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Dr. Gibbs has publications in the Black Theatre Review; the Journal of American Drama and Theatre; Cultural Studies – Critical Methodologies; and book chapters in Impacting Theatre Audiences: Methods for Studying Change (Routledge 2022) and Enveloping Worlds (The University of Michigan Press 2024). She has presented papers and performances at regional, national, and international conferences such as Performance Studies International (PSi), the Association for Theatre in Higher Education (ATHE), American Society for Theatre Research (ASTR), Story Crossroads Annual Summit, History on Black Writing Black Book Interactive Project, and Mid-American Theatre Conference.

 

Most notably, Dr. Gibbs is a Zora Neale Hurston theatre studies scholar. Outside of recognizing Hurston's brilliance in crafting plays that highlight the resiliency of Southern Black folks of the early twentieth century, Dr. Gibbs examines Black womanhood across her body of theatrical work and makes connections among her anthropological and ethnographic research using play analysis and performance as a framework.

 

As a solo performance artist, Dr. Gibbs uses her body as a site for inquiry into how Black female racialization manifest into performances of affect - teetering between the spaces of tragic/comical and repulsive/alluring. Recent solo performance works include They Don’t Really Care About Us: PO-lice, PoPos, Sandra, and Me: a performance movement rumination about fear and terror, and toxic white masculine policing, as told through a reimagining of the last day of Sandra Bland’s life. A Thing Held in Full View is a commentary on race, gender, and women's reproductive rights in Texas. Blunt Force Trauma: A Mother's Performance in Empathy, a solo autoethnographic performance that explores the relationship among motherhood, cruelty, and forgiveness. Dancing with my/Self: The Selfie Monologues, is an exploration of Selfie culture that self-reflexively challenges how we attempt to hone-fetishize-dominate perceptions of self.

 

Dr. Gibbs is the managing editor for the Black Theatre Review, an academic journal of the Black Theatre Network. She serves as vice board chair of Brownbody, a performing arts company located in St. Paul, Minnesota. She received a Ph.D. in Theatre from Bowling Green State University. She holds an M.F.A. in Drama from the University of California, Irvine, and a BA in Theatre Performance from Western Michigan University.  She is a proud member of Zeta Phi Beta Sorority, Inc. and The Honors Society of Phi Kappa Phi. .

 

Adrian Centeno (he/him) is a dramaturg and arts educator based in Los Angeles. He’s helped develop and support new works at South Coast Repertory, San Diego Repertory Theatre, Cleveland Play House, Yale Indigenous Performing Arts Program, Seven Devils Playwrights Conference, Ojai Playwrights Conference, New York Stage & Film, Teatro Bravo, Childsplay Theatre Company, foolsFURY Theater Company, and Playwrights’ Arena, among others.
 

A fierce advocate for new plays, Adrian has proudly served by invitation on new play development grant panels and festival selection committees for the National Endowment for the Arts, Page 73, Signature Theatre, The Public Theatre, The Playwrights’ Center, Athena Project, and the Latinx New Play Festival. He’s also a proud affiliate dramaturg with Beehive Dramaturgy Studio in New York City.