Teaching & Pedagogy

Modules Designed

Dramaturgy, Ancient and Modern (Undergraduate & Postgraduate)

This module examines ancient Greek and Roman plays from the perspective of dramaturgy, that is, by looking at how they function in performance, historically and currently. Each session examines one aspect of dramatic structure and performance, in the context of a specific play. 

• Student Feedback: Students valued the structured approach to dramaturgy, particularly how it connected ancient and modern performance traditions. The module was described as thought-provoking, inspiring, and practical. Strong feedback on the clarity of teaching and accessibility of course materials.

Greek Comedy (Undergraduate)

This module provides students with an introduction to the major ancient genre of comedy and enables them to understand Greek comedy both in its historical context and as a timeless example of the importance of comedy. General and thematic topics include: the origins of comedy and its ritual context; the dramatic festivals of Athens; the staging and performance of comedy (including evidence from archaeology and vase-painting); the development of the genre; the travesty of myth in comedy; the nature of humour; the role of abuse and obscenity; self-referentiality, parody, intertextuality and allusion; plot-construction and characterisation; audience-reception and dramatic illusion; the function of the chorus.

• Student Feedback: Strong appreciation for the module structure and clarity. Students enjoyed the balance between academic theory and performance practice. Many highlighted how the course changed their perception of Greek comedy, making it more relevant and engaging.

Greek Tragedy (Undergraduate)

The module studies a representative selection (in translation) of ancient Greek tragedies by Aeschylus, Sophocles and Euripides, aiming to provide an overview of important issues through close reading. We also read Aristotle’s Poetics and Aristophanes’ Frogs. General and thematic topics include: the origins of tragedy and its context; the dramatic festivals of Athens; the staging and performance of comedy (including evidence from archaeology and vase-painting); the development of the genre; plot-construction and characterisation; audience-reception and dramatic illusion; the function of the chorus. It also examines different translations of the play while asking students to compare where and how translations different and why.

• Student Feedback: Students praised the depth and comprehensiveness of the course material. The combination of historical analysis, textual study, and performance practice was frequently mentioned as a key strength. Many found the module challenging but rewarding, especially in applying theory to performance.

Modules Taught

Language Teaching (Undergraduate & Postgraduate)

At both Oxford and UCL, I have gained considerable experience in teaching ancient Greek language at different levels: I have taught Beginners and Intermediate Greek at UCL; Greek and Latin Language and Unprepared Translation at Oxford; I was also a part-time Language Instructor of Ancient Greek at Oxford’s Department for Continuing Education (2018-2020).

Tutorials and Revision Classes (Undergraduate)

At Oxford, I taught tutorials as well as reading classes for the following papers: Tragedy and Epic for Classics and English, Ancient and Classical French Tragedy, Homer and Virgil, Texts and Contexts, Early Greek Hexameter Poetry, Greek Core, Greek Tragedy, Aristophanes’ Political Comedy, and Medieval and Renaissance Latin Hexameter Poetry.

Innovative Teaching Programmes 

Fall School: Memory and Performance. Classical Reception in Early Modern Festivals

• An Erasmus+ programme involving students from UCL, the University of Parma, and European high schools.
• Combined academic study, performance workshops, and public engagement.
• Student Feedback (UCL & UNIPR):
  • “This project was life-changing. I never imagined theatre and translation could feel so personal and immediate.”
  • “I gained confidence not just in performance, but in my ability to collaborate across languages and cultures.”

Aristophanes at Chickenshed: Inclusive Theatre & Classical Drama

• A collaboration with Teatro delle Albe & Chickenshed Theatre, bringing together students, professional actors, and community performers.
• Emphasized accessibility, inclusive theatre practices, and cross-cultural adaptation.
• Student Feedback:
  • “This experience showed me that theatre is for everyone, and the classics belong to all of us.”
  • “Working with non-traditional theatre spaces completely changed my perspective on performance.”

Early Modern Aristophanes in Translation

• A bilingual performance-based workshop integrating early modern translations of Aristophanes with contemporary reinterpretations.
• Student Feedback:
  • “I learned more about the performability of texts in one week than in an entire term of study.”
  • “This was a masterclass in collaboration—both academically and theatrically.”

Student & Peer Recognition

My students consistently highlight:

• Engaging & Passionate Teaching Style – Bringing complex ideas to life through discussion, performance, and creative exercises.
• Innovative Course Design – Breaking down traditional barriers between text, translation, and performance.
• Encouragement of Student-Led Inquiry – Fostering independence, critical thinking, and confidence in students.
• Commitment to Inclusivity & Accessibility – Ensuring that all students, regardless of background, feel empowered to engage with classical texts.

Nominations & Awards

• 2020-2021 & 2023-2024 Nomination for UCL Provost Education Award (staff making outstanding contributions to the learning experience and success of students)
• 2023-2024 Nomination for Award at the Widening Participation and Student Success Community of Practice