Contributors

Contributors Kelly Aliano received her PhD from the City University of New York Graduate Center. Her dissertation was entitled “Ridiculous Geographies: Mapping the Theatre of the Ridiculous as Radical Aesthetic.” She has taught at Hunter College and has stage-managed numerous productions throughout New York City. Patricia Badir has published on public space in medieval and Reformation dramatic entertainment in the Journal of Medieval and Early Modern Studies, Exemplaria, and Theatre Survey. She also writes on religious iconography and postmedieval devotional writ- ing. She is the author of The Maudlin Impression: English Literary Images of Mary Magdalene, 1550–1700 (University of Notre Dame Press, 2009). She is currently working on playmaking and the perils of mimesis on Shakespeare’s stage and on Canadian Shakespeare in the first two decades of the twentieth century. This recent research has been published in Shakespeare Quarterly. Rosemarie K. Bank has published in Theatre Journal, Nineteenth- Century Theatre, Theatre History Studies, Essays in Theatre, Theatre Research International, Modern Drama, Journal of Dramatic Theory and Criticism, Women in American Theatre, Feminist Rereadings of Modern American Drama, The American Stage, Critical Theory and Performance (both editions), Performing America, Interrogating America through Theatre and Performance, and Of Borders and Thresholds. She is the author of Theatre Culture in America, 1825– 1860 (Cambridge University Press, 1997) and is currently preparing Staging the Native, 1792–1892. A member of the College of Fellows of the American Theatre, a past fellow of the American Philosophical Society, and several times a fellow of the National Endowment for the Humanities, she was the editor of Theatre Survey from 2000 to 2003 and currently serves on several editorial boards. She is past president 254 Contributors of the American Theatre and Drama Society, past convener of the International Federation for Theatre Research’s Working Group in Theatre Historiography, and has served several terms on the Executive Committee of the American Society for Theatre Research. Pannill Camp is Assistant Professor of Drama at Washington University in St. Louis. His research examines points of intersection between theatre history and the history of philosophy, especially in eighteenth- century France. Before joining the faculty of Washington University, he was a postdoctoral fellow at the Humanities Center at Harvard University (now the Mahindra Humanities Center) and taught in Harvard’s Department of the History Art and Architecture. His work has been published in journals including Theatre Journal, Performance Research, the Journal for Eighteenth-Century Studies, and the Journal of Dramatic Theory and Criticism. Will Daddario is an active theatre historiographer and performance philosopher. His research on sixteenth-century Venetian theatre and performance has been published in The Journal of Dramatic Theory and Criticism, Ecumenica, and anthologies such as the forthcoming Failure, Representation, and Negative Theatre (Routledge Press, edited by Dan Watt and Eve Katsouraki) and Culinary Theatres (Routledge, edited by Dorothy Chansky and Ann Folino White). Additionally, his work in the emerging field of performance philosophy has led to the compilation of two coedited anthologies, Manifesto Now! Instructions for Performance, Philosophy, Politics (with Laura Cull for Intellect Press, 2013) and the forthcoming Adorno and Performance (with Karoline Gritnzer for Palgrave). Will is the chair of the Performance and Philosophy Working Group within Performance Studies international, a core convener of Performance Philosophy (http://perfor- mancephilosophy.ning.com), and currently teaches at Illinois State University. Michal Kobialka is Professor of Theatre in the Department of Theatre Arts & Dance at the University of Minnesota. He has published over 75 articles on medieval, eighteenth-century, and contemporary European theatre and theatre historiography. He is the author of A Journey Through Other Spaces: Essays and Manifestos, 1944–1990 (University of California Press, 1993); Further on, Nothing: Tadeusz Kantor’s Theatre (University of Minnesota Press, 2009); and This Is My Body: Representational Practices in the Early Middle Ages (University of Michigan Press, 1999); the editor of Of Borders and Contributors 255 Thresholds: Theatre History, Practice, and Theory (University of Minnesota Press, 1999) and a coeditor (with Barbara Hanawalt) of Medieval Practices of Space (University of Minnesota Press, 2000). Jan Lazardzig is Associate Professor of Theater Studies at the University of Amsterdam. Since 2003, he is coediting the book series Theatrum Scientiarum (Walter de Gruyter), a study on the intersection between the history of science and the history of theater in the seventeenth and early twentieth century, alongside Helmar Schramm and Ludger Schwarte. His dissertation was published under the title Theatermaschine und Festungsbau. Paradoxien der Wissensproduktion im 17. Jahrhundert (Berlin: Akademie Verlag, 2007). He coauthored Theaterhistoriografie: Eine Einführung (G. Narr, UTB, 2012) with Matthias Warstat and Viktoria Tkaczyk. Together with Claudia Blümle, Jan edited a book on postwar theater architecture in Germany (Ruinierte Öffentlichkeit, Berlin: Diaphanes, 2012). His current research project questions the manifold relationships between theater and the police in nineteenth- century Germany. Scott Magelssen teaches Theatre History and Performance Studies at the University of Washington. He is the author of Simming: Participatory Performance and the Making of Meaning (University of Michigan Press, 2014) and Living History Museums (2007) and coeditor of Enacting History (2011), Theatre Historiography: Critical Interventions (2010), and Querying Difference in Theatre History (2007). Scott is the editor of Southern Illinois University Press’s Theater in the Americas book series. He hosts the website theater-historiography.org with Henry Bial and serves on the editorial boards for Theatre Topics, Journal of Dramatic Theory and Criticism, Theatre History Studies, and Theatre/ Practice. Kaitlin M. Murphy is Assistant Professor in the Department of Spanish and Portuguese at the University of Arizona. She received her PhD in Performance Studies from New York University and holds a master’s degree in Visual Culture from the same university. Her current research focuses on the production and uses of film, photography, theater, and performance in human rights advocacy and activism in Latin America, in the contexts of dictatorships, transitional justice and truth-seeking processes, memory politics, and the borderlands. Jon D. Rossini is Associate Professor and Chair in the Department of Theatre and Dance at UC Davis. His first book, Contemporary Latina/o Theater: Wrighting Ethnicity (Southern Illinois University 256 Contributors Press, 2008), is part of the Theater in the Americas series from Southern Illinois University Press. He has published articles in Radical History Review, Text and Presentation, Gestos, American Drama, Journal of American Drama and Theater, Paso de Gato, Latin American Theatre Review, and in collections such as Neoliberalism and Global Theatres, Routledge Companion to Latino/a Literature, Codifying the National Self, Mediating Chicana/o Culture, and Death in American Texts and Performance. Gwyneth Shanks is a doctoral candidate in Theatre and Performance Studies at UCLA. Her research theorizes still works, or performances of stillness, as/through urban site-specific performance. Her dissertation, “Still Works: Stillness, Site-specific performance, and a Politics of Resistance,” will argue that still works critically link performers, spectators, and the performance site to question, what are the politics of stillness? Shanks received her MA in Performance Studies from New York University and her BA in Theatre from Macalester College. Her work has been published in the Journal of Dramatic Theory and Criticism and Third Text. Angenette Spalink teaches script analysis, acting, and performance studies. She recently choreographed Sarah Ruhl’s Dead Man’s Cellphone and Charles L. Mee’s Summertime and cochoreographed Naomi Iizuka’s Skin at Bowling Green State University, where she received her PhD in the spring of 2014. Her dissertation, “Choreographing Dirt,” explores how natural elements are used in contemporary performance. She examines how dirt functions as a trans-corporeal choreographic element, creating an ecologically complex pas de deux that evokes an intricate rethinking of conceptions of species in performance. Patricia Ybarra is Associate Professor of Theatre Arts and Performance Studies at Brown University. She is the author of Performing Conquest: Five Centuries of Theatre, History and Identity in Tlaxcala, Mexico (Michigan, 2009) and coeditor with Lara Nielsen of Neoliberalism and Global Theatres: Performance Permutations (Palgrave Macmillan, 2012). Her next book project is tentatively titled Latina/o Travelogues: Latina/o Theatre under Neoliberalism. She has published articles and reviews in Theatre Journal, TDR, Modern Language Quarterly, Aztlán, Radical History Review, and the Journal of Dramatic Theory and Criticism. She is the president elect of the Association for Theatre in Higher Education. She is also a director and dramaturg. Contributors 257 Yael Zarhy-Levo teaches theatre history, theatre criticism, and modern British theatre in the Department of Literature

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