Contributors Notes

Contributors Notes M. S. BARRANGER is President of the American Theatre Association and chairs the Department of Theatre and Speech at Tulane University (New Orleans). She is author of articles on Ibsen, Ionesco, and Brecht in The Educational Theatre Journal, The Ouarterly Journal of Speech, Comparative Drama, and Modern Drama. She has just completed a book for publication entitled Theatre: A Way oj Seeing. ROLF FJELDE recently J'ublished Ibsen: The Comp/ele Major Prose Plays and has previously edite Ibsen: A Colleclion of Critical Essays. His translations of fuseD, along with his original plays, have been widely produced in England. Canada, Norway, and the United States. He is Professor of English and Drama at Pratt Institute and Lecturer in Drama History at the Juilliard School. CHARLES LELAND. priest in the Congregation of S1. Basil and Associate Professor of English at St. Michael's College in the University of Toronto, teaches courses in Renaissance literature and modern drama. He also conducts an undergraduatc seI;T1inar on Ibsen and Strindberg. He has published articles on Ibsen in Ibsenarboken and The Chesterton Review. USE·LONE MARKER. Professor of Theatrical History at the University of Toronto, is the author of David Belasco. Naturalism in the American Theatre (1975) and many other studies. FREDERICK 1. MARKER. Professor of English and Drama at Toronto and the fonner Editor of Modern Drama, includes among his writings Hans Christian Andersen and the Romantic Theatre (1971), Kjeld Abell (1976), and others. The Markers have published numerous studies as a team, includin~ The Scandinavian Theatre: A Short History (1975). At present they are wnting a book on Ingmar Bergman as a stage director. JOHN NORTHAM. after many years as a member of Clare College and a lecturer in the Faculty of English, left Cambridge in 1972 for the Chair in Modem and Comparative Drama at the University of Bristol. His publications include Ibsen's Dramatic Method., Dividing Worlds, Ibsen: A Critical Study, and numerous articles. He is presently completing Waiting for Prospero, a study of key works by Ibsen, Strindberg, Brecht, and Beckett in comparison with The Tempest; and, in addition to projects in editing and translating, he is engaged in books on Ibsen in performance and on twentieth century English drama. ...