GENERAL EDITOR
Richard Gough is a co-founder and the General Editor of Performance Research, Professor of Music and Performance at University of South Wales, Cardiff, UK, and Artistic Director of the Centre for Performance Research (CPR). He has produced and organized numerous conferences, workshops, festivals and tours of theatre and dance companies across the past forty-five years and he has directed theatre productions, curated events and lectured in the Americas, Africa, Asia and Australasia and throughout Europe. His own artistic-led research explores the interface between food, cookery and performance.
ISSUE EDITOR
Geraint D’Arcy is a scenographer and Lecturer in Media Practice at University of East Anglia, Norwich, UK. Researching design theory and history in theatre, film and television, he is the author of Critical Approaches to TV and Film Set Design (2018) and Mise en scène, Acting and Space in Comics (2020).
CONTRIBUTORS
Rina Arya is Professor of Visual Culture and Theory at the University of Huddersfield, UK. Her main area of research is the interface between visual culture and religion. She is working on a number of different book projects on topics including the cultural appropriation of Hindu symbols, and jugaad.
Hailey Bachrach recently finished her PhD at King’s College London in collaboration with Shakespeare’s Globe. Her dissertation ‘Telltale women: The dramaturgy of female characters in Shakespeare’s history plays’ considered Shakespeare’s histories through an interdisciplinary blend of literary and performance analysis. She is soon to begin a Leverhulme Early Career Fellowship at the University of Roehampton, UK.
Michael Joel Bartelle is an actor and a PhD candidate at the Shakespeare Institute, University of Birmingham, UK. His current research focuses on the varieties of emotion in performance in various cultural and linguistic contexts.
Aurélie Blanc is a doctoral student at the University of Fribourg, Switzerland. She holds an MA in English and History from Fribourg and an MA in Shakespeare Studies from King’s College London. As part of the SNF Medieval Convent Drama project, she is currently studying performance in medieval convents.
Tom Cassani makes performances using skills of deceit. He works with words, action and his body to create almost impossible images and illusory texts. Peader Kirk is a maker, mentor and educator working internationally in the fields of sound art and performance. Tom and Peader make work together and apart.
Mary L. Coyne is a curator and writer specializing in performance and contemporary research practices. Since 2018 she has been a Research Associate in Contemporary Art and Architecture and Design at the Art Institute Chicago and in 2020 co-founded Mycelium, an online portal for creative practice with artist Lindsay Hopkins.
Jasper Delbecke is a PhD candidate at S:PAM (Studies in Performing Arts & Media, Ghent University, Belgium). In his doctoral research, Delbecke explores the essay form in the contemporary performing arts field and has published on this subject matter in Performance Research, Performance Philosophy, Theatre and Performance Design and European Journal of Theatre and Performance.
Sara Fontana is a PhD Candidate in Arts and Archaeology, in the Joint Degree Programme between Verona (Italy) and Ghent (Belgium) universities. Her research project ‘Performing Dante in the 21st century’ is devoted to the theatrical reception of Dante’s works, investigating the performing adaptations of Dante and his works in the European twenty-first century. During her Master’s, she started participating in many international conferences in Italy and abroad addressing Dante’s reception and influence on the contemporary arts; this year she was part of the organizing committee of the Doctoral Conference ‘Margins and Forgotten Places’ (University of Verona). Her abstract has been accepted for the forthcoming editorial project Dante Alive (2021, Princeton–Georgetown University, USA).
Madelon Hoedt is a Senior Lecturer in Drama, Theatre and Performance at the University of Huddersfield, UK. In her research, she is interested in narrative and embodied experience in live performance (specifically in relation to horror and the Gothic) and is currently working on a monograph on immersive horror performance.
Ron Jenkins, a recipient of Guggenheim and Fulbright Fellowships, has facilitated theatre workshops in prisons in Italy, Indonesia and the United States. A Professor of Theater at Wesleyan University, Connecticut, USA, Jenkins also teaches regularly as a Visiting Professor of Literature and Religion at the Yale Divinity School. His writing has appeared in the New York Times, The Drama Review, Performing Arts Journal, the Jakarta Post and the Yale ISM Review. Jenkins’ most recent book is Resurrection of the Saints: Sacred theater in Venafro (2019, Rome, Bulzoni). In 2019 he was named an Honorary Fellow of the Dante Society of America.
Natalie Katsou is an Associate Lecturer at Goldsmiths, University of London. She studied law and theatre studies at the University of Athens and acting at Delos-Hatoupi Acting School of Athens. She completed her MFA in theatre directing at East 15 Acting School, University of Essex, UK. She is a PhD candidate in philosophy and theory of theatre and drama at the University of Athens.
Jan-Tage Kühling is a PhD researcher in theatre studies at Freie Universität Berlin, specializing in the Anthropocene discourse and performance philosophy. He has worked as a performance-maker and dramaturg. Between 2015 and 2017 he was part of the arts and community venue Centrum-Amarant in Poznan, Poland, where he managed its live art and performance programme. www.jan-tage.com
Alvin Eng Hui Lim is a performance, religion and theatre researcher. He is Assistant Professor in the Department of English Language and Literature at the National University of Singapore. He is also Deputy Director and Technology and Online Editor (Mandarin) of the Asian Shakespeare Intercultural Archive (A|S|I|A, http://a-s-i-a-web.org/). His monograph Digital Spirits in Religion and Media: Possession and performance was published by Routledge in 2018.
Ania Malinowska is Assistant Professor in Media and Cultural Studies at the University of Silesia, Poland. Her research focuses on emotional technologies and contemporary affect cultures. Malinowska’s contribution is part of roboneutics, a method for interpreting intelligent machines that she invented herself.
Miles O’Neil is a theatre-maker, musician, sound designer and lecturer in performance at Deakin University, Victoria, Australia. Miles’s work has been presented in the Melbourne, Sydney, Brisbane, Perth, Darwin and Dark Mofo arts festivals in Australia and internationally in arts festivals in the UK, Ireland, Germany, USA, Canada and New Zealand.
Gavin Whitehead is an educator, scholar, translator, theatre artist and musician pursuing his doctorate at Yale University. His dissertation examines horror theatre in London from 1794 to 1931, beginning with the rise of Gothic drama and ending with the emergence of early horror cinema. In his research, he pays special attention to stagecraft, where the ingenuity of theatre in the period lay. He is currently working on the representation of disability at London’s Grand Guignol (open from 1920 to1922). A former Fulbright scholar, Gavin holds degrees in German and comparative literature from the University of North Carolina at Chapel Hill, where he graduated with highest honours in 2012.
Hakyung Sim is a PhD candidate in performing arts studies at Seoul National University, Korea. Her doctoral research takes a media archaeological approach to performance in contemporary digital-oriented arts and popular cyberculture, with a particular focus on virtual reality (VR) and augmented reality (AR) used in theatre.