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About Authors ISSN 1347-2720 ■ Comparative Theatre Review Vol.11 No.1 (English Issue) March 2012 About Authors Mari BOYD Mari BOYD is Professor of Theatre at Sophia University, Tokyo. Her research focus is mod- ern Japanese theatre including puppetry. Author of The Aesthetics of Quietude: Ôta Shôgo and the Theatre of Divestiture (Sophia UP 2006), she has recently written “Surviving and Suc- ceeding: The Story of the Yûkiza Marionette Theatre Company” in Rising From the Flames: The Rebirth of Theatre in Occupied Japan, 1945-1952 (Lexington Books 2009) and “Experiment des Shôgekijô: Die 1970er und frühen 1980er Jahre” in Theatre in Japan, Recherchen 64, (Theatre der Zeit 2009). She is also translation editor of and contributor to Half a Century of Japanese Theater X Vols. (Kinokuniya 1999-2008) and Kôji Hasegawa’s Plays: The Two Worlds of Hirosaki Theater (Ohta Publishers. 2002). Ken HAGIWARA Works at the School of Global Japanese Studies at Meiji University, Tokyo. Conducts re- search on Japanese and German theater since the early 20th century as well as on Perfor- mance Studies and holds undergraduate/graduate courses on Japanese theatre history in Japa- nese and English. Majored in theatre studies with a focus on German theatre at Keio University, Tokyo, and at the University of Tokyo. DAAD scholarship holder and visiting researcher at the Institute for Theatre Studies, Freie Universität Berlin, Germany (2000-2003). Research associate at the Tsubouchi Memorial Theatre Museum at Waseda University, Tokyo (2005-2008). Curator of the exhibition Collective voices, collective bodies. Agitprop theatre in Japan and Germany in the 1920s and 1930s in 2007. Member of the Executive Committee at SIBMAS (2006-2008). Often works under his married name Ken Hagiwara-Wallentowitz as a subtitle translator and operator for German language theatre productions staged in Japan. Worked on Nora (direc- tor: Thomas Ostermeier), including a paper in German on the reaction of the audience in Japan, published in Theater der Zeit (2006.9), Emilia Galotti (director: Michael Thalheimer), Karl Marx: Capital, Volume One (incl. on stage subtitle operation) and Cargo Tokyo-Yokohama by Rimini Pro- tokoll, Riesenbutzbach (director: Christoph Marthaler), and Cinecittà Aperta – Ruhrtrilogie Teil 2 (author and director: René Pollesch). Japanese translations of German theatre pieces norway.today (by Igor Bauersima, 2000) in 2006 and Schwarzes Tier Traurigkeit (by Anja Hilling, 2007) in 2009. ■ About Authors - 76 - ISSN 1347-2720 ■ Comparative Theatre Review Vol.11 No.1 (English Issue) March 2012 Kei HIBINO Kei Hibino, Associate Professor of Faculty of Humanities, Seikei University. M.Phil. in The- atre from the Graduate School of the City University of New York, MA in English from the Graduate School of the University of Tokyo. Recent Publications: “Hakone Gora Hotel as Drama of Ideological Conversion” (Tenko-geki toshite no Hakone Gora Hoteru) in Kokubungaku 76:2 (2011), “The Two Instances of Vividness” (Namanamashisa no Futatsu no Shinkyu) in Nihon Kindai Engekishi Kenkyukai, ed., The World of Kishida Kunio (Kishida Kunio no Sekai) (Kanrin Shobo, 2010), “Why and Kinba and Shozo Were Called Poor Rakugo Storytellrs: A Consid- eration of Postwar Rakugo” (Kinba ya Shozo wa Naze Seko to Iwaretaka: Showa Sengoki Rakugo no Ichi-kosatsu) in Howard Hibbett and Nihon Bungaku to Warai Kenkyukai eds., Laughter and Creation, vol. 6 (Warai to Sozo 6, Kiso Kansei Hen) (Bensei Shuppan, 2010), “The Mitsukoshi Gekijo: The Little Theater That Could” in Samuel L. Leiter, ed., Rising from the Flames: The Re- birth of Theater during the Occupation of Japan, 1945-1952 (Lexington Books, 2009), “The Mechanism of Biopolitics in Oklahoma!” (Okulahoma! ni okeru Seiseiji no Mekanizumu) in Shi- mokobe Michiko, ed., American Terror: Inner Enemy and Concatenation of Fear (Amerikan Teroru: Uchinaru Teki to Kyohu no Rensa) (Sairyusha, 2009), “The Outlook and Outcome of the Study of War-Time Theatre” (Senji Engeki Kenkyu: Seika to Tenbo) in Engekironshu 49 (2009). Oriza HIRATA Hirata Oriza. Born in Tokyo in 1962. Playwright, director, and leader of the Seinendan the- atre company. Professor at the Osaka University Center of the Study of Communication- Design and Special Advisor to the Cabinet of the Japanese Government. Graduated from International Christian University, College of Liberal Arts, Humanities Division. His plays include: Citizens of Seoul (Soru Shimin, 1989); Tokyo Notes (1994: the 39th Kishida Kunio Drama Award); Attacking Ueno Zoo for the Fourth Time (Ueno Dobutsuen Sai-sai-sai Shugeki, 2002: the 9th Yomiuri Theater Award for Outstanding Production); Across the River in May (Sono Kawa wo Koete, Gogatsu, coauthored with Kim Myung-Wha, 2003: the Grand Prix of the 2nd Asahi Performing Arts Awards); In the Heart of a Forest (2008; commissioned by Le Théâtre Royal Flamand in Belgium). His directo- rial credits include: The Cape of the Moon by Matsuda Masataka (Tsuki no Misaki, 2002: the 5th Yomiuri Theater Award Outstanding Director Award); Par-dessus bord by Michel Vinaver (2009, co-produced by the Centre Dramatique National de Besançon). His books include: Introduction to the Theatre (Engeki Nyumon, 1998); Arts as the Basis of a Nation (Geijutu Rikkokuron, 2002: AICC [Association Internationale des Critiques des Théâtre] Japan Critique Award); Language of the Theatre (Engeki no Kotoba, 2004). ■ About Authors - 77 - ISSN 1347-2720 ■ Comparative Theatre Review Vol.11 No.1 (English Issue) March 2012 Mariko HORI Mariko Hori is Professor at Aoyama Gakuin University in Tokyo. She has published widely in books and scholarly journals on contemporary theatre, particularly on works by individual authors such as Eugene O’Neill, Samuel Beckett, Harold Pinter, Minoru Betsuyaku, etc. and on British and American feminist theatre. Her articles in English appeared in books such as Beckett at 100:Revolving It All (Oxford University Press, 2008), Drawing on Beckett: Portraits, Performances, and Cultural Contexts (Assaph Books, Tel Aviv University, 2003), Beckett On and On… (Fairleigh Dickinson University Press, 1996), and Eugene O’Neill in China: An International Centenary Celebration (Greenwood Press, 1992), and in European and American journals such as Eugene O’Neill Review, Samuel Beck- ett Today / Aujourd’hui, and The Journal of the Kafka Society of America. Her book in Japa- nese Beckett Junrei [Pilgrimage] (Sanseido) appeared in 2007. She discussed contemporary feminist theatre including Velina Hasu Houston’s works in her articles in Japanese such as “Medea: Ima o Iikiru Onna-tachi no Monogatari [Medea: Tales of Women Living Now]” in Girisha-geki to Noh no Saisei: Koe to Shintai no Shoso [Rebirth of Classic Greek Plays and Noh: Aspects of Voice and Body] (Suiseisha, 2009) and “Chikyu wa Josei da: America no Feminism Engeki [‘The Earth is Female’: Feminist Theater in America] ”in Engeki-gaku Ronshu, Vol.43 (The Japanese Society for Theatre Research, 2005). Akira KAMIYAMA Akira Kamiyama is Professor in the department of theatre studies, Meiji University, Tokyo. His filed of research covers a wide spectrum of modern Japanese theatre, ranging from Ka- buki to Shingeki and Japanese movies. His books include Kindai Engeki no Raireki: Kabuki no Isshin-Nissei (The History of Modern Theatre: the Duality of kabuki), Shinwasha Publishing, To- kyo, 2006 (the 39th Kawatake award) and Kindai Engeki no Suimyaku: Kabuki to Shingeki no Aida (The Common Ground of Modern Japanese Theatre: between Kabuki and Shingeki), Shinwasha Publishing, Tokyo, 2009. ■ About Authors - 78 -.
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