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301 301 contributors Robert A. Schanke is professor emeritus of theater at Central College, Iowa. His articles on theater history appear in Theatre Survey, Theatre Topics, Southern Theatre, and Central States Speech Journal. He has contributed to numerous reference books and anthologies, including Women in American Theatre, Cambridge Guide to American Theatre, and Shakespeare Around the Globe. He is author of Ibsen in America: A Century of Change (1988) and Eva Le Gallienne: A Bio-Bibliography (1989). His Shattered Applause: The Lives of Eva Le Gallienne (1992) was a finalist for both the Lambda Literary Award and the Barnard Hewitt Award for theater research. He coedited, with Kim Marra, Passing Performances: Queer Readings of Leading Players in American Theater History (1998) and Staging Desire: Queer Readings of American Theater History (2002). Their final collaboration, with Billy J. Harbin, The Gay and Lesbian Theatrical Legacy, was published in 2005. Schanke’s “That Furious Lesbian”: The Story of Mercedes de Acosta and his Women in Turmoil: Six Plays by Mercedes de Acosta (2003) were finalists for Lambda Literary Awards. Foreword magazine selected “That Furious Lesbian” as the 2004 Book of the Year in the category of gay/lesbian nonfiction. Schanke edited the international journal Theatre History Studies from 1993 until 2005. He is a fellow of the Mid-America Theatre Conference and was honored with alumni achievement awards by both Midland College and the University of Nebraska. In 2003, he was elected into the National Theatre Conference, and in 2004, he was elected to the College of Fellows of the American Theatre. He received the Sustained Excellence in Editing Award from the Association for Theatre in Higher Education in 2004. He edits a series titled Theater in the Americas for Southern Illinois University Press. Stephen D. Berwind is a visiting assistant professor at the University of South Carolina. He has published in Theatre Survey and in The Gay and Lesbian Theatrical Legacy: A Biographical Dictionary of Major Figures in American Stage 302 contributors History in the Pre-Stonewall Era (2005). In addition to his active participation in several academic theater associations, he has considerable experience in arts administration, serving as director of communications for the Pittsburgh Center for the Arts, associate literary manager for Pittsburgh Public Theatre, public relations associate for the Pittsburgh Symphony Society, and producing director for theater at St. Clement’s in New York City. Melanie Blood is associate professor of theater, associate director of the School of the Arts, and coordinator of women’s studies at SUNY Geneseo. She has published in the Journal of American Drama and Theatre, Theatre History Studies, and Modern Drama. She recently served as secretary for the Association for Theatre in Higher Education. She is revising her book-length study of the Neighborhood Playhouse in the 1910s and 1920s. Theresa M. Collins completed her Ph.D. at New York University. She studies global history and modernity. An associate research professor at Rutgers, the State University of New Jersey, she is an editor of the Thomas A. Edison Papers and the author of Otto Kahn: Art, Money and Modern Time (2002). Her research in theater history is currently focused on the early electric age. She is more generally developing Designs for Global Living, a cosmopolitan history since 1870. David A. Crespy is an associate professor in the University of Missouri–Columbia ’s Department of Theatre Writing for Performance program. He is the founder and artistic director of its Missouri Playwrights Workshop and codirector of its Writing for Performance Program. His book about New York’s Off-Off-Broadway theater in the 1960s, The Off-Off Broadway Explosion , was published in September 2003, with a foreword by Edward Albee. His plays and essays on playwriting are anthologized in Playwriting Master Class, edited by Michael Wright; Gary Garrison’s Perfect Ten; and Monologues by Men for Men. His articles have also appeared in New England Theatre Journal, Ollantay Theatre Journal, Theatre History Studies, and Slavic and East European Performance, for which he served as an associate editor. He has served as the chair of the ATHE Playwriting Program Focus Group, cochair of the Playwriting Symposium of the Mid America Theatre Conference, and as region V chair of the National Playwriting Program of the Kennedy Center American College Theatre Festival. Dan Friedman has been active in political and experimental theater since 1969. He is the dramaturg for the Castillo Theatre, which he helped found in 1983. He is also artistic director of Castillo’s youth theater, Youth...


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