Contributors

Contributors HERBERT BLAU, until recently Artistic Director of the experimental theatre group KRAKEN, was formerly (with Jules Irving) cofounder and codirector of the The Actor's Workshop of San Francisco and afterwards codirector of the Repertory Theater of Lincoln Center in New York. The Impossible Theater: A Manifesto reflects on his early theater work, and Take Up the Bodies: Theater at the Vanishing Point derives a theory of theater from his years with KRAKEN. Another recent book, Blooded Thought: Occasions of Theater, is a series of essays on postmodern performance. He is currently Distinguished Professor of English at the University of Wisconsin - Milwaukee, where he has also been a Senior Fellow at the Center for Twentieth Century Studies. JAMES L. CALDERWOOD is Professor ofEnglish and Associate Dean for Graduate Studies at the University of California, Irvine. He has published articles and books on Shakespeare, the last of which is To Be and Not To Be (Columbia, 1983). SUSAN L. CARLSON is Assistant Professor of English (drama, literature, writing) at Iowa State University. She has published studies of comedy in The Henry James Review and The D.H. Lawrence Review, as well as reader-response criticism in College English and Language and Style. She is currently writing a book on women in comedy. HELENE CIXOUS teaches at the University of Paris VIII (Vincennes), where she founded the Centre d'Etudes Feminines in 1974. She has written over twenty books - essays, novels and plays - including The Exile ofJames Joyce, Dedans, Le troisieme corps, Tombe, La jeune nee, Souffles, Portrait de Dora (play), Angst, Le Nom d'Oedipe (opera-theatre), Vivre l' orange, Le Livre de Promethea, La Prise de l' ecole de Madhubaf (play). KEIR ELAM, who has a Ph.D. in English from the University of London, is a Research Fellow at the University of Florence. He was a Harkness Fellow at UCLA during Contributors 1974/1975, and at Yale during 1975/1976. He is the author ofThe Semiotics ofTheatre andDrama (London and New York, 1980), and Shakespeare's Universe ofDiscourse: Language-Games in the Comedies (Cambridge, 1984). JOSETTE FERAL teaches in the Department of Theatre at the University of Quebec in Montreal (U.Q.A.M.). Her many articles on French avant-garde drama, the theory of theatre, and feminism, have appeared in such journals as Litterature, Les Cahiers naturalistes, Les Cahiers de recherches semiotiques, Diacritics, Sub-Stance, Modern Drama, The French Review, The DramaReview andJeu. She is presently writing a book on the theory of performance. BARRY JACOBS, who teaches courses in dramatic literature at Montclair State College, has published several articles on modem Swedish literature and is currently working on a book about Strindberg. BARBARA KERSLAKE, who has a Ph.D. in French Language and Literature from the University of Chicago, has done translations for the Canada Council and the Canadian government. KATHLEEN GREGORY KLEIN is Associate Professor at Indiana University - Purdue University at Indianapolis, where she teaches both English and Women's Studies. TUCKER ORBISON is Professor of English at Bucknell University, where he teaches courses in myth and literature, Shakespeare, and modem drama. He is the author ofThe Tragic Vision ofJohn Ford and the coeditor ofThe Binding ofProteus: Perspectives on Myth and the Literary Process. He has published essays on Shakespeare, Chapman, and Arrabal, and has edited Middle Temple documents for the Malone Society (Collections XII). Currently, he is working on the plays of Sam Shepard. MICHAEL PATTERSON is Senior Lecturer in Drama and Theatre Arts at the University of Leeds. His writings include German Theatre Today, The Revolution in German Theatre 1900-1933, and Peter Stein. He is at present preparing a book on contemporary British political theatre. His interest in Pirandello derives from his work as actor and director. D. KEITH PEACOCK, who has a Ph.D. from the University ofExeter, is Lecturer in Drama at the University of Hull. In 1978/1979, he was a Fulbright Exchange Professor at Marshall University. He has directed plays in both Britain and America; and he has published articles on the study and production of Shakespearean drama and the theory of dramatic criticism. He has recently contributed entries to The Fontana Biographical Companion to Modern Thought. At...