Contributors
- Contributors
Arnab Banerji is an assistant professor of theatre history, literature, and dramaturgy at Loyola Marymount University, Los Angeles, where he teaches courses on theatre history, Asian theatre, and dramaturgy. His primary area of research interest is contemporary Indian performance. Arnab was one of the ASIANetwork Luce Foundation Postdoctoral Teaching Fellows during the 2014–2015 academic year at Muhlenberg College and also taught at Barnard College, Columbia University during Spring 2015. Arnab is the recipient of the 2015 David Keller Travel Award from ASTR. His essays on Indian performance and reviews of contemporary scholarship on Asian performance have appeared in the Asian Theatre Journal, Theatre Journal, and Southeastern Review of Asian Studies.
Becky K. Becker, Theatre Symposium editor, is assistant director for the Center for International Education and professor of theatre at Columbus State University. In addition to her involvement with the Southeastern Theatre Conference, she is vice chair of the National Playwriting Program for Region IV of the Kennedy Center American College Theatre Festival. Her research includes cross-cultural theatre, intercultural communication, new plays, and embodied cognition. Her work has appeared in Theatre Journal, Feminist Teacher, Review: The Journal of Dramaturgy, Theatre Symposium, and various edited volumes.
Lisa Marie Bowler is a London-based dramaturg currently completing her doctoral thesis on theatre architecture and embodiment at the Ludwig-Maximilians-Universität in Munich, Germany. A classically trained former dancer, she is particularly interested in the relationship between the moving body and its surrounding space. She worked at Sadler’s Wells Theatre in London for several years and specializes in dance dramaturgy. She has also worked at Shakespeare’s Globe and in 2014 participated in the Mellon School of Theatre & Performance Research at Harvard University.
Chase Bringardner is an associate professor of theatre at Auburn University who specializes in the study of popular entertainments such as medicine shows and musical theatre, regional identity construction, and intersections of gender, race, and class in popular performance forms. He [End Page 139] works regularly as a director, recently staging Caryl Churchill’s Vinegar Tom in the fall of 2014. He has written a chapter in The Oxford Companion to the Musical on region, politics, and identity in musical theatre as well as publications in other journals, including Theatre Journal and Theatre Topics. His current book-length project posits a framework for a regional analysis of musical theatre history, focusing explicitly on a genealogy of the “southern” musical. He is an active member of the Association for Theatre in Higher Education, where he currently serves as vice president of membership and marketing.
Marvin Carlson is the Sidney E. Cohn Professor of Theatre, Comparative Literature, and Middle Eastern Studies at the Graduate Center of the City University of New York. He has received an honorary doctorate from the University of Athens, the ATHE Career Achievement Award, the ASTR Distinguished Scholarship Award, the George Jean Nathan Award for Dramatic Criticism, the Rosenblum Award for Contributions to Theatre and Education, and the Calloway Prize for writing in theatre. He is the founding editor of the journal Western European Stages. He is the author of twenty-one books, the most recent of which, written with Khalid Amine, is The Theatres of Morocco, Algeria and Tunisia (Palgrave, 2012).
Alicia Corts is an assistant professor of theatre at Saint Leo University. She is also a founding member of WITS, the Women in Theatre in the Southeast project. She has directed off-Broadway and across the United States. She received her PhD in theatre from the University of Georgia, and her research deals with virtual performance. She has published in Ecumenica and Theatre Journal as well as contributed chapters to The Immersive Internet: Reflections on the Entangling of the Virtual with Society, Politics, and the Economy, The Retro-Futurism of Cute, and Open Systems/Closed Worlds.
Andrew Gibb is assistant professor and head of history, theory, and criticism in the Department of Theatre and Dance at Texas Tech University. He writes about Chicana/o theatre and performance in the nineteenth-century US West. His work has appeared in Theatre History Studies, the Journal of Dramatic Theory and Criticism, the Latin American Theatre Review, Comparative Drama, and in the collection Querying Difference...
