Contributors
- Contributors
Florian Nikolas Becker has taught as an Assistant Professor of German at Bard College since 2005. He studied Philosophy, Politics, and Economics at Magdalen College, Oxford, before earning his Ph.D. in German Literature at Princeton. He is currently completing a book on Bertolt Brecht, Peter Weiss, and Heiner Müller, How Theater Works: The Generation of Knowledge in 20th-Century German Drama.
Matthew Buckley is an Associate Professor in the Department of English at Rutgers University, New Brunswick. His publications include Tragedy Walks the Streets: The French Revolution and the Emergence of Modern Drama (Johns Hopkins, 2006), as well as articles in Theatre Journal, Theatre Survey, Studies in Romanticism, and Victorian Studies. He is currently completing books on theatre and visual culture between 1580 and 1880 and on the formal development of early melodrama.
Julia H. Fawcett is a Ph.D. candidate in the English Department at Yale University, where she is currently at work on a dissertation about the ways in which the actor-celebrities of eighteenth-century England negotiated the tension between the status available to the public figure and the authority granted the unmarked individual in the bourgeois public sphere.
Luc Gilleman teaches in the English Department and the Comparative Literature program at Smith College. He is the author of John Osborne: Vituperative Artist (Routledge 2002) and articles on British, American, and European playwrights. [End Page 286]
Erin Koshal recently received her Ph.D. from the Literature Program at Duke University. She was a research fellow with the German Academic Exchange (DAAD) in Berlin and is currently working on a book tentatively entitled Carceral Theaters: Detention and The Boundaries of Drama in Late Twentieth-Century Theater.
Claire Warden is currently Lecturer in Drama at the University of Lincoln after a number of years teaching at the University of Edinburgh and Queen Margaret University, Edinburgh. She is currently conducting research into the historical avant-garde in Britain. [End Page 287]
