Contributors
- Contributors
Peny Farfan is a Professor of Drama at the University of Calgary. She is the author of Women, Modernism, and Performance (2004) as well as many articles and book chapters, including "Women's Modernism and Performance" in The Cambridge Companion to Modernist Women Writers (2010). She co-edited (with Kate Kelly) a special issue of South Central Review on "Staging Modernism" (2008) and she is the currently the editor of Theatre Journal.
Victor Holtcamp is an Assistant Professor of Theatre at the University of South Carolina in Columbia. He has published in a variety of journals and has given papers at national and international conferences. Research areas include Shakespearean studies, acting pedagogy, and the intersections of culture, industry, and theatre.
Lisa Jackson-Schebetta is an Assistant Professor in Theatre Arts at the University of Pittsburgh. Her current book project examines U.S.-based English-and Spanish-language theatre in relation to the Spanish Civil War. She holds a Ph.D. in Theatre History, Criticism, and Theory from the University of Washington and an M.F.A. in Theatre Pedagogy from Virginia Commonwealth University.
Richard L. Poole, Chair/Professor of Theatre and Speech Communication at Briar Cliff University, is a Fulbright Scholar who has written and lectured extensively on Midwestern rural theatre. His essays have appeared in Theatre History Studies, The Guide to United States Popular Culture, The Tamkang Review (Taiwan), and the Cambridge Guide to American Theatre (2nd ed.). He is coauthor (with Dr. George Glenn) of The Opera Houses of Iowa (1992). [End Page 251]
Bil Rauch was named Artistic Director of the Oregon Shakespeare Festival in 2007. Prior to his appointment, he completed a twenty-year journey as cofounder and artistic director of the Cornerstone Theater Company. He has directed at the Lincoln Center Theater, the Guthrie Theater, and the Mark Taper Forum. He is an Associate Artist at Yale Repertory Theatre and South Coast Repertory and is the recipient of the 2009 Margo Jones Medal.
Thomas Robson is an Assistant Professor of Theatre and Dance at Millikin University, where he teaches courses in theatre history, dramatic literature, and directing. His research focuses on turn-of-the-century African-American theatre and drama, with additional work on American musical theatre and American film. His work has previously appeared in the performance journal Ecumenica and the film journal Jump Cut.
Marlis Schweitzer is an Associate Professor of Theatre Studies at York University, where she teaches courses on performance and commodity culture, theatre research methodologies, and nineteenth-century popular entertainment. She is the author of When Broadway Was the Runway: Theater, Fashion, and American Culture (2009) and has published articles in Theatre Journal, Theatre Survey, TDR, Theatre Research International, and Theatre Research in Canada. Her current research focuses on tracking the transnational trade in theatrical commodities between Europe and North America in the nineteenth and early twentieth centuries.
Virginia Scott is a Professor Emerita of Theater at the University of Massachusetts at Amherst. Her most recent book is Women on the Stage in Early Modern France (2010).
Christine Wood worth is an Assistant Professor in the Department of Theatre and a cross-appointed faculty member in the Women's and Gender Studies Program at the University of North Carolina at Greensboro. She teaches theatre history and feminist theatre and serves as departmental dramaturge. Her articles and reviews have appeared in Theatre Symposium, Theatre Annual, Text and Presentation, Theatre Topics, Theatre Journal, and TLA's Broadside as well as several essay collections. [End Page 252]
