Bryan Reynolds (born 1965), Claire Trevor Professor, Distinguished Professor, and Chancellor's Professor at the University of California-Irvine, is an American critical theorist, performance theorist, and Shakespeare scholar who developed the combined sociopolitical theory, performance aesthetics, and research methodology known as transversal poetics. He is also a playwright, director, performer, and cofounder of the Transversal Theater Company, an Amsterdam-based collective of American and European artists, which has produced a number of his works. Reynolds received his bachelor's degree in English Literature at the University of California, Berkeley, and his master's and doctoral degrees in English and American Literature and Language at Harvard University. He has been a Professor of Drama at the University of California, Irvine since 1998. He has held visiting professorships at the University of London-Drama, the University of Amsterdam-Theater Studies, Utrecht University-Theater Studies, University of Cologne-American Studies, Johann Wolfgang Goethe University Frankfurt am Main-American Studies, University College Utrecht-Arts and Humanities, the University of California, San Diego-Theatre, Literature, Cognitive Science, the American University of Beirut-English, University of Tsukuba-Humanities and Social Sciences, University of Nairobi-Department of Literature, Alpen-Adria-Universität Klagenfurt-Communications, University of Lorraine-Arts, Sciences, & Business Management, INSEEC Business School (L'Institut des hautes études économiques et commerciales)-Marketing, Paris, Bordeaux, Lyon, École supérieure des sciences commerciales d'Angers; and he has taught at Deleuze Camp at Schloss Wahn, University of Cologne, Germany, and the Grotowski Institute in Wrocław, Poland, among other academic and performing arts institutions. Reynolds is also a regular contributor to Freeskier Magazine, where he publishes articles from his ongoing research on extreme sports.

Born in New York City to Donna Reynolds, a VP of marketing at General Foods, and Donald Reynolds, a VC, Reynolds’ family moved from the Upper East Side to the Westchester County suburb of Scarsdale when he was a toddler. He attended Heathcote Elementary School, where he played soccer for the famed Heathcote Hornets through 8th grade, which was coached by New York Cosmos first general manager Clive Toye.^[1][2] He was also an avid skate boarder, BMXer, and skier, which informs his research on action sports. Not an enthusiastic student, Reynolds was encouraged to leave Scarsdale High School for the more disciplinary Archbishop Stepinac High School in White Plains. Reynolds returned to Scarsdale for his junior and senior years, where he joined a special program, called CORE, for students who had difficulties making it to class. Reynolds graduated in 1983 with a D average. His pursuit of a career racing motorcycle motocross brought him out to San Diego in 1985, where he attended Grossmont Community College. From there, he attended the University of California, Berkeley for his BA, and then Harvard University for his MA and PhD.^[3][4][5]

• "The Devil's House, 'or worse': Transversal Power and Antitheatrical Discourse in Early Modern England" (1997)

"The Devil's House, 'or worse'" is the first published text for Reynolds' transversal theory. In this article, transversal theory is delineated through an analysis of early modern English theater, both on the public stage and as in social performances in society at large. The article argues for the power of theater to simultaneously alter subjectivity and social identity as well as the political, economic, and social conditions under which they operate. Using spatial and temporal models for both abstract and material relations within and between individuals and groups, as well as in relation to things, transversal theory explains changes in human cognition, perspective, and experience, particularly those that move subjectivity away from habit, singularity, and stasis.

• Becoming Criminal: Transversal Performance and Cultural Dissidence in Early Modern England (2002)

Becoming Criminal shows how the dissident activities and idiosyncratic languages of gypsies, rogues, vagabonds, and cutpurses interacted with normative society and culture. Reynolds argues that the real and imaginary "criminal culture" on the streets and in popular minds has been overlooked or misunderstood by scholars. He traces the effect of criminal culture to its emergence in the 16th century, when this community related daily with dominant aspects of English ideology and culture and modeled its own cultural characteristics in response to the conventions of the time. According to Reynolds, their behavior and thought is most evident in the period's commercial literature, such as in pamphlet literature and the works of Shakespeare, Ben Jonson, Fletcher, and Brome, and in its material and symbolic relationships to the public theatre.

• Performing Transversally: Reimagining Shakespeare and the Critical Future (2003)

Reynolds' transversal poetics project, expanded from his early works, is used in Performing Transversally to discuss historical and contemporary examples. He discusses the applicability of the critical concept, ranging from the sociology of Erving Goffman to the feminism and psychoanalytics of Julia Kristeva to the dramatic and theatrical criticism of Antonin Artaud and Herbert Blau. Performing Transversally navigates the ever-increasing cultural cartography of Shakespace, a term invented by Reynolds and Donald Hedrick in Shakespeare Without Class: Misappropriations of Cultural Capital, to designate past, present, and future Shakespeare influenced spaces of text, performance, and culture. Throughout the book, Reynolds emphasizes the importance of accountability, whether in the classroom, in academic research, on the stage or screen, or in everyday lives.

• Transversal Enterprises in the Drama of Shakespeare and his Contemporaries: Fugitive Explorations (2006)

In Transversal Enterprises, with a number of collaborators, Reynolds analyzes plays by early modern English dramatists in the context of shifts in English history. He relates transversal poetics to other academic disciplines, including science and theology, to explore a transformation in views on space and place in relation to subjectivity and consciousness. Witches, werewolves, occultists, academicians, transvestites, baboons, moors, and gypsies, among other creatures, all reflect, for Reynolds, a metamorphic and intersubjective phenomenology for which art or artifice is requisite.

• Transversal Subjects: From Montaigne to Deleuze after Derrida (2009)

Transversal Subjects traces the genealogy of Transversal Poetics from discourses on human rights, compassion, and psychopathology in the work of Montaigne and Rousseau through Husserl, Arendt, Baudrillard, Agamben, Habermas, Rancière, and others. In so doing, Reynolds makes the case that subjectivity is an emergent, shifting, and mobile phenomenon that is transversal to the subject. This allows access to affecters and enablers of transversal processes that work to empower individuals and groups in their comprehension and experience of themselves, others, and the world.

• Intermedial Theater: Performance Philosophy, Transversal Poetics, and the Future of Affect (2017).

In this book, Reynolds and his collaborators explore relationships between intermedial theater, consciousness, memory, objects, subjectivity, and affect through productive engagement with the performance aesthetics, socio-cognitive theory, and critical methodology of transversal poetics alongside other leading philosophical approaches to performance. Intermedial Theater offers the first sustained analysis of the work of Gilles Deleuze, Félix Guattari, Jean Baudrillard, and Friedrich Nietzsche in relation to the contemporary European theater of Jan Lauwers and Needcompany, Romeo Castellucci and Socìetas Raffaello Sanzio, Thomas Ostermeier, Rodrigo García and La Carnicería Teatro, and the Transversal Theater Company. It connects contemporary uses of objects, simulacra, and technologies in both posthumanist discourse and postdramatic theater to the transhistorically and culturally mediating power of Shakespeare as a means by which to discuss the affective impact of intermedial theater on today's audiences.

• Excess & Joy: Philosophical Transversations (2022).

In Excess & Joy, Reynolds and Los Angeles Playwright, Director, and Artistic Director of Padua Playwrights Guy Zimmerman team up to explore questions paramount to the fields of performance studies, philosophy, and cultural studies, as well as to life in general. In attempting to answer crucial questions such as how do we know who we are, is there a you there, do we have free will, why do we like some things more than others, and where does value come from, Reynolds and Zimmerman explain theories fundamental to the philosophers Jacques Derrida, George Bataille, and Gilles Deleuze as they also explain the combined socio-cognitive theory, performance aesthetics, and research methodology of transversal poetics.

• The Transversality of Gregory de la Haba: The Future of Art and Myth are Upon Us (2022).

In The Transversality of Gregory de la Haba: The Future of Art and Myth are Upon Us, Reynolds situates the oeuvre of iconic New York multimedia artist Gregory de la Haba within and beyond the dynamic history of structural anthropology, myth theory, and post-structuralist philosophy. Reynolds demonstrates, à la the radical thought of Gilles Deleuze and Félix Guattari, how de la Haba performs Claude Levi-Strauss’ theory of the bricoleur – an ingenious craftsman who fabricates wonders from everyday materials – to the tune of Jacques Derrida’s philosophy of deconstruction – which highlights the arbitrary yet nevertheless emergent quality of wonder – to create a myth-making body of work that offers a profoundly ironic critique of the state of humanity even while it reminds us of the liberatory, generative, and metamorphic powers of artistic expression.

• 2023: Awarded title, "Distinguished Professor," by the University of California.^[6]
• 2020: Tor Vergata Award, Railroad (director/playwright), 28th Annual Festival Internazionale del Teatro Patologico, Rome, Italy.^[7]
• 2016: Awarded endowed chair, "Claire Trevor Professor," University of California, Irvine.^[8]
• 2014: Research Award, International Centre for Muslim and non-Muslim Understanding (MnM), University of South Australia.^[9]
• 2014: Invitation Fellowship Award, Japan Society for the Promotion of Science.^[10]
• 2014: Distinguished Visiting Scholar, American University of Beirut, Lebanon.
• 2012: Awarded title of "Chancellor's Professor" by the University of California.^[11]
• 2008: Silver Award: Experimental Web Site, 5th Annual Pcom Creative Awards (Creative Director, Bryan Reynolds; Designer/Illustrator/Animator/Programmer, Alex Sacui).
• 2006: Honored as a Distinguished Alumnus of Scarsdale High School, New York.^[12]
• 2005: Awarded title of "Chancellor's Fellow" by the University of California.^[13]
• 2004: Honored by the University of Alabama's Hudson Strode Program in Renaissance Studies, directed by Gary Taylor, as "one of the six most brilliant Renaissance scholars in the world under 40," "for work on 'transversal poetics.'"^[14]
• 2001-2002: Distinguished Early-Career Faculty Award for Teaching, University of California, Irvine.^[15]

• Shakespeare Without Class
  • Worthen, W.B. Review of Hedrick and Reynolds, Shakespeare Without Class. "Recent Studies in Tudor and Stuart Drama," Studies in English Literature. 42.2 (2002) 399–448.
  • Taylor, Mark. Review of Hedrick and Reynolds, Shakespeare Without Class. Renaissance Quarterly 56:3 (Autumn 2003): 936–39.
• Becoming Criminal
  • Beier, A.L. Review of Reynolds, Becoming Criminal. Modern Philology. (May 2005) 102:4: 550–7.
  • CHOICE: Current Reviews for Academic Libraries. Review of Reynolds, Becoming Criminal. August 2006 v43 i11-12 p1995(1).
  • Cohen, Stephen. Review of Reynolds, Becoming Criminal. The Sixteenth Century Journal. 35:2 (Summer 2004): 576–577.
  • Cunningham, Karen. Review of Reynolds, Becoming Criminal. Theatre Survey, 45:1 (May 2004): 149–151.
  • Engel, William E. (2003). "A review of "Becoming Criminal: Transversal Performance and Cultural Dissidence in Early Modern England." by Bryan Reynolds". Seventeenth-Century News. 61 (3–4). Texas A&M University: 286–9. hdl:1969.1/95533. ISSN 0037-3028.
  • Hodgdon, Barbara. Review of Reynolds, Becoming Criminal. Studies in English Literature. 43:2 (Spring 2003): 501–502.
  • Steve Mentz, Review of Reynolds, Becoming Criminal. CLIO: A Journal of Literature, History, and the Philosophy of History. 33:1 (Fall 2003 ): 73–77.
  • --- Review of Reynolds, Becoming Criminal. The Shakespeare Newsletter (Spring 2003): 9–10.
  • Mowry, Melissa. Review of Reynolds, Becoming Criminal. Journal of British Studies. January 2005 v44 i1 p178(9).
  • Nesvet, Rebecca. Review of Reynolds, Becoming Criminal. EMLS 2004.
  • Pollard, Tanya. Review of Reynolds, Becoming Criminal. Renaissance Quarterly. 57:2 (Summer 2004): 750–51.
  • Review of Reynolds, Becoming Criminal. Reference & Research Book News. February 2004 v19 i1 p237(1).
• Performing Transversally
  • Berek, Peter. Review of Reynolds, Performing Transversally. Renaissance Quarterly. 57:4 (2004), 1527–29.
  • Cartelli, Thomas. Review of Reynolds, Performing Transversally. Theatre Journal. May 2005 v57 i2 p329(3).
• Rematerializing Shakespeare
  • Boehrer, Bruce. Review of Reynolds and William West Ed., Rematerializing Shakespeare in Recent Studies in Tudor and Stuart Drama, SEL: Studies in English Literature 1500–190047.2 (2007) 491-550: 525–528.
• Transversal Enterprises
  • Cohen, Adam Max. Review of Reynolds, Transversal Enterprises. Early Theatre, Vol. 11: 1 (2008).
  • Engel, William E. Review of Reynolds, Transversal Enterprises. "A Rich Harvest: Recent Books on Shakespeare." Sewanee Review, Volume 117, Number 4, Fall 2009, pp. 655–665.
  • Cefalu, Paul. Review of Reynolds, Transversal Enterprises. Shakespeare Quarterly. 58.2 (2007) 257–260.
  • Hansen, Matthew C., Review of Reynolds, Transversal Enterprises. The Year's Work in English Studies. 87:1 (2008) 336–506.
  • Hawkes, David. Review of Reynolds, Transversal Enterprises. Theatre Survey. 50:1 (2009), 141–143.
• Transversal Subjects
  • Oliver Davis, Review of Reynolds, Transversal Subjects. French Studies, Volume 64, Issue 2: 228-229 .
• Other works
  • Guy Zimmerman, "Bryan Reynolds Gets Close In Transversal Theater Company's Fractalicious! TheatreForum Issue 42 (2013).
  • Sherman, Donovan. Review of Blue Shade. Theatre Journal. Vol. 60.1 (March 2008): 137-9.
  • Rothkopf, Joshua. Review of Woof, Daddy Time Out New York
  • Zayas, Jose (19 August 2007). "Woof, Daddy". Nytheatre.com. Retrieved 24 March 2017.
  • Portwood, Jerry. Review of Woof, Daddy Backstage
  • Lester, Rob. Review of Woof, Daddy Edge New York
  • Lo, Jeffrey. Review of Blue Shade New University
  • Nathaniel Eaton. Review of Woof, Daddy San Francisco Weekly
  • Fernie, Ewan. "Terrible Action: Recent Criticism and Questions of Agency." Shakespeare. Volume 2, Number 01 / June 2006.
  • Genosko, Gary. Felix Guattari: An Aberrant Introduction. 57–9. (Continuum Press, 2002).
  • Guibbory, Achsah. "Recent Studies in the English Renaissance." Studies in English Literature, Vol. 45, 2005.
  • Lanier, Douglas. "Shakespeare and Cultural Studies: An Overview," Shakespeare. 2:2 December 2006).
  • Munro, Lucy. The Year's Work in English Studies. 81:1 (Oxford University Press, 2006).
  • McManus, Clare. The Year's Work in English Studies. 81:1 (Oxford University Press, 2006).
  • Nesvet, Rebecca. "Vagabonds, Players and Shakespeare," Literature Compass. 1:1 (January 2003 - December 2004).
  • Kirol, Agata. Review of Lumping in Fargo Gazeta Wyborcza Trójmiasto
  • Rudziński, Łukasz. Review of Lumping in Fargo Polski Wortal Teatralny
  • Lehnhof, Kent. Review of Lumping in Fargo Borrowers and Lenders: The Journal of Shakespeare and Appropriation 3:2 (2008).
  • Klimczak, Natalia (5 August 2008). "Szekspir jest sexy". Dziennik Teatralny. Retrieved 24 March 2017.
  • Marianne Fritz. Review of Eve's Rapture SoCal "EVES RAPTURE ROCKS, FORSOOTH!".
  • Deborah Klugman. Review of Eve's Rapture LA Weekly "GO!".
  • Kyle Moore. Review of Eve's Rapture The Tolucan Times "Genesis: Reloaded".
  • Reyna. Review of Eve's Rapture Boys Buzz "Eve's Rapture Steals Reyna's Heart".
  • James A. Mackenzie, "The Transversal Power of Collaboration in the Production of Critical Theory," Humanity Journal (2010) .
• Interviews
  • In KPFK Pacifica, Free Speech TV
  • In Multicultural Shakespeare
  • In Check Uit Amsterdam
  • In Curtain Rising Magazine
  • In OC Weekly