A–G | F-K | L–Q | R–T | U–Z

Gastón A. Alzate

Articles:

• "Cultural Interweavings in Mexican Political Cabaret," in E. Fischer-Lichte, T. Jost and S. Jain (eds.) Politics of Interweaving Performance Cultures: Beyond Postcolonialism, London: Routledge, 2014, pp. 42–59.
• "Absence and Pain in the work of Doris Salcedo and Rosemberg Sandoval," ed. by S. M. Misemer, South Central Review, vol. 30, no. 3, 2013, pp. 5–20.
• "Hacia una imaginería legítima: una visión del cine colombiano a partir de la obra de Luis Ospina," Revista de Estudios Colombianos, vol. 41, 2013, pp. 54–60.
• "On Rosemberg Sandoval’s performance actions: questioning the North/South paradigm," Contemporary Theater Review [Routledge], vol. 22, no. 4, 2012, pp. 512–525.

Journals:

• Karpa, co-edited with Paola Marín, vol. 6, no. 1, 2013.

(more publications by Gastón A. Alzate)

 

Christopher Balme

Books:

• The Theatrical Public Sphere, (ed.), UK/New York: Cambridge University Press, 2014.
• Derek Walcott, The Journeyman Years, Volume 2: Performing Arts. Occasional Prose 1957–1974, ed. with G. Collier, Amsterdam/New York: Rodopi, 2013.

Articles:

• "The Affective Public Sphere: Romeo Castellucci’s On the Concept of the Face regarding the Son of God," in K. Amine (ed.) Performing Transformations, Tetouan: International Centre for Performance Studies, 2013, pp. 35–48.
• "Failed Stages: Postcolonial Public Spheres and the Search for a Caribbean Theatre," in E. Fischer-Lichte, T. Jost and S. Jain (eds.) The Politics of Interweaving Performance Cultures: Beyond Postcolonialism, London: Routledge, 2014, pp. 239–257.
• "Polis und Parrhêsia: Zur Begründung der Meinungs- und Redefreiheit im Vormärz im Spiegel der Antiken-Rezeption," in M. Wagner (Hg.) Agenten der Öffentlichkeit: Theater und Medien im frühen 19. Jahrhundert, Biefeld: Aisthesis, 2014, pp. 61–73.

 

Stephen Barber

Books:

• Performance Projections, Chicago: Chicago University Press, 2014.
• Anatomy of Cruelty: Antonin Artaud: Life And Works, Los Angeles: Sun Vision Press, 2013.
• Pasolini: The Massacre Game: Terminal Film, Text, Words, 1974–75, Los Angeles: Sun Vision Press, 2013.
• Muybridge: The Eye in Motion, Chicago: Solar Books, 2012.

Articles:

• "Donald Richie: In Memoriam," with P. Eckersall, Japanese Studies, vol. 33, no. 2, September 2013, pp. 217-220.

(more publications by Stephen Barber)

 

Rustom Bharucha

Books:

• Another Asia: Rabindranath Tagore and Okakura Tenshin, New Delhi/New York: Oxford University Press, 2006.
• The Politics of Cultural Practice: Thinking through Theatre in an Age of Globalization, London: Athlone, 2000.
• Theatre and the World: Performance and the Politics of Culture, London/New York: Routledge 1993.

Articles:

• “On Failing Failure. A letter to Margaret Werry,” in Performance Research, vol. 17, no. 1, 2012, pp. 101–104.
• “Problematising applied theatre: a search for alternative paradigms,” in S. Mackey and A. Stuart Fisher (eds.) “Introduction to Rustom Bharucha’s keynote lecture: Problematising applied theatre: a search for alternative paradigms,” RiDE: The Journal of Applied Theatre and Performance, vol. 16, no. 3, 2011, pp. 365–384.

(more publications by Rustom Bharucha)

 

Peter M. Boenisch

Books:

• The Theatre of Thomas Ostermeier. With Ostermeier, T., Abingdon and New York: Routledge 2016.
• Directing Scenes & Senses: The Thinking of Regie. Manchester: Manchester University Press 2015.

Articles:

• “Transforming the theatre apparatus: New institutional dramaturgies in contemporary German theatre,” in Erika Fischer-Lichte, Christel Weiler and Torsten Jost (eds.) Shifting Dramaturgies: Composing Experiences of Interweaving Performance Cultures. Abingdon and New York: Routledge. (in preparation)
• “The hopeless courage of confronting contemporary realities: Milo Rau’s “globally conceived theatre of humanity’,”in Peter Eckersall and Helena Grehan (eds.) The Routledge Companion to Theatre and Politics, Abingdon and New York: Routledge 2018. (in print)
• ‘“An actor, but in life’: Spectatorial consciousness and materialist theatre. Some notes apropos Althusser,” in Tony Fisher and Eve Katsouraki (eds.) Performing Antagonism: Theatre, Performance & Radical Democracy, Basingstoke and New York: Palgrave Macmillan 2017, pp. 81-99.
• “What happened to our Nation of Culture? Staging the theatre of the Other Germany,” in Nadine Holdsworth (ed.) Theatre and National Identity: Re-Imagining Conceptions of Nation, Abingdon and New York: Routledge 2014, pp. 145-160.

Ananda Breed

Books:

• Performing the Nation: Genocide, Justice, Reconciliation. Chicago: Seagull Press, 2014.

Articles:

• "Theatre for Survival: Art of Creation and Protection (Kubunda)," in P. Duggan and L. Peschel (eds.) Performing (for) Survival: Theatre, crisis and extremity, Basingstoke: Palgrave Macmillan, 2015 (forthcoming).
• "Aesthetic Play: Between Performance and Justice," in G. White (ed.) Applied Theatre: Aesthetics, London and New York: Bloomsbury Publishing, 2015 (forthcoming).
• "Gender-based Violence and Human Rights: Participatory Theatre in Post-Genocide Rwanda," in M. Luckhurst and E. Morin (eds.) Theatre and Human Rights after 1945: Things Unspeakable, Basingstoke: Palgrave Macmillan, 2015 (forthcoming).

 

Shulamit Bruckstein

Books:

• House of Taswir. Doing and Undoing Things. Notes on Epistemic Architectures, München: Wilhelm Fink, 2014.

Articles:

• "Hall of Mirrors: Seventy Veils of Separation," in A. Baehr et al. ABeCedarium Bestiarium. Portraits of Affinities in Animal Metaphors, Berlin: make up productions and far◦ festival des arts vivants Nyon, 2013, pp. 13–17.
• "TASWIR, TALMUD, MNEMOSYNE. Schlitterlogik: Zur Umordnung der Dinge," in I. Augsberg and K.-H. Ladeur Talmudische Tradition und moderne Rechtstradition, Tübingen: Mohr Siebeck, 2013, pp. 83–125.
• "TASWIR Projects: How TASWIR Projects is Missing Contemporary Art: Plea for a Radical Belatedness," IBRAAZ Platform 004, Novemeber 2012, Available here.
• "Irrer stört Eröffnung. Behauptet: Welt ist Flach," TEXTE ZUR KUNST, vol. 21, no. 83, September 2011, pp. 247–251.

 

Daryl Chin

Books:

• The Dialectic of Enlightenment, New York: Theatre Communications Group, 1982.

Articles:

• “Mistaken Identities, Part II,” Reading Dance, vol. 3, 2011, URL: www.readingdance.com/mistaken.html.
• “What Was She Thinking? Some Reflections on Avital Ronell’s ‘What Was I Thinking?’,” Textures – Online Platform for Interweaving Performance Cultures, 29.06.2010, URL: www.textures-platform.com/?p=867.
• “Asian performance tradition and contemporary cultural reality,” in Performing Arts Journal, vol. 17, no. 1, 1995, pp. 97–102.

(more publications by Daryl Chin)

 

Vasudha Dalmia

Books:

• The Cambridge Companion to Modern Indian Culture, ed. with R. Sadana, Cambridge: Cambridge University Press, 2012.
• Poetics, Plays and Performances: The Politics of Modern Indian Theatre, Delhi: Oxford University Press, 2006.
• Orienting India: European Knowledge Formation in the Eighteenth and Nineteenth Centuries, Delhi: Three Essays, 2003.
• The Nationalization of Hindu Traditions: Bharatendu Harischandra and Nineteenth Century Banaras, New Delhi: Oxford University Press, 1997.

Articles:

• “India’s Theatrical Modernity: Re-Theorizing Colonial, Postcolonial, and Diasporic Formations,” in Theatre Journal, vol. 63, no. 3, 2011, pp. 425–437.

(more publications by Vasudha Dalmia)

 

Aparna Dharwadker

Books:

• Theatres of Independence: Drama, Theory, and Urban Performance in India Since 1947, Iowa City: University of Iowa Press, 2005.

Articles:

• “India’s Theatrical Modernity: Re-Theorizing Colonial, Postcolonial, and Diasporic Formations,” in Theatre Journal, vol. 63, no. 3, 2011, pp. 425–437.
• “Representing India's Pasts: Time, Culture, and the Problems of Performance Historiography,” in T. Postlewait and C. Canning (eds.) Representing the Past: Essays in Performance Historiography, Iowa City: University of Iowa Press, 2010.
• “Criticism, Critique, and Translation,” in Seminar, vol. 588, 2008.
• “Mohan Rakesh, Modernism, and the Postcolonial Present,” in South Central Review, vol. 25, no. 1, 2008.

(more publications by Aparna Dharwadker)

 

Catherine Diamond

Books:

• Communities of Imagination: Contemporary Southeast Asian Theatres, Honolulu: University of Hawai'i Press, 2012.

Articles:

• “Whither Rama in the Clear-cut Forest: Ecodramaturgy in Southeast Asia,” in Asian Theatre Journal, Fall 2014 (forthcoming).
• “Bodytalk: Schlangen! by Rainer Kwasi and body talk” (review), Theatre Journal, vol. 66, no. 1, March 2014, pp. 124–126.
• “The Impossibility of Performing ‘Asia,’” in F. Nakamura, M. Perkins and O. Krischer (eds.) Asia through Art and Anthropology: Cultural Translation Across Borders, London/New York: Bloomsbury, 2013, pp. 179–194.

Poetry:

• “Hiking in Yangming Mountain : ‘Listening,’” Isle, Interdisciplinary Studies in Literature and Environment, vol. 20, no. 3, 2013, pp. 683–684.

 

Peter Eckersall

Books:

• Performativity and Event in 1960s Japan: City, Body, Memory, New York: Palgrave, 2013.
• Theatre and Performance in the Asia-Pacific: Regional Modernities in the Global Era, with D. Varney, B. Hatley and C. Hudson, New York: Palgrave, 2013.
• We’re People Who Do Shows: Back to Back Theatre - Performance, Politics, Visibility, ed. with H. Grehan, Ceredigion: Performance Research Books, 2013.

Book Chapters:

• “Dramaturgy as Ecology: A Report from The Dramaturgies Project,” with P. Monaghan and M. Beddie, in K. Trencsényi and B. Cochrane (eds.) New Dramaturgy: International Perspectives on Theory and Practice, New York: Bloomsbury, 2014.

Articles:

• “Valuing Ecologies of Performance: Culture and capital in a neoliberal world,” with D. Gray, J. Menon and M. V. Graan, Performance Research: : A Journal of the Performing Arts, vol. 18, no. 2, 2013, pp. 31–45.

(more publications by Peter Eckersall)

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Friederike Felbeck

Articles:

• "'Der erste Mann im Leben eines Mädchens' - Hugo Claus 'Freitag' am Schauspielhaus Bochum," Nachtkritik, 15. Februar 2014.
• "'Do what you can!' - Die virtuose Körperlichkeit des finnischen Performancekollektivs Oblivia fräst sich ins Gedächtnis" ["The virtuoso physicality of the Finnish performance collective Oblivia etches its way into the mind"], Theater der Zeit special: Finnland, 2014, pp. 30–32.
• "'That´s the way, aha-aha, I like it!' - Das finnische Theater fußt auf einer lebendigen Tradition von Arbeiter- und Amateurtheater" [Finnish theatre is based on a vibrant tradition of workers´ and amateur theatre], Theater der Zeit spezial: Finnland, 2014, pp. 16–18.
• "Anatomia Skandalu, Albo Ile Nieprzyzwoitosci Zostalo Na Niemeckich Scenach" ["Anatomie eines Skandals oder: Was an Anstößigem auf deutschen Bühnen übrig blieb"], Didaskalia Gazeta Teatralna, No. 118, December 2013, pp. 11–13.

 

Carol Fisher Sorgenfrei

Playwriting:

• The Face in the Lantern (previously titled Aftershock: A Ghost Play), contemporary play fusing Macbeth and the kabuki Yotsuya Ghost Stories. Directed by Penny Bergman. Staged readings: New York (Theatre Lab, January, 2014), Los Angeles (Secret Rose Theatre, March, 2014) and New York (forthcoming, September, 2014).

Translation:

• Terayama Shūji, Poison Boy [Shintoku-maru], in J. T. Rimer, C. Poulton and M. Mori (eds.) Columbia Anthology of Modern Japanese Drama, New York: Columbia University Press, 2014.

Articles:

• “Supernatural Soliciting: Pathways from Betrayal to Retribution in Macbeth and Yotsuya Kaidan,” New Theatre Quarterly, vol. 31, no. 1, 2015, pp. 28–32.
• “Alluring Ambiguity: Gender and Cultural Politics in Modern Japanese Performance,” New Theatre Quarterly, vol. 30, no. 4, 2014, pp. 341–51.
• “Guilt, Nostalgia and Victimhood: Korea in the Japanese Theatrical Imagination,” New Theatre Quarterly, vol. 29, no. 2, 2013, pp. 185–200.

(more publications by Carol Fisher Sorgenfrei)

 

Helen Gilbert

Books:

• Wild Man of Borneo: A Cultural History of the Orangutan, co-authored with R. Cribb and H. Tiffin, Honolulu: University of Hawai’i Press, 2014.
• Recasting Commodity and Spectacle in the Indigenous Americas, co-edited with C. Gleghorn, London: Institute of the Americas, 2014.

Articles:

• “Let the Games Begin: Pageants, Protests, Indigeneity (1968–2010),” in E. Fischer-Lichte, T. Jost and S. Jain (eds.) Politics of Interweaving Performance Cultures: Beyond Postcolonialism, London: Routledge, 2014, pp. 156–175.
• “Indigeneity, Time and the Cosmopolitics of Postcolonial Belonging in the Atomic Age,” Interventions: An International Journal of Postcolonial Studies, vol. 15, no. 2, 2013, pp. 195–210.

(more publications by Helen Gilbert)

 

Jean Graham-Jones

Books:

• Evita, Inevitably: Performing Argentina's Female Icons before and after Eva Perón, Ann Arbor: University of Michigan Press, 2014.

Articles:

• “Rethinking Buenos Aires Theatre in the Wake of 2001 and Emerging Structures of Resistance and Resilience,” Theatre Journal, vol. 66, no. 1, 2014, pp. 37–54.
• “Something New is Sure to Happen: An Interview with Daniel Veronese,” in M. Laera (ed.) Theatre and Adaptation: Return, Rewrite, Repeat, London: Methuen Drama, 2014.
• “Eva / Nacha / Cristina and the Argentine Trinity of Urban, National, and Global Politics,” in D. J. Hopkins and K. Solga (eds.) Performance and the Global City, Basingstoke and New York: Palgrave Macmillan, 2013, pp. 61–77.
• “Daniel Veronese's 'Proyecto Chéjov': Translation in Performance as Radical Relationality,” in D. Clayton and Y. Meerzon (eds.) Re-writing Chekhov: The Text and its Mutations, London and New York: Routledge, 2012, pp. 203–216.

(more publications by Jean Graham-Jones)

 

Lydia Haustein

Books:

• Zeitgenössische Kunst in China, München: De Gruyter, 2015.
• Sichtbare Welt der Erkenntnis. Bilder zwischen Kunst und Wissenschaft, Wien: Böhlau, 2009.
• Global Icons: Globale Bildinszenierung und kulturelle Identität, Göttingen: Wallstein, 2008.

Articles:

• “All under one sky,” Textures – Online Platform for Interweaving Performance Cultures, 20.12.2012, URL: www.textures-platform.com/?p=2694.
• “Global Icons,” in C. Frohne, M. Schieren and J. Guiton (eds.) Present Continuous Past(s): Media Art. Strategies of Presentation, Mediation and Dissemination, Wien: Springer-Verlag 2005, pp. 82–95.

(more publications by Lydia Haustein)

 

Chengzhou He

Articles:

• “Performance and the politics of gender: transgender performance in contemporary Chinese films,” Gender, Place and Culture: A Journal of Feminist Geography, 2013 [online].
• “Trespassing, Crisis and Renewal: Li Yugang and Cross-dressing Performance,” Differences: A Journal of Feminist Cultural Studies, vol. 24, no. 2, 2013, pp. 150–171.

 

Lynette Hunter

Books:

• Disunified Aesthetics: Situated Textuality, Performativity, Collaboration, Montréal: McGill Queen’s University Press, 2014.

Articles:

• "Winning, Losing, and Wandering Play: Zhuangzian Paradox and Daoist Practice," with Richard Schubert, Journalism, Media and Cultural Studies, no. 5, 2014.
• "Introduction: Performativity alongside neoliberal global politics," in P. Lichtenfels and J. Rouse (eds.) Performance, Politics and Activism: Scales of Production, London: Palgrave Macmillan, 2013, pp. 1–14.
• "Engaging Politics: Keith Hennessy’s radical devised dance theatre," in P. Lichtenfels and J. Rouse (eds.) Performance, Politics and Activism: Scales of Production, London: Palgrave Macmillan, 2013, pp. 132–153.
• "Scoring the Site Particular: Performativities of Sound," with Dylan Bolles, International Journal of Daoist Studies, no. 5, 2012, pp. 153–168.

 

Proshot Kalami

Books:

• Iran’s Reel Spectre: The Cinematic Story of a Nation, London: Seagull, 2013.

Articles:

• “A Report on the British Premiere of Death of Yazdgerd: A Cross-cultural Adaptation?” in Iranian Studies, Special Issue: Bahram Beyzaie’s Cinema and Theater, vol. 46, no. 5, 2013, pp. 791–810. URL The article is available here.
• “Mystic Lens; Iranian Cinematic Semah,” in P. Jahed (ed.) Directory of Iranian Cinema, vol. 2, London: Intellect Books, 2013.
• “Bahman Ghobadi, a Review,” in P. Jahed (ed.) Directory of Iranian Cinema, vol. 2, London: Intellect Books, 2013.
• “No One Knows About Persian Cinema, a Review of No One Knows about Persian Cats,” in P. Jahed (ed.) Directory of Iranian Cinema, vol. 2, London: Intellect Books, 2013.

(more publications by Proshot Kalami)

 

Dennis Kennedy

Books:

• The Oxford Companion to Theatre and Performance, Oxford: Oxford University Press, 2010.
• The Spectator and the Spectacle: Audiences in Modernity and Postmodernity, Cambridge: Cambridge University Press, 2009.

Articles:

• “The Future is Fusion,” in B. B. Lei and C.-H. Perng (eds.) Shakespeare in Culture, Taipei, National Taiwan University Press, 2012, pp. 1–13.
• “Shakespeare e o espectáculo globalizado [Shakespeare and globalized performance],” (Portuguese trans. by Rita Queiroz de Barros), in M. H. Serôdio, J. A. Flor et al., Shakespeare entre nós, Porto: Campo das Letras, 2009.

(more publications by Dennis Kennedy)

 

Ric Knowles

Books:

• How Theatre Means, Basingstoke: Palgrave Macmillan, 2014.

Articles:

• "Mounds, Earthworks, Sideshow Freaks and Circus Injuns," in B. Däwes and M. Maufort (eds.) Enacting Nature: Ecocritical Perspectives on Indigenous Performance, Brussels: PIE Peter Lang, 2014, pp. 47–58.
• "Theatre/Research/Canada," Theatre Research in Canada/Recherches théâtrale au Canada, vol. 35, no. 2, 2014, pp. 226–229.
• "Aluna’s Nohayquiensepa: The Intermedial Intercultural and the Limits of Empathy," co-written with Jessica Riley, in N. Alvarez (ed.) Latino/a Theatre in Canada, Toronto: Playwrights Canada Press, 2013, pp. 36–63.
• "to be dub, female, and black (queering the revolushun): towards a womban-centered afro-caribbean diasporic performance aesthetic in Toronto," Theatre Research in Canada, vol. 33, no. 1, 2012, pp. 78–105.

 

Klaus-Peter Köpping

Books:

• Rituals in an Unstable World- Contingency-Hybridity-Embodiment, ed. with A. Henn, Frankfurt a. Main: Peter Lang 2008.
• Ritual and Identity. Performative Practices as Effective Transformations of Social Reality, ed. with B. Leistle and M. Rudolph, Münster: Lit Verlag, 2006.
• Shattering Frames: Transgressions and Transformations in Anthropological Theory and Practice, Berlin: Reimer, 2002.

Articles:

• “Sich–Glücklich–Tanzen: Körperliche Resonanz als emergentes Lernen in Japanischen Volksritualen,” (2013, forthcoming).
• “Radio Muezzin – Documentary Theatre Between Enlightenment and Exoticism,” Textures – Online Platform for Interweaving Performance Cultures, 14.10.2009, URL: www.textures-platform.com/?p=555.

(more publications by Klaus Peter-Köpping)

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André Lepecki

Books:

• Planes of Composition, ed. with J. Joy, Bombay/Chicago: Seagull Books, 2010.
• The Senses in Performance, ed. with S. Banes. London/New York: Routledge, 2007.
• Exhausting Dance: Performance and the Politics of Movement, London/New York: Routledge, 2005.

Articles:

• “Dance as Thing. Choreographic Critiques of the Object,” in October, vol. 140, 2012, pp. 79–90.
• “9 Variações sobre coisas e performance,” in Revista Urdimento, vol. 19, 2012, pp. 93–99.

(more publications by André Lepecki)

 

Peter Lichtenfels

Books:

• Performance, Politics and Activism, ed. with J. Rouse, Basingstoke: Palgrave Macmillan, 2012.
• Negotiating Shakespeare’s Language in Romeo and Juliet: Reading Strategies from Criticism, Editing and the Theatre, co-authored with L. Hunter, Farnham, England/Burlington, VT: Ashgate, 2009.
• Shakespeare, Language and the Stage: The Fifth Wall, Approaches to Shakespeare from Criticism, Performance and Theatre Studies, ed. with L. Hunter, London: Arden Shakespeare, 2005.

(more publications by Peter Lichtenfels)

 

Jacqueline Lo

Articles:

• “Moving Images, Stilling Time: The art of Fiona Tan,” Third Text, vol. 28, no. 1, 2014, pp. 56–66.
• “'Why should we care?': Some thoughts on cosmopolitan hauntings,” Memory Studies, vol. 6, no. 3, 2013, pp. 345–358.
• “Introduction: 'Entangled Pasts,'” co-authored with N. Fischer and K. Mitchell, Crossings: Journal of Migration & Culture, vol. 4, no. 1, 2013, pp. 3–11.
• “Diaspora, Art and Empathy,” in John Young: The Bridge and the Fruit Tree, Drill Hall Gallery, The Australian National University, 2013, pp. 19–43.

Journals:

• Crossings: Journal of Migration & Culture, ed. with N. Fischer and K. Mitchell, vol. 4, no. 1, 2013.

(more publications by Jacqueline Lo)

 

Susan Manning

Books:

• New German Dance Studies, co-edited with Lucia Ruprecht, Champaign: University of Illinois Press, 2012.
• Modern Dance, Negro Dance: Race in Motion, Minneapolis: University of Minnesota Press, 2006.
• Ecstasy and the Demon: Feminism and Nationalism in the Dances of Mary Wigman, Oakland: University of California Press, 1993.

Articles:

• "Reggie Wilson in Conversation," "Reggie Wilson and the Traditions of American Dance," "On the Making of Moses(es): Notes from a Dramaturg's Journal," and "Zora, Zar, Ohad, and Nubia: Research Memos for Reggie Wilson's Moses(es)," TDR: The Drama Review, vol. 59, no. 1, Spring 2015 (forthcoming).
• "Choreographing the Classics, Performing Sexual Dissidence," in P. Rankine, K. Bosher, F. Macintosh and J. McConnell The Oxford Handbook of Greek Drama in the Americas, Oxford: Oxford University Press, April 2015 (forthcoming).

 

Katherine Mezur

Books:

• Beautiful Boys/Outlaw Bodies: Devising Kabuki Female-Likeness, New York: Palgrave Macmillan, 2005.

Articles:

• “Fleeting moments: The vanishing acts of phantom women in the performances of dumb type,” in Women & Performance: A Journal of Feminist Theory, vol. 12, no. 1, 2001, pp. 191–206.
• “Japanese Deconstructions of the Female Body,” in Theatre Research International, vol. 24, no. 3, 1999: pp. 281–287.

(more publications by Katherine Mezur)

 

David Moss

Interview:

• “Musiktheaterschaffende im Gespräch: David Moss,” in R. Simon Labor oder Fließband? Produktionsbedingungen freier Musiktheaterprojekte an Opernhäusern, Berlin: Theater der Zeit, 2013.

CDs/Installations/Radio-plays:

• "At the Beach: music for voice and electric bass", with H. Strobl, Warszawa: MonotypeRec., 2014.
• “Like Likes Like,” by Denseland (David Moss, voice/texts; Hanno Leichtmann, percussion; Hannes Strobl, bass), M=minimal, 2013.
• 23 ways to remember silence, but only 1 way to break it, installation/radio-play for Tonspur/ORF, Wien, 2012.

(Current projects and works by David Moss)

 

Chetana Nagavajara

Books:

• ทางสายกลางแห่งการวิจารณ์, กรุงเทพฯ: โอเพ่นบุ๊กส์, 2555. [The Middle Path of Criticism: Collected Essays and Reviews, Bangkog: Open Books, 2012.]
• Auf der suche nach einer grenzüberschreitenden Wissenschaftskultur, Nakorn Pathom: Department of German, Silpakorn University, 2013.
• จากวิทยาทานสู่การผลิตและจำหน่วยสินค้า: ความปั่นป่วนของอุดมศึกษาไทย, กรุงเทพฯ: สถาบันคลังสมองของชาติ, 2556. [From Selfless Giving to Commodification: The Dilemma of Higher Education, Bangkog: Knowledge Network Institute of Thailand, 2013.]

Articles:

• “Das Kunstwerk im Zeitalter der Redseligkeit, oder: Wenn der wilde Westwind stürmisch weht,” Zeitschrift für Germanistik in Südostasien no. 10/11, 2011/2012.
• “Towards an Aesthetics of Research” in C. Gößling-Arnold, P. Marquardt and S. Wogenstein (eds.) Globale Kulturen – Kulturen der Globalisierung, Baden-Baden: Nomos, 2013.

(more publications by Chetana Nagavajara)

 

Nanako Nakajima

Articles:

• "Disabling ability in dance: Intercultural dramaturgies of the Thikwa plus Junkan Project," Choreographic Practices 6, no. 1 (April 2015): 85–105.
• "Dance Dramaturgy as the Process of Learning: koosil-ja’s mech[a]OUTPUT," in D. Callison and P. Hansen (eds.) Dance Dramaturgy: Modes of Agency, Awareness, Society of Dance History Scholars Book Series, London and New York: Palgrave Macmillan, 2015.
• 中島那奈子「老いと踊り　アーカイブ化されない踊りを巡って」『埼玉大学教養学部　リベラル・アーツ叢書』外山紀久子編、埼玉大学教養学部・文化科学研究科、2015年
• "She She Pop’s THE RITE OF SPRING as performed by She She Pop and their mothers," Kyoto Experiment: Kyoto International Performing Arts Festival 2014 Official Booklet, Kyoto: Kyoto Experiment, September 2014, pp. 30–31 (Japanese/English).
• "The Aging Body in Dance: The Cultural Politics of Age in Euro- American and Japanese Dance," in C. Behrens and C. Rosenberg (eds.) TanzZeit-LebensZeit: Tanzforschung, no. 24, Leipzig: Henschel, 2014, pp. 167–177.

 

Claudia Tatinge Nascimento

Books:

• Crossing Cultural Borders Through the Actor's Work. Foreign Bodies of Knowledge, New York/London: Routledge, 2009.

Articles:

• “Of Tent Shows and Liturgies: One breath left: Dies Iræ,” in TDR, vol. 54, no. 3, 2010, pp. 136–149.
• “Burning the (Monologue) Book: Disobeying the Rules of Gender Bias in Beginning Acting Classes,” in Theatre Topics, vol. 11, no. 2, 2001, pp. 145–158.

(more publications by Claudia Tatinge Nascimento)

 

Kaite O'Reilly

Productions:

• the 9 Fridas, Phillip Zarrilli (director), Mobius Strip Theatre, Taiwan, transfers to Hong Kong Rep' Theatre, 2016.
• Playing the Maids, Phillip Zarrilli (director), Kaite O'Reilly (dramaturg), premiere at Chapter Arts Centre, Cardiff, Wales, followed by national tour of international collaboration between The Llanarth Group (Wales), Gaitkrash (Ireland), Theatre P'Yut (South Korea) and Singapore, February–March, 2015.

Books:

• Woman of Flowers, London: Aurora Metro Books, 2014.

Articles:

• "Answering Back and Returning the Gaze: Two examples of Alternative Dramaturgies informed by a Deaf and disability Perspective," Horizons/Théâtre, no. 5 (forthcoming).

 

Femi Osofisan

Books:

• One Legend, Many Seasons: A Stage Creation Based on Charles Dickens' A Christmas Carol, 2nd ed., Lagos: Concept Publ., 2010.
• Dream Seeker on a Divining Chain: Poems, Ibadan: Kraft, 2010.
• Richard Lander and the Travelling Polygamist: A Play, Lagos: Concept Publ., 2009.
• No More the Wasted Breed, Cambridge [England]: Proquest LLC, 2008.
• The City as Muse: Ibadan and the Efflorescence of Nigerian Literature, Ibadan, Nigeria: Hope Publications, 2007.

(more publications by Femi Osofisan)

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Cristina Rosa

Articles:

• “Playing, Fighting, and Dancing: Unpacking the Significance of Ginga within the Practice of Capoeira Angola,” in TDR, vol. 56, no. 3, 2012, pp. 141–166.
• “Jogo Bonito: a Study of Brazilian Soccer as a Modern Spectacle of Races,” in Thinking Gender Papers, Los Angeles: UCLA Center for the Study of Women, 2010.
• “Neguinho & Negão: Performances of Masculinity within the Afro-Brazilian Practice of Capoeira,” in S. Gramley and R. Schneider (eds.) Cultures in Process: Encounter and Experience, Bielefeld: Transcript, 2009.

 

Marta Elena Savigliano

Books:

• Tango and the Political Economy of Passion, Boulder, Colo.: Westview Press, 1995.
• Angora Matta. Fatal Acts of North-South Translation, Middletown, Conn.: Wesleyan University Press, 2004.

Articles:

• “From the CORD President, CORD/ASTR Welcoming,” in Dance Research Journal, vol. 43, no. 1, supplement, 2011, pp. 1–2.
• “Worlding Dance and Dancing Out There In the World,” in S. Foster (ed.) Worlding Dance, Basingstoke et al.: Palgrave Macmillan, 2009, pp. 163–190.
• “Irreverent Tangos: Dancing ‘Love’ and the Politics of Parody,” in G. Klein (ed.) Tango in Translation, Bielefeld: Transcript, 2009, pp. 243–278.

(more publications by Marta Elena Savigliano)

 

Stanca Scholz-Cionca

Books:

• Japanese Theatre Transcultural. German and Italian Intertwinings, ed. with A. Regelsberger, München: Iudicium, 2011.
• Japanische Dramen der Jahrtausendwende, München: Iudicium, 2008.
• Befremdendes Lachen. Komik auf der heutigen Bühne im japanisch-deutschen Vergleich, ed. with H.-P. Bayerdörfer, München: Iudicium, 2005.

Articles:

• “Nô-Drama,” in P. Marx (ed.) Handbuch Drama: Theorie, Analyse, Geschichte, Stuttgart: J. B. Metzler, 2012, pp. 191–193.
• “Hamlet in Japan,” in P. Marx (ed.) Hamlet Handbuch. Stoffe, Aneignungen, Deutungen, Stuttgart: J. B. Metzler, 2014, pp. 386–390.

(more publications by Stanca Scholz-Cionca)

 

Evelyn Schuler Zea

Editions:

• llha. Revista de Antropologia, co-edited with V. Cardoso, L. Hartmann and S. Head, vol 13, no. 1, ed. 2, Florianópolis: UFSC, 2012.
• Cadernos de Tradução, co-edited with C. Stallaert, vol. 2, no. 30, Florianópolis: UFSC, 2012.

Articles:

• “As dúvidas de Saussure: notas sobre a potência das disjunções na vida das línguas,” Antropologia em Primeira Mão, vol. 140, 2013, pp. 1–12.
• “Deslocamentos: estudos no duplo campo de tradução e antropologia,” co-autores with C. Stallaert, Cadernos de Tradução, vol. 2, no. 30, 2012, pp. 11–18.
• “A inquietude do tradutor: notas sobre uma lógica das partes em La chute du ciel,” Cadernos de Tradução, vol. 2, no. 30, 2012, pp. 171–184.

(more publications by Evelyn Schuler Zea)

 

Zvika Serper

Articles:

• “Towards interweaving Japanese and Western theatres: Training and its application to performance,” Richard Schechner and Performance Studies. An International Conference of Scholars and Artists Honoring Richard Schechner on his 76^th Birthday, 23.12.2010, URL: rsps.haifa.ac.il/bio-abs/36.pdf.
• “Melodic Speech Patterns in the Traditional Japanese Kyogen Theatre,” in Journal of Dramatic Theory and Criticism, vol. 15, no. 2, 2001, pp. 97–114.
• “Lady Kaede in Kurosawa’s Ran: verbal and visual characterization through animal traditions,” in Japan Forum, vol. 13, no. 2, 2001, pp. 145–158.
• “Blood Visibility/Invisibility in Kurosawa’s Ran,” in Literature/Film Quarterly, vol. 28, no. 2, 2000, pp. 149–154.
• “‘Kotoba’ (‘Sung’ Speech) in Japanese Nō Theater: Gender Distinctions in Structure and Performance,” in Asian Music, vol. 31, no. 2, 2000, pp. 129–166.

(more publications by Zvika Serper)

 

Shen Lin

Articles:

• “‘The loveliest Lady that ever I saw’: Female Impersonation as Parmenon’s Hog,” in Filozofická Fakulta (ed.) Rocěnka textu̇ zahranicňích profesoru̇ [The Annual of Texts by Foreign Guest Professors], vol. 4, Prague: Univerzita Karlova Praha, Faculty of Philosophy, 2010, pp. 207–227.

 

Maria Shevtsova

Books:

• Directors/Directing: Conversations on Theatre, compiled with C. Innes, Cambridge, UK/New York: Cambridge University Press, 2009.
• The Sociology of Theatre and Performance, Verona: QuiEdit, 2009.
• Robert Wilson, London/New York: Routledge, 2007.
• Dodin and the Maly Drama Theatre: Process to Performance, London/New York: Routledge, 2004.

Articles:

• “Reasons for Joy and Reflection: Engaging with Shakespeare at the Craiova Festival,” in New Theatre Quarterly, vol. 28, no. 4, 2012, pp. 352–362.

(more publications by Maria Shevtsova)

 

Brian Singleton

Books:

• Masculinities and the Contemporary Irish Theatre, Basingstoke: Palgrave Macmillan, 2011.
• Ethnicity & Identity: Global Performance, ed. with R. Chaturvedi, New Delhi: Rawat, 2005.
• Oscar Asche, Orientalism and British Musical Comedy, Westport, Conn.: Praeger Publishers, 2004.

Articles:

• “U(n)we/aving Lena: Popular Inter-Culture,” Textures – Online Platform for Interweaving Performance Cultures, 01.07.2010, URL: www.textures-platform.com/?p=900.
• “TRI’s Cambridge Years: A Retrospective,” co-authored with C. Balme and F. Rokem, in Theatre Research International, vol. 35, no. 3, 2010, pp. 222–231.

(Complete list of publications)

 

Natascha Siouzouli

Books:

• Wie Absenz zur Präsenz entsteht: Botho Strauß inszeniert von Luc Bondy, Bielefeld: Transcript, 2008.

Articles:

• “Silent spaces. An Interview with Theodoros Terzopoulos,” Textures – Online Platform for Interweaving Performance Cultures, 21.03.2011, URL: www.textures-platform.com/?p=1275.
• “Sakralität und Sakralisierung im Kontext europäischer Theaterfestivals,” in E. Fischer-Lichte and M. Warstat (eds.) Staging Festivity. Theater und Fest in Europa, Tübingen/Basel: A. Francke, 2009, pp. 89–104.

 

Sabine Sörgel

Books:

• Dance Interventions: The Transnational Politics of Contemporary Choreography and Performance, Basingstoke: Palgrave (forthcoming).
• Dance and the Body in Western Theatre: 1948 to the Present, New York: Palgrave, 2015.
• Dancing Postcolonialism. The National Dance Theatre Company of Jamaica, Bielefeld: Transcript, 2007.

Articles:

• “Transnationalism and Contemporary African Dance: Faustin Linyekula,” in G. Klein and S. Noeth (eds.) Emerging Bodies: The Performance of Worldmaking in Dance and Choreography, Bielefeld: Transcript, 2011, pp. 83–93.
• “Like an endless stream of lava and love. Mnemonic Re-Enactment, Autobiography, and the Postcolonial Politics of Performance in Trevor D. Rhone’s Bellas Gate Boy,” in A. Hornung (ed.) Auto/Biography and Mediation, Heidelberg: Universitätsverlag Winter, 2010, pp. 483–493.

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Hypatia Vourloumis

Articles:

• “Ten Theses on Touch, or, Writing Touch,” Women & Performance: a journal of feminist theory, Special Issue: The Haptic: Thinking through Texture (forthcoming, Fall 2014).
• “'Come and see what we do’: Contemporary Migrant Performances in Athens, Greece,” Theatre Journal, vol. 66, no. 2, 2014, pp. 241–255.
• “Minima Melancholia: Performances of Affective Refusals and Rem(a)inders,” Institute for Live Arts Research, Issue: Melancholy and Politics, November 2013, pp. 29–36.

 

Margaret Werry

Books:

• Traveling the Virtual Pacific: Oceans, Indigenes, Motion and Modernity (forthcoming).
• The Tourist State: Performing Leisure, Liberalism, and Race in New Zealand, Minneapolis: University of Minnesota Press, 2011.

Articles:

• “The Anatomy of Failure. An Inventory,” co-authored with R. O’Gorman, in Performance Research, vol. 17, no. 1, 2012, pp. 105–110.
• “On Failure (On Pedagogy). Editorial Introduction,” co-authored with R. O’Gorman, in Performance Research, vol. 17, no. 1, 2012, pp. 1–8.
• “Nintendo Museum: ethnographic entertainment and neo-liberal citizenship,” in L. D. Nielsen and P. Ybarra (eds.) Neoliberalism and Global Theatres: Performance Permutations, Basingstoke et al.: Palgrave Macmillan, 2011, pp. 25–41.

(more publications by Margaret Werry)

 

William B. Worthen

Books:

• Drama. Between Poetry and Performance, Chichester/Malden, MA: Wiley-Blackwell, 2010.
• Print and the Poetics of Modern Drama, Cambridge, UK/New York: Cambridge University Press, 2005.
• Shakespeare and the Force of Modern Performance, Cambridge, UK/New York: Cambridge University Press, 2003.

Articles:

• “‘What light through yonder window speaks?’: The Nature Theater of Oklahoma Romeo and Juliet and the Cult(ure) of Shakespeare,” in C. DiPietro and H. Grady (eds.) Shakespeare and the Urgency of Now: Criticism and Theory in the 21st Century, Basingstoke: Palgrave Macmillan, 2013, pp. 148–171.
• "Dramatic Poetry,” in R. Greene, S. Cushman, C. Cavanagh, J. Ramazani and P. Rouzer (eds.) The Princeton Encyclopedia of Poetry and Poetics: Fourth Edition, Princeton: Princeton University Press, 2012.
• “‘Renaissance and/or Early Modern Drama and/or Theater and/or Performance: A Dialogue,” co-written with B. Hodgdon, Renaissance Drama, New Series 40, 2012, pp. 19–28.
• “‘The written troubles of the brain’: Sleep No More and the Space of Character,” Theatre Journal, vol. 64, no. 1, 2012, pp. 79–97.

(more publications by William B. Worthen)

 

Farah Yeganeh

Articles:

• “Aus dem Dunkeln schreiben / Mirrors to the Dark. Vier herausragende iranische Inszenierungen der letzten zehn Jahre / Four Outstanding Performances of the Last Decade,” in Theater der Zeit | Spezial: Theater im Iran. Spieltrieb und Maskenspiel, 2011, pp. 28–34.
• “Ta’ziyeh as Theatrical Event,” in P. Koski and M. Sihra (eds.) The Local Meets the Global in Performance, Newcastle upon Tyne: Cambridge Scholars, 2010, pp. 145–164.
• “Iranian Theatre Festivalized,” in Theatre Research International, vol. 30, no. 3, 2005, pp. 274–283.

 

Yu Weijie

Articles:

• “Thoughts about ‘Interweaving Performance Cultures’,” Textures – Online Platform for Interweaving Performance Cultures, 21.09.2009, URL: www.textures-platform.com/?p=552.

(more publications by Yu We Jie)

 

Stephen Wilmer

Books:

• Resisting Biopolitics: Philosophical, Political and Performative Strategies, edited with Audronė Žukauskaitė, Routledge: New York, September 2015.
• Deleuze and Beckett, Houndmills: Palgrave Macmillan, 2015.

Articles:

• "The Spirit of Fluxus as a Nomadic Art Movement," Nordic Theatre Studies 26, no. 2, 2015, pp. 84–93.
• "Postwar Protest Plays," in Jeffrey Richards (ed.) Oxford Handbook of American Drama, Oxford: Oxford University Press, 2014, pp. 408–25.

(more publications by Stephen Wilmer)

 

Phillip Zarrilli

Books:

• Acting: psychophysical phenomenon and process (intercultural and interdisciplinary perspectives), co-authored with Jerri Daboo and Rebecca Loukes, Basingstoke: Palgrave Macmillan, 2013.

Articles:

• "'Inner movement' between practices of meditation, martial arts, and acting: a focused examination of affect, feeling, sensing, and sensory attunement," in M. Bull and J. P. Pitchell (eds.) Ritual, Performance, and the Senses, London: Bloomsbury, 2015 (forthcoming).
• "'...beneath the surface' of Told by the Wind: An Intercultural Experiment in Performance Dramaturgy and Aesthetics," Asian Theatre Journal, 2015 (forthcoming).
• "The actor's work on attention, awareness and active imagination: between phenomenology, cognitive science and practices of acting," in E. Nedelkopoulou, J. Foley Sherman and M. Bleeker (eds.) Performance and Phenomenology: Traditions and Transformations, London and New York: Routledge, 2015 (forthcoming).
  • "Toward an intersubjective ethics of acting and actor training," in P. Macneill (ed.) Ethics and the Arts, New York and London, 2014, pp. 113–124.

(more publications by Phillip Zarilli)

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