Michael Shane Boyle works in the Drama Department at Queen Mary University of London as Lecturer in Drama, Theatre and Performance. He is currently working on two books, a history of postwar West German performance and a study of how contemporary artists use key technologies that undergird the logistics infrastructure of global capital, like shipping containers, drones and GPS.
Kate Bredeson is a theatre historian, a director and a dramaturg. Her books include Occupying the Stage: the Theater of May ’68 (Northwestern 2018) and a forthcoming edited collection of the lifetime diaries of Judith Malina (Routledge). Kate is a recipient of fellowships from the NEH and Fulbright Commission, and residencies at the Camargo Foundation in Cassis, France and the Rockefeller Center in Bellagio, Italy. She works as a dramaturg in theatre and dance. Kate is Associate Professor of Theatre at Reed College.
Edith Cassiers studied Dutch, Theatre, Film and Literary Studies at the University of Antwerp. In 2018 she completed her PhD dissertation ‘PROMPT! From Page to Stage. A Theatrical Study of the Postdramatic Director’s Notebook’ as part of the project ‘The Didascalic Imagination’ (University of Antwerp and Vrije Universiteit Brussel). She has published several articles on director’s theatre, creative processes and postdramatic theatre in journals such as Performance Research; Digital Scholarship in the Humanities; and Theatre, Dance and Performance Training. She furthermore works as a dramaturge for different theatre companies.
Matt Cornish is Assistant Professor of Theatre History at Ohio University. He is the author of Performing Unification: History and Nation in Germany after 1989 and the editor of Everything and Other Performance Texts from Contemporary Germany; his essays have appeared in Modern Drama, Theatre Journal, PAJ, and elsewhere. A recipient of Fulbright and DAAD fellowships, Matt holds a Doctor of Fine Arts degree from Yale School of Drama.
Luk Van den Dries is Full Professor of Theatre Studies at the University of Antwerp. His research deals with contemporary postdramatic theatre, representations of the body, and the dynamics between directors’ notebooks and rehearsal processes. He is supervisor of the research project ‘The Didascalic Imagination’ (funded by FWO – Research Foundation Flanders).
Andrew Friedman is an Assistant Professor of Theatre History at Ball State University in Indiana and received his PhD in Theatre from the CUNY Graduate Center. His essays and reviews on contemporary performance appear in Theatre Journal, Theater, European Stages and Ibsen News and Comment. He is currently completing a manuscript on Vegard Vinge and Ida Müller’s Ibsen-Saga. Andrew works as a dramaturg and is a founding member of the theatre collective Riot Group.
Elinor Fuchs is the author or editor of five books, including The Death of Character, winner of the George Jean Nathan Award in Dramatic Criticism, and the family memoir Making an Exit. Her documentary play, Year One of the Empire, co-authored with historian Joyce Antler, has been produced in New York and Los Angeles, where it won the Drama-Logue award for playwriting. Known for her numerous scholarly articles in dramatic structure and theory, as well as theatre criticism in The Village Voice, she has taught at Emory, Columbia and Harvard universities, and at the Institut für Theaterwissenschaft of the Free University of Berlin. She is presently Professor Emerita of Dramaturgy and Dramatic Criticism at the Yale School of Drama, where she taught for twenty-three years.
Stanton B. Garner, Jr. is Professor of English and Adjunct Professor of Theatre at the University of Tennessee. Author of The Absent Voice: Narrative Comprehension in the Theater, Bodied Spaces: Phenomenology and Performance in Contemporary Drama and Trevor Griffith: Politics, Drama, History, he has written extensively on theatre and performance. His book Kinesthetic Spectatorship in the Theater: Phenomenology, Cognition, Movement was recently published by Palgrave Macmillan.
Yvonne Hardt is a dancer, choreographer and Professor of Applied Dance Studies and Choreography at the Hochschule für Musik und Tanz in Cologne, Germany. Her books include Politische Körper: Ausdruckstanz, Choreographien des Protests und die Arbeiterkulturbewegung in der Weimarer Republik and Choreographie und Institution: Zeitgenössischer Tanz zwischen Ästhetik, Produktion und Vermittlung (with Martin Stern).
Ryan Anthony Hatch is an Assistant Professor of English at California Polytechnic State University, where he teaches modern and contemporary drama, experimental writing, contemporary theory and psychoanalysis. He received his PhD from the Center for the Study of Psychoanalysis and Culture at SUNY, Buffalo. He is currently working on two book projects: Anyone Who Trembles Now, on the antitheatricality of the revolutionary event, and a monograph on Young Jean Lee.
Timmy De Laet is Assistant Professor of Theatre and Dance at the University of Antwerp and the Research Centre for Visual Poetics. His current research is supported by the Research Foundation Flanders (FWO), the Fulbright Commission and the Belgian American Educational Foundation (BAEF). His interests include the reiterative nature of live performance in relation to re-enactment, archivization, documentation and historiography. He has published on these topics in journals as Performance Research, Tanz and Muséologies, as well as in the edited collections Performing Memory in Art and Popular Culture (2013), Moments: A History of Performance in 10 Acts (2013) and The Oxford Handbook of Dance and Reenactment (2017).
Jasmine Mahmoud is Assistant Professor in the Department of Performing Arts and Arts Leadership at Seattle University. Her research examines relationships among contemporary performance practices, race, and policy in urban geographies. Her articles and reviews have been published in Modern Drama, Performance Research, TDR: The Drama Review, and Women & Performance. She received her PhD in Performance Studies from Northwestern University.
Nicholas Ridout is Professor of Theatre at Queen Mary University of London. He is the author of Stage Fright, Animals and Other Theatrical Problems (2006) and Passionate Amateurs: Theatre, Communism and Love (2013). A new book, Scenes from Bourgeois Life, will be published in 2020.
Magda Romanska is an award-winning writer, dramaturg and theatre and performance theorist. She has taught at Harvard University, Yale School of Drama, Cornell University and Emerson College. She is the author of five critically acclaimed theatre books, including The Post-traumatic Theatre of Grotowski and Kantor, Reader in Comedy: An Anthology of Theory and Criticism and The Routledge Companion to Dramaturgy, a leading handbook of dramaturgy. Currently, Magda Romanska is an Associate Professor of Theatre Studies and Dramaturgy at Emerson College in Boston, MA, and the Executive Director and Editor-in-Chief of TheTheatreTimes.com. She graduated from Stanford University and earned her PhD from Cornell University’s Department of Theatre. Her current research focuses on theatre, transmedia, new media dramaturgy and posthumanism.
Philip Watkinson is an Associate Lecturer in Performing Arts at the University of Winchester. He completed his doctoral thesis at Queen Mary University of London, which examined the experiential interrelations between space and affect in postdramatic performance contexts. His work has been published in Performance Research, Theatre Journal and Contemporary Theatre Review.
Brandon Woolf is a theatre maker and Visiting Assistant Professor of Theatre at New York University, where he also serves as Director of the Program in Dramatic Literature. His writing has appeared in Theatre Journal, TDR: The Drama Review, Theatre Survey, Performance Research and Postdramatic Theatre and the Political (Bloomsbury, 2013). Brandon is currently working on a monograph about contemporary performance and cultural policy in Berlin after the Cold War.