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Daniel Sack

Associate Professor

photo of Daniel Sack

E350 South College

Daniel Sack holds a joint appointment in the Commonwealth Honors College and the English Department at UMass. He received his B.A. in English with a concentration in Creative Writing (Poetry) from Brandeis University and M.A./Ph.D. from Stanford University’s Drama Department. Prior to his tenure at UMass, he was Assistant Professor of Theatre Studies at Florida State University and a Five College Mellon Postdoctoral Fellow. Professor Sack's research traverses modern/contemporary theatre and interdisciplinary performance more broadly conceived (dance, performance art, and the visual arts), performance theory and dramatic theory, and critical writing as a creative practice. He is currently working on a project about crying in performance.

His first book, After Live: Possibility, Potentiality, and the Future of Performance (University of Michigan Press, 2015), explores how live performance stages different structures for representing the future's many divergent courses. A second short book, Samuel Beckett's Krapp's Last Tape, was published by Routledge in 2016. He is also the editor of Imagined Theatres: Writing for a Theoretical Stage, which gathers together a host of conceptual performances, fantastical plays, and theoretical closet dramas written by close to 100 scholars and artists of the contemporary stage. These fragments—each no longer than a page—describe imaginary performances that put theory itself onstage to show what might be possible and impossible in the theatre. An online journal ( extends this work internationally. Sack is also the author of more than 30 essays, chapters, and reviews on contemporary performance.

For more info, visit his personal website here.

Research Areas

  • Modern and Contemporary Theatre
  • Performance Art
  • Performance Studies
  • Theatre Studies and Dramatic Theory
  • Creative / Critical Writing



Selected Articles and Book Chapters

  • "Strip-showing and the Suspension of a Naked End" in Showing Off, Showing Up: Studies of Hype, Heightened Performance, and Cultural Power, edited by Laurie Frederik, Kimberly Marra, and Catherine Schuler (Ann Arbor: University of Michigan Press, 2017).
  • "A Constellation of Imagined Theatres: Technology and Performance" in Theatre Journal 68, no. 3 (September 2016).
  • "Some Imagined Theatres: Readings from a Fictional-Theoretical Universe" in Theater, Vol. 45: 3 (Winter 2015).
  • "Una stanza dalla potenzialità sconfinata, o della futurità [A Room of Endless Potentiality, or on Futurity]" in Toccare il reale. L'arte di Romeo Castellucci, edited and translated by Piersandra di Matteo (Napoli, Italy: Cronopio, 2015). Italian translation.
  • "Not Looking into the Abyss: the Potentiality to See" in On Not Looking: The Paradox of Contemporary Visual Culture, edited by Frances Guerin (New York/London: Routledge, 2015).
  • "On Losing One's Voice: Two Performances from Romeo Castellucci's e la volpe disse al corvo" in Theatre Forum (Winter 2014).
  • "Walking In and Out of Place: the Pedestrian Performances of Tim Robinson" in Ireland, Performance, and the Historical Imagination, edited by Mary P. Caulfield and Christopher Collins (New York: Palgrave Macmillan, 2014).
  • "White Cube, Black Room, Sweet Scent: Gregor Schneider in Edinburgh" inPAJ: A Journal of Performance and Art, Vol. 36: 3 (September 2014).
  • "Guilio Cesare: pezzi staccati / Julius Caesar: spared parts," in Quaderno 5: Canto del Cigno (Swan Song), edited by Romeo Castellucci and Piersandra Di Matteo (Mantua, Italy: Corraini Edizioni, 2014). English and Italian translation.
  • "The Brilliance of the Servant without Qualities: Bare Life and the Horde Offstage" in Studies in Theatre and Performance, special issue on Howard Barker, edited by Sarah Goldingay and Mick Mangan, Vol. 32: 3 (November 2012).
  • "The Rabbit and Its Double" in Theater, special section on Romeo Castellucci, Vol. 37: 3 (October 2007).

Selected Shorter Writings and Reviews

  • Review Essay. "The Reciprocating Saw: on Shannon Jackson and Marianne Weems’s The Builders Association: Performance and Media in Contemporary Theatre. " Theater, Vol. 47:2 (Spring 2017).
  • Review essay. "Not Not I: Undoing Representation with Dead Centre's LIPPY" in European Stages, Vol. 4 (2015). Online.
  • Book review. 'We're People Who Do Shows': Back to Back Theatre—Performance, Politics, Visibility, edited by Helena Grehan and Peter Eckersall (PR Books, 2014) in Contemporary Theatre Review, Vol. 25: 1 (February 2015).
  • Review Essay. "Production and Destruction: The TEAM's Mission Drift charts the everyday apocalypses of American progress" in American Theatre, Vol. 29: 1 (January 2012).
  • Review Essay. The Theatre of Socìetas Raffaello Sanzio (Routledge, 2007) by Claudia Castellucci, Romeo Castellucci, Chiara Guidi, Joe Kelleher, and Nicholas Ridout; and the Tragedia Endogonidia Film Cycle (Raro Cinema, 2007) by Socìetas Raffello Sanzio in TDR: The Drama Review, Vol. 53: 1 (Spring 2009).
  • Performance Review. "62nd Festival d'Avignon (2008)" in Theatre Journal, Vol. 61: 1 (March 2009).