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Contributors*
Murray Biggs teaches British, Irish, and American drama at Yale University. He publishes on Shakespeare and his contemporaries, lectures regularly on Shakespeare films, and has directed thirty-five plays.
The Bindlestiff Family Cirkus was born in a back alley from the union of a match and a can of white gas. Fire-eaters Keith Nelson and Stephanie Monseu turned their love of circus and sideshow history into a traveling act.
Kyle Chepulis’s associations run from BACA/Downtown to En Garde Arts to the Bat Theater Company, where he collaborated on the design and technology of their new performance space, the Flea Theater. He has manipulated a vast array of abandoned New York real estate for En Garde, has received Bessie and Obie Awards for his designs, and owns and operates his own firm, Technical Artistry.
Annie Dorsen is a student in the directing program at the Yale School of Drama. She is artistic director of the Yale Cabaret.
Erik Ehn is cofounder, with composer Lisa Bielawa, and artistic director of the Tenderloin Opera Company. His works include Ideas of Good and Evil and Beginner.
Peter Feldman, formerly of the Open Theater, is chair of film studies, dramatic and visual arts at Brock University.
Thalia Field received a 1992 NEA opera grant for The Pompeii Exhibit. Her prose and poetry have appeared in Conjunctions, Avec, Chain, and Central Park, and her book Point and Line is forthcoming from New Directions. Hey-Stop-That, published in Theater, was produced at SVT in Austin, Texas, and now at the Boulder Museum of Contemporary Art’s theater. A senior editor at Conjunctions, she edited an experimental music-theater issue. She currently teaches at the Naropa Institute in Boulder, Colorado.
Richard Gilman’s most recent book is Chekhov’s Plays: An Opening into Eternity (Yale University Press, 1995).
David Greenspan’s plays include Jack; The Home Show Pieces; 2 Samuel 11, Etc.; and Dead Mother, or Shirley Not All in Vain. These have been produced at venues including the New York Shakespeare Festival/Public Theater, the Royal Court in London, the Citizen’s Theatre in Glasgow, and the Stukke Theater in Berlin.
The Guerrilla Girls have produced over seventy posters, projects, and actions exposing sexism and racism in the arts and the culture at large. They wear gorilla masks to focus on the issues rather than on their personalities and have written two books, the latest titled The Guerrilla Girls’ Bedside Companion to the History of Western Art. They expanded their actions to include theater during the 1997–98 season, which culminated in the first annual Guerrilla Girls’ Theatre Quiz in In Theater.
Gitta Honegger is completing a book on Thomas Bernhard titled The Making of an Austrian for Yale University Press. She is chair of the Department of Drama at the Catholic University of America.
Jonathan Kalb teaches in the theater department at Hunter College and writes a weekly theater column for New York Press. He is the author of The Theatre of Heiner Müller, Beckett in Performance, and Free Admissions: Collected Theater Writings.
Stanley Kauffmann, the film critic of the New Republic, teaches in the theater program at Hunter College.
Allen Kuharski, an associate professor and director of the theater studies program at Swarthmore College, has been published in Theater, Theatre Journal, Performing Arts Journal, New Theatre Quarterly, TheatreForum, and other journals in the U.S. and Poland. He currently serves as an editor for Slavic and East European Performance and Periphery.
Mark Lord is chair of the arts program and senior lecturer in the arts at Bryn Mawr and Haverford Colleges as well as director of Big House (plays and spectacles).
Suzan-Lori Parks, a two-time Obie Award-winner has a new play, In the Blood, opening at the Public Theater in its 1999–2000 season. Her two other new plays, Topdog/Underdog and Fucking A, will also premiere in the upcoming season. She has recently completed a screenplay for Jodie Foster and the second draft of her first novel, Telephone Game.
Jay Plum is a candidate in the Ph.D. program in theater at the CUNY Graduate Center.
Hanon Reznikov serves as executive director of the Living Theater in New York.
Gordon Rogoff’s new volume of essays and criticism, titled Vanishing Acts, is forthcoming from Yale University Press.
Christiane Riera Salomon is a student in the dramaturgy and dramatic criticism program at the Yale School of Drama.
Tom Sellar, associate editor of Theater, has also contributed to TheatreForum, P-Form, and the New Novel Review.
Jonathan Shandell is a student in the dramaturgy and dramatic criticism program at the Yale School of Drama.
Alisa Solomon is the author of Re-Dressing the Canon: Essays on Theater and Gender (Routledge), winner of the 1998 George Jean Nathan Award.
George Tabori was born in Budapest in 1914. His many plays, screenplays, novels, and poems include The Emperor’s Clothes, The Cannibals, Clowns, and Mein Kampf: A Farce.
Holger Teschke writes, translates, and directs theater in Berlin and South Hadley, Massachusetts. In addition to directing his own plays and radio plays, he has also directed plays by Müller, Büchner, Lenz, Beckett, and Christoph Hein. As chief dramaturg at the Berliner Ensemble, Teschke has worked with Heiner Müller, Peter Palitzsch, and Robert Wilson.
Jack Zipes is professor of German literature at the University of Minnesota. He has written numerous essays on contemporary German and Austrian drama, translated German and French plays, and is currently working on a book about the cultural relations between Germans and Jews since 1945.
Footnotes
* The pieces by Mark Lord, Suzan-Lori Parks, Erik Ehn, and Thalia Field grew out of these writers’ participation in the Brooklyn Academy of Music’s BAMdialogues with Mac Wellman, presented in January and February 1998 as part of a three-year BAM project made possible by a grant from the Lila Wallace-Reader’s Digest Fund.
