My research focuses on contemporary storytelling practices, spoken-word performance, Greek tragedy and classical receptions, and performer training. I am currently working on a book 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.
Alongside my academic research I work as a professional storyteller, creating new performances for and with audiences across the UK, and beyond. In 2016 I founded The Juniper Tree, a groundbreaking student-led storytelling club in the heart of Liverpool.
To date, I have supervised several PhD projects focusing on actor-training, and contemporary performances/adaptations of ancient drama. I am interested in discussing potential projects on contemporary storytelling practices, classical receptions, and the traditional arts in contemporary performance.
• Classical Drama
• Classical Receptions
• Cultural Histories
• Subject Lead for Drama, Dance, and Performance
• Senior Lecturer in Drama
• Collaborative Lead: Liverpool Everyman and Playhouse
• University Research Committee
• University Senate
• Dunbar, Z. and Harrop, S. (2018), Greek Tragedy and the Contemporary Actor. Basingstoke: Palgrave Macmillan.
• Harrop, S. (2018) ‘Greek Tragedy, Agonistic Space, and Contemporary Performance’. New Theatre Quarterly 34.2 (99-114).
• 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. (2018) ‘Athens: A Work-in-Progress‘, Kritika Kultura 30/31 (129-137).
• 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. (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).
• Hall, E. and Harrop, S. (eds) (2010), Theorising Performance: Greek Drama, Cultural History and Critical Practice. London: Duckworth.
• Alcestis: In Bits. Improvised spoken-word performance responding to Phrynichus’ fragmentary tragedy Alcestis (first performed at University of Notre Dame’s London Global Gateway, 2019)
• Henry V: The King’s Knickers. A contemporary storytelling show exploring English cultural and political identities today (commissioned by and first performed at the Angel Field Festival, Liverpool 2019)
• Janet’s Baby: A New Tamlane. Full-length storytelling performance created in response to shifting boundaries between Scotland, England, and Europe (commissioned by and premiered at the University of Valencia, 2015)
The Higher Education Academy (Senior Fellow)
The George Ewart Evans Centre for Storytelling (External Associate)
TaPRA, Theatre and Performance Research Association (Postgraduate Essay Prize Mentor)
Classical Reception Studies Network
The Women’s Classical Committee (UK)