Contributors
- Contributors
Becky K. Becker, Theatre Symposium editor, is Interim Executive Director for the Center for International Education and Professor of Theatre at Columbus State University in Columbus, Georgia. She serves on the Publications Committee for the Southeastern Theatre Conference and is currently the Vice Chair of the National Playwriting Program for Region 4 of the Kennedy Center American College Theatre Festival. In addition to directing regularly, her research includes cross-cultural theatre and communication, new plays, and embodied cognition. She has published in Review: The Journal of Dramaturgy, Theatre Symposium, Feminist Teacher, Theatre Journal, and various edited volumes.
Karen Berman is Chair of Theatre and Dance at Georgia College. Her work in high-impact, engaged learning has resulted in interdisciplinary collaborative classes in theatre for social change involving community-based theatre with at-risk youth. She has taken students to perform three times in the Czech Republic. She was elected into the prestigious College of Fellows of the American Theatre, where she currently serves as dean. Berman is a past president of the Association for Theatre in Higher Education and co-founder of Washington Women in Theatre. She holds a PhD from Capella University and an MFA from Catholic University and has directed over 100 plays.
Chase Bringardner is an Associate Professor of Theatre at Auburn University in Auburn, Alabama. He received his PhD and MA degrees in Theatre History and Criticism with an emphasis in Performance as Public Practice from the University of Texas at Austin. He has published in Theatre Topics, Theatre Journal, and Performing Arts Resources, and has a chapter in The Oxford Handbook of the American Musical. His current research projects include a manuscript on regional identity in musical theatre as evidenced through the "Southern" musical as well as a sociocultural performance history of the Fabulous Fox Theatre in Atlanta, Georgia.
Daniel Ciba is a PhD Candidate in Drama at Tufts University. He received his MA in Theatre from Villanova University in 2012, where he [End Page 108] served as dramaturg for Marina Carr's Woman and Scarecrow. He has presented at a variety of venues, including the Philadelphia Theatre Research Symposium, the SETC Theatre Symposium, the Association for Theatre in Higher Education, and the Humanities Education and Research Association Conference. His current research explores the intersections of memory theory and queer performance, using performance histories of Tennessee Williams's plays. His work has been published in Praxis and Theatre Research International.
Anita Gonzalez is Professor of Theater and Drama at the University of Michigan, where she leads the Global Theatre and Ethnic Studies minor. Her research interest is in the area of intercultural performance, particularly the ways performance reveals histories and identities in the Americas and in transnational contexts. Her books include Black Performance Theory (2014), a coedited anthology with Tommy DeFrantz; Afro-Mexico: Dancing between Myth and Reality (2010); and Jarocho's Soul: Cultural Identity and Afro-Mexican Dance (2004). Other publications include articles about intersections between theatre and dance ("Negotiating Theatrics: Dialogues of the Working Man," The Oxford Handbook of Dance and Theater, 2015), maritime culture ("Megaship Economies and Transnational Maritime Performance," Theatre Research International, 2014), utopia in Urban Bush Women performance (Modern Drama, 2004), archetypes of African identity in Central America ("Mambo and the Maya," Dance Research Journal, 2004), and the pedagogy of teaching African American drama (Theatre Topics, 2009). She was a founding member of the Urban Bush Women, has choreographed for Ballet Hispanico, taught theatre in Central America and the United Kingdom, given professional and educational workshops in Caribbean and African American dance, and lectured about new play development. She has authored plays and musicals, including Liverpool Trading–New York (with Richard Aellen), Le Hot Blu (with composer and writer Ken Lauber), and Ybor City (with composer Dan Furman). Recent directing projects include Sun and Shadows, a Guatemalan shadow puppet play; DARASA, a civil rights musical by Lorna Littleway; and Nobody, a play about Bert Williams and George Walker by Richard Aellen (2011). She earned her PhD in Theater and Performance Studies from the University of Wisconsin–Madison (1997). She is an executive board member of the National Theatre Conference, an associate member of Stage Directors and Choreographers, and a...
