Contributors
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333  Contributors E. Patrick Johnson is the Carlos Montezuma Professor of Performance Studies and African-American Studies at Northwestern University. He is also an Artistic Fellow at the Ellen Stone Belic Institute for the Study of Women and Gender in the Arts and Media at Columbia College, Chicago. A scholar, artist, and activist, Johnson has performed nationally and internationally and has published widely in the area of race, gender, sexuality, and performance. He is the author of Appropriating Blackness: Performance and the Politics of Authenticity (2003) and Sweet Tea: Black Gay Men of the South—An Oral History (2008). He is the co-editor with Mae G. Henderson of Black Queer Studies: A Critical Anthology (2005), and with Ramón H. Rivera Servera of solo/black/ woman: scripts, interviews, and essays (2013). Micaela di Leonardo is Professor of Anthropology and Performance Studies at Northwestern University. She has written The Varieties of Ethnic Experience (Cornell, 1984), and Exotics at Home: Anthropologies, Others, American Modernity (Chicago, 1998), edited Gender at the Crossroads of Knowledge: Feminist Anthropology in the Postmodern Era (California, 1991), and co-­ edited The Gender/Sexuality Reader (Routledge, 1997) and New Landscapes of Inequality : Neoliberalism and the Erosion of American Democracy (SAR, 2008). She misses Dwight terribly. Shannon Jackson is the Richard and Rhoda Goldman Distinguished Professor in the Arts and Humanities at the University of California at Berkeley. Her areas of research include performance theory; contemporary visual and performance art; American studies; sex/gender/race studies; history of disciplines ; solo performance; new media theatre. She is the author of Lines of Activity : Performance, Historiography, Hull-­ House Domesticity (2000), Professing Performance: Theatre in the Academy from Philology to Performativity (2004), and Social Works: Performing Art, Supporting Publics (2011). Judith Hamera is Professor of Performance Studies at Texas A&M University . Her scholarship contributes to American, communication, and cultural studies, as well as performance, theatre, and dance studies. Her books include Parlor Ponds: The Cultural Lives of the American Home Aquarium, 1870–­ 1970 (2012); The Cambridge Companion to American Travel Writing (2009), with Alfred Bendixen; Dancing Communities: Performance, Difference and Connection in the Global City (Studies in International Performance: Palgrave Macmillan , 2007/2011); Opening Acts: Performance In/As Communication and Cultural Studies (Sage, 2006); and the Sage Handbook of Performance Studies, co-­ edited with D. Soyini Madison (2006). Her essays have appeared in Com- 334 contributors munication and Critical/Cultural Studies, Cultural Studies, TDR: The Drama Review, Modern Drama, Text and Performance Quarterly, Theatre Topics, and Women and Language. D. Soyini Madison is Professor and Chair in the Department of Performance Studies and Professor of Anthropology, African American Studies, and the Program of African Studies at Northwestern University. She is the author of Acts of Activism: Human Rights as Radical Performance (2010) and Critical Ethnography: Methods, Ethics, and Performance (2005); editor of The Woman That I Am: The Literature and Culture of Contemporary Women of Color (1995); and co-editor with Judith Hamera of The Sage Handbook of Performance Studies (2006) and with Karen Hansen of African Dress: Fashion, Agency, Performance (2013). Lisa Merrill is Professor of Communication, Rhetoric & Performance Studies , at Hofstra University. Professor Merrill’s ongoing research and publications are in the fields of performance studies, American studies, critical race and cultural studies, and women’s and gay and lesbian history. She has published widely on the performance of gender, race, and sexuality in historical and contemporary cultural settings. Professor Merrill’s critical biography of nineteenth-­ century actress Charlotte Cushman, When Romeo was a Woman: Charlotte Cushman and Her Circle of Female Spectators (University of Michigan Press), received the 2000 Joe A. Callaway Prize for Best Book in Theatre or Drama. Della Pollock is Professor in Communication Studies at the University of North Carolina at Chapel Hill and Executive Director of the Jackson Center for Saving and Making History. She is the author of Telling Bodies Performing Birth, editor of Remembering: Oral History Performance and Exceptional Spaces: Essays in Performance and History, and co-­ editor of the journal Cultural Studies. Joseph Roach is the Sterling Professor of Theatre and English at Yale University . He is the author of The Player’s Passion: Studies in the Science of Acting (1985), Cities of the Dead: Circum-­ Atlantic Performance (1996), and It (2007). He is the editor (with Janelle Reinelt) of Critical Theory and Performance (2nd edition, revised 2007) and Changing the Subject: Marvin Carlson and Theatre Studies, 1959–­ 2009 (2009). He is the recipient of a Lifetime Distinguished Scholar Award from the American...