My research focuses on contemporary storytelling, Greek tragedy and classical receptions, and performer training. 

My newest book explores collaborative platforms for story-led performance, and female storytelling artists as innovators in interdisciplinary creativity. Contemporary Storytelling Performance: Female Artists on Practices, Platforms, Presences was published by Routledge in 2023.

I also hold a grant from the British Academy / Leverhulme Trust to develop my work with storytelling artists. The project 'Researching Non-Appropriatve Repertoires with England's Storytelling Artists' (2023-25) aims to generate strategies to promote ethical, inclusive, and sustainable performance repertoires through innovative research/industry collaboration. 

I have supervised several PhD projects to completion, including theses focusing on new approches to actor-training, and the contemporary re-performance of ancient dramas. I am available to discuss potential PhD projects on contemporary storytelling, classical receptions, and related training practices.

Teaching Specialisms:

  • Acting
  • Actor-Training
  • Adaptations of Classical Drama
  • Cultural Histories
  • Directing
  • Ensemble
  • Storytelling

University Roles:
  • Associate Professor of Drama
  • University Research Committee
  • University Research and Innovation Steering Group
  • Senior Academic Advisor (School of Creative and Performing Arts)
  • Research Mentor (School of Creative and Performing Arts)
  • Open Research Forum Lead (School of Creative and Performing Arts)
  • Year Lead, Third-Year Theatre

  • Harrop, S. (2023), Contemporary Storytelling Performance: Female Artists on Practices, Platforms, Presences. Routledge.
  • Dunbar, Z. and Harrop, S. (2018), Greek Tragedy and the Contemporary Actor. Palgrave Macmillan.
  • Hall, E. and Harrop, S. (eds) (2010), Theorising Performance: Greek Drama, Cultural History, and Critical Practice. Duckworth.

  • Harrop, S. (2021), '"No Air Left in Your Lungs": Breathing with Kae Tempest's The Book of Traps and Lessons'. Contemporary Theatre Review 31.1-2.
  • Harrop, S. (2018) 'Greek Tragedy, Agonistic Space, and Contemporary Performance'. New Theatre Quarterly 34.2.
  • Harrop, S. (2015). ‘Grounded, Heracles, and the Gorgon’s Gaze’, Arion: A Journal of Humanities and the Classics 23.1.
  • Harrop, S. (2013). Speech, Silence, and Epic Performance: Alice Oswald's Memorial'. New Voices in Classical Reception Studies 8.

  • Harrop, S. (2021), 'Herakles on Chesil Bank: The Archers, Disavowable Classics, and The Small Back Room', in Blanshard, A. & Stafford, E. (eds) The Modern Hercules: Images of the Hero from the Nineteenth to the Twenty-First Century. Brill.
  • 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.
  • 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. Routledge.

Boards/Networks: The Higher Education Academy (Senior Fellow);  The Archive of Performances of Greek and Roman Drama, University of Oxford (Research Associate);  TaPRA, Theatre and Performance Research Association (Prizes Sub-Committee; Postgraduate Essay Prize Coach); The Women's Classical Committee UK (Steering Group); Equity.