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date: 19 October 2019

(p. xv) Contributors

(p. xv) Contributors

Patrick Anderson is director of critical gender studies, and associate professor in the departments of ethnic studies and communication, at the University of California, San Diego. He currently serves as vice president of the American Society for Theatre Research, and is co-editor (with Nicholas Ridout) of the Performance Works book series at Northwestern University Press. He has published two books: Violence Performed (co-edited with Jisha Menon) and So Much Wasted: Hunger, Performance, and the Morbidity of Resistance. He is currently completing two new books, Empathy’s Others and Autobiography of a Disease.



Virginia Anderson is assistant professor of theater at Connecticut College, where she serves on the steering committee for the Holleran Center for Community Action and Public Policy and is a faculty fellow for the Ammerman Center for Arts and Technology. Her work has appeared in Theatre History Studies, Text and Presentation, The 1980s, and The Oxford Handbook of the American Musical. Her current book project, Beyond Angels: Broadway Theatre and the AIDS Epidemic grew from years of research concerning creative, social, and political representations of the AIDS epidemic. Her investigations have taken her to England, China, and Cuba, and her work in advocacy and the arts has been recognized by the National Center for HIV, STD, and TB Prevention, Centers for Disease Control and Prevention (CDC), and the AIDS Action Committee of Massachusetts.



Ann Cooper Albright A dancer, improviser, and a scholar, Ann Cooper Albright is professor of dance and chair of the Department of Dance at Oberlin College. Combining her interests in dancing and cultural theory, she is involved in teaching a variety of dance, performance studies, and gender studies courses that seek to engage students in both practices and theories of the body. She is the author of Engaging Bodies: The Politics and Poetics of Corporeality (2013); Modern Gestures: Abraham Walkowitz Draws Isadora Duncan Dancing (2010); Traces of Light: Absence and Presence in the Work of Loie Fuller (2007); and Choreographing Difference: The Body and Identity in Contemporary Dance (1997), and co-editor of Moving History/Dancing Cultures (2001) and Taken by Surprise: Improvisation in Dance and Mind (2003). The book Encounters with Contact Improvisation (2010) is the product of one of her adventures in writing and dancing and dancing and writing with others. Ann is founder and director of Girls in Motion, an award-winning afterschool program at Langston Middle School now in its tenth year, and co-director of Accelerated Motion: Towards a New Dance Literacy, a National Endowment for the Arts–funded digital collection of materials about dance. She is president of the Society of Dance History Scholars and is currently working on an interdisciplinary book titled Gravity Matters: Finding Ground in an Unstable World.



Jane Baldwin, a longtime faculty member of the Boston Conservatory, taught modern drama, acting, and humanities. She is a recipient of the Canadian Heather McCallum Award for her English essay on Jean Gascon and of the French language Prix André G. Bourassa. (p. xvi) Her books and articles include Michel Saint-Denis and the Shaping of the Modern Actor; Theatre: The Rediscovery of Style and Other Writings, which she edited; and Vie et morts de la creation collective/Lives and Deaths of Collective Creation, co-edited with Jean-Marc Larrue and Christiane Page. Her essay “Michel Saint-Denis: Training the Complete Actor” is published in Actor Training, edited by Alison Hodge. Her chapter “The Accidental Rebirth of Collective, Jacques Copeau, Michel Saint-Denis, Léon Chancerel, and Improvised Theatre” appears in A History of Collective Creation, edited by Kathryn Mederos Syssoyeva and Scott Proudfit. Dr. Baldwin is a theater critic for www.capitalcriticscircle.com.



Marie C. Percy is an assistant professor in residence at the University of Connecticut, where her primary responsibility is movement training for actors in the BFA and MFA program. She received her MFA from Virginia Commonwealth University in 2012 and became a certified movement analyst through the Laban Institute for Movement Studies in New York City in 2013. In addition to her academic work she is also an actor, dancer, choreographer, movement analyst, acrobat, aerialist, and continual student of the intersection between the body, movement, and performance.



Darcey Callison, PhD, is a choreographer, teacher, and scholar whose research includes postmodern dance/theater histories, dancing masculinity, and dance dramaturgy. Recently Callison co-edited the “Dance and Movement Dramaturgy” issue for Canadian Theatre Review and is in the process of co-editing a collection of articles focusing on practices of the dramaturgy of dance. An established choreographer, Callison continues to create dance and most recently collaborated with choreographers Carol Anderson and Holly Small on a re-visioning of Igor Stravinsky’s Sacre du Printemps, set in the wilds of northern Ontario and titled Rite Redux. Callison continues to pursue the fusion of studio and scholarly research as a dance artist; for the last six years has served as graduate program director for York University’s MFA in contemporary choreography and dance dramaturgy.



Royd Climenhaga is on the arts faculty at Eugene Lang College/The New School University in New York City. He recently published an essay on Pina Bausch’s American Legacy in the book Inheriting Dance: An Invitation from Pina (2014), the book Pina Bausch (2009), and the Pina Bausch Sourcebook (2013), an edited collection of essays that explores Bausch’s legacy and places her work in cultural and aesthetic context. He writes on performance and intersections between dance and theater, including essays on Anne Theresa de Keersmaeker, Big Dance Theater, and Anne Bogart and SITI Company. He is currently working on a new book, 20th Century Performance: A History of Interdisciplinary Artistic Practice, integrating influences from theater, dance, music, and the visual arts. Royd also works as a development consultant and grant writer for several arts organizations, serves as development director for Monica Bill Barnes & Company, and develops and produces new physical performance works as co–artistic director of Human Company.



Amy Cook (associate professor) specializes in the intersection of cognitive science and theories of performance and early modern drama. She has published Shakespearean Neuroplay: Reinvigorating the Study of Dramatic Texts and Performance through Cognitive Science (2010); essays in Theatre Journal, TDR, SubStance, Journal of Dramatic Theory and Criticism; and several edited volumes, including Bloom’s Modern Critical Interpretations, Affective Performance and Cognitive Science and the forthcoming Shakespeare and Consciousness. She is currently co-editing a book with Rhonda Blair called Languages, (p. xvii) Bodies, and Ecologies: Theatre, Performance and Cognition. She taught from 2008 to 2014 at Indiana University, Bloomington, where she was an associate professor in the Department of Theatre, Drama, and Contemporary Dance and an adjunct professor in the Cultural Studies Program and the Cognitive Science Program. She was a Mellon Fellow at Emory University in Atlanta. She has directed and assistant directed in New York and San Diego. She got her PhD in theater and drama at University of California, San Diego, and her BA from University of Michigan, Ann Arbor.



Miriam Felton-Dansky is assistant professor of theater and performance at Bard College. Her writing has appeared in Theater magazine, where she is also a contributing editor, as well as in Theatre Journal, PAJ, and TDR, and she is a regular contributor to the theater section of the Village Voice. She is currently preparing a book manuscript on the subject of viral performance.



Ann Dils, professor and chair of the Department of Dance at the University of North Carolina at Charlotte, is a dance historian with interests in movement analysis, feminist theory and research methods, and cultural studies. Her recent essays appear in the edited collection Investigating Dance on Its Own Terms: Histories and Methodologies (Bales and Eliot, eds.) and in the International Journal of Screendance. Dils co-edited Intersections: Dance, Place, and Identity (2009) and Moving History/Dancing Cultures: A Dance History Reader (2001) and co-directs Accelerated Motion: Towards a New Dance Literacy, a National Endowment for the Arts–funded digital collection of materials about dance (http://acceleratedmotion.wesleyan.edu). Dils has taught in the Department of Dance and the Women’s and Gender Studies Program at the University of North Carolina, Greensboro, and at Teacher’s College, Columbia University. She received the Dixie Durr Award for Outstanding Service to Dance Research from the Congress on Research in Dance (CORD) in 2010 and has been editor of Dance Research Journal and president of the Congress on Research in Dance.



Lisa Doolittle is professor in theatre arts at the University of Lethbridge. A dancer, choreographer, and director, her recent university/community collaborations integrate participatory research and activism in workshops and performance events. Her research, which has been presented and published internationally, focuses on the roles of performance in social change including work on folk and social dance, dance and human rights, theater and dance for community development, and arts-based pedagogy. With Anne Flynn, she co-edited the anthology Dancing Bodies, Living Histories: New Writing about Dance and Culture (2000) and was co-investigator on multiyear research, funded by the Social Sciences and Humanities Research Council of Canada, examining indigenous and “folk” dance in Canada, and Canadian multicultural policy. Currently co-investigator on a five-year national partnership funded by SSHRC, Art for Social Change: An Integrated Research Program in Teaching, Evaluation, and Capacity Building, Doolittle leads the Teaching and Learning component. She regularly partners with health sciences colleagues to join the Museums of Malawi in arts-based health promotion in rural primary schools. She is also developing performances and advocacy events with people living with developmental disabilities and the nongovernmental organizations who support them in southern Alberta.



Colleen Dunagan, PhD, is associate professor of dance at California State University, Long Beach. Her research on dance aesthetics and Susanne Langer’s concept of the virtual appears in Topoi: An International Journal of Philosophy. Dunagan’s writing on dance in television (p. xviii) advertising and film has appeared in Dance Research Journal and The International Journal of Arts in Society. She has co-authored essays with Roxane Fenton that are forthcoming in The Oxford Handbook of Dance and the Popular Screen and Movies, Moves, and Music: The Sonic World of Dance Film. Currently, she is working on a book manuscript that analyzes the discourse of dance within television commercials.



Susan Leigh Foster, choreographer and scholar, is distinguished professor in the Department of World Arts and Cultures/Dance at the University of California, Los Angeles. She is the author of Reading Dancing: Bodies and Subjects in Contemporary American Dance, Choreography and Narrative: Ballet’s Staging of Story and Desire, Dances That Describe Themselves: The Improvised Choreography of Richard Bull, and Choreographing Empathy: Kinesthesia in Performance. She is also the editor of three anthologies: Choreographing History, Corporealities, and Worlding Dance. Three of her danced lectures can be found at the Pew Center for Arts and Heritage website http://danceworkbook.pcah.us/susan-foster/index.html.



Anne Flynn is professor of dance in the School of Creative and Performing Arts, and the Faculty of Kinesiology at the University of Calgary. A graduate of the State University of New York, Brockport, and Wesleyan University, Flynn has been involved in the Calgary dance community as a performer, artistic director, teacher, scholar, administrator, and dance education advocate. Her research on multiculturalism and identity, women in dance, health promotion through dance, and dance education has been presented and published internationally. She is co-editor, with Lisa Doolittle, of Dancing Bodies, Living Histories: New Writing about Dance and Culture (2000) and co-recipient of a Social Sciences and Humanties Research Council Standard Research Grant (SSHRC) (2004-2009). Flynn is the director of Urban Dance Connect, a communty dance component of the Dance Division created in 2005 that involves partnerships with numerous community groups, and practicum opportunities for dance students. Flynn has served on the boards of the Congress on Research in Dance, Society of Canadian Dance Studies, Alberta Dance Alliance, Dance Connection Magazine, Dancers’ Studio West, and Dance in Canada Association. Currently, she is co-investigator on a SSHRC partnership grant focusing on arts for social change.



Sondra Horton Fraleigh, professor emeritus of dance and somatic studies at the State University of New York, Brockport, is the author of BUTOH: Metamorphic Dance and Global Alchemy (2010). Her other books include Dancing Identity: Metaphysics in Motion (2004); Dancing into Darkness: Butoh, Zen, and Japan (1999); Researching Dance: Evolving Modes of Inquiry (1998); and Dance and the Lived Body (1987). Her book on the founders of Japanese butoh is Hijikata Tatsumi and Ohno Kazuo (2006). She has also published numerous articles and book chapters. Fraleigh was chair of the Department of Dance at SUNY Brockport for nine years and later head of graduate dance studies there. She was also selected as a faculty exchange scholar for the State University of New York. Her innovative choreography has been seen in New York, Germany, Japan, and India. Fraleigh is the founding director of Eastwest Somatics Institute for the study of dance, yoga, and somatic bodywork. For more information on Fraleigh and her work see her website: www.eastwestsomatics.com



Liza Gennaro choreographed the critically acclaimed Broadway revival of The Most Happy Fella directed by Gerald Gutierrez and the Broadway revival of Once upon a Mattress starring Sarah Jessica Parker. She has choreographed off-Broadway and in regional theaters (p. xix) across America including: Roundabout Theatre, Actor’s Theatre of Louisville, The Old Globe, Hartford Stage, Guthrie Theater, The Goodspeed Opera House, Pittsburgh Civic Light Opera, Paper Mill Playhouse, and The St. Louis “Muny” Opera. She collaborated with Stephen Flaherty and Frank Galati on their chamber musical Loving, Repeating: A Musical of Gertrude Stein for the About Face Theater in Chicago. In 2013 she choreographed Elf: The Musical at Pioneer Theatre and the 20th Anniversary Concert of Titanic: The Musical at Avery Fisher Hall and she created a dance-pantomime of A Charlie Brown Christmas for the New York Pops Christmas Concert at Carnegie Hall. She is a member of the Tony Award Nominating Committee and on the executive board of the Stage Director and Choreographers Society. Liza has taught at Barnard College, Princeton University, and Yale University and is currently on faculty at Indiana University. Her essay “Evolution of Dance in the Golden Era of the American ‘Book Musical’ ” appears in The Oxford Handbook of the American Musical.



Nadine George-Graves (BA, Yale; PhD, Northwestern) is professor of theater and dance at the University of California, San Diego. Her work is situated at the intersections of African American studies, gender studies, performance studies, theater history, and dance history. She is the author of The Royalty of Negro Vaudeville: The Whitman Sisters and the Negotiation of Race, Gender, and Class in African American Theater, 1900–1940 and Urban Bush Women: Twenty Years of Dance Theater, Community Engagement and Working It Out as well as numerous articles on African American theater and dance. Her recent creative projects include directing Suzan-Lori Parks’s Topdog/Underdog, adapting and directing Anansi the Story King, an original dance theater production of African American folk stories using college students, professionals, and fourth graders, and Architectura, a dance theater piece about the ways in which we build our lives. She currently serves as president of the Congress on Research in Dance (CORD).



William Given is a writer, photographer, filmmaker, and performer. He is currently a PhD candidate in the Department of Theatre and Dance at the University of California, San Diego, where his research focuses on the interplay between spectator and performer. His dissertation examines how illusionists created new performative spaces through the construction of hyperreal identities and the utilization of the new mediums of photography and film during the belle époque in Paris. William teaches writing, theater, and film at UC San Diego, and has also lectured at UC Irvine and the Washington Symposium on Magic History. He has written the articles “Allegiance and the Construction of a New American Musical” and “Reimagining Chekhov’s Lost Work Platonov” for TheatreForum. As a dancer, William had the unique opportunity to study briefly with two of the originators of the Lindy Hop, Frankie Manning and Norma Miller.



Anita Gonzalez is professor of theater and drama at the University of Michigan. Her research and publication interests are in the fields of intercultural performance and ethnic studies, particularly the way in which performance reveals histories and identities in the Americas and in transnational contexts. Her books include a co-edited anthology with Tommy DeFrantz, Black Performance Theory (2014); Afro-Mexico: Dancing between Myth and Reality (2010); and Jarocho’s Soul: Cultural Identity and Afro-Mexican Dance (2004). Other publications include articles about cruise ship culture (“Maritime Scenography and the Spectacle of Cruising,” Performance Research International, 2013), utopia in urban bush (p. xx) women performance (Modern Drama, 2004), archetypes of African identity in Central America (“Mambo and the Maya,” Dance Research Journal, 2004), and the pedagogy of teaching African American drama (Theatre Topics, 2009). Gonzalez is also a director who has staged more than fifty productions during the course of her career.



Neal Hebert is a PhD Candidate in theater history and historiography at Louisiana State University. He received his MA in philosophy in 2008, and has taught theater and philosophy at Louisiana State University while pursuing his PhD. Hebert is an experienced director, acting coach, and dramaturg, whose productions have been produced in academic, nonprofit, and for-profit theaters throughout Louisiana. His dissertation, Professional Wrestling: Local Performance Tradition, Global Performance Praxis, will be completed under the direction of Alan Sikes in December 2014. Hebert’s work combines approaches from masculinity studies, performance studies, analytic philosophy, and theater historiography. A Louisiana native, Hebert received Louisiana State University’s 2014 Dissertation Year Fellowship and was selected to receive one of the American Theatre and Drama Society’s 2013 graduate student fellowships.



Amy Strahler Holzapfel is associate professor of theater at Williams College, where she teaches courses in theater history and literature, performance studies, and dramaturgy. Her principal research interests include nineteenth-century European theater, theater and visual culture, theater and science, dance-theater, and contemporary performance. Her monograph Art, Vision, and Nineteenth-Century Realist Drama: Acts of Seeing (2014) explores how modern theories of vision in art and science impacted the rise of the realist movement in theater. She has published articles in the journal Contemporary Theatre Review, PAJ: A Journal of Performance and Art, the Journal of Dramatic Theory and Criticism, Modern Drama, and Theater, and the anthology Spatial Turns: Space, Place and Mobility in German Literary and Visual Culture (2010). She received her MFA (2001) and DFA (2006) in dramaturgy and dramatic criticism from the Yale School of Drama and her BA from Brown University (1996). She is the recipient of a Fulbright Award, a Hellman Fellowship, a Lehman Fellowship from the Oakley Center for the Humanities and Social Sciences, and a Research Fellowship from the American Society of Theatre Research, as well as two honorable mentions for her published essays.



Odai Johnson is professor in theater history and head of the PhD program at the University of Washington School of Drama. He took his MFA from the University of Utah and his PhD from the University of Texas at Austin. His articles have appeared in Theatre Journal, Theatre Survey, New England Theatre Journal, Theatre Symposium, and the Virginia Magazine of History as well as in numerous anthologies. His books include Rehearsing the Revolution (1999), The Colonial American Stage: A Documentary Calendar (2001) and Absence and Memory on the Colonial American Stage (2005). He is currently finishing a work on classical theater, titled Ruins. Professor Johnson holds the Floyd and Delores Jones Endowed Professorship in the Arts.



Ketu H. Katrak (originally from Bombay) is professor in the Department of Drama at the University of California, Irvine (UCI). She was UCI’s founding chair of the Department of Asian American Studies (2002). Katrak specializes in drama, dance, performance theory, postcolonial, Asian American and diasporic literature, third world women writers, and feminist theory. She is the author of Contemporary Indian Dance: New Creative Choreography (p. xxi) in India and the Diaspora (2011), Politics of the Female Body: Postcolonial Women Writers (2006), and Wole Soyinka and Modern Tragedy: A Study of Dramatic Theory and Practice (1986). Her essays on South Asian American Literature and expressive arts (mainly on Indian dance) appear in journals such as Amerasia and South Asian Popular Culture among others. Katrak is the recipient of a Fulbright Research Award to India (2005–06); University of California, Humanities Research Institute Fellowship (2002); Bunting Fellowship (1988–89) (Harvard/Radcliffe), and other awards. Katrak is currently on the Fulbright Senior Specialist roster (2010–2015).



Petra Kuppers is a disability culture activist, a community performance artist, and professor of English, women’s studies, art and design and theater. She also teaches on Goddard College’s low residency MFA in interdisciplinary arts. She leads The Olimpias, a performance research collective (www.olimpias.org). Her books include Disability and Contemporary Performance: Bodies on Edge (2003), The Scar of Visibility: Medical Performance and Contemporary Art (2007) and Community Performance: An Introduction (2007). Edited work includes Somatic Engagement (2011), and Community Performance: A Reader (2007). Her Disability Culture and Community Performance: Find a Strange and Twisted Shape (2011, paperback 2013) explores The Olimpias’s arts-based research methods and won the Biennial Sally Banes Prize by the American Society for Theatre Research. She is also the author of a new textbook for undergraduate classrooms, Studying Disability Arts and Culture: An Introduction (2014).



Esther Kim Lee is associate professor in the School of Theatre, Dance, and Performance Studies at the University of Maryland, College Park. She is the author of A History of Asian American Theatre (2006), which received the 2007 Award for Outstanding Book given by Association for Theatre in Higher Education and the editor of Seven Contemporary Plays from the Korean Diaspora in the Americas (2012). She was the editor of Theatre Survey, the flagship journal of the American Society for Theatre Research. She is currently working on a book project on the Chinese American playwright David Henry Hwang.



Daphne P. Lei is professor of drama at the University of California, Irvine. Her research and expertise include Chinese opera, intercultural performance, Asian American theater, and diasporic and postcolonial studies. She is the author of many articles and two books: Operatic China: Staging Chinese Identity across the Pacific (2006) and Alternative Chinese Opera in the Age of Globalization: Performing Zero (2011). She has also served on the editorial board of Theatre Survey and as an executive committee member of the American Society for Theatre Research. She is committed to diversity and multiculturalism in academia, and she founded Multicultural Spring (2007) and Dramatic Transformations (2012) at UCI for such purposes.



Erika T. Lin is an associate professor of English at George Mason University. She is the author of Shakespeare and the Materiality of Performance, which won the 2013 David Bevington Award for Best New Book in Early Drama Studies. She is currently working on a study of seasonal festivities and early modern commercial performance. In support of this project, she received a 2014–15 Andrew W. Mellon Long-Term Fellowship at the Folger Shakespeare Library.



Michael Lueger received his PhD from Tufts University in 2014. He has published articles on representations of women in Eugene O’Neill’s short plays and on Jesuit drama. His current (p. xxii) research centers on constructions of celebrity in nineteenth-century American theater. He holds a BA in English and theater from the College of the Holy Cross.



Kim Marra is professor of theater arts and American studies at the University of Iowa, where she is also affiliate faculty in the Department of Gender, Women’s, and Sexuality Studies. Her books include Strange Duets: Impresarios and Actresses in American Theatre, 1865–1914 (winner of the 2008 Joe A. Callaway Prize), and the co-edited volumes Passing Performances: Queer Readings of Leading Players in American Theater History (1998), its sequel Staging Desire: Queer Readings of American Theater History (2002), and The Gay and Lesbian Theatrical Legacy: A Biographical Dictionary of Major Figures in American Stage History in the Pre-Stonewall Era (2005). “Horseback Views: A Queer Hippological Performance,” her autobiographical solo piece, appears in Animal Acts: Performing Species Today (2014). Her article about that performance as research, “Riding, Scarring, Knowing: A Queerly Embodied Performance Historiography,” Theatre Journal 64, no. 4 (December 2012): 489–511, received the 2013 Outstanding Article Award from the Association for Theatre in Higher Education and the honorable mention for the Oscar G. Brockett Essay Prize from the American Society for Theatre Research.



Marianne McDonald, Distinguished Professor of Theatre and Classics at the University of California, San Diego, and a member of the Royal Irish Academy, is a pioneer in the field of modern versions of the classics in films, plays, and opera. She has translated all extant Greek tragedies and some comedies and has over 250 publications to her credit, including Euripides in Cinema: The Heart Made Visible (1983); Ancient Sun, Modern Light: Greek Drama on the Modern Stage (1992); Sing Sorrow: Classics, History and Heroines in Opera (2001); The Living Art of Greek Tragedy (2003); and The Craft of Athol Fugard: Space Time and Silence 2012); and edited with J. Michael Walton Amid Our Troubles: Irish Versions of Greek Tragedies (2002) and The Cambridge Companion to Greek and Roman Theatre (2007). Her nationally and internationally performed prize-winning translations and original plays include: Aeschylus’s Prometheus Bound; Sophocles’ Antigone, Ajax, Oedipus Tyrannus, and Oedipus at Colonus; Euripides’ Hecuba, Trojan Women, Iphigenia at Aulis, Bacchae, Phoenician Women, and Children of Heracles; Seneca’s Thyestes; Aristophanes’s Lysistrata; The Trojan Women; Medea, Queen of Colchester; The Ally Way; …and then he met a woodcutter; The Last Class; Fires in Heaven; A Taste for Blood; and Peace.



Vida L. Midgelow, dance artist/academic, joined Middlesex University as professor in dance and choreographic practices in 2012. Prior to this position she was professor and director of research at University of Northampton, where, over many years, she established the taught programs in dance and performance studies and developed the postgraduate research provision.



Ray Miller is a professor in dance studies and theater arts in the Department of Theatre and Dance at Appalachian State University. In addition, he serves as the director for strategic initiatives for the College of Fine and Applied Arts. He has directed and choreographed productions for the Cincinnati Playhouse in the Park and the Octagon Musical Theatre in New York City. Since coming to ASU in 2005, he has directed and choreographed numerous productions including The Fantasticks, The Exonerated, Metamorphoses, Stop Kiss, and The Trojan Women, among others. As a scholar, he has served as president for the Congress on Research in Dance and has published in the areas of musical theater, dance dramaturgy, and dance (p. xxiii) pedagogy. Dr. Miller served on the editorial board and was a contributor to Broadway: An Encyclopedia of Theater and American Culture (2010) and collaborated with folk singer Doris Bazzini, who contributed music to a play Dr. Miller wrote on the tragic killing of students on the Kent State campus in 1970. His most recent publication is a chapter, “Tappin’ Jazz Lines,” in Jazz Dance: A History of the Roots and Branches (2014), edited by Lindsay Guarino and Wendy Oliver.



Krista K. Miranda is a PhD candidate (ABD) in performance studies at New York University. Her dissertation, “Queer-Cripping ‘Whole’: Performing the Variable Body,” examines performances of embodiment on and off the stage that remap the body, its meanings, its taxonomies, and its possibilities to expose the network of forces that create the fantasy of the “whole” body and flesh out what is at stake when the body is revealed to be (always) partial. She was the recipient of the Congress on Research in Dance’s “2010 Outstanding Graduate Research” award for her essay “Staring at the (Clitoral) Sun: Arousing Abjection in Ann Liv Young’s The Bagwell in Me.” Her prior graduate work includes an MA in humanities and social thought with a concentration in gender politics (New York University) and an MA in writing and publishing (Emerson College). Her research interests include theories of embodiment, queer and feminist theory, critical disability studies, psychoanalysis, dance studies, and performance art.



Michael J. Morris is an artist/scholar and PhD candidate in the Department of Dance at the Ohio State University, working in and between dance, performance studies, and sexuality studies. Morris has presented research at a number of national and international conferences, including the Congress on Research in Dance; the Society of Dance History Scholars; Queer Places, Practices, and Lives; Meanings and Makings of Queer Dance; Staging Sustainability: Arts Community Culture Environment; and the EcoSex Symposium II. Morris was a participant in the Mellon Dance Studies Summer Seminar at Stanford University in 2014. Morris’s work has also been published in the European Journal of Ecopsychology. Morris teaches courses in writing about dance, dance history, yoga, butoh, modern dance, and ballet technique, and received the Writing Across the Curriculum Outstanding Writing Instruction Award at OSU in 2013. Morris studied butoh at the Kazuo Ohno Studio in Yokohama, Japan, and is certified in Labanotation through the Dance Notation Bureau in New York.



J. L. Murdoch earned her PhD at Bowling Green State University. Her dissertation received the Miesle Award for Outstanding Scholarship in Theatre and was the department nomination for the university-wide Distinguished Dissertation Award. She received a Fulbright fellowship to South Korea to conduct research on the folk masked dance-drama of Talchum. She has taught and presented in the Philippines, South Africa, South Korea, Jamaica, and the United States and has had work published in Theatre Journal, Theatre Topics, The Arts in Psychotherapy, and in the Fulbright Korea publications Infusion and Review. She is currently teaching at Yongsan International School of Seoul, where she is developing a theater program.



Maiya Murphy is an assistant professor in the Theatre Studies Programme at National University of Singapore’s English Language and Literature department. Her research centers on physical theater, theories of the body, and cognitive science. In addition to contributing a chapter to Collective Creation in Contemporary Performance (Kathryn (p. xxiv) Syssoyeva and Scott Proudfit, eds., 2013), Maiya has presented papers to the American Society for Theatre Research’s working groups Practice as Research (2009), Cognitive Science in Theatre and Performance (2010 and 2013), and Working between Theater and Dance Studies (2012). Maiya also served as the founding administrative director for Naropa University’s MFA theater program. She received her BA from Yale in theater studies with a concentration in performance, trained in Lecoq-based physical theater at the London International School for Performing Arts (LISPA), and received her PhD in theatre and drama at the University of California, San Diego, where she was a 2012–2013 UC President’s Graduate Fellow.



Sally Ann Ness is professor of anthropology at University of California, Riverside. She has worked in urban provincial centers in the Philippines as well as in Indonesia and the United States. Her research has focused on various forms of symbolic action, both in the practice of everyday life and in extraordinary ritual and secular performances. She has written on the semiotics of festival life, dance, and sport, and on tourism development and its consequences for cultural practice and cultural identity. Her current research, funded in part by a 2006 Guggenheim Fellowship, focuses on choreographic aspects of visitor practice in Yosemite National Park, drawing in part on the work of Gregory Bateson and Charles S. Peirce to illuminate connections between place, embodiment, and movement.



Halifu Osumare is professor of African American and African studies at the University of California, Davis, and has been involved with dance and black popular culture internationally for over thirty years as a dancer, choreographer, teacher, administrator, and scholar. She holds an MA in dance ethnology and a PhD in American studies. She has been a 2008 Fulbright Scholar and has published two books: The Africanist Aesthetic in Global Hip-Hop: Power Moves (2007) and The Hiplife in Ghana: West African Indigenization of Hip-Hop (2012). Having taught and researched in Malawi, Kenya, Ghana, and Nigeria, her work has spanned traditional African performance and ritual to contemporary African American dance and performance.



Sandy Peterson is a PhD candidate in interdisciplinary theater studies at the University of Wisconsin-Madison. Her work focuses broadly on the relationship between politics, performance, and culture in the 20th and 21st centuries. Her dissertation examines the performance of contemporary American conservatism, and argues that conservative belief systems and identities are not only reified through performance, but that they become increasingly immoderate through repetition. She has presented her work at several national conferences, including the Association for Theatre in Higher Education, the American Society for Theatre Research, and the American Conference for Irish Studies. Peterson teaches Theatre for Cultural and Social Awareness at UW-Madison, and has taught practical and scholarly courses in theater at UW-Madison; the University of Nevada, Las Vegas (UNLV); and the College of Southern Nevada (CSN), and courses in women’s studies at UNLV and CSN. In addition to her research, she is a practicing director, dramaturg, and producer and is a founding member of Our Initial Dissent, a local theater company dedicated to producing work that addresses racial and economic disparities in Dane County, Wisconsin. She has been a Mellon-Wisconsin Fellow and is currently a Chancellor’s Fellow at UW-Madison.



Thomas Postlewait, a professor emeritus from Ohio State University, has also taught at Cornell University, MIT, University of Georgia, Indiana University, and University of (p. xxv) Washington. He served as president of the American Society for Theatre Research (1994–97). Between 1991 and 2014 he edited over forty books for the series Studies in Theatre History and Culture. His publications include Prophet of the New Drama: William Archer and the Ibsen Campaign (1986) and The Cambridge Introduction to Theatre Historiography (2008). He co-edited Interpreting the Theatrical Past (1989), Theatricality (2003), and Representing the Past: Essays in Performance Historiography (2009). He also contributed to The Cambridge History of American Theatre (1999), The Cambridge History of British Theatre (2004), and the Oxford Handbook of Early Modern Theatre (2009). Forthcoming is his edition of The Correspondence of Bernard Shaw and William Archer (2015).



VK Preston is a postdoctoral Social Sciences and Humanities Research Council (SSHRC) fellow at McGill University’s Institute for the Public Life of the Arts and Ideas. She is a graduate of Stanford University’s Department of Theatre and Performance Studies, and she works in collaboration with the Sense Lab’s research project Immediations. She comes to scholarship on baroque and contemporary performance through dance, theater, and visual performance practices. Her article with Alanna Thain, “Tendering the Flesh: the ABCs of Dave St-Pierre’s Contemporary Utopias,” won the 2013 Canadian Association of Theatre Research’s Richard Plant Award for best article. She joins Brown University’s Theatre Arts and Performance Studies department as a visiting assistant professor in 2015–16.



Jade Y. Power Sotomayor Jade is a code-switching, hyphen-jumping, border-crossing, Cali-Rican educator, dancer, actor, and scholar of performance who engages embodied practices of remembering and creating community as a lens for theorizing performative constructions of Latinidad. She has a Master’s degree in Latin American studies and a PhD in theater from the University of California, San Diego. Her research focuses on epistemologies of the body, the intersections between race, gender and language, and on the intercultural dance practices of Chicana/os and members of the Latin Caribbean diaspora. Her work has been published in e-misférica, Latin American Theatre Review, and Gestos. She also has performed with and codirected the San Diego–based Puerto Rican bomba group Areito Borincano since 2005 (Bomba Liberté since 2011) and has performed and collaborated with the all women’s bomba group Bomberas de la Bahia since 2008.



Marlis Schweitzer is associate professor in the Department of Theatre at York University. She is the author of When Broadway Was the Runway: Theater, Fashion and American Culture (2009), and Transatlantic Broadway: The Infrastructural Politics of Global Performance (2015) and co-editor with Joanne Zerdy of Performing Objects and Theatrical Things (2014). Marlis’s work has appeared in a range of scholarly journals including Theatre Journal, Theatre Survey, Theatre Research International, TDR, Performance Research, Canadian Theatre Review, Theatre Research in Canada, and the Journal of American Drama and Theatre. She is the general editor of Theatre Research in Canada/Recherches théâtrales au Canada. The research represented in her essay was made possible by a SSHRC Insight Grant from the Social Sciences and Humanities Council of Canada.



E. J. Westlake is an associate professor of theater and drama and associate professor of English language and literatures at the University of Michigan. She is the author of Our Land Is Made of Courage and Glory: Nationalist Performance in Nicaragua and Guatemala (2005) and co-editor of Political Performances: Theory and Practice (2009). She is working on a book-length study and new translation of El Güegüence, the national dance drama (p. xxvi) of Nicaragua. Her research focuses on performance in the Americas, including nationalist drama, public art, community-based theater, pedagogy, and the interplay between public identity, political discourse, and performance narrative. Westlake’s articles have appeared in Theatre Annual, Latin American Theatre Review, TDR, and Youth Theatre Journal. Chapters have appeared in Lengel and Warren’s Casting Gender (2005), Bial and Magelssen’s Theatre Historiography: Critical Questions (2010), and Haedicke and Nellhaus’ Performing Democracy (2001). She volunteers her services as peer reviewer for Modern Drama and serves on the editorial board of Youth Theatre Journal. She is also the book review editor for Theatre Annual.



Stacy Wolf is professor of theater and director of the Princeton Arts Fellows in the Lewis Center for the Arts at Princeton University. She is the author of Changed for Good: A Feminist History of the Broadway Musical (2011) and A Problem Like Maria: Gender and Sexuality in the American Musical (2002) and the co-editor of The Oxford Handbook of the American Musical (with Raymond Knapp and Mitchell Morris, 2011).



Praise Zenenga holds an interdisciplinary PhD in theater and drama from Northwestern University and is an associate professor in the Africana Studies Program at the University of Arizona. He teaches courses on the history, politics, and aesthetics of Pan-African theater, drama, and dance. His research and teaching focus on interdisciplinary approaches to understanding issues of identity, race, social change, and social justice in the literature and performance of Africa and African diaspora communities. He has published more than a dozen journal articles and book chapters on masculinities, identities, censorship, avant-gardism, political expression, and modes of protest in Zimbabwean theater, dance, sport, and everyday life performance. He recently completed a book monograph on contemporary popular theater in Zimbabwe focusing on the relationship between artists, donors, and the state. He has also delivered papers at scholarly gatherings and has been invited to present guest lectures at campuses across the nation on various aspects of African and diaspora theater, dance, and performance.