fall under scholarship.  

4 = A play, performance, direction, design, dramaturgy, stage management, vocal coaching, movement direction, intimacy direction, and/or fight direction commission that is presented/produced/developed at the collegiate level that pays royalties or fees. Mainstage work produced at the University of Iowa falls under this category and is peer reviewed by one or more qualified external experts. Work developed and/or workshopped at the University of Iowa through support of an internal and/or external grant funding/financial support that does not go on to be disseminated at nationally and/or internationally recognized conferences/festivals and/or peer-reviewed publications.

3 = A play, performance, direction, design, dramaturgy, stage management, vocal coaching, movement direction, intimacy direction, and/or fight direction commission that is presented/produced/developed in or by a professional organization but not in the groups above. Iowa New Play Festival production work produced at the University of Iowa falls under this category.

2 = A play, performance, direction, design, dramaturgy, stage management, vocal coaching, movement direction, intimacy direction, and/or fight direction commission that is presented/produced/developed informally. Gallery work produced at the University of Iowa falls under this category.

1 = Other organizations

Scholarship

Faculty members not directly involved in production activities are expected to have a formal record of publication as part of their scholarly achievement. Publication can take the form of journal articles, theatre-related magazine or online contributions, and/or book-length publications. Tenure-track faculty are expected to complete a book with a university press or reputable academic publisher to be consider for tenure and promotion. The evaluation materials of the scholar for annual, promotion and tenure reviews, and post-tenure reviews, include published articles, books, conference presentations and public lectures, reviews, and external expert evaluations. Evaluations of scholarship for annual reviews, promotion and tenure reviews, and post-tenure reviews may be assisted by reference to the following criteria:

• Originality of the study.
• Actual or likely impact of the work.
• Difficulty or complexity of the subject matter.
• Thoroughness of analysis.
• Scope and depth of subjects covered
• Clarity of expression

Ranking of Scholarship

The following rankings add context for reviewers to evaluate the strength of a faculty member’s portfolio:

5 = International recognition in field, highly prestigious, evidence of peer review.

4 = National recognition in field, prestigious, evidence of peer review.

3 = Recognition by a professional organization or organizations in the field, evidence of peer review.

2 = Recognition by a professional organization or organizations in the field, not peer reviewed.

1 = Not demonstrably recognized within the field, not peer reviewed.

0 = Not to be counted as publication.

S = Special publication not ranked above.

Examples of Publications which constitute recognition include but are not limited to:  

• Theatre Research International, Theatre Survey, Modern Drama, Text and Performance Quarterly, Theater (Yale), Journal of Dramatic Criticism, Theatre History Studies, Journal of American Drama and Theatre, New England Theatre Journal, Theatre Symposium, Women and Performance, American Theatre, Dramatics, Theatre Topics, Theatre Journal, Live Design, Theatre Design and Technology, TDR (The Drama Review), International Journal of Arts Management, Contemporary Theatre Review,  Theatre Research International, Asian Theater Journal, Canadian Theatre Review, Latin American Theatre Review, New Theatre Quarterly, Performance Research, Shakespeare Quarterly, Studies in Musical Theater, GLQ, Transgender Studies Quarterly, differences, signs, American Studies Quarterly, PMLA

Additional publications will be considered in consultation with the DEO and the Program Head and/or Chair of the candidate’s Tenure and Promotion Committee.

Additional Criteria for Research and Creative Endeavors

• Evidence of research and creative endeavors is required to ensure that faculty continues to contribute to their discipline and to the department.  
• Awards of internal or external grants in support of research and/or creative activity shall count as research/creative endeavors.
• Participation in creative endeavors shall be documented in a manner consistent within the profession. The quality of artistic achievement can be documented by a variety of measures.
• This documentation may include evaluation by the mentor committee and/or chair—and/or evaluation by outside experts.
• Evidence that the research and creative practice has had influence on other researchers/creatives in the field or the broader discipline and/or provided significant impact on society
• Faculty members may submit additional documentation that may include:
  • Evaluation of work submitted for intercollegiate festivals and competitions
  • Critical reviews in the media
  • Portfolios, images, videos and/or other documentations of creative work 

Service

• Contributing artistically to department productions can be qualified as service, mentorship or peer reviewed research. 

Teaching

• Faculty at the rank of assistant professor are ordinarily expected to show promise as teachers. 

Research 

• Faculty at the rank of assistant professor are ordinarily expected to have begun a promising program of professional productivity, which includes creative work, research, or scholarship (or combination thereof, when appropriate to the faculty member’s discipline) consistent with eventual promotion to associate professor.

Service

• Faculty at the rank of assistant professor are ordinarily expected to show the ability and willingness to help achieve through service the department's aims as set forth in its strategic plan. 

Faculty members are normally expected to have established a record in teaching, professional productivity, and service that meets the criteria below and shows unmistakable promise of promotion to full professor. 

Teaching

Faculty at the rank of associate professor are expected to demonstrate an acknowledged record of success in teaching at both the undergraduate and graduate levels. They must:

• Stay current with emerging industry best practices related to scholarship and/or theatre-training pedagogy and apply this to teaching. This may include participation in professional activities and/or professional development opportunities that help maintain currency and sustain innovative teaching.
• Contribute actively to curriculum development, course scaffolding, and use of appropriate feedback protocols in one’s area(s).
• Emend and expand role (as appropriate to the area(s)) in support of Department of Theatre Art’s pedagogical mission.
• Serve as mentors for assistant professors, and graduate teaching assistants.

Research 

Faculty at the rank of associate professor are expected to attain a national (or where appropriate) international reputation in their creative work and/or scholarship. National / international reputation may be demonstrated by:

• Discipline specific production work at professional venues (e.g., regional theatre, Off-Broadway, Broadway, television, film). Ideally, this work should be nationally recognized.
• Production work and/or performance at industry renown festivals
• Conference presentations, and/or  
• Scholarly publications (journals; book chapters, books, etc.) 

Service

Expand the range of service expectations within the department as requested by department leadership, or as commensurate with their specific MOU, in addition to serving at the collegiate or university level. Examples include:

• At the request of the DEO, take on program directorship.
• Effectively chair committees.
• Participate in and lead recruitment efforts.
• Suggest and implement curricular updates in accordance with industry and academy best practices.
• At the request of the DEO and Director of Theatre, contribute discipline-specific work to departmental productions.
• Mentor and support junior faculty.

Faculty at the rank of full professor are expected to have established a record since promotion to associate professor that demonstrates a pattern of sustained development and substantial growth in achievement and productivity in the areas of teaching, creative work or scholarship, and service.  

Teaching

Faculty at the rank of full professor are expected to demonstrate an ongoing record of success in teaching at both the undergraduate and graduate levels. They must:

• Stay current with and contribute to emerging industry best practices related to scholarship and/or theatre-training pedagogy and apply this to teaching.
• Lead ongoing curriculum development, course scaffolding, and guide use of appropriate feedback protocols in one’s area(s).
• Expand role (as appropriate to their discipline) to lead and champion Department of Theatre Art’s pedagogical mission.
• Serve as mentors for associate, assistant professors, and graduate teaching assistants.

Research 

Faculty at the rank of full professor are expected to have established and sustained unmistakable national recognition and, where applicable, to have achieved international recognition for professional productivity in scholarship or creative work of high quality. National / international reputation may be demonstrated by ongoing:

• Discipline specific production work at professional venues (e.g., regional theatre, Off-Broadway, Broadway, television, film). Ideally, this work should be nationally or internationally recognized.
• Production work and/or performance at industry renown festivals.
• Conference presentations, and/or  
• Scholarly publications (journals; book chapters, books, etc.) 

Service

Faculty at the rank of full professor are expected to have a substantial and sustained record of effective service to the department, the college, the institution, and the profession. Additionally, they must demonstrate the ability to assist in achieving the aims of the department as set forth in its strategic plan. Examples include, (but are not limited to):

• Take on program directorship for specified terms as requested by DEO.
• Effectively chair committees and coordinate sub-committee work.
• Lead recruitment efforts as requested by DEO.
• Lead curricular updates in accordance with industry and academy best practices.
• At the request of the DEO and Director of Theatre, contribute discipline-specific work to departmental productions.
• Serve on university-level committees (e.g., Faculty Senate).
• Mentor and support junior faculty.

The primary difference between tenure-track and instructional-track faculty is one of mission: while tenure-track faculty must show evidence of professional productivity through research, instructional track faculty are primarily focused on teaching, and to a lesser degree, service to the department and the college. The ranks of instructional-track faculty shall be evaluated according to the qualifications below.

No additional unique expectations in teaching and service beyond those outlined for all faculty in Theatre Arts.

Teaching

• Stay current with emerging industry best practices related to scholarship and/or theatre-training pedagogy and apply this to teaching. This may include participation in professional activities and/or professional development opportunities that help maintain currency and sustain innovative teaching.
• Contribute actively to curriculum development, course scaffolding, and use of appropriate feedback protocols in one’s area(s).
• Emend and expand role (as appropriate to the area(s)) in support of Department of Theatre Art’s pedagogical mission.  
• When appropriate, serve as a mentor for assistant professors of instruction and graduate teaching assistants. 

Service

• Vary and expand expectations of service to the department (and CLAS) as requested by department leadership, or as commensurate with their specific MOU.  

Teaching

• Stay current with emerging industry best practices related to scholarship and/or theatre-training pedagogy and apply this to teaching. Participation in professional activities and/or professional development opportunities that help maintain currency and sustain innovative teaching should be actively pursued.
• Lead efforts to ensure instructional track faculty contribute to curriculum development, course scaffolding, and use of appropriate feedback protocols in one’s area(s).
• Emend and expand role (as appropriate to the area(s)) in support of Department of Theatre Art’s pedagogical mission. This could include recruitment and retention efforts for majors and students pursuing Certificates of Study within the department; participation in study abroad opportunities; promoting internships, and/or career opportunities to students; and mentoring student academic work within the framework of independent study courses, projects in Theatre, and honors thesis projects.
• When appropriate, serve as a mentor for assistant and associate professors of instruction and graduate teaching assistants. 

Service

• Vary and expand expectations of service to the department, the college, and the university as requested by departmental or CLAS leadership, or as commensurate with their specific MOU.
• Contribute ongoing discourse on teaching practices, effectiveness, and innovation within the department, in the college, across the university, and to the broader professional community and industry.