Acknowledgements

First and foremost the editors would like to thank the Arts and Humanities Research Council, UK (AHRC), and the Stiftung Universität Hildesheim for funding two four-day symposia in Exeter and Hildesheim, which formed the starting point and basis for this research and this publication. We would like to thank all those who attended and participated in these symposia, generously contributed to them and have left their mark on the research presented here. The Department of Drama, Exeter, the Institut für Musik und Musikwissenschaft, Hildesheim and the Universitätsgesellschaft Hildesheim further supported the research workshop events that were instrumental in establishing the notion and the network of Composed Theatre. The use of space and resources, the help from technical and administrative staff as well as the interest and support from colleagues at both institutions were all much appreciated. The tireless work of the research assistants Paul Edmondson and Karoline Kähler was another key factor in successfully preparing and conducting the project, which led to this book. We are also grateful to the Herder Kolleg of the Universität Hildesheim for its valuable support regarding the translations.

Many thanks go to Peter Hulton, who carefully and diligently documented the workshops, presentations and discussions preceding the book and ensured their accessibility through the Exeter Digital Archive, Exeter, and the Audio-Visual Archive at Hildesheim, and Sarah Crumb, who provided the exact transcripts from the lively discussions, which formed the basis for chapter 15.

Editing, writing and partly translating a publication in English as two non-native speakers, we needed patient, resourceful and sensitive editorial advice and received it in full from Sarah Evans (Exeter), Peter Thomson (Exeter) and Nita Shechet (Jerusalem), whom we thank very much. We are also very grateful for the translations provided by Lee Holt and Nick Wood. Any remaining flaws, however, are ours.