Contributors

{ 299 } Contributors V irginia Anderson is an Assistant Professor of Theatre at California Polytechnic State University in San Luis Obispo, California. She received her Ph.D. in 2009 from Tufts University, where her dissertation focused on the effect and representations of the AIDS epidemic within Broadway theatre. Awo Mana Asiedu is a Senior Lecturer in the Department of Theatre Arts and was recently appointed Acting Director of the School of Performing Arts at the University of Ghana. Her research interests include contemporary African theatre and performance, the sociology of theatre, and theatre for purposes other than entertainment alone. Her publications include articles on the plays of Ama Ata Aidoo and Tess Onwueme and also on West African theatre audiences. Cheryl Black is an Associate Professor of Theatre at the University of Missouri. Her publications include The Women of Provincetown (2002) and numerous book chapters and journal articles on women in theatre, feminist theatre , and African Ameri­ can theatre. Jocelyn L. Buckner is a Ph.D. candidate in Theatre Studies at the Uni­ versity of Kansas, where she is completing her dissertation,“Shady Ladies: Sister Acts and the Representation of Cultural Identity in Ameri­ can Popular Performance from Emancipation to the Great Depression.” Her research interests include early-­ twentieth-­ century U.S. performance, contemporary feminist performance , and the plays of Suzan-­ Lori Parks.She also holds an M.F.A.in Theatre from Virginia Commonwealth University and serves as the Managing Editor for the Journal of Dramatic Theory and Criticism. { 300 } Contributors Bert Cardullo is a theatre and film scholar who has authored, edited, or translated many books. Among his titles are Theater of the Avant-­ Garde, 1890– 1950; Soundings on Cinema; and What Is Dramaturgy? Andrew Carlson is a Ph.D. candidate in Theatre History at the University of Illinois at Urbana–Champaign. His research focuses on Shakespeare and race in Ameri­ can culture and on the connections between theatre scholarship and theatre practice. He also holds an M.F.A. in theatre performance. For the last several years, he has been a member of the acting company at the nationally renowned Great River Shakespeare festival in Winona, Minnesota. Christopher Connelly is a professional theatre director and independent scholar. He has traveled to Africa several times, including three trips to Kenya on grants from the Andrew H. Mellon Foundation. He lives in Bloomington , Illinois. Roy Connolly is Programme Leader for Drama at the University of Sunderland . His research interests include Irish theatre, twentieth-­ century theatre practice, and theatre and psychology. He has published widely on these topics. Rebecca Hewett is an Assistant Lecturer at Texas A&M University in College Station. She is also a Ph.D. candidate in the Performance as Public Practice Program at the University of Texas at Austin, where she is currently completing her dissertation on representations of gender, race, and class in Progressive Era pageantry. E. Patrick Johnson is Director of Graduate Studies in the Department of Performance Studies and Professor in the Department of African Ameri­ can Studies at Northwestern University. He is the author of Appropriating Black­ ness: Performance and the Politics of Authenticity (2003) and Sweet Tea: Black Gay Men of the South—An Oral History (2008), and coeditor (with Mae G. Henderson ) of Black Queer Studies: A Critical Anthology (2005). Felicia Hardison Londré, Curators’ Professor of Theatre at the University of Missouri–Kansas City, won the Theatre Library Association’s George Freedley Memorial Award for her twelfth book, The Enchanted Years of the Stage: Kansas City at the Crossroads of Ameri­ can Theatre, 1870–1930. She is currently researching a book on French and Ameri­ can theatre artists during the Great War. { 301 } Contributors L auren McConnell is an Assistant Professor at Central Michigan University . A graduate of Northwestern University’s Interdisciplinary Ph.D. in The­ atre and Drama, she specializes in Slavic and East European theatre. In 2010 she will be a Fulbright lecturer at the University of Plovdiv, Bulgaria. Mbala D. Nk anga is an Associate Professor of Theatre Studies at the University of Michigan in Ann Arbor. He works on the history of theatre and practices of traditional performance in Francophone Africa. Praise Zenenga is an Assistant Professor in the...