(p. xi) Contributors
(p. xi) Contributors
Anurima Banerji is an Associate Professor in the Department of World Arts and Cultures/Dance at University of California, Los Angeles. She holds a PhD in Performance Studies from New York University. Her articles and book chapters have been published in About Performance, EPW, e-misferica, Women and Performance, and Planes of Composition: Dance, Theory, and the Global, edited by André Lepecki and Jenn Joy (Seagull, 2009).With Violaine Roussel, she served as co-editor of How to Do Politics with Art (Routledge, 2016). She has trained in Odissi, a South Asian classical dance; her monograph on the form is forthcoming from Seagull Books.
Fabián Barba was born in Quito in 1982, where he studied dance and theater and worked as a professional performer. Parallel to his artistic formation, Fabián took classes in communications and literature. In 2004 he went to Brussels to join PARTS, after which he became a founding member of Busy Rocks. He has created two solo performances: A Mary Wigman Dance Evening and a personal yet collective history. In collaboration with Mark Franko, he worked on Le marbre tremble (2014) and with Esteban Donoso on slugs’ garden. He also works as a dancer for Zoo/Thomas Hauert. Due to his ongoing research on the legacy of colonialism and dance history, he has been invited to give seminars and workshops in several European countries, the United States, Brazil, and Chile. His articles have been published in Dance Research Journal and NDD l’actualité en danse.
Maaike Bleeker is a Professor of Theatre Studies in the Department of Media and Culture Studies at Utrecht University. She graduated in Art History, Theater Studies, and Philosophy at the University of Amsterdam and obtained her PhD from the Amsterdam School for Cultural Analysis (ASCA). She taught at the School for New Dance development (SNDO) in Amsterdam and worked as dramaturge with various theater directors, choreographers, and visual artists. She was the organizer of the 2011 PSi world conference titled Camillo 2.0: Technology, Memory, Experience (Utrecht, May 25–29, 2011) and President of Psi (2011–2016). She has published extensively in international journals and edited volumes and has edited several books, including Anatomy Live: Performance and the Operating Theatre (AUP, 2008), Performance and Phenomenology: Traditions and Transformations (Routledge, 2015) and Transmission in Motion: The Technologizing of Dance (Routledge, 2016). Her monograph Visuality in the Theatre: The Locus of Looking was published by Palgrave in 2008.
(p. xii) Ramsay Burt is Professor of Dance History at De Montfort University, United Kingdom. His publications include The Male Dancer (1995, revised 2007), Alien Bodies (1997), Judson Dance Theater (2006), with Valerie Briginshaw, Writing Dancing Together (2009), Ungoverning Dance (2016) and British dance: Black routes (2016) with Christy Adair. With Susan Foster, he was founder editor of Discourses in Dance. In 1999 he was Visiting Professor at the Department of Performance Studies, New York University. In 2010 he was Professeur Invité at l’Université de Nice Sophia-Antipolis, and he is a visiting teacher at PARTS in Brussels.
Seeta Chaganti is an Associate Professor of English at the University of California, Davis, who specializes in late medieval literature and culture. She published her first book, The Medieval Poetics of the Reliquary: Enshrinement, Inscription, Performance, in 2008. She also edited the essay collection Medieval Poetics and Social Practice, which was published in 2012. Her articles have appeared in PMLA, Dance Research Journal, New Medieval Literatures, Romance Studies, postmedieval, Exemplaria, Australian Literary Studies, and other journals and collections. Her second monograph, Strange Footing: Poetic Form and Dance in the Late Middle Ages, will be published by the University of Chicago Press in 2018.
Timmy De Laet is a postdoctoral researcher at the University of Antwerp and the Research Centre for Visual Poetics. He had an actor’s training at the Royal Conservatoire of Antwerp, graduated in theater studies at the University of Antwerp, and studied dance theory at the Freie Universität Berlin. He obtained his PhD in 2016, for his dissertation on reenactment in European contemporary dance. Timmy has been a Fellow of the Research Foundation Flanders (FWO) and winner of the Routledge Prize. He worked as a Visiting Professor at Ghent University (S:PAM—Studies in Performing Arts & Media) and as a lecturer at the Royal Conservatoire Antwerp. Supported by a Fulbright Postdoctoral Award and a Fellowship of the Belgian American Educational Foundation (B.A.E.F.), Timmy is joining the Institute of Dance Scholarship at Temple University (Philadelphia) as a Visiting Scholar (2017–2018). His research interests are the reiterative nature of live performance in relation to archivization, documentation, and artistic reenactment. He has published on these topics in journals such as Performance Research, Tanz, and Muséologies, as well as in the edited collections Bewegung Lesen/Bewegung Schreiben (2012), Performing Memory in Art and Popular Culture (2013), Moments: A History of Performance in 10 Acts (2013), Performing Memory in Art and Popular Culture (2013), and Moments: A History of Performance in 10 Acts (2013).
Kate Elswit is Reader in Theatre and Performance at the Royal Central School of Speech and Drama and author of Watching Weimar Dance (Oxford University Press, 2014) and Theatre & Dance (Palgrave Macmillan, 2017). She is winner of the Gertrude Lippincott Award from the Society of Dance History Scholars, the Biennial Sally Banes Publication Prize from the American Society for Theatre Research, and honorable mention for the Joe A. Callaway Prize, and her research has been supported by many sources, including a Marshall Scholarship, a postdoctoral fellowship in the Andrew W. Mellon Fellowship of Scholars in the Humanities at Stanford University, and the 2013 Lilian Karina Research (p. xiii) Grant in Dance and Politics. Her essays appear in TDR: The Drama Review, Theatre Journal, Modern Drama, Art Journal, Performance Research, Dance Research Journal, and New German Dance Studies, and The Oxford Handbook of Dance and Politics. Recent performance collaborations include Future Memory and Breath Catalogue.
Susanne Foellmer is Reader in Dance at Coventry University, Centre for Dance Research (C-DaRE). Her research focuses on contemporary dance and performance, as well as the Weimar era with respect to theories of aesthetics and corporeality. Further research fields are dance in connection to media and visual arts, and historicity of performance. Since 2014 she has been directing the research project “On Remnants and Vestiges: Strategies of Remaining in the Performing Arts” (DFG/German Research Association). Publications include Valeska Gert: Fragmente einer Avantgardistin in Tanz und Schauspiel der 1920er Jahre (Transcript, 2006), Am Rand der Körper. Inventuren des Unabgeschlossenen im zeitgenössischen Tanz (On the Bodies’ Edge. Inventories of the Unfinished in Contemporary Dance; Transcript, 2009), and “Re-Cyclings: Shifting Time, Changing Genre in the Moving Museum,” in Dance Research Journal, Special Issue Dance and the Museum 46(3), December 2014.
Susanne Franco is an Assistant Professor at Ca’ Foscari University of Venice. Her publications include Martha Graham (Palermo: L’Epos, 2003), and several essays on modern and contemporary dance. She edited Audruckstanz: il corpo, la danza e la critica, a special issue of the Italian journal Biblioteca Teatrale (Bulzoni, 2006); and, with Marina Nordera, she co-edited Dance Discourses. Keywords in Dance Research (Routledge, 2007) and Ricordanze. Memoria in movimento e coreografie della storia (Utet Università, 2010). She is the editor of the book series “Dance for Word/Dance Forward. Interviste sulla coreografia contemporanea” in which her volume Frédéric Flamand (L’Epos, 2004) appeared. She is a member of the editorial board of the Italian journal Danza e ricerca (University of Bologna), of Recherches en danse (the journal of the French association of dance scholars, aCD), and of the Centre Transdisciplinaire d’Epistémologie de la Littérature et des Arts vivants: Littérature, Musique, Théâtre, Danse (CTEL) at the University of the Côte d’Azur (Nice). As a dance curator she has worked for the Fondazione Querini Stampalia (Venice), the François Pinault Foundation—Palazzo Grassi (Venice), and with Roberto Casarotto for the Hangar Bicocca (Milan).
Mark Franko is Laura H. Carnell Professor of Dance and Chair of Dance, Boyer College of Music and Dance, Temple University. He is founding editor of the Oxford Studies in Dance Theory book series and was the editor of Dance Research Journal (Cambridge University Press) from 2008 to 2017. In 2011 Franko received the Congress on Research in Dance award for Outstanding Scholarly Research in Dance. His monograph Martha Graham in Love and War: The Life in the Work (Oxford University Press) is now in paperback. His other books include Dance as Text: Ideologies of the Baroque Body; Dancing Modernism/Performing Politics; and The Work of Dance: Labor, Movement, and Identity in the 1930s. He edited Ritual and Event: Interdisciplinary Perspectives, and co-edited Acting on the Past: Historical Performance across the Disciplines. His (p. xiv) choreography has been produced at Lincoln Center Out-of-Doors Festival, Berlin Werkstatt Festival, Getty Center, Montpellier Opera, Toulon Art Museum, Haggerty Art Museum (Milwaukee), Akademie der Künste (Berlin), Mozarteum (Salzburg), STUK festival (Leuven), and in New York City and San Francisco dance venues. He is currently working with Alessandra Nicifero on Choreographing Discourses: a Mark Franko Reader (forthcoming at Routledge) and Serge Lifar, Politics, and Neoclassicism in French Dance at Oxford University Press.
Jens Richard Giersdorf is Professor of Dance Studies at Marymount Manhattan College. Giersdorf’s research focuses on choreographies of nationhood and locality in a global context, as well as epistemological investigations in dance studies. He has published in a number of journals, including Dance Research Journal, Theatre Journal, GLQ—Gay & Lesbian Quarterly, Forum Modernes Theater, Jahrbuch für Tanzforschung, and Maska. His work has been translated and anthologized in the United Kingdom, Switzerland, Italy, Serbia, and Germany. His monograph The Body of the People (University of Wisconsin Press) is the first study of dance in East Germany. The German translation is published by Transcript Verlag as Volkseigene Körper. In co-authorship with Gay Morris, Giersdorf edited Choreographies of Twenty-first Century Wars. Giersdorf is a member of the editorial boards of the Society of Dance History Scholars and Dance Research Journal.
Yvonne Hardt is a Professor of Dance Studies and Choreography at the University of Music and Dance Cologne, Germany. She was also Assistant Professor at the Department of Theater, Dance and Performance Studies at the University of California, Berkeley. Her main research areas are dance history and the critical investigation of its methodology and use in performative practices, gender and media in dance, and more recently, the praxeological investigations of dance training and educational systems. She also works as a choreographer investigating the possibilities of linking her scholarly research with her choreographic endeavors. Selected book publications: Choreographie-Medien-Gender (2013, ed. with M. Angerer/A. Weber); Choreographie und Institution: Zeitgenössischer Tanz zwischen Ästhetik, Produktion und Vermittlung (2011, ed. with M. Stern); Tanz—Metropole—Provinz. Jahrbuch der Gesellschaft für Tanzforschung, Bd. 17, (2007, ed. with K. Maar); Politische Körper. Ausdruckstanz, Choreographien des Protests und die Arbeiterkulturbewegung in der Weimarer Republik (2004).
Sabine Huschka, a dance and theater scholar, has served as head of the DFG research project “Transgressionen. Energetisierung von Körper und Szene” (Transgresssions. Energizing Body/Scenery) at the Inter-University Centre for Dance/University of the Arts, Berlin, since 2015. She was recently a visiting professor at the Institute for Movement-Science/Performance Studies of the University of Hamburg (2016–2017). In 1998, she attained her doctorate in the field of cultural sciences at the Humboldt Universität at Berlin and did her Habilitation Treatise at the University of Leipzig in 2011 with a study on “Wissenskultur Tanz: Der choreografierte Körper im Theater” (Knowledge Culture Dance: The Choreographed Body in Theatre), accompanied by (p. xv) studies on reconstruction and reenactment in dance and theater. She has held diverse national and international visiting professorships for theater and dance studies (University of Hamburg, Free University of Berlin, University of Bern), also at the UdK (University of the Arts) in Berlin, where she is now an Associate Researcher of the postgraduate program “Das Wissen der Künste” (Knowledge of the Arts). Recent book publications include Wissenskultur Tanz. Historische und zeitgenössische Vermittlungsakte zwischen Praktiken und Diskursen (2009) and Moderner Tanz. Konzepte—Stile—Utopien (2002/2012).
Branislav Jakovljević is an Associate Professor and Chair of the Department of Theater and Performance Studies at Stanford University. He specializes in avant-garde and experimental theater, performance theory, theater history, and performance and politics. His articles have been published widely in the United States and Europe. He was the recipient of Association for Theatre in Higher Education (ATHE) 2009 Outstanding Article Award for the essay “From Mastermind to Body Artist: Political Performances of Slobodan Milosevic” (published in TDR 52:1, 2008). His first book Daniil Kharms: Writing and the Event was published by Northwestern University Press in 2009, and his second book Alienation Effects: Performance and Self-Management in Yugoslavia, 1945–1991 was published in 2016 by University of Michigan Press.
Susan Jones is Professor of English Literature at the University of Oxford and Fellow of St. Hilda’s College. She has published widely on Joseph Conrad, nineteenth- and twentieth-century women’s writing, the periodical press, and modernism. Formerly a soloist with the Scottish Ballet, Glasgow, she also writes on the history and aesthetics of dance. She is the founder and director of Dance Scholarship Oxford and author of Literature, Modernism, and Dance (Oxford University Press, 2013).
Ketu H. Katrak born in Bombay, India, is a Professor in the Department of Drama at the University of California, Irvine (UCI) and affiliated with the Departments of English and Comparative Literature. Katrak is the author of Contemporary Indian Dance: New Creative Choreography in India and the Diaspora (Palgrave Macmillan, 2011, paperback, 2014), Politics of the Female Body: Postcolonial Women Writers (Rutgers University Press, 2006), and Wole Soyinka and Modern Tragedy: A Study of Dramatic Theory and Practice (Greenwood Press, 1986). Katrak has a forthcoming book (in progress) entitled Jay Pather: Performance and Spatial Politics in South Africa. Katrak’s published essays in drama, dance, and performance, postcolonial theory, and African and postcolonial women writers appear in journals such as Amerasia, Modern Fiction Studies, and South Asian Popular Culture, among others. Katrak is the recipient of a Fulbright Research Award to India (2005–2006), University of California, Humanities Research Institute’s Fellowship (2002), The Bunting Institute Fellowship (1988–1989; Harvard University, Radcliffe College), and the University of Massachusetts Chancellor’s Award for Multiculturalism (1993). Katrak was on the Fulbright Senior Specialist roster (2010–2015).
(p. xvi) Anthea Kraut is Professor in the Department of Dance at the University of California, Riverside, where she teaches courses in critical dance studies. Her first book, Choreographing the Folk: The Dance Stagings of Zora Neale Hurston, was published by the University of Minnesota Press in 2008, and she received a Special Citation from the Society of Dance History Scholars’ de la Torre Bueno Prize® for distinguished book of dance scholarship. Her second book, Choreographing Copyright: Race, Gender, and Intellectual Property Rights in American Dance, was published by Oxford University Press in 2015 and won the Congress on Research in Dance’s Oskar B. Brockette Book Prize for Dance Research, The Association for Theatre in Higher Educations’s Outstanding Book Award, and the Biennial Sally Banes Publication Award from the American Society for Theatre Research. Her articles have been published in the edited volumes The Routledge Dance Studies Reader and Worlding Dance and in Theatre Journal, Dance Research Journal, Women & Performance: a journal of feminist theory, The Scholar & Feminist Online, and Theatre Studies.
Randy Martin was Professor of Art and Public Policy and founder of the graduate program in Arts Politics at New York University. He is the author of Performance as Political Act: The Embodied Self; Socialist Ensembles: Theater and State in Cuba and Nicaragua; Critical Moves: Dance Studies in Theory and Politics; On Your Marx: Relinking Socialism and the Left; Financialization of Daily Life; and Empire of Indifference: American War and the Financial Logic of Risk Management. He has edited collections on US communism, sport and academic labor, and, most recently, Artistic Citizenship: A Public Voice for the Arts (with Mary Schmidt Campbell) and The Returns of Alwin Nikolais: Bodies, Boundaries, and the Dance Canon (with Claudia Gitelman). Dr. Martin holds degrees in sociology from the University of California, Berkeley, the University of Wisconsin, Madison, and the City University of New York. He has studied, taught, and performed in dance, theater, and clowning in the United States and abroad. Previously, he served as Professor and Chair of Social Science at Pratt Institute, Associate Dean of Faculty at Tisch School of the Arts, Chair of the Department of Art and Public Policy, and as an editor of the journal Social Text.
Richard Move is Artistic Director of the performance collective MoveOpolis! He is an Assistant Professor of Dance at Queens College, City University of New York, and a TED Global Oxford Fellow. Move’s commissions include works for Mikhail Baryshnikov’s White Oak Dance Project, Martha Graham Dance Company, PARADIGM, Opera Ballet of Florence, New York City Ballet’s Helene Alexopoulos, Guggenheim Museum, Parrish Art Museum, European Cultural Capitol, Deborah Harry, Dame Shirley Bassey and Isaac Mizrahi. Move’s award winning films include Bardo, BloodWork—The Ana Mendieta Story, GhostLight and GIMP. Martha @ . . . , Move’s performances as Martha Graham, received two New York Dance and Performance Awards, tours globally, and was named “Best of 2011” by ARTFORUM International, Time Out, and other publications. Recent performances include the Museum of Modern Art in New York, Singapore’s Asian Civilizations Museum, and Italy’s Ravello Festival. Move received his (p. xvii) MFA from the City College of New York and is a PhD Candidate (ABD) in Performance Studies at New York University.
Martin Nachbar is a choreographer, dancer, researcher, and teacher in Berlin. Among his pieces are Urheben Aufheben, which includes a reconstruction of Dore Hoyer’s Affectos Humanos; Repeater, in which Nachbar invited his non-dancer father to dance with him; “The Walk,” which takes the audience for a performative walk around the block; and “Animal Dances,” which explores human-animal relations through movement. Martin tours internationally with his works, and he teaches regularly at places such as SNDO, HZT Berlin, TRINITY LABAN, FU Berlin, University Hamburg, SEAD, and PARTS Martin has published essays and reports on his research in numerous magazines and publications in Germany, Belgium, the United Kingdom, and the United States.
Rani Nair works as a choreographer and dancer with a special interest in postcolonial ideas and the body in social contexts. She has developed her own work in Morocco, Mexico, Vietnam, Iceland, and South Africa, among other places, many of them as part of the artistic trio WE Insist. She has performed at festivals including Spielart in Munich, ImPulsTanz in Vienna, the Ignite! Festival of Contemporary Dance in Delhi, Singapore International Festival of Arts, Avignon Festival, and the Gothenburg Dance and Theatre Festival. As a dancer she toured with Shobana Jeyasingh, Jayachandran Palazhy, Roger Sinha, and Julie Nioche. Nair is a dance advisor at Riksteatern, a national touring network in Sweden. She has been a collaborator with the network Sweet and Tender Collaborations, and on the editorial team of Ful, a queer feminist art collective that produces art magazines. The collective made the anti-nationalistic cabaret Europa Europa about the inhuman migration politics of Europa in collaboration with the electronic duo The Knife.
Carrie Noland is Professor of French and Comparative Literature at the University of California, Irvine. She has published three monographs: Poetry at Stake: Lyric Aesthetics and the Challenge of Technology (Princeton University Press, 1999); Agency and Embodiment (Harvard University Press, 2009); and Voices of Negritude in Modernist Print (Columbia University Press, 2015). Her work focuses on gestural and inscriptive artworks that integrate media technologies. Supported by fellowships from the Guggenheim Foundation and the Clark Art Institute, she is currently completing a book on Merce Cunningham.
Anna Pakes is Reader in Dance Studies at the University of Roehampton, London. Her research is focused on the philosophy of dance, with a particular interest in analytic aesthetics. She has published on a range of philosophical themes as they relate to dance, including the mind-body problem, Husserlian phenomenology, and the epistemology of practice as research. Her monograph on the ontology of dance works is forthcoming from Oxford University Press.
(p. xviii) Frédéric Pouillaude, after training in ballet and contemporary dance, studied philosophy at the École normale supérieure de Paris. He has been an associate professor in the philosophy of art at Paris-Sorbonne University since 2007. He has published Unworking Choreography: The Notion of the Work in Dance  (Oxford University Press, 2017, translated by Anna Pakes). He has been a junior membre of the Institut Universitaire de France since 2013.
VK Preston is an Assistant Professor at the University of Toronto’s Centre for Drama, Theatre and Performance Studies. Her work engages dance, gender, economic, ecological and performance histories of colonization in the Americas, focusing on movement as a site of political and historiographical labor. She completed the research for her contribution to this volume during an arts residency at La Cité internationale des arts. She thanks the curators and directors of the Département des Arts graphiques at the Louvre Museum for their expertise and support, as well as the Early Modern Conversions Project, the Institute for the Public Life of Arts and Ideas, and the Social Sciences and Humanities Research Council (SSHRC). A version of this essay, workshopped at Interdisicplinary Performance Studies at Yale, appears in her current book project. VK earned her PhD at Stanford University’s Theatre and Performance Studies program and holds a PhD minor in History.
Anita Ratnam, based in Chennai, India, is highly respected as a performer, writer, speaker, and arts entrepreneur and culture mentor. Her four-decade career, with over a thousand performances in twenty-seven countries, intersects the varied disciplines of dance, theater, storytelling, feminist themes, arts production, music, and costume design. Dr. Ratnam’s Neo Bharatam repertoire distills the classical dance traditions of her Bharatanatyam training, with a focus on ritual traditions reinterpreted for the modern concert stage. Using voice, singing, Vedic hymns, drumming, contemporary mythology, and devised movements, her various choreographies include Seven Graces, Ma3ka, A Million Sitas, and Neelam. In 2000, Ratnam created narthaki.com, the largest web portal on Indian dance featuring articles, reviews, directories of events and information on Indian dancers in India and beyond. In January 2017, Dr. Ratnam was awarded the International Arts Award by UK-based Milapfest for her role in initiating and nurturing this significant dance portal over the past seventeen years. As a respected dance advocate interested in cultural policy, Ratnam served on the executive board of several Indian national arts organizations such as the Ministry of Culture (Grants Committee), ICCR (Indian Council for Cultural Relations), and Sangeet Natak Akademi. Anita Ratnam is a voting member of the Dance Critics Association, United States, and a Fellow of the World Academy of Arts and Sciences, United Kingdom.
Lucia Ruprecht is a Fellow of Emmanuel College and an affiliated Lecturer in the Department of German and Dutch, University of Cambridge, United Kingdom. She is researching and teaching across literature, dance, and film studies. Her Dances of the Self in Heinrich von Kleist, E.T.A. Hoffmann and Heinrich Heine (2006) was awarded Special Citation of the de la Torre Bueno Prize. She is editor of a Special Issue of Performance (p. xix) Philosophy, entitled Towards an Ethics of Gesture (2017), and co-editor of Performance and Performativity in German Cultural Studies (with Carolin Duttlinger and Andrew Webber, 2003), Cultural Pleasure (with Michael Minden, 2009) and New German Dance Studies (with Susan Manning, 2012). From 2013 to 2015, she was an Alexander von Humboldt Fellow at the Institute of Theater Studies, Free University Berlin. In 2016, she was the inaugural Visiting Research Scholar at Boyer College of Music and Dance, Temple University, Philadelphia. She is currently completing the manuscript of a book entitled Gestural Imaginaries: Dance and the Culture of Gestures at the Beginning of the Twentieth Century, under contract with Oxford University Press. Together with Bettina Brandl-Risi, she is co-editing the Handbuch Literatur & Performance.
Gerald Siegmund is Professor of Applied Theater Studies at the Justus-Liebig University in Giessen, Germany. He studied theater, English, and French literature at the Goethe University in Frankfurt/Main, where he also received his PhD with a thesis on Theatre as Memory. Between 2005 and 2008 he was Professor of Contemporary Theatre at the University of Berne, Switzerland. Gerald Siegmund is the author of numerous articles on contemporary dance and theater performance, as well as editor of the book William Forsythe—Denken in Bewegung, published in 2004 at Henschel Verlag, Berlin. His most recent monograph is Abwesenheit. Eine performative Ästhetik des Tanzes (Transcript, 2006). It includes in-depth studies of the work of Jérôme Bel, Xavier Le Roy, Meg Stuart, and William Forsythe. Among his most recent publications are Dance, Politics, and Co-Immunity edited with Stefan Hölscher (2013) and The Oxford Handbook of Dance and Politics edited together with Rebekah Kowal and Randy Martin (Oxford University Press, 2017). His monograph Jérôme Bel: Dance, Theatre, and the Subject will be published by Palgrave Macmillan in 2017.
P. A. Skantze writes, directs, and teaches theater in London and in Italy. She is a founding member of the performance group Four Second Decay, whose work seeks to create “an aesthetic of taking one’s time, attempting by so doing to instigate a relationship between artists and audience based on an ethics of attention.” Four Second Decay has performed internationally, most recently in New York with a production of afterKleist. Currently a Reader in Performance Practices in Drama, Theatre, and Performance Studies at Roehampton University, she is the author of Stillness in Motion in the Seventeenth-Century Theatre (Routledge, 2003), as well as many articles on race, gender, sound, and theater. Her most recent book, Itinerant Spectator/Itinerant Spectacle, was published in December 2013 by Punctum Books. The book forms a part of her current explorations in the epistemology of practice as research.
Catherine M. Soussloff has written books, articles, and essays in art history and the related fields of performance studies, Jewish studies, the history of photography, and contemporary visual studies. Known for her comparative and historiographical approaches to the central theoretical concerns of art history and aesthetics, Soussloff’s most recent publications have focused on the aesthetic theories of the French philosopher Michel Foucault. Her edited volume Foucault on the Arts and Letters: Perspectives (p. xx) for the 21st Century appeared in 2016. Her book on Michel Foucault and painting theory in the twentieth century will be published by University of Minnesota Press in 2017. Lectures on Foucault given at the Collège de France in Paris (2015) may be accessed at www.college-de-france.fr. Soussloff teaches at the University of British Columbia, where she is also an Associate of the Peter Wall Institute for Advanced Studies. She taught for twenty-four years at the University of California, Santa Cruz, where she held a University of California Presidential Chair in Visual and Performance Studies and the first Patricia and Rowland Rebele Chair in the History of Art. She has been awarded fellowships from The National Endowment for the Humanities, The Getty Research Institute, The Sterling and Francine Clark Art Institute, the University of California Humanities Research Institute, the Herbert D. Katz Center for Advanced Judaic Studies, University of Pennsylvania, the Institute for the Humanities at New York University, and the Institut National d’Histoire de l’Art in Paris.
Christel Stalpaert is a Professor at Ghent University (Belgium), where she is Director of the research centers S:PAM (Studies in Performing Arts and Media) and PEPPER (Philosophy, Ethology, Politics and Performance). Her research interests are corporeality and intermediality in performance, dance, and new media arts (from the historical avant-garde to the present day) at the meeting point between philosophy and ethics. She has published on these topics in Performance Research, Text & Performance Quarterly, Contemporary Theatre Review, and Dance Research Journal. She has edited No Beauty for Me There Where Human Life Is Rare: On Jan Lauwers’ Theatre Work with Needcompany (Academia Press, 2007); Bastard or Playmate? Adapting Theatre, Mutating Media and the Contemporary Performing Arts (Springer, 2012); and Unfolding Spectatorship: Shifting Political, Ethical and Intermedial Positions (Academia Press, 2016).
Christina Thurner is Professor of Dance Studies at the Institute for Theater Studies at the University of Bern. Main areas of research include the history and aesthetics of dance from the eighteenth century to the present, contemporary dance and performance, historiography, gender, and theories of physicality and temporality. Recent book publications include Beredte Körper—bewegte Seelen. Zum Diskurs der doppelten Bewegung in Tanztexten (Speaking Bodies—Moving Souls. On the Discourse of the Double Movement in Texts on Dance) (2009), Original und Revival. Geschichts-Schreibung im Tanz (Original and Revival. Historiography in Dance) (2010, edited with Julia Wehren), Tanzkritik. Materialien (1997–2014) (Dance Criticism. Material (1997-2014) (2015), Rhythmen in Bewegung. Äußere, eigene und verkörperte Zeitlichkeit im künstlerischen Tanz (Rhythm in motion. Outer, inner and embodied temporality in performance dance) (2017).