• Contributors

Katie Beswick is Program Director of Acting and Performance at Wimbledon College of Arts, University of the Arts London. She is the author of Social Housing in Performance: The English Council Estate On and Off Stage (Methuen 2019) and of Making Hip Hop Theatre: Beatbox and Elements (with Conrad Murray—Methuen 2022) as well as numerous articles and book chapters on subjects including class, housing, hip hop, performer training, and live art. Her editorial work includes a co-edited issue of Interventions on the Postcolonial City, a special issue of Studies in Theatre and Performance on Housing, Art, and Activism and the play collection Beats and Elements: A Hip Hop Theatre Trilogy (Methuen 2022).

Harry Derbyshire is Principal Lecturer in English Literature and Drama at the University of Greenwich, UK. He has published various pieces on Harold Pinter, most recently focusing on the Theatre of the Absurd as professional network in Pinter's early career. In other work he has considered the culture of new writing in the 2000s, verbatim theatre and human rights, and the work of Edward Bond, Caryl Churchill, debbie tucker green, Arnold Wesker and Roy Williams.

Alex Ferrone is a Postdoctoral Associate in the Department of Theater Studies at Duke University, where his teaching includes contemporary drama, theatre history, and performance studies. His first book, Stage Business and the Neoliberal Theatre of London, was published by Palgrave Macmillan in 2021.

Emily Goodling is a PhD candidate and current Mellon Fellow at Stanford University in California, USA. Her research focuses on changing definitions of the political in contemporary German theatre, and was supported by a Berlin Program Fellowship at the Freie Universität in Berlin during the 2019-20 academic year. She completed her master's degree in Comparative Literature at the Johannes Gutenberg Universität in Mainz, Germany, after pursuing a BA in Classics and German at Hillsdale College. With a particular interest in pedagogy, she has taught German language, performance, and literature at Hillsdale College, the Georgia Institute of Technology, and Stanford University. Her work has been published in The Drama Review.

Sue Healy is a lecturer in creative writing at the University of Lincoln, UK, a playwright, and literary manager at the Finborough Theatre.

Nicholas Holden is Senior Lecturer in Drama at the University of Greenwich, UK. He is co-editor of the book series Playwriting and the Contemporary: Critical Collaborations (Liverpool University Press, UK). Alongside this, he is the author of book chapters and articles in the areas of Contemporary British Theatre, and Creative Arts Practice in London, and is the co-editor of the forthcoming edited collection: Beautiful Doom: the Work of Dennis Kelly on Stage and Screen (Manchester University Press, UK, 2023).

Laura MacDonald is Assistant Professor in the Residential College in the Arts and Humanities at Michigan State University. She previously taught American Studies at the University of Groningen (the Netherlands) and musical theatre at the University of Portsmouth (UK). With William A. Everett, she edited The Palgrave Handbook of Musical Theatre Producers (2017). With Ryan Donovan, she is editing The Routledge Companion to Musical Theatre. Her articles have appeared in Studies in Musical Theatre, Performance Research, The Journal of American Drama and Theatre, L'Annuaire théâtral, New England Theatre Journal, and Theatre Research International. Her book project explores the persistence of long-running musicals on Broadway.

Lianna Mark is a Teaching Fellow in the Department of English Studies at Durham University, UK. She holds an LAHP-funded PhD in English and Theatre Studies from King's College London, during which she completed a DAAD visiting fellowship at the Freie Universität in Berlin. Her thesis explores the stories and storytelling—thematic, formal, and institutional—of recent British new writing at the Royal Court and at the Almeida theatres in London. Her work has been published in the Journal of Contemporary Drama in English and she is co-editor of Platform: Journal of Theatre and Performing Arts.

Mark O'Thomas is Pro Vice Chancellor and Professor of Theatre and Performance at the University of Greenwich. He formerly held chairs at Newcastle University and the University of Lincoln. He has worked as a playwright, translator, and dramaturg for...

• 贡献者

Katie Beswick是伦敦艺术大学温布尔登艺术学院表演与表演项目主任。她着有《表演中的社会住房：舞台上的英国议会庄园》（Methuen 2019）和《制作嘻哈剧院：Beatbox 和 Elements》（与 Conrad Murray-Methuen 2022 合作）以及许多关于主题的文章和书籍章节包括课堂、住宿、嘻哈、表演培训和现场艺术。她的编辑工作包括共同编辑的《后殖民城市干预》、 《住房、艺术和行动主义的戏剧和表演研究》特刊以及剧集《节拍和元素：嘻哈剧院三部曲》（Methuen 2022）。

Harry Derbyshire是英国格林威治大学英语文学和戏剧的首席讲师。他发表了关于哈罗德·品特的多篇文章，最近关注的是作为品特早期职业生涯中的专业网络的荒诞剧院。在其他工作中，他考虑了 2000 年代新写作的文化、逐字剧场和人权，以及爱德华邦德、卡里尔丘吉尔、黛比塔克格林、阿诺德威斯克和罗伊威廉姆斯的作品。

Alex Ferrone是杜克大学戏剧研究系的博士后助理，他的教学包括当代戏剧、戏剧史和表演研究。他的第一本书《舞台商业与伦敦新自由主义剧院》于 2021 年由 Palgrave Macmillan 出版。

Emily Goodling是美国加利福尼亚州斯坦福大学的博士生和现任梅隆研究员。她的研究重点是改变当代德国戏剧中的政治定义，并在 2019-20 学年获得柏林自由大学柏林项目奖学金的支持。在希尔斯代尔学院攻读古典文学和德语学士学位后，她在德国美因茨的约翰内斯古腾堡大学完成了比较文学硕士学位。她对教育学特别感兴趣，曾在希尔斯代尔学院、佐治亚理工学院和斯坦福大学教授德语、表演和文学。她的作品已发表在《戏剧评论》上。

Sue Healy是英国林肯大学的创意写作讲师、剧作家和芬伯勒剧院的文学经理。

Nicholas Holden是英国格林威治大学戏剧系的高级讲师。他是丛书剧本写作与当代：批判性合作（利物浦大学出版社，英国）的联合主编。除此之外，他还是当代英国剧院和伦敦创意艺术实践领域的书籍章节和文章的作者，并且是即将出版的编辑合集的共同编辑：美丽的厄运：丹尼斯凯利在舞台上的作品和屏幕（曼彻斯特大学出版社，英国，2023 年）。

Laura MacDonald是密歇根州立大学艺术与人文学院住宿学院的助理教授。她曾在格罗宁根大学（荷兰）教授美国研究，并在朴茨茅斯大学（英国）教授音乐剧。她与 William A. Everett 一起编辑了《音乐剧制作人帕尔格雷夫手册》（2017 年）。她正在与 Ryan Donovan 一起编辑The Routledge Companion to Musical Theatre。她的文章发表在音乐剧研究、表演研究、美国戏剧与戏剧杂志、L'Annuaire 剧院、新英格兰戏剧杂志和国际戏剧研究。她的书项目探讨了百老汇长期上演的音乐剧的持久性。

Lianna Mark是英国杜伦大学英语研究系的助教。她拥有伦敦国王学院的 LAHP 资助的英语和戏剧研究博士学位，在此期间，她在柏林自由大学完成了 DAAD 访问奖学金。她的论文探讨了最近在皇家宫廷和伦敦阿尔梅达剧院的英国新作品的故事和讲故事——主题、形式和制度。她的作品已发表在英文当代戏剧杂志上，她是平台：戏剧与表演艺术杂志的联合主编。

Mark O'Thomas是格林威治大学的副校长兼戏剧与表演教授。他曾在纽卡斯尔大学和林肯大学担任教席。他曾担任剧作家、翻译和剧作家...