(p. xxxi) List of Contributors
(p. xxxi) List of Contributors
Rosa Andújar is the A. G. Leventis Research Fellow in the Department of Greek & Latin, University College London. Her research interests range broadly across the spectrum of Greek literature and its afterlife: from fifth-century tragedy, to the Greek literature of the Roman Empire, to the reception of classical drama in postcolonial contexts. Rosa is currently working on two book projects: one which provides an account of the varied and experimental ways in which actors and chorus interact in Greek tragedy, and another on twentieth-century reimaginings of Greek drama in the Spanish-speaking Caribbean.
Daniel Banks, Ph.D., is a theater director, choreographer, educator, and dialogue facilitator. He has served on the faculties of the Tisch School of the Arts, New York University, and the M.F.A. in Contemporary Performance at Naropa University, and currently at the M.A. in Applied Theatre at City University of New York and the Institute of American Indian Arts, Santa Fe, NM. Daniel is co-director of DNAWORKS, an arts and service organization dedicated to using the arts as a catalyst for dialogue and healing. His writing appears in American Theatre, Classical World, and Theatre Topics, and in the collections A Boal Companion and Acting Together: Performance and the Creative Transformation of Conflict (vol. ii). He is editor of the critical anthology Say Word! Voices from Hip Hop Theater.
Francisco Barrenechea is Assistant Professor in the Department of Classics at the University of Maryland, College Park. His research interests include Greek drama, Latin epic, and the performance and reception of ancient theater. He has written articles on Euripides, Lucan, and Alfonso Reyes, and is currently at work on a book on the Mexican reception of ancient Greek drama.
Aníbal A. Biglieri received his Masters in Literature from the National University of La Plata and his Ph.D. in Hispanic Studies from the University of Syracuse. After teaching at several American institutions, he moved to the University of Kentucky, where he teaches Medieval Spanish literature. He has published articles on several topics, including pilgrimage literature, Medieval Spanish historiography, and the city in Medieval Spanish texts. He is the author of Hacia una poética del relato didáctico: ocho estudios sobre El conde Lucanor (1989), Medea en la literatura española medieval (2005), and Las ideas geográficas y la imagen del mundo en la literatura española medieval (2012). He is interested in the reception of classical authors in Argentine literature, especially in the works of Leopoldo Marechal, David Cureses, and Alberto de Zavalía. (p. xxxii)
Katie Billotte is a freelance writer based in the United States, who specializes in the reception of Greek and Roman tragedy in contemporary Latin America. She has worked at the University of London and the Freie Universität in Berlin, and is currently writing a book on Horace and U.S. politics.
Kathryn Bosher was Assistant Professor of Classics at Northwestern University. She co-edited Theater Outside Athens: Drama in Greek Sicily and South Italy (2012), and her monograph Greek Theatre in Ancient Sicily will be published by Cambridge University Press in 2015. Kate won an Andrew W. Mellon Foundation grant for the Sawyer Seminar series, “Theatre After Athens: Reception and Revision of Ancient Greek Drama,” which she led in 2008–10, and she founded the digital humanities project “Classicizing Chicago” at Northwestern. She also wrote on the staging of Greek drama, the development of theater in the Greek West, and on western Greek comic vases.
Jordana Cox is a doctoral candidate in the Interdisciplinary Ph.D. in Theatre and Drama at Northwestern University. Her dissertation investigates the U.S. Federal Theatre Project’s Living Newspapers, focusing on how they developed and revised popular understandings of democratic participation.
Susan Curtis has been teaching History and American Studies at Purdue University since 1989. She is the author of four books, A Consuming Faith: The Social Gospel and Modern American Culture (1991); Dancing to a Black Man’s Tune: A Life of Scott Joplin (1994); The First Black Actors on the Great White Way (1998); and Colored Memories: A Biographer’s Quest for the Elusive Lester A. Walton (2008). She served as Director of the American Studies Program at Purdue, 1999–2003 and 2010–12. She was the 2013 Maxwell C. Weiner Visiting Distinguished Professor of the Humanities at the Missouri University of Science and Technology.
Robert Davis recently completed his dissertation, “Performance and Spectatorship in United States International Expositions, 1876–1893,” which looked at audience experience in three world’s fairs. He has published articles on public engagement with the Classics in New Voices in Classical Reception Studies, Comparative Drama, and The Journal of American Drama and Theatre (co-authored with Amanda Wrigley). His essay “Is Mr. Euripides a Communist?” won the 2012 Philadelphia Constantinidis Critical Theory Award.
Moira Day is a Professor of Drama at the University of Saskatchewan, Canada. She is also an adjunct professor of the Women’s and Gender Studies program, and member of the Classical, Medieval, and Renaissance Studies unit. A former co-editor of Theatre Research in Canada, she has edited two play anthologies and the essay collection West-Words: Celebrating Western Canadian Theatre and Playwriting. She has published extensively on Canadian theater, women in Western Canadian theater, and the classical tradition in Canadian theater, as well as speaking at conferences within Canada and internationally in the U.S.A., Ireland, China, the Czech Republic, and Greece. (p. xxxiii)
Paul B. Dixon has taught Portuguese, Spanish, and Latin American Literature at Purdue University. His specialty is Brazilian Literature, an area in which he has published four books and numerous articles. Most of his work has been devoted to Brazil’s most studied author, Machado de Assis, who loved and constantly referred to classical texts. A recent essay explored “Sabina,” a short story by that author, in its connections to the legend of the abduction of the Sabine women.
Dorota Dutsch is Associate Professor of Classics at the University of California, Santa Barbara. Her research has touched on various aspects of social performance, from funeral rites to scripted drama, focusing especially on gender, and, most recently, on classical reception. She has published articles and book chapters on Plautine jokes, Roman lament, pharmacology of seduction, and the language of gesture. She is the author of Feminine Discourse in Roman Comedy: On Echoes and Voices (OUP, 2008), and co-editor, with Ann Suter, of Ancient Obscenities (UMP, forthcoming). Her current research project examines the pseudonymous writings attributed to female Pythagoreans.
Helen Eastman is a director and writer of theater and opera working in the U.K. and internationally. She trained at the London Academy of Music and Dramatic Art (LAMDA) after graduating from Oxford. She is Artistic Associate of the Archive of Performances of Greek and Roman Drama (APGRD) at the University of Oxford and Director of the Cambridge Greek Play 2010, 2013, and 2016. She was Producer of the Onassis Programme at the University of Oxford 2005–10 commissioning contemporary theater, dance, and opera inspired by ancient drama. She is Artistic Director of the Live Canon ensemble. She writes and lectures on classical reception, ancient drama, and contemporary poetry.
Helene P. Foley is Professor of Classics, Barnard College, Columbia University. She is the author of books and articles on Greek epic and drama, on women and gender in antiquity, and on modern performance and adaptation of Greek drama. Author of Ritual Irony: Poetry and Sacrifice in Euripides, The Homeric Hymn to Demeter, Female Acts in Greek Tragedy, and Reimagining Greek Tragedy on the American Stage, and co-author of Women in the Classical World: Image and Text. She edited Reflections of Women in Antiquity and co-edited Visualizing the Tragic: Drama, Myth and Ritual in Greek Art and Literature and Antigone on the Contemporary World Stage.
Moira Fradinger is an Associate Professor of Comparative Literature at Yale University. She is the author of Binding Violence: Literary Visions of Political Origins (Stanford, CA, 2010) and is currently finishing two book-length projects. One is tentatively entitled Antigonas: A Latin American Itinerary, and the other is a translation anthology of five Antigone-plays into English, from languages such as Spanish, Portuguese, and Haitian Creole. She teaches European and Latin American literature and film, critical theory, gender studies, psychoanalysis, and intellectual history.
Mary-Kay Gamel teaches Greek, Latin, and theater at the University of California, Santa Cruz. She has been involved (as translator/adaptor, director, dramaturge, and/or (p. xxxiv) producer) in more than twenty-eight productions of ancient drama in Santa Cruz, across the U.S.A. and abroad. She has written widely on ancient drama in performance. She is at work on a volume on authenticity in staging Greek and Roman drama and hopes to publish her adaptations with notes and video.
Cesar Gemelli is a graduate student in the Ph.D. in Literature program at the University of Notre Dame. He has a M.A. in Comparative Literature from Universidade Federal do Rio Grande do Sul. His main research interests are Greek drama and its reception in Brazilian literature.
John Given is an Associate Professor and Program Director of Classical Studies at East Carolina University. His research interests include identity performance in Greek tragedy and comedy and American reception of Greek drama. He serves on the editorial board of the journal Didaskalia and has been a member of the American Philological Association’s Committee on Ancient and Modern Performance. As a theater practitioner, he has directed productions of Lysistrata, Menaechmi, Rudens, and Oedipus Tyrannus. Also an avid musical theater aficionado, he has published on the musicals of Stephen Sondheim, Stephen Schwartz, and Marvin Hamlisch.
Barbara Goff is Professor of Classics at the University of Reading. She has published extensively in the fields of Greek tragedy and classical reception. Her most recent monograph is Your Secret Language: Classics in the British Colonies of West Africa (Bloomsbury, 2013). With Michael Simpson, she is currently working on a study of Classics within the British Left; she will publish a related article in Greek and Roman Classics in the British Struggle for Social Change, edited by Henry Stead and Edith Hall (Bloomsbury, 2015).
Edith Hall is Professor in the Department of Classics and Centre for Hellenic Studies at King’s College London. She co-founded the Archive of Performances of Greek and Roman Drama in 1996 and is now a Consultant Director of the project. Her latest books are Adventures with Iphigenia in Tauris: A Cultural History of Euripides’ Black Sea Tragedy (2013) and Introducing the Ancient Greeks: From Bronze Age Seafarers to Navigators of the Western Mind (2014).
Judith P. Hallett, Professor of Classics and Distinguished Scholar-Teacher at the University of Maryland, College Park, has published widely in the areas of Latin language and literature; gender, sexuality, and the family in ancient Greece and Rome; classical reception and the history of classical learning in the anglophone world.
Lorna Hardwick is Emeritus Professor of Classical Studies at the Open University, U.K., and Director of the Reception of Classical Texts Research Project (<www2.open.ac.uk/ClassicalStudies/GreekPlays>). Publications include Translating Words, Translating Cultures (2000), Reception Studies (2003), Classics in Postcolonial Worlds (edited with Carol Gillespie, 2007), Companion to Classical Receptions (edited with Christopher Stray, 2008), and Classics in the Modern World: A “Democratic Turn?” (edited with Stephen (p. xxxv) Harrison, 2013). She is co-editor with Professor James Porter of the Oxford University Press series Classical Presences and is founding editor of the Oxford journal Classical Receptions Journal.
Karelisa Hartigan (Ph.D. University of Chicago) is Professor Emerita of Classics at the University of Florida, where she taught Greek language, literature, and history for 35 years. She has published extensively on Greek drama and the reception of the classical world in contemporary culture. Hartigan is the founder and long time director of the Comparative Drama Conference. She did improv acting with the Arts-in-Medicine program at the UF hospital for a decade and currently directs a program of Applied Improv for the rehabilitation of formerly homeless veterans. She also acts on the legitimate stage in a local community theater.
Lena M. Hill is Associate Professor of English and African-American Studies at the University of Iowa. She is the author of Visualizing Blackness and the Creation of the African American Literary Tradition (2014) and co-author of Ralph Ellison’s Invisible Man: A Reference Guide (2008). Among her current projects is a co-edited collection that explores Ralph and Fanny Ellison’s relationship to Iowa and the rich history of African-American students who studied the arts at UI between 1930 and 1960. She is also working on a monograph that analyzes the conservative politics of important African-American writers.
Avery Willis Hoffman earned her Classics B.A. with honors from Stanford University and a M.St. and D.Phil. from University of Oxford; her doctoral thesis examined twentieth-century interpretations of Euripides’ Trojan Women on the international stage. As a Marshall Scholar at Oxford, Avery was President of the Oxford University Classical Drama Society, created the Oxford Greek Festival 2004, and directed her own translation of Trojan Women at The Oxford Playhouse. Recently, Avery has worked with Peter Sellars as an Assistant Director, in Communications for the William J. Clinton Foundation, and as an Exhibit Content Developer for the Smithsonian’s National Museum of African-American History and Culture. She is currently working on a modern adaptation of Aeschylus’ Prometheus Bound.
Thomas E. Jenkins is Associate Professor and Chair of Classical Studies at Trinity University, and is the author of Intercepted Letters: Epistolarity and Narrative in Greek and Roman Literature as well as numerous essays on the reception of the classical world. His current project, Antiquity Now: Classical World in the Contemporary American Imagination (2015), focuses on strongly ideological appropriations of the ancient world in modern film, performance, and art.
Vassilis Lambropoulos is the C. P. Cavafy Professor of Modern Greek at the University of Michigan, teaching in the Departments of Classical Studies and Comparative Literature and serving on the steering committee of the interdepartmental faculty consortium Contexts for Classics. His books are Literature as National Institution: Studies in the Politics of Modern Greek Criticism (1988), The Rise of Eurocentrism: Anatomy of (p. xxxvi) Interpretation (1993), and The Tragic Idea (2006). He has co-edited the volumes The Text and its Margins: Post-Structuralist Approaches to Twentieth-Century Greek Literature (1985) and Twentieth-Century Literary Theory: An Introductory Anthology (1987), and special issues of the journal October, “The Humanities as Social Technology” (1990), and South Atlantic Quarterly, “Ethical Politics” (1996). He is currently writing a book on the idea of revolution as hubris in modern tragedy.
Artemis Leontis is Professor and Coordinator of Modern Greek in the Department of Classical Studies at the University of Michigan. Her books include Topographies of Hellenism: Mapping the Homeland (1995, Greek translation in 1998); Greece; A Travelers’ Literary Companion (1997), an anthology introducing readers to the landscapes of Greece through 24 stories by Greek authors; “What these Ithakas mean …”: Readings in Cavafy (2002), co-edited with Lauren Talalay and Keith Taylor and a companion to the exhibit “Cavafy’s World” at the Kelsey Museum of Archaeology; and Culture and Customs of Greece (2009), an overview of contemporary Greece for a general readership. She is currently writing a cultural biography of Eva Palmer Sikelianos. She is Humanities Editor of the Journal of Modern Greek Studies.
Laura Lodewyck is a Ph.D. candidate in Northwestern University’s Interdisciplinary Theatre and Drama program. Her dissertation investigates contemporary American theater organizations that create performances with and for military veterans in order to examine the transformative potential of theater during times of war. Laura also holds an M.F.A. in Acting Performance from Roosevelt University’s Chicago College of the Performing Arts.
Fiona Macintosh is Professor of Classical Reception, Director of the Archive of Performances of Greek and Roman Drama (APGRD), and Fellow of St Hilda’s College, University of Oxford. She is the author of Dying Acts (Cork University Press, 1994; St Martin’s Press, 1995), Greek Tragedy and the British Theatre 1660–1914 (Oxford University Press, 2005—with Edith Hall), and Sophocles’ Oedipus Tyrannus (Plays in Production Series, Cambridge University Press, 2009). She has edited a number of APGRD volumes, most recently The Ancient Dancer in the Modern World: Responses to Greek and Roman Dance (Oxford University Press, 2010, paperback 2012) and Choruses, Ancient and Modern (Oxford University Press, 2012, with Joshua Billings and Felix Budelmann).
Justine McConnell is a Leverhulme Early Career Fellow at the University of Oxford, where she works on contemporary African, Caribbean, and ancient Greek poetics. Prior to this, she was a Leverhulme Postdoctoral Research Associate at the Archive of Performances of Greek and Roman Drama (APGRD), and a Mellon Postdoctoral Fellow at Northwestern University. She is author of Black Odysseys: The Homeric Odyssey in the African Diaspora since 1939 (2013), and co-editor of Ancient Slavery and Abolition: From Hobbes to Hollywood (2011). (p. xxxvii)
Susan Manning is an internationally recognized historian of modern dance who has presented her research in Germany, Great Britain, France, Japan, and Argentina as well as in the United States and Canada. She is the author of Ecstasy and the Demon: The Dances of Mary Wigman (1993; 2nd edn. 2006) and Modern Dance, Negro Dance: Race in Motion; curator of Danses Noires/Blanche Amérique (2008); and co-editor of New German Dance Studies (2012). She is a Professor of English, Theatre, and Performance Studies at Northwestern University and Principal Investigator for the Mellon-funded initiative Dance Studies in/and the Humanities.
Hallie Rebecca Marshall is an Assistant Professor in the Department of Theatre and Film at the University of British Columbia. She has published a number of articles on classical reception in twentieth-century British theater. She is currently completing a book on the classical plays of Tony Harrison.
David Mayer, Emeritus Professor of Drama and Research Professor, University of Manchester, studies British and American popular entertainment of the nineteenth and early twentieth century. Recent writings explore links between the Victorian stage and early motion pictures. He is co-founder of The Victorian and Edwardian Stage on Film Project, a contributing member to The [D. W.] Griffith Project developed between Le Giornate del Cinema Muto, Pordenone, the British Film Institute, and the U.S. Library of Congress. His books include Harlequin in his Element: English Pantomime, 1806–1836 (1968), Henry Irving and “The Bells” (1984), Playing Out the Empire: Ben-Hur and Other Toga-Plays and Films (1994), and Stagestruck Filmmaker: D. W. Griffith and the American Theatre (2009). In 2012 he received the Distinguished Scholar Award from the American Society for Theatre Research.
Erin B. Mee’s book The Theatre of Roots: Redirecting the Modern Indian Stage was published in 2009 by Seagull Books and Palgrave-McMillan. She co-edited Antigone on the Contemporary World Stage with Helene P. Foley (OUP, 2011), and The Methuen Anthology of Modern Asian Drama with Kevin Wetmore (Methuen, 2014), She is the editor of Drama Contemporary: India, a collection of modern Indian plays published in the United States by Johns Hopkins University Press and in India by Oxford University Press. Her articles have appeared in TDR, Theater Journal, Performing Arts Journal, Seagull Theatre Quarterly, American Theatre Magazine, and in numerous books.
S. Sara Monoson is Professor of Political Science and Classics at Northwestern University. She works on Greek political theory and the reception of ancient sources in American political discourse. She is the author of Plato’s Democratic Entanglements (2000) and is now completing a book, Socrates in the Vernacular, on twentieth-century uses of this character in popular media. Her recent work in edited volumes includes “Socrates in Combat: Trauma and Resilience in Plato’s Political Thought” (in Combat Trauma and the Ancient Greeks) and “Dionysius I and Sicilian Theatrical Traditions in Plato’s Republic” (in Theatre Outside Athens). (p. xxxviii)
María Florencia Nelli graduated from Universidad Nacional de La Plata (UNLP), Argentina, with a degree in Spanish Language and Literature in 1998 and a second degree in Classics in 2002. She holds a Master of Philosophy in Ancient Greek Language and Literature from Oxford University and a D.Phil. in Greek Language and Literature from the same institution on the subject of Demonstrative Pronouns of Early Greek Dialects. She has taught Ancient Greek Language and Literature at Universidad Nacional de La Plata and Universidad Católica de La Plata, and Greek Syntax at Oxford University. Her interest in ancient Greek drama and Reception Studies in Latin America stems from her many years working as an actress, assistant property master, and assistant stage manager at Experimental Theatre Company “Taller de Teatro de la U.N.L.P.” in Argentina. She has several publications on Reception Studies in Latin America, Sophocles, Homer, and ancient lyric.
Konstantinos P. Nikoloutsos is Assistant Professor of Latin and Director of Ancient Studies at Saint Joseph’s University in Philadelphia. He has published numerous journal articles and book chapters in the fields of Roman elegy, ancient history on film, and the classical tradition in Latin America and the Caribbean. He is the editor of Ancient Greek Women in Film (OUP, 2013) and guest-editor of a special issue of Romance Quarterly (59.1: 2012) entitled Reception of Greek and Roman Drama in Latin America. His honors include the 2008 Paul Rehak Prize from the Lambda Classical Caucus and the 2012–13 Loeb Classical Library Foundation Fellowship from Harvard University.
Lee T. Pearcy spent nearly 30 years as teacher and administrator at the Episcopal Academy in Newtown Square, Pennsylvania, before retiring in 2013. He is Research Associate in the Department of Classics at Bryn Mawr College, where he directs a digital humanities project, Classicizing Philadelphia, and he serves as co-editor of Classical World. His research focuses on classical receptions, ancient medicine, and Latin poetry, and his most recent book is The Grammar of our Civility: Classical Education in America (2005).
Melinda Powers is an Associate Professor in the Department of English at John Jay College of Criminal Justice, CUNY. She is the author of Athenian Tragedy in Performance: A Guide to Contemporary Studies and Historical Debates (University of Iowa Press, 2014) and of various articles on the adaptation and production of ancient Greek drama on the U.S. stage.
Yopie Prins is Professor of English and Comparative Literature at the University of Michigan, Ann Arbor. She is the author of Victorian Sappho (1999) and Ladies’ Greek: Victorian Translations of Tragedy (2015), and co-editor of The Lyric Theory Reader: A Critical Anthology (2014), Dwelling in Possibility: Women Poets and Critics on Poetry (1997), and a special issue of Cultural Critique on “Classical Reception and the Political” (2010). Additional publications include articles on Victorian poetry and prosody, classical Greek literature and its reception, and the history and theory of translation. (p. xxxix)
Nancy Sorkin Rabinowitz is Professor of Comparative Literature at Hamilton College. Author of Anxiety Veiled: Euripides and the Traffic in Women (1993) and Greek Tragedy (2008), she co-edited From Abortion to Pederasty: Addressing Difficult Topics in the Classics Classroom (with Fiona McHardy) (2014); Vision and Viewing in Ancient Greece, with Sue Blundell and Douglas Cairns (Helios 40 ); Among Women: From the Homosocial to the Homoerotic in the Ancient World, with Lisa Auanger (2002); Women on the Edge: Four Plays by Euripides with Ruby Blondell, Mary-Kay Gamel, and Bella Vivante (1999); and Feminist Theory and the Classics, with Amy Richlin (1993). In progress at the present is Sex in Antiquity: Sexuality and Gender in the Ancient World (with Mark Masterson and James Robson) (2015).
Patrice Rankine is Professor of Classics and Dean for the Arts and Humanities at Hope College, in Holland, Michigan. He is author of Ulysses in Black: Ralph Ellison, Classicism, and African American Literature, published in 2006 with the University of Wisconsin Press, which was named one of Choice magazine’s outstanding academic books in 2007 and is currently in its second printing. His second book is Aristotle and Black Drama: A Theater of Civil Disobedience, which Baylor University Press published in 2013. He is a member of the Archive of Performances of Greek and Roman Drama’s Advisory Board at the University of Oxford, and his publications also include numerous articles, book chapters, and book reviews.
Rush Rehm is Professor of Classics and Theater and Performance Studies at Stanford University. He has written extensively on Greek tragedy, including Greek Tragic Theatre, Marriage to Death: The Conflation of Wedding and Funeral Rituals in Greek Tragedy, The Play of Space: Spatial Transformation in Greek Tragedy and Radical Theatre: Greek Tragedy and the Modern World (Duckworth, 2003). As Artistic Director of Stanford Repertory Theater, Rush has directed many Greek tragedies and adaptations of Homer, including The Wanderings of Odysseus, with productions at the Getty Museum in Malibu and the Cacoyannis Foundation in Athens. His bilingual production of Beckett’s Happy Days recently played in Paris and Montpellier, France.
José de Paiva dos Santos holds a Ph.D. in Comparative Literature from Purdue University and has recently completed post-doctoral research at State University of Rio de Janeiro in Afro-Brazilian and African-American Literature. He is currently an associate professor of American Literature at the Federal University of Minas Gerais, Brazil, where he teaches courses in American and African-American Literature, Literary Theory, and Comparative Studies. His current research involves African-American Literature and Religion, Critical Race theory, and Literature and Cultural Memory. He has published articles on nineteenth- and twentieth-century American, African-American, and Brazilian Literature.
Peggy Shannon is Chair of the Ryerson Theatre School in Toronto. She has directed in professional theaters including Atlanta’s Alliance Theatre, Seattle Repertory Theatre, A Contemporary Theatre, San Jose Repertory Theatre, Los Angeles Theatre Center, LA Theatre Works, Mixed Blood Theatre, as well as at New Jersey, Colorado, Utah, Idaho, (p. xl) California, and Oregon Shakespearian Festivals, Portland Repertory Theatre, Long Beach Civic Light Opera, International City Theatre, and Sacramento Theatre Company. She has also worked at Hydrama Theatre in Greece. She has served as Artistic Director of A Contemporary Theatre (Seattle), Sacramento Theatre Company in California, and as Associate Producing Director of LA Theatre Works.
Shawn Sides is a theater artist who lives and works in Austin, Texas, with her partner, composer Graham Reynolds. She holds an M.A. in Theatre and Performance Studies from New York University. Shawn is a founder and Co-Producing Artistic Director of Rude Mechs with whom she has co-conceived, -devised, and/or directed a new work every year, give or take, since 1996, as well as staging several adaptations and “re-enactments” of germinal works from the American avant-garde of the 1960s–1980s. With Rudes, she has toured her work throughout the U.S.A., Europe, and Australia.
Michael Simpson is Senior Lecturer in English Literature at Goldsmiths, University of London. His research interests span Romanticism, classical reception, and postcolonialism. He is the author of Closet Performances: Political Exhibition and Prohibition in the Dramas of Byron and Shelley (1998). His interest in the Graeco-Roman Classics lies particularly in how they have been adapted within postcolonial and especially African and African-Caribbean literatures and theaters. With Barbara Goff, he is co-author of Crossroads in the Black Aegean: Oedipus, Antigone, and Dramas of the African Diaspora (2007) and co-editor of Thinking the Olympics: The Classical Tradition and the Modern Games (2011), as well as currently co-writing a study of Classics and the British Labour Movement.
Niall W. Slater (Samuel Candler Dobbs Professor of Latin and Greek, Emory University) focuses on the ancient theater and its production conditions, prose fiction, and popular reception of classical literature. His books include Spectator Politics: Metatheatre and Performance in Aristophanes (Penn, 2002); Reading Petronius (JHUP, 1990); and Plautus in Performance: The Theatre of the Mind (Princeton, 1985; 2nd revised edn. 2000), as well as translations for The Birth of Comedy (ed. J. R. Rusten, JHUP, 2011) and the Bloomsbury Companion to Euripides’ Alcestis (2013). Current work includes studies of Harley Granville Barker and classical memories in C. S. Lewis’s children’s books.
Isabelle Torrance is Associate Professor of Classics at the University of Notre Dame. Her publications include Aeschylus: Seven Against Thebes (London, 2007), Metapoetry in Euripides (Oxford, 2013), Oaths and Swearing in Ancient Greece (Berlin, 2014, co-authored with A. H. Sommerstein), as well as articles and book chapters on Greek tragedy and its reception.
Kevin J. Wetmore, Jr. is Professor and Chair of Theatre Arts at Loyola Marymount University. He is the author and/or editor of over twenty books, including Athenian Sun in an African Sky: Modern African Adaptation of Classical Greek Tragedy (McFarland, 2001), Black Dionysus: Greek Tragedy and African-American Theatre (McFarland, 2003), and Black Medea: Adaptations for Modern Plays (Cambria, 2013). He has published (p. xli) articles in such journals as Revue de littérature comparée, International Journal of the Classical Tradition, Text and Presentation, and The Classical Review. He is also a Los Angeles-based actor, director, and stage combat choreographer.
Margaret Williamson teaches Classics and Comparative Literature at Dartmouth College. She has worked with the playwright Timberlake Wertenbaker for over twenty years on the Greek texts of plays by Sophocles and Euripides, leading to versions by Wertenbaker that have been staged in the U.K., U.S.A., Canada, and Greece. She is the author of Sappho’s Immortal Daughters (Harvard, 1995). Her present interests include translation studies, the reception of lyric poetry, and the uses of Classics in colonial contexts. She is currently working on a book entitled Creole Classics, on classical names given to Caribbean slaves in the eighteenth and nineteenth centuries.