Contributors

Contributors ERELLA BROWN is an Assistant Professor of Theatre and Comparative Literature at Haifa University in Israel. Her publications include articles on Feminist Theatre and on Artaud, Brecht, and Israeli playwright Hanoch Levin, on whom she is now writing a book. MARVIN CARLSON is Professor of Theatre and Comparative Literature at the Graduate Center of the City University of New York. He is the author of many books and articles on theatrical theory, theatre history, and dramatic literature and is the recent recipient of the George Jean Nathan Award for dramatic criticism . He is currently working on a book on contemporary performance art. JURE GANTAR was born and educated in Slovenia and received his doctorate from the University of Toronto. Currently Assistant Professor in the Department of Theatre at Dalhousie University in Halifax, he is the author of Dramaturgija in smeh (Dramaturgy and Laughter). LAURA GINTERS is Associate Director of the International Theatre Insitute (Australian Centre). She also teaches in Germanic Studies and Performance Studies at the University of Sydney, Australia, and is completing a combined doctoral thesis in these departments. ROSALIND KERR teaches Drama in the English Department of the University of Toronto. She is completing her final year of a postdoctoral fellowship and is working on a book on Female Transvestism in Italian Commedia dell'Arte. She has published articles in Tessera and Modern Drama, and has one forthcoming in Theatre Research in Canada. ROSETTE C. LAMONT is Professor Emeritus of the City University of New Modern Drama, 39 (19<)6) 730 Contributors 731 York, where she was on the graduate faculties of Theatre, Comparative Literature , and French. Presently she is Professor of Dramatic Literature at Sarah Lawrence College. She is author of lonesco's Imperatives (1993) and most recently was guest editor of the "Metaphysical Farce" issue of Collages and Brico/ages (1996-<)7). ALFRED NORDMANN teaches in the Philosophy Department at the University of South Carolina and is presently writing a book on the concepts of science, language , politics, and nature in the Chemical Revolution. He frequently works as a dramaturge at the Schauspiel Hannover in Germany, where he has applied social epistemology to performance analysis. JANELLE REINELT is chair of the Department of Dramatic Art and Dance at the University of California (Davis), and a former editor of Theatre Journa/. Her books include Crucibles of Crisis: Performing Social Change; After Brecht: British Epic Theatre, Critical Theory and Performance, edited with Joe Roach; and The Performance ofPower, edited with Sue-Ellen Case. MICHAEL J. SIDNELL is on the faculty of the Graduate Centre for Study of Drama at the University of Toronto, where he is also Director of Graduate Studies in English. His most rccent book is Yeats's Poeuy and Poetics (1996). He is the author of Dances of Death: The Group Theatre of Londoll in the Thirties (1984) and of many articles on poetry, drama, and theatre. He is the editor of the four-volume series Sources of Dramatic Themy, of which volumes [ and II (1991, 1994) have been published, and of scveral volumes of Yeats's manuscripts and stories. MARC SILBERMAN teaches twentieth-century German literature, cinema, and culture at the University of Wisconsin (Madison). He has published books and articles on post-war east and west German literature and culture, on BertoIt Brecht and Heiner Milller, and on the history of German cinema. He edited The Brecht Yearbook from 1989 to 1995, and is currently engaged in research in Berlin on post-1989 developments among writers and intellectuals. BRIAN SINGLETON teaches at the Samuel Bcckett Centre for Drama and Theatre Studies, Trinity College, Dublin. He is assistant editor of Theatre Research International and is currently editing its "Interculturalism and Performancc " issue for Spring 1998. His Le Thtiiitre et Son Double: A Critical Guide will appear in 1997. TERRY DONOVAN SMITH has recently completed his Ph.D. at the University of Washington's School of Drama. He has contributed articles to the Journal of Popular Film and Television and the anthology The Cultures ofCelebrations. 732 Contributors A professional stage and television actor, he has served on the Screen Actors Guild Executive Council (San Francisco). His directing credits include several seasons with the Ojai Shakespeare Festival and operation of the Spring Street Free Theatre at the Virginia State Penitentiary in Richmond. IAN WATSON is a coordinator in the Theatre Arts program at Rutgers University . He has directed over thirty productions, from the classics to modem plays and musicals, has published numerous articles in professional journals, and serves on the editorial committee of New Theatre Quarterly. He is the author of Towards a Third Theatre: Eugenio Barba and the Odin Teatret (1993). DEAN WILCOX received his PhD in Theatre History, Theory, and Criticism from the University of Washington in 1994 with a dissertation on semiotics and the work of Josef Svoboda, Meredith Monk, and Robert Wilson. He has taught at Cornell University as Mellon Postdoctoral Fellow and at the University of California at San Diego. He is currently an Assistant Professor of Theatre and Dance at Texas Tech University. ...