The Virtuality of Premodern Dance

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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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Notes on contributors

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.