Notes
1 Mark Franko, “Repeatability, Reconstruction, and Beyond,” Theatre Journal 1, no. 1 (1989): 56–74; Mark Franko, “Epilogue to an Epilogue, Historicizing the Re- in Danced Reenactment,” in the Oxford Handbook of Dance and Reenactment (New York: Oxford University Press, 2017), 487–504.
2 James M. Clark, The Dance of Death in the Middle Ages and the Renaissance (Glasgow: Jackson, Son, 1950). For recent studies that analyze the dance component of the dance of death, see Peter Grosskreutz, “Der Tanz im Totantanz: ‘And in Most of Them Dancing Is Not Shown Either,’” Gutenberg-Jahrbuch 78 (2003): 67–73; Elina Gertsman, The Dance of Death in the Middle Ages: Image, Text, Performance (Turnhout, Belgium: Brepols, 2010).
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Kathryn Dickason
KATHRYN DICKASON attained the Ph.D. in religious studies from Stanford University in 2016. Her past and forthcoming publications on medieval dance and culture appear in the journals Dante e l'Arte; European Drama and Performance Studies; Culture; and the co-edited volumes Medieval Theatre Performance: Actors, Dancers, Automata, and Their Audiences and The Futures of Dance Studies. Currently, she lectures for the Department of Theatre and Dance at Santa Clara University, while preparing a book manuscript entitled Ringleaders of Redemption: How Medieval Dance Became Sacred. In the fall of 2018, she began a two-year postdoctoral fellowship at the University of Southern California.