Contributors

Contributors Kyna Hamill is a lecturer in the Core Curriculum program at Boston University. She is currently doing research on weaponry and visual culture in the seventeenth century. She has a forthcoming article in Print Quarterly and a chapter in Performance of Violence in Contemporary Ireland . She edited They Fight: Classical to Contemporary Stage Fight Scenes (2003), a collection of theatrical combat scenes. She is a member of the Popular Entertainment working group for International Federation for Theatre Research (IFTR) and serves as a contributing editor to Popular Entertainment Studies. Andrew Kimbrough received his MFA in acting from Carnegie Mellon University and the Moscow Art Theatre School, and his PhD in theatre from Louisiana State University. He is an assistant professor of theatre at the University of Kentucky. Adrienne C. Macki is an assistant professor in dramatic arts at the University of Connecticut. Her work has been published in Theatre Journal, New England Theatre Journal, Journal of Ameri­ can Drama and Theatre, Theatre History Studies, and the Encyclopedia of Ethnic Ameri­ can Literature . She has received fellowships from the Ameri­ can Association of University Women, the Ameri­ can Society for Theatre Research, and the Driskell Center for the Study of the Visual Arts and Culture of African Ameri­ cans at the University of Maryland. Christopher J. Mitchell is an associate professor of theatre arts at East­ ern Illinois University and is an affiliated faculty member of the Wom­ en’s Studies and Film Studies programs. Dr. Mitchell’s areas of scholarly 150      C o n t r i buto r s interest include the plays of August Strindberg, feminist theatre, Scandinavian theatre and film, and European realism/naturalism of the late nineteenth and early twentieth centuries. He is also an active dramaturg and director. Stefani Overman-­ Tsai is a graduate student at California State University , Stanislaus. She received her BA in theatre arts and communications from Whittier College and her MA in theatre arts from California State University, Sacramento. She has also taken graduate-­ level classes at Louisiana State University. Eleanor Owicki is a PhD student in the Performance as Public Practice program at the University of Texas at Austin. Her primary interest is in Irish theatre, and she received an MA from the University of Texas with a thesis entitled “Our Day Will Come? Female and Catholic Identities in Northern Irish Theatre” in the spring of 2008. Her dissertation will explore performances of memory and identity in Belfast after the 1998 Good Friday Agreement. Teemu Paavolainen expects to finish his PhD dissertation on performer-­ object interaction in Grotowski, Kantor, and Meyerhold in 2010 (that will be in English). In Finnish, he has published on puppetry and cognition , Jerzy Grotowski, Tadeusz Kantor, and Samuel Beckett. Theatri­ cal objects and Polish performances aside, his theoretical expertise resides in recent “ecological” approaches to action, perception, and cognition, variously dubbed embodied, enactive, extended, situated, or distributed. Sarah Powers is a doctoral candidate in theatre arts at Cornell University , where she focuses on ancient Greek and Roman theatre, spectatorship , and farce. She earned her BA in classics and theater studies from Emory University and has also worked as the literary intern at the­ McCarter Theatre. Andrew Sofer is associate professor of English at Boston College. His essays have appeared in Theatre Journal, Modern Drama, Comparative Drama, Journal of Dramatic Theory and Criticism, English Literary Renaissance , The Oxford Handbook of Early Modern Theatre, and The Blackwell Companion to Twentieth-­ Century Ameri­ can Drama. His book The Stage Life of Props (University of Michigan Press, 2003) received honorable mention for the 2004 Barnard Hewitt Award given by the Ameri­ can Society for Theatre Research. He is currently at work on a second book, Dark Matter: Invisibility in Drama, Theatre, and Performance. Contributors      151 Bland M. Wade Jr. is the director of the Stage Properties Program, School of Design and Production at the University of North Carolina School of the Arts. He has worked with many companies, including Heritage Repertory Theatre, Actors Theatre of Louisville, and the North Caro­ lina Shakespeare Festival. He is a practicing artist with experiences in theatre, opera, dance, film, and television, as well as commercial and corporate events. He is a member...