• Contributors

JULIE BURRELL is an associate professor of English, black studies, and women’s and gender studies at Cleveland State University, where she teaches courses in African American literature and drama. Her monograph, The Civil Rights Theatre Movement in New York, 1939–1966: Staging Freedom, examines the intersections of political theatre and the black freedom movement. Her essays have appeared in MELUS: Multi-Ethnic Literature of the United States and Continuum: The Journal of African Diaspora Drama, Theatre and Performance.

LEO CABRANES-GRANT is a professor of performance and intercultural studies in the Departments of Theatre and Dance and Spanish and Portuguese at the University of California, Santa Barbara. Among other publications, he is the author of From Scenarios to Networks: Performing the Intercultural in Colonial Mexico, and received both the ATHE Best Essay of the Year Award and an Oscar Brockett Honorable Mention from ASTR (2012). He was editor of the prestigious journal Theatre Survey, published by Cambridge University Press and ASTR. Professor Cabranes-Grant is also a poet and an award-winning playwright; his dramatic work has been widely produced in San Juan (Puerto Rico), Boston, and New York.

MATTHIEU CHAPMAN earned his MLitt and MFA from Mary Baldwin College’s Shakespeare in Performance Program and his PhD in theatre history, theory, and criticism from UC San Diego. He has served as a dramaturg for San Diego Repertory Theatre and has dramaturged and directed numerous university productions. His monograph, Anti-Black Racism in Early Modern English Drama: The Other “Other,” is available from Routledge. He has been published in Medieval and Renaissance Drama in England, Theatre Topics, TheatreForum, and Early Theatre.

MICHAEL CHEMER S is a professor of dramatic literature at the University of California Santa Cruz. He was previously a professor of dramatic literature at Carnegie Mellon University’s School of Drama, where he was the founding director of the Bachelor of Fine Arts in Production Dramaturgy program. Through his book Ghost Light: An Introductory Handbook for Dramaturgy, which has been translated into several languages, this model has become popular across the world. Michael’s work on the dramaturgy of empathy has led him to research and publish in fields as diverse as new media studies, social robotics, Shakespearean studies, monster theory, and the underground circus movement. He has also authored chapters in books on South Park, The Rocky Horror Picture Show, and Game of Thrones.

CHRYSTYNA DAIL is an associate professor of theatre history at Ithaca College. Her book, Stage for Action: U.S. Social Activist Theatre in the 1940s, is part of the Theater in the Americas series published through Southern Illinois University Press. Her essays and reviews have appeared in the Journal of American Drama and Theatre, Theatre History Studies, Arthur Miller Journal, Theatre Journal, The Theatre Annual, Performing Arts Resources, as well as the edited collection Working in the Wings: New Perspectives on Theatre History and Labor.

MICHAEL DENNIS specializes in the history of political economy, social movement unionism, and the cultural and political left in twentieth-century America. His most recent publications include “From the Masses to the Mainstream: The Hollywood Left and the Movement for Social Democracy” in The Historian, “The Idea of Full Employment: A Challenge to Capitalism in the New Deal Era” in Labor: Working-Class History of the Americas, and Blood on Steel: Chicago Steelworkers and the Strike of 1937. His most recent project is a study of the movement for full employment in twentieth-century America.

CHRISTIANA MOLLDREM HARKULICH is a visiting assistant professor of theatre history at Miami University of Ohio. Her research examines the intersections of gender, border theory, and indigeneity and the ways in which performance can become a decolonial act. She has presented work at the American Society for Theatre Research, the Association for Theatre in Higher Education, the Mid-America Theatre Conference, and the British Library. She received her PhD in Theatre and Performance Studies from the University of Pittsburgh in 2017. Her current manuscript project examines the political implications of performances by indigenous women on the early-twentieth-century stage.

LISA JACKSON-SCHEBETTA is an associate professor of theatre at Skidmore College. She is the author of Traveler, There Is No...

• 贡献者

JULIE BURRELL是克利夫兰州立大学的英语，黑人研究以及妇女和性别研究副教授，在那里她教授非裔美国人文学和戏剧课程。她的专着《纽约民权剧院运动，1939年至1966年：过渡自由》探讨了政治剧院和黑人自由运动的交集。她的论文发表在《MELUS：美国的多族裔文学和Continuum：《非洲流散者的戏剧，戏剧和表演》杂志上。

LEO CABRANES-GRANT是加利福尼亚大学圣塔芭芭拉分校戏剧和舞蹈系以及西班牙文和葡萄牙文系的表演和跨文化研究教授。在其他出版物中，他是《从情景到网络：在墨西哥殖民地表演多元文化》一书的作者，并获得了ATHE年度最佳散文奖和ASTR的奥斯卡·布罗克特荣誉奖（2012年）。他是由剑桥大学出版社和ASTR出版的著名的《戏剧调查》杂志的编辑。卡布雷内斯-格兰特教授还是一位诗人和屡获殊荣的剧作家。他的戏剧性作品已在圣胡安（波多黎各），波士顿和纽约广泛制作。

MATTHIEU CHAPMAN从玛丽·鲍德温学院的莎士比亚表演计划课程获得文学硕士和硕士学位，并从圣地亚哥加州大学获得戏剧史，理论和批评方面的博士学位。他曾在圣地亚哥话剧团担任戏剧表演，并曾指导和指导过许多大学作品。他的专着《早期现代英语戏剧中的反黑人种族主义：另一个”他者”可从Routledge获得。他被发表在英国的中世纪和文艺复兴时期的戏剧，戏剧主题，剧院论坛和早期戏剧中。

MICHAEL CHEMER S是加州大学圣克鲁斯分校戏剧文学教授。他曾任卡内基梅隆大学戏剧学院戏剧文学教授，在那里他是制作戏剧学美术学士学位课程的创始主任。通过他的书《幻灯：戏剧学入门手册》（已翻译成多种语言），该模型已在世界范围内流行。迈克尔在共情戏剧性方面的工作使他得以在新媒体研究，社交机器人学，莎士比亚研究，怪物理论和地下马戏团运动等领域进行研究和出版。他还在《南方公园》，《恐怖恐怖图片展》等著作中撰写了相关章节。和权力的游戏。

克里斯蒂娜·戴伊（CHRYSTYNA DAIL）是伊萨卡学院戏剧史的副教授。她的书《行动舞台：1940年代的美国社会活动家剧院》是南伊利诺伊大学出版社出版的《美洲剧院》系列的一部分。她的论文和评论发表在《美国戏剧和戏剧杂志》，《戏剧历史研究》，《亚瑟·米勒杂志》，《戏剧杂志》，《戏剧年鉴》，表演艺术资源以及编辑过的《在翼上：戏剧历史的新观点》一书中。和劳动。

迈克尔·丹尼斯（MICHAEL DENNIS）专门研究政治经济学，社会运动工会主义以及20世纪美国留下的文化和政治的历史。他最近的出版物包括《历史学家》中的“从大众到主流：好莱坞左派和社会民主运动” ，《劳工：工人阶级》中的“充分就业的理念：新政时代对资本主义的挑战”。美洲历史和钢铁上的鲜血：芝加哥钢铁工人与1937年的罢工。他最近的项目是对20世纪美国充分就业运动的研究。

CHRISTIANA MOLLDREM HARKULICH是俄亥俄州迈阿密大学戏剧史的客座助理教授。她的研究探讨了性别，边界理论和本土性的交集，以及表演成为殖民主义行为的方式。她曾在美国戏剧研究学会，高等教育戏剧协会，中美洲戏剧会议和大英图书馆发表过作品。她于2017年获得匹兹堡大学戏剧和表演研究博士学位。她目前的手稿项目研究了二十世纪初土著妇女表演对政治的影响。

LISA JACKSON-SCHEBETTA是斯基德莫尔学院戏剧学的副教授。她是《旅行者》的作者，没有...