• Contributors

Logan J. Connors is Associate Professor of Modern Languages & Literatures at the University of Miami. He the author of Dramatic Battles in Eighteenth-Century France (2012), a critical edition of Pierre-Laurent De Belloy’s tragedy, Le Siège de Calais (2014), and The Emergence of a Theatrical Science of Man in France (2020). During academic year 2019–2020, he is an invited fellow at the Institute for Advanced Studies (Collegium) in Lyon, France, where he is working on a new project about the diverse relationships between theatre and the military in France and its colonies from 1650 to 1815.

Amy Cook is the author of Building Character: The Art and Science of Casting (University of Michigan Press 2018), Shakespearean Neuroplay: Reinvigorating the Study of Dramatic Texts and Performance through Cognitive Science (Palgrave Macmillan 2010), and co-editor (with Rhonda Blair) of Theatre, Performance and Cognition (Methuen 2016). Her next book, “Shakespearean Futures: Casting the Bodies of Tomorrow on Shakespeare’s Stages Today,” is under contract with the Elements Series of Cambridge Press. She is the Associate Dean for Research and Innovation and a Professor of English at Stony Brook University.

James H. Cox holds the Jane and Roland Blumberg Centennial Professorship in English at the University of Texas at Austin. He has published three books on Native American literature from 1920 to the present, and he co-edited The Oxford Handbook of Indigenous American Literature (2014) with Daniel Heath Justice of the University of British Columbia. He served as the co-editor of Studies in American Indian Literatures from 2007 to 2012 and has served as the co-editor of Texas Studies in Literature and Language since 2016.

Melanie Dreyer-Lude is a theatre artist/scholar specializing in international theater collaboration and multidisciplinary projects. Fluent in German, Dreyer-Lude translates and directs contemporary German plays, which have been produced in the United States and Canada and published in international magazines and anthologies. A two-time Fulbright scholar, her current research focuses on refugee stories, and adapting and staging traditional folktales with the Ndere Center in Kampala, Uganda. She continues to enjoy an ongoing relationship with Cornell University, where she regularly gives workshops on research communication skills. She is Chair of the Department of Drama at the University of Alberta and lives and works in Edmonton, Alberta Canada.

James Fisher is Professor of Theatre at the University of North Carolina at Greensboro. He has directed and/or acted in over 150 theatre productions and has also author several books, including The Historical Dictionary of American Theater: Beginnings (Rowman & Littlefield, 2015) and Understanding Tony Kushner (University of South Carolina Press, 2008). He has also published numerous essays, edited six volumes of The Puppetry Yearbook, and edited three collections of essays.

Anne Greenfield is Associate Professor of English at Valdosta State University. She edited the book collections Interpreting Sexual Violence: 1660–1800 (Pickering & Chatto 2013) and Castration, Impotence, and Emasculation in the Long Eighteenth Century (Routledge 2020), and she has published articles on Restoration and eighteenth-century literature, especially drama. She is Editor-in-Chief of Restoration and Eighteenth-Century Theatre Research.

Maki Isaka teaches gender studies and Japanese theatre and literature at the University of Minnesota. Author of Secrecy in Japanese Arts, Onnagata: A Labyrinth of Gendering in Kabuki Theater, and articles on shingeki (New Theatre), gender, etc., Isaka currently works on the performance and theoretical implications of female chanters of “all-male” gidayû-music: the audio component of the four-century-old, all-male puppet-theatre in Japan. Her “‘Melodious Singing Voice’ According to Koshikô: Doing Traditional ‘All-Male’ Gidayû-Music as a Female Chanter in Contemporary Japan” is forthcoming in Catherine Burroughs and J Ellen Gainor, eds., The Routledge Anthology of Women’s Theatre Theory and Dramatic Criticism.

Emma Lipton is Associate Professor of English at the University of Missouri. She is completing a book on the relationship between legal and dramatic ideas of witnessing in the York plays. Her work has appeared in Studies of the Age of Chaucer, Journal of Medieval and Early Modern Studies, Journal of English and Germanic Philology, Chaucer Review and elsewhere. She has published Affections of the Mind: The Politics of Sacramental...

• 贡献者

Logan J. Connors是迈阿密大学现代语言与文学副教授。他是《十八世纪法国戏剧战役》（2012年），皮埃尔·洛朗·德·贝洛伊（Pierre-Laurent De Belloy）悲剧的重要版，《勒·西耶格·德·加莱》（LeSiègede Calais）（2014年）和《法国戏剧人类学》（2020年）的作者。在2019–2020学年期间，他是法国里昂高级研究学院（学院）的受邀研究员，他正在研究一个新项目，该项目涉及1650年以来法国及其殖民地之间的战区与军方之间的各种关系至1815年。

艾米·库克（Amy Cook）是《建筑角色：铸造的艺术与科学》（密歇根大学出版社，2018年），《莎士比亚神经戏剧：通过认知科学重振戏剧文本和表演研究》（帕尔格雷夫·麦克米伦（Palgrave Macmillan），2010年）的作者，并与他共同编辑（与Rhonda合作）布莱尔（Blair），剧院，表演和认知（Methuen 2016）。她的下一本书《莎士比亚的未来：今天在莎士比亚的舞台上铸就明天的身体》与剑桥出版社的《元素系列》签有合同。她是美国石溪大学研究与创新副院长和英语教授。

詹姆斯·H·考克斯（James H. Cox）在德克萨斯大学奥斯汀分校担任简和罗兰·布伦伯格百年英语教授。从1920年至今，他已经出版了三本有关美国原住民文学的书，并与不列颠哥伦比亚大学的丹尼尔·希思·尤特斯（Daniel Heath Justice）共同编辑了《牛津土著美国人文学手册》（2014年）。从2007年到2012年，他担任美国印第安人文学研究的副主编，自2016年以来一直担任德克萨斯州文学与语言研究的副主编。

Melanie Dreyer-Lude是一位戏剧艺术家/学者，专门从事国际戏剧合作和多学科项目。Dreyer-Lude精通德语，负责翻译和导演在美国和加拿大制作并在国际杂志和选集出版的当代德国戏剧。她是富布赖特（Fulbright）的两次学者，目前的研究重点是难民的故事，并在乌干达坎帕拉的恩德雷中心（Ndere Center）改编和传播传统民间故事。她继续与康奈尔大学保持着长期的合作关系，在那里她定期举办有关研究交流技能的讲习班。她是阿尔伯塔大学戏剧系系主任，目前在加拿大阿尔伯塔省埃德蒙顿生活和工作。

詹姆斯·费舍尔（James Fisher）是格林斯伯勒市北卡罗来纳大学戏剧系教授。他指导和/或代理了超过150部戏剧作品，并着有多本著作，包括《美国戏剧历史词典：起点》（Rowman和Littlefield，2015年）和《理解托尼·库什纳》（Tony Kushner，南卡罗来纳大学出版社，2008年）。他还发表了许多论文，编辑了《木偶年鉴》的六册，并编辑了三本论文集。

安妮·格林菲尔德（Anne Greenfield）是瓦尔多斯塔州立大学（Valdosta State University）的英语副教授。她编辑了《解释性暴力：1660-1800（Pickering＆Chatto 2013）》和《十八世纪Cast割，阳ot和去雄》（Routledge 2020）等书集，并出版了有关恢复和18世纪文学（尤其是戏剧）的文章。 。她是《恢复与18世纪戏剧研究》的主编。

Isaka Maka在明尼苏达大学教授性别研究以及日本戏剧和文学。作者保密日本艺术，Onnagata：性别化的歌舞伎座的迷宫，并在文章shingeki（新剧院），性别等，井坂当前适用于性能和“全男班”的女chanters的理论含义义太夫-音乐：日本有四个世纪历史的全男性木偶剧院的音频组件。她的“‘悠扬的歌声’据Koshikô：做传统的‘全男班’义太夫-音乐的女护法当代日本”是凯瑟琳·巴勒斯和J艾伦Gainor，编辑，即将出版。妇女的戏剧理论的劳特利奇文集和戏剧批评。

艾玛·利普顿（Emma Lipton）是密苏里大学英语系副教授。她正在完成一本书，讲述约克戏剧中的法律见证与戏剧见证之间的关系。她的作品出现在《乔uc时代的研究》，《中世纪与早期现代研究》，《英语和日耳曼语言学杂志》，《乔uc评论》等杂志上。她出版了《心灵的感情：圣礼的政治》。