who`s who in research

who’s who in research
performing
Arts
Who’s Who in Research
Performing Arts
Proof please do not circulate
Who’s Who in Research
Performing Arts
intellect Bristol, UK / Chicago, USA
First published in the UK in 2011 by
Intellect, The Mill, Parnall Road, Fishponds, Bristol, BS16 3JG, UK
First published in the USA in 2011 by
Intellect, The University of Chicago Press, 1427 E.
60th Street, Chicago, IL 60637, USA
Copyright © 2011 Intellect Ltd
All rights reserved. No part of this publication may be reproduced,
stored in a retrieval system, or transmitted, in any form or by
any means, electronic, mechanical, photocopying, recording,
or otherwise, without written permission.
A catalogue record for this book is available
from the British Library.
ISBN 9781841504940
Frank Abrahams Westminster Choir College of Rider
University, 101 Walnut Lane,
Princeton, New Jersey, NJ 085403819, United States of America Keywords critical pedagogy,
community music, music education,
Brazil, Paulo Freire Frank Abrahams is Professor of Music Education and Chair of the
Music Education department at Westminster Choir College of Rider
University in Princeton, New Jersey. His lessons form the foundation
for the general music curriculum at Westminster Academy, and his
pedagogical ideas provide the framework for Westminster’s
undergraduate and graduate music education curricula. Abrahams is a
frequent presenter at the Music Educators National Conference and is
co-author of Case Studies in Music Education. He is also co-author of a
chapter in the forthcoming text, Perspectives on Urban Music
Education, published by MENC, the national association for music
education. › Critical pedagogy in the community music education programmes of Brazil,
International Journal of Community Music, 1.1, 117-126. Gbemisola Adeoti Obafemi Awolowo University,
Department of English, Ile-Ife,
Nigeria Keywords governance, Nigeria,
theatre, video, Yoruba Gbemisola Adeoti (Ph.D.) is lecturer in the English Department of
Obafemi Awolowo University, Ile-Ife, Nigeria. His areas of teaching
and research include Dramatic Literature, Poetry, Literary
History/Theory and Popular Culture. He is the author of Naked Soles,
co-editor (with Bjorn Beckman) of Intellectuals and African
Development and editor of Muse and Mimesis: Critical Perspectives on
Ahmed Yerima’s Drama. He was a British Academy Visiting Fellow at
the School of English, University of Leeds, United Kingdom, from
October to December 2008. He is a Postdoctoral Fellow of the African
Humanities Program organized by the American Council of Learned
Societies (ACLS). › Adaptation in contemporary Nigerian drama: The example of Ahmed
Yerima, Journal of Adaptation in Film & Performance, 4.2, 115-128. Siân Adiseshiah School of Humanities, Faculty of
Media, Humanities and Technology,,
University of Lincoln, Brayford Pool,
Lincoln,, LN6 7TS, United Kingdom Keywords Salad Days, musical
theatre, utopianism utopian theatre,
nostalgia, nostalgic theatre, backward
Siân Adiseshiah is a senior lecturer in English Literature at the
University of Lincoln. Her research interests include modern and
contemporary British theatre and utopian studies. She is author of
Churchill’s Socialism: Political Resistance in the Plays of Caryl
Churchill. › ‘We Said We Wouldn’t Look Back’: Utopia and the backward glance in
Dorothy Reynolds and Julian Slade’s Salad Days, Studies in Musical Theatre,
glance 5.2, 149-161. Sama'a Al Hashimi Middlesex University, Lansdown
Centre for Electronic Arts, Cadhill
Campus, Barnet, Hertfordshire, EN4
8HT, United Kingdom Keywords performance, voice,
interactivity, human-computer
interaction Sama’a Al Hashimi was born in Bahrain in 1981. In 2002, she received
her Bachelor of Science in Graphic Design (Major) and Fine Arts
(Minor) from the Lebanese American University. She then spent a year
in Bahrain where she worked for a few months as a graphic designer in
a printing press, followed by working as a research and teaching
assistant in the Department of Communication in the University of
Bahrain (UOB). She was sponsored by UOB to pursue her
postgraduate degree in the Lansdown Centre for Electronic Arts at
Middlesex University, London where she completed her MA in Design
for Interactive Media. She is also currently undertaking her Ph.D.
research at the university, concerning the role of non-speech voice as
input to interactive media. › Users as performers in vocal interactive media – the role of expressive voice
visualisation, International Journal of Performance Arts and Digital Media,
2.3, 275-296. Fadi Mohammad AlGhawanmeh University of Jordan, Music
Department, Amman, 11942, Jordan Keywords music, technology, Nay,
Shabbaba Fadi Mohammad Al-Ghawanmeh was born in Jordan in 1985. He
received a BA in Music (Arabian flute (Nay) performance) in 2010 and
a BSc in Computer Engineering in 2008 from the University of Jordan.
He won an Erasmus Mundus Scholarship to Berlin University of
Technology in 2009, and was granted a scholarship from the University
of Jordan to pursue his MA in Music Technology in North America.
He has undertaken various international courses on cultural
administration, IT for sustainable development of cultural heritage, IT
project management, digital economy and entrepreneurship, digital
musical signal analysis, and programming. He has participated in
various international conferences and festivals. His current research
interests are digital musical signal analysis, musical acoustics, music
information retrieval, educational musical computer applications, and
Arabian music theories and Arabian modes (Maqam). He speaks
Arabic, English and French. › Educational tools based on MIR system for Arabian woodwinds, Journal of
Music, Technology and Education, 3.1, 31-46. M. T Al-Ghawanmeh Music Department, Yarmouk
University, 211-63 Irbid, Jordan Keywords music, technology, Nay,
Shabbaba Mohammed T. Al-Gawanmeh was born in Jordan in 1956. He is
currently the Dean of the Faculty of Fine Arts at Yarmouk University,
Jordan. Al-Gawanmeh received a Ph.D. and an MA in Music
Education from Hulwan University, Cairo. He also received a BA in
Music from Yarmouk University, Irbed. Prior to this, he was a music
teacher for about ten years starting just after obtaining an Intermediate
Diploma in Music Education. His major previous work experiences
include Dean of Jordan Academy of Music for four years, Head of the
Jordanian Musical Heritage Collecting Project, Expert Consultant of
the Music Education Ministry of Education Yemen Republic,
Supervisor of several music programmes for Jordan TV, and a member
of teaching staff at various Jordanian musical institutions. His major
research interest is Jordanian Musical Heritage (rural, Bedouin,
women’s, Sufi, musicians and singers).Al-Gawanmeh is the founder of
Irbed Ensemble for Arabian Music. › Educational tools based on MIR system for Arabian woodwinds, Journal of
Music, Technology and Education, 3.1, 31-46. Ann Cooper Albright Oberlin College Keywords body, improvisation,
pedagogy, somatics, phenomenology A performer, choreographer and feminist scholar, Ann Cooper Albright
is Professor of Dance and Theatre at Oberlin College. Combining her
interests in dancing and cultural theory, she is involved in teaching a
variety of dance, performance studies and gender studies courses that
seek to engage students in both practices and theories of the body. She
is the author of Modern Gestures: Abraham Walkowitz draws Isadora
Duncan dancing (2010); Traces of Light: Absence and Presence in the
Work of Loie Fuller (2007); Choreographing Difference: the Body and
Identity in Contemporary Dance (1997) and co-editor of Moving
History/Dancing Cultures (2001) and Taken By Surprise:
Improvisation in Dance and Mind (2003), all published by Wesleyan
University Press. › Training bodies to matter, Journal of Dance & Somatic Practices, 1.2, 143153. Christopher J Alfano McGill University, Department of
Intergrated Studies in Education,
3700 McTavish St, Montreal, Quebec,
Canada Chris is an active musician in the idioms of both classical and jazz
music. He plays clarinet, saxophone and flute. In 1994, as well as being
a high school band teacher, he founded an instrumental music
programme for senior citizens offered at LaSalle Secondary School,
Kingston. This programme is fully funded by the Ontario Ministry of
Education and runs daily and incorporates adolescent music learners
into the seniors’ music classes for a unique intergenerational learning
Keywords social identity,
community, ageing experience. He is a doctoral candidate in the Department of Integrated
Studies in Education at McGill University, Montreal. His research
studies focus on intergenerational learning and association. Chris was
appointed to the rank of Major with the Canadian Air Force Reserve
and held the position of Region Cadet Music Advisor from 1987 to
1994. He holds Baccalaureate degrees from Saint Francis Xavier
University, Nova Scotia, and the University of Western Ontario. › Intergenerational learning in a high school environment, International
Journal of Community Music, 1.2, 253-266. Paul Allain University of Kent, Canterbury, Kent,
CT2 7NZ, United Kingdom Keywords performance education,
Eastern performance techniques,
exoticism, Butoh, Kathakali Paul Allain is Professor of Theatre and Performance at the University
of Kent, Canterbury. He collaborated with the Gardzienice Theatre
Association from 1989 to 1993 and published the book Gardzienice:
Polish Theatre in Transition (1997). He co-edited the Cambridge
Companion to Chekhov (2000) and his book The Art of Stillness: The
Theatre Practice of Tadashi Suzuki was published by Methuen (2002)
and Palgrave Macmillan, USA (2003). Routledge published his
Companion to Theatre and Performance, co-written with Jen Harvie,
in early 2006. Paul is currently researching the legacy of Grotowski’s
work. He has worked extensively as a movement director, including at
the Royal Court Theatre, the National Theatre and The Royal
Shakespeare Company, most frequently with Katie Mitchell. Allain
teaches using techniques derived from Grotowski-based work through
Gardzienice. › On the shoulders of tradition from East and West: a conversation between
Paul Allain and Frances Barbe, Studies in Theatre and Performance, 29.2,
149-159. Ludivine Allegue Studio: Camino del Sacromonte Keywords painting, collaboration,
corporeality, gesture, installation Ludivine Allegue is a painter and a video artist whose work
investigates the nature and constitution of both individuality and
conscience. She has a Ph.D. in Arts from the University Paris 1
Panthéon-Sorbonne, she is also an associated artist and researcher at
the Institut d'Esthétique des Arts et Technologies. During her Ph.D.,
she worked for several years with internationally acclaimed sculptor
Jaume Plensa whose work she analysed in her Ph.D thesis. From 200506 she was a research associate of the PARIP project, Practice as
Research in Performance, at the University of Bristol (UK). Recently,
she worked with dancer and comedian Shahrokh Moshkin Ghalam
(Théâtre National de la Comédie Française, Paris), British
Choreographer Rosemary Lee, vocal artist Yvon Bonenfant (UK/
Canada) and composer Julius Fujak (Slovakia) on projects that explore
transversality across visual arts, music and/or performance. › Textures and Translations: B(earth) in between Extended Voice and Visual
Arts, Journal of Adaptation in Film & Performance, 1.3, 237-256. David Allen Midland Actors Theatre, 25
Merrishaw Road, Northfields,
Birmingham, West Midlands, B31
3SL, United Kingdom Keywords Stanislavski, Chekhov,
Brecht, Edward Bond, Theatre in
Education, Mantle of the Expert,
Gregor Mendel, Disney David Allen is currently artistic director of the Midland Actors Theatre
(MAT). He is the author of Stanislavsky for Beginners (1999) and
Performing Chekhov (Routledge 2000). Productions for MAT include:
Lady Chatterley’s Lover by David Calcutt (2001); The Children by
Edward Bond (2004-5); The Mothers by David Calcutt and Camel
Station by Trevor Griffiths (2006); The Good Person of Sezuan by
Bertolt Brecht (2010). Recent articles in books and journals include:
'Mendel in Darwin's Shadow' (2010) and 'Going to the Centre: Edward
Bond’s The Children' in Studies in Theatre and Performance (2007).
Current research interests include: Brecht; Darwin and Mendel; Walt
Disney; and Lewis Carroll. › ‘Going to the Centre’: Edward Bond's The Children, Studies in Theatre and
Performance, 27.2, 115-136. Jess Allen City of Bristol College/University of
Plymouth, Dance Theatre
Performance, United Kingdom › Written in the body: reflections on encounters with somatic practices in
postgraduate dance training, Journal of Dance & Somatic Practices, 1.2,
215-224. Keywords dance training, somatic
practices, body-mind centering,
Alexander Technique, reflective
writing Karryn Allen Arizona State University, 4029 E
Devonshire Ave, Phoenix, AZ 85018,
United States of America Keywords somatic movement, dance
Karryn Allen has been a dance student and instructor in the Phoenix,
Arizona area since 2001. She has years of experience teaching dance to
a wide range of ages in the studio, school and community setting.
Karryn has earned an Associates of Fine Arts Degree in dance from
Scottsdale Community College, a Bachelor’s Degree in Secondary
Dance Education from Ottawa University, and is currently working on
pedagogy, student embodiment her Master of Fine Arts degree (M.F.A.) in dance as a second-year
graduate student at Arizona State University. Her current professional
interests include the use of somatic movement practices in dance
pedagogy to further student embodiment and understanding of dance
technique. › Somatic voyages: Exploring ego, self and possibilities through the
Laban/Bartenieff framework, Journal of Dance & Somatic Practices, 2.2,
233-250. Jodie Allinson University of Glamorgan, Cardiff
School of Creative and Cultural
Industries, University of Glamorgan,
Atrium, Adam Street, Cardiff, CF24
2FN, United Kingdom Based at the University of Glamorgan, Jodie Allinson is a Lecturer in
Drama (Theatre & Media). Jodie was co-director of King Oedipus. › Audience journeys through multiple stories: Adapting King Oedipus for
performance, Journal of Adaptation in Film & Performance, 4.1, 69-92. Keywords media, drama, King
Oedipus Peter Amsel Keywords composition, mental
illness, creativity, bipolar Peter Amsel is a composer and writer who divides his time between the
call of the muse and facing the ongoing road to recovery from bipolar
affective disorder, which he has been living with for over twenty years.
Peter has sought new meaning in life through advocacy for patients'
rights and through writing about issues pertaining to the mental health
community. He is currently working on a book about mental health
recovery, as well as a number of musical compositions. He is an active
participant on Twitter where he can often be found as
@CrazyComposer or, on a whimsical side, channeling his cat as
@MyCatSeuss. He contributed a chapter in Voices of Experience on
personal recovery, published by Wiley. › Creativity and bipolar disorder: Living with mental illness, Journal of
Applied Arts & Health, 1.2, 215-221. Erica E. Ander Erica Ander is Research Assistant on the ‘Heritage in Hospitals’
programme at University College London and a heritage consultant
specializing in visitor studies and audience development. Her research
Birkbeck College, University of
London, Room G2, UCL Wolfson
House, 4 Stephenson Way, London,
NW1 2HE, United Kingdom interests include qualitative methodologies to capture health and wellbeing outcomes in the museum sector. › Evaluating the therapeutic effects of museum object handling with hospital
patients: A review and initial trial of well-being measures, Journal of Applied
Arts & Health, 2.1, 37-56. Keywords health, curating, hospital,
therapy, heritage Kirstin Anderson University of Edinburgh,, The
Institute for Music in Human and
Social Development (IMHSD),
Alison House, 12 Nicolson Square,
Edinburgh, EH8 9DF, United
Kingdom Kirstin Anderson earned a Bachelor of Arts in Music Education from
Birmingham-Southern College in Birmingham, Alabama. She taught
music at a parochial school in Harlem for five years and earned her
Master of Arts in Music Education from Teachers College, Columbia
University, in New York City. Kirstin recently designed a workbook on
teaching music in prisons as part of a Knowledge Transfer grant from
the University of Edinburgh, where she is currently a Ph.D. student. Keywords music, Scotland, prison,
education, self-esteem › Engaging Scottish young offenders in education through music and art,
International Journal of Community Music, 3.1, 47-64. Joseph Anderson University of Hull, United Kingdom Keywords British Acousmatics,
signal-processing algorithms, music
technology Joseph Anderson is a composer whose art synthesizes the approaches
of ‘classical computer music’ and the ‘British Acousmatics’, in that his
compositional work is focused on acousmatic music created through
self-authored tools and signal-processing algorithms. Since 1997, his
principal output has been rendered in periphonic (full 3D) Ambisonic
surround sound. He has been employed in a variety of industrial sector
roles, including a posting as a DSP design engineer at Analog Devices
Audio Rendering Technology Center in Silicon Valley. Since 2003
Anderson has lectured in music and music technology at the University
of Hull. › Reviews, Journal of Music, Technology and Education, 3.1, 67-86. Vicky Angelaki Birmingham City University, School
of English, City North Campus, Perry
Barr, Birmingham, B42 2SU, United
Kingdom Dr Vicky Angelaki is a lecturer in English and Drama at the School of
English, Birmingham City University. Her research focuses on
contemporary British theatre, phenomenology, aesthetics and politics.
She holds degrees from Aristotle University of Thessaloniki (BA
English Language and Literature) and Royal Holloway, University of
London (PG Cert in Skills of Teaching to Inspire Learning, MRes in
Keywords British theatre,
phenomenology, Martin Crimp Theatre, Ph.D.). Her doctoral thesis (Department of Drama & Theatre,
Royal Holloway, 2009) focused on defamiliarization in the work of
Martin Crimp and produced an innovative critical/theoretical
understanding of the theatre of one of the foremost British playwrights
active today. She has presented papers at a number of prestigious
European and UK theatre-related conferences and published
extensively in the areas of recent and contemporary British and
European theatre and theory. Vicky Angelaki is a member of IFTR,
CDE and TaPRA. › Lessons from Harold Pinter, Studies in Theatre and Performance, 30.3, 267273. Matthew C. Applegate University Campus Suffolk,
Waterfront Building, Neptune Quay,
Ipswich, IP4 1QJ, United Kingdom Keywords programming, music
production, code-breaking Matthew is a professional multidisciplinary artist and lecturer, a patron
of the Access To Music Centre in Norwich, a Science & Engineering
Ambassador for Suffolk and a member of STEMNET (Science,
Technology Engineering and Mathematics Network). As PixelH8, he is
known internationally for programming some of the world's oldest and
rarest computers as well as rewiring children's toys to make new
musical instruments and musical compositions. He has produced music
software used by Grammy-winner Damon Albarn and Grammynominee Imogen Heap. › Cultural perceptions,ownership and interactionwith re-purposed
musicalinstruments, Journal of Music, Technology and Education, 3.2-3, 93106. Sarah Artt Queen Margaret University, 23
Lutton Place, EH8 9PD, Edinburgh,
United Kingdom Keywords screen adaptation, Henry
James, mise-en-scène Sarah Artt is lecturer in Film and Media in the Department of Social
Sciences, Media and Communication at Queen Margaret University.
Her Ph.D. thesis dealt with the symbolic function of art and dress in
screen adaptations of the work of Henry James and Edith Wharton and
migrant/diasporic cinema directors: Fatih Akin, Mira Nair Dance in
cinema. Her publications include: 'Rocky Horror Picture Show as selfreflexive musical' in Jeffrey Weinstock (ed.) Reading Rocky Horror
(forthcoming from Palgrave in 2008) and Art of the Past: Adapting
Henry James's The Golden Bowl. › Art of the Past: Adapting Henry James’s The Golden Bowl, Journal of
Adaptation in Film & Performance, 1.1, 5-16. Awo Mana Asiedu University of Ghana, P. O. Box LG
25, Legon., Ghana Keywords audience, Femi Osofisan,
interactivity Awo Mana Asiedu (née Ametewee) is a senior lecturer in Theatre Arts
and Acting Director of The School of Performing Arts at the University
of Ghana. Research interests include audience reception, African
dramatic literature and performance, and the uses of theatre for
purposes other than just entertainment. Her publications include;
‘Slavery and folklore in the plays of Ama Ata Aidoo’ in Michael
Walling (ed.), Theatre and Slavery; 'Making Use of the Stage in West
Africa: The Role of Audiences in the Production of Efficacious
Theatre' in Studies in Theatre and performance, Vol.28, 3; and
‘Returning to the “Motherland”, Illusions and Realities: A Study of
Aidoo’s The Dilemma of a Ghost and Onwueme’s Legacies/The
Missing Face’ in The Legon Journal of Humanities Vol. 19 pp.1-19.
Her current research project concerns regional trends in contemporary
African theatre and performance. › Making use of the stage in West Africa: The role of audiences in the
production of efficacious theatre, Studies in Theatre and Performance, 28.3,
223-236. Cathy Augustin Berea Lutheran School, 9308 Rich
Valley Boulevard, Inver Grove
Heights, MN, 55077, United States of
America Keywords community music, adult
education, music Cathy Augustin has taught music in grades preschool through eighth
grade in New Mexico and Minnesota for eighteen years. She has held
her current position of teaching classroom and instrumental music at
Berea Lutheran School in Inver Grove Heights since 1993.
Additionally, she has directed the South of the River Community Band
since 1995 fostering membership growth to over 60 members. She
completed her undergraduate work at South Dakota State University in
Brookings, South Dakota with a Bachelor of Music Education Degree
and completed her work towards a Master of Arts Degree in Music
Education, with an emphasis in instrumental music, at the University of
Saint Thomas in St. Paul, Minnesota. She is an active member of the
Music Educators National Conference, Minnesota Music Educators
Association and the Minnesota Band Directors Association. › A descriptive study to determine the opinions of community band members
regarding the effectiveness of comprehensive musicianship, International
Journal of Community Music, 3.2, 175-183. Philip Auslander Georgia Institute of Technology,
School of Literature, Communication
& Culture, Skiles Building, 686
Philip Auslander is a Professor in the School of Literature,
Communication and Culture at the Georgia Institute of Technology,
USA. Philip Auslander's primary research interest is in performance,
especially in relation to music, media, and technology. He has written
on aesthetic and cultural performances as diverse as theatre,
Cherry Street, Atlanta, GA 303320165, United States of America performance art, music, stand-up comedy, robotic performance, and
courtroom procedures. He is the author of five books and editor or coeditor of two collections. His most recently published books are
Performing Glam Rock: Gender and Theatricality in Popular Music
(2006) and the second edition of Liveness: Performance in a
Mediatized Culture (2008). In addition to his work on performance,
Auslander contributes art criticism regularly to ArtForum and other
publications. He is the editor of The Art Section: An Online Journal of
Art and Cultural Commentary. Keywords machine, Internet,
liveness, installation, sample › At the Listening Post, or, do machines perform?, International Journal of
Performance Arts and Digital Media, 1.1, 5-10. Frances Babbage University of Sheffield, Theatre
Workshop, Western Bank, Sheffield,
S10 2TN, United Kingdom Keywords archiving, adaptation,
Theatre Workshop Frances Babbage is based in the Theatre Workshop at the University of
Sheffield and convenes the School´s MA in Theatre & Performance.
Frances has trained with numerous companies including Forced
Entertainment, Welfare State International, Polish physical theatre
company Song of the Goat, Station House Opera and Told by an Idiot,
and has incorporated these methods within her teaching and creative
work. Frances previously edited a special issue of Contemporary
Theatre Review entitled Working Without Boal: Digressions and
Developments in the Theatre of the Oppressed (1995). Current research
interests include devising, documentation and practices of archiving;
adaptation studies; applied theatre and Theatre of the Oppressed;
women's writing for performance. She regularly engages in practice as
research, as practitioner, teacher and examiner. › The Female Quixote or The Adventures of Arabella: concerning a Narrative
containing much that is Dramatic, and in which an Audience is expected to
be extremely interested (and in which the Footnotes are not the least Part),
Studies in Theatre and Performance, 21.3, 150-161. › Reviews, Studies in Theatre and Performance, 28.2, 185-194. Jane Bacon The University of Northampton,
School of the Arts, St Georges Ave,
Northampton, NN2 6JD, United
Kingdom Keywords performance, creativity,
imagination, methodology, felt sense,
Practice as Research (PaR) Dr. Jane Bacon is Reader and Divisional Leader in Performance
Studies at The University of Northampton, UK. Her research spans a
spectrum from written, performative and screen-based articulations in
the territory she calls ‘self as creative source’ for practice-led research
in performance. Her publications and performances have taken her on a
journey from improvised dance and screen work to auto-ethnography,
and she now incorporates Jung’s ‘active imagination’ and Gendlin’s
Focusing as well as mindfulness and notions of the spirit in the
development of creative methodologies for Practice as Research (PaR).
She is also a Focusing Trainer, Authentic Movement Practitioner and
Advanced Candidate of the Independent Group of Analytical
Psychologists and Director of The Choreographic Lab and Editor of the
Choreographic Practices Journal. › Editorial, Studies in Theatre and Performance, 25.3, 179-188. › It ain't what you do, it's the way that you do it, Studies in Theatre and
Performance, 25.3, 215-228. › The voice of her body: Somatic practices as a basis for creative research
methodology, Journal of Dance & Somatic Practices, 2.1, 63-74. › Articulating choreographic practices, locating the field: An introduction,
Choreographic Practices, 1.1, 3-19. Helen Bailey University of Bedfordshire, Faculty of
Creative Arts & Technology, Polhill
Campus, Polhill Avenue, Bedford,
Bedfordshire, MK41 2BZ, United
Kingdom Helen Bailey is a dance artist and academic. She is Artistic Director of
dance theatre company, Ersatz Dance and Principal Lecturer in Dance
at the University of Bedfordshire. She trained at the Laban Centre
London, and then she initially worked as a freelance dance artist and
choreographer. › Ersatz dancing: Negotiating the live and mediated in digital performance
practice, International Journal of Performance Arts and Digital Media,
3.2&3, 151-166. Keywords dance, choreography,
video, digital media, digital arts John S. Bak Nancy-Université, 4 Allée des Gentes
Dames, Fléville devant Nancy, 54710,
France Keywords The Indian Princess,
musical comedy, Pocahontas myth,
early American theatre, nationalism John S. Bak is Maître de Conférences at the Université Nancy 2 in
France, where he teaches courses in translation, literary journalism,
American drama, and American Gothic. His published articles have
appeared in Theatre Journal, Mississippi Quarterly, Journal of
American Drama and Theatre, The Tennessee Williams Literary
Journal, American Drama, Journal of Religion and Theatre, South
Atlantic Review, Studies in Musical Theatre, Cercles, and Coup de
Théâtre. His most recent books include Ernest Hemingway, Tennessee
Williams, and Queer Masculinities (Fairleigh Dickinson University
Press, 2009), and International Literary Journalism: Historical
Traditions and Transnational Influences (University of Massachusetts
Press, 2010). › James Nelson Barker’s The Indian Princess: the role of the operatic
melodrama in the establishment of an American belles-lettres, Studies in
Musical Theatre, 2.2, 175-193. Hilary Baker Keywords American musicals, David
Henry Hwang, Baz Luhrmann,
Avenue Q Hilary Baker received her Ph.D. in music history from the University
of Pennsylvania in 2010. Her dissertation, ‘Stage(d) Communities’,
which she is currently revising into a manuscript, focused on recent
American musicals. Her professional theatrical credits include David
Henry Hwang’s adaptation of Flower Drum Song and Baz Luhrmann’s
version of La Bohème. › From Broadway to Vegas: The triumphs and tribulations of Avenue Q,
Studies in Musical Theatre, 5.1, 71-83. Camille Baker Brunel University, School of
Engineering and Design, Kingston
Lane, Uxbridge, Middlesex, UB8
3PH, United Kingdom Keywords mobile media, pixel
aesthetics, digital arts, documentary,
performance, digital media Camille Baker has a fascination with all things emotional, embodied,
felt, sensed, the visceral, physical, relational and participatory, using
video, communication devices and biofeedback. She has been on a
continuous quest to work with new technologies, expressive methods,
via art and performance, in order to find new ways to connect people
with each other, over distance better and in more embodied, emotional
ways. Her recent work involves a mobile performative VJing project
called MINDtouch, and recent Ph.D. graduate with the SMARTlab at
the University of East London, researching Mobile Performance
Media. Her research interests include: mobile devices, video art, live
cinema, performance and interactive media, responsive environments,
media art installation, telematics, new media curating and networked
communities. › ‘Liveness’ and ‘presence’ in bio-networked mobile media performance
practices: emerging perspectives, International Journal of Performance Arts
and Digital Media, 4.2&3, 117-136. › MINDtouch embodied ephemeral transference: Mobile media performance
research, International Journal of Performance Arts and Digital Media, 7.1,
97-116. Alexandra Balandina Keywords conflict resolution,
culture, music festivals, inter-ethnic
relationships, post-Yugoslav era,
ethnomusicology Alexandra Balandina is currently lecturer of ethnomusicology at the
Technological Education Institute of Epirus (Greece), in the Faculty of
Music Technology, Department of Traditional Music. Her
qualifications include BA in Social Anthropology and Social Policy
(Panteion University, Greece), MMus and Ph.D. in Ethnomusicology
(Goldsmiths College, University of London). She has conducted
extensive fieldwork in Iran and former Yugoslavia. She is also a
performer; playing on Middle-Eastern percussion instruments such as
the bendir (frame drums) and the Iranian tombak (goblet shaped drum).
Alexandra has performed with renowned musicians, including Ross
Daly and his ensemble Labyrinth, and the Greek–Kurdish–Iranian
ensemble Persepolis. Her main areas of research interest are: music
censorship, music and politics, organology, performance theory,
applied ethnomusicology, social anthropology, Middle East, Eastern
Europe and the Balkans. › Music and conflict transformation in the post-Yugoslav era: empowering
youth to develop harmonic inter-ethnic relationships in Kumanovo,
Macedonia, International Journal of Community Music, 3.2, 229-244. Jorge Balça Keywords counter-tenor, opera
training, opera production Jorge Balça trained as a counter-tenor and actor in Portugal, and
performed extensively in Portugal, Spain and France before moving to
the UK in 1998, when he started focusing on directing during his BA
Performing Arts – Drama at Middlesex University. Since then, Jorge
leads workshops and research projects in the areas of physical theatre,
interdisciplinary performance and cross-culturalism. Back at Middlesex
University, Jorge finished his MA in Theatre Directing in 2007, which
took him to GITIS (Moscow) to study Meyerhold and Biomechanics. › A dead baby and a scar, but [] no genitalia in sight. Is Bieito's Jenfa really a
Bieito?, Studies in Musical Theatre, 4.2, 141-154. Henrietta Bannerman London Contemporary Dance School,
17 Duke's Rd, City of London, WC1H
9PY, United Kingdom Keywords Graham-based technique,
somatics, Mary Fulkerson, Gadamer,
dance, ballet Dr Henrietta Bannerman is Head of Research and Academic Practice at
the London Contemporary Dance School, where she tutors and
supervises postgraduate students who are emerging professional
dancers and choreographers. She trained in several dance and theatre
disciplines, but concentrated on ballet and later went to New York to
study the Martha Graham technique. She continued her modern dance
training at the London Contemporary Dance School under the artistic
directorship of Robert Cohan. After a career of teaching dance and
choreographing, she entered academic life, gaining a B.A. (Hons) in
English and Dance and a Ph.D. in contemporary dance. She has an
international reputation for her articles on Martha Graham, which have
appeared in journals such as Dance Research and the Dance Research
Journal. › A question of somatics the search for a common framework for twenty-firstcentury contemporary dance pedagogy: Graham and Release-based
techniques, Journal of Dance & Somatic Practices, 2.1, 5-19. Fiona Bannon School of Performance and Cultural
Industries, University of Leeds,
Leeds, LS2 9JT, United Kingdom Keywords walking, social
choreography, sensation,methodical
practice, lived inquiry, dialogue Fiona Bannon (Ph.D.) is a senior lecturer in Dance in the School of
Performance and Cultural Industries at the University of Leeds. She is
Programme Leader for the MA in Choreography and contributes to the
teaching of research methods, choreographic development and
collaborative projects at undergraduate level. Her research interests
address questions of creative collaborative art making, exploration of
aesthetic development, sensory experiences of performance and the
everyday. She has published on experiential learning and knowledge in
dance, collaborative research methods and the performance of walking.
Fiona is a member of the performance collective ‘Architects of the
Invisible’, a group that explores freeplay collaborative practice. Current
doctoral student research includes: exploration of reciprocal
conversational dynamics in improvisation; the performance/presence of
the choreographer in cross art durational performance; autoethnography as a method to generate new knowledge and enhanced
educational management. › Articulations: Walking as daily dance practice, Choreographic Practices,
1.1, 97-109. Stephen Baranski New York University, United States
of America Keywords music education,
Morecambe, improvisation,
community music, voice, education Stephen Baranski is a doctoral student at New York University. In
addition to presenting at North Texas State University, New York
University's Forum on Assessment and Arts Education, and TI:ME's
National Convention, his vocal groups have performed at Connecticut
Music Educators Association conferences. Steve currently
accompanies the New York City-based ensemble the West Side
Singers, and has served as a pianist on Broadway for Phantom of the
Opera, and off-Broadway for the Sullivan Street production of The
Fantasticks. For his development and application of technology-based
innovation in learning, Mr. Baranski received the Connecticut Distance
Learning Consortium's Teacher Innovation Award. Steve is a
cooperating teacher and mentor for the Westport, Connecticut school
district where he currently teaches. He holds a MM from the Manhattan
School of Music. › Book Review, International Journal of Community Music, 1.1, 131-. Frances Barbe United Kingdom Keywords performance education,
Frances Barbe is a movement practitioner whose work is informed by
her experience with Japanese butoh dance, and the actor training
method of Tadashi Suzuki. She has trained in Suzuki’s method with
Frank Theatre since 1992, and in Butoh with various teachers,
including Tadashi Endo who she has performed with since 1997. These
Eastern performance techniques,
exoticism, Butoh, Kathakali Japanese approaches are combined with her aesthetic heritage in
European dance and theatre, including ballet and modern dance. She
joined the School of Drama, Film and Visual Arts at the University of
Kent in 2001 through a Daiwa / AHRC Creative Fellowship, and in
2004 was offered the post of lecturer. She was artistic director of the
Daiwa International Butoh Festival in 2005, and has run Theatre
Training Initiative in London since 2000, dedicated to a variety of
training methods, including Butoh and Suzuki. She has her own
company, Fran Barbe Dance Theatre. › On the shoulders of tradition from East and West: a conversation between
Paul Allain and Frances Barbe, Studies in Theatre and Performance, 29.2,
149-159. Joel Luis Barbosa Escola de Musica da Universidade
Federal da Bahia, Rua Basílio da
Gama, s/n, Canela, Campus
Universitário do Canela, Salvador,
CEP: 40140-060, Brazil Keywords music, education,
collaboration, instrumental music
education Joel Luis Barbosa is Professor Titular at the Universidade Federal da
Bahia, Brazil. He obtained his DMA at the University of Washington,
Seattle, Washington. As clarinettist, he has performed in Austria,
United States, Colombia and Brazil. His work with bands includes
playing, teaching, arranging and conducting in several festivals and
conferences in Brazil and Colombia. He has created, coordinated and
worked in several projects of music education with social orientation.
At the Universidade Federal da Bahia, Brazil, he works as clarinet
professor, advisor for doctoral candidates and researcher on
performance and music education. His publications include a band
method book and articles published by ISME, IJME, ABEM, ANPPOM
and PPGMUS. › Instrumental instruction in community bands from Bahia, Brazil,
International Journal of Community Music, 3.3, 399-404. Vasso Barboussi University of Peloponnese,
Department of Theatre Studies Keywords dance, improvisation,
body, somatics, Greece Vasso Barboussi studied dance at the Rallou Manou School and
physical education at the University of Athens. She continued her
training in New York and studied improvisation, Ideokinesis, BMC,
Alexander technique and Laban analysis. She received her MA from
Columbia University Teachers College, and her Ph.D. from the
University of Thessaly. She has performed with the ‘Greek
Chorodrama’ and since 1984, has presented her professional work with
the dance group ‘Okiroy’, which she formed. She collaborated with the
National Greek Theatre as choreographer in several plays including
those by Euripides, Sophocles, etc. Until 2005, she taught as an
assistant professor at the Department of Early Childhood Education at
the University of Thessaly. Since then, she has been an associate
professor in the Department of Theatre Studies in the University of
Peloponnese (Nafplion). › Towards an innovative model of teaching Greek traditional dances, Journal
of Dance & Somatic Practices, 1.2, 155-168. Martin Barker University of Aberystwyth,
Department of Theatre, Film and TV,
Penglais Campus, Aberystwyth,
Ceredigion, SY23 3AJ, United
Kingdom Keywords teaching film, media
literacy, vernacular concepts, moral
controversies Martin Barker is Professor of Film and Television Studies at the
University of Wales, Aberystwyth. He is the author of a number of
books, of which probably best-known is Ill Effects: the Media-Violence
Debate (co-edited with Julian Petley). He was director of the major
international audience research project into the reception of The Lord
of the Rings (2003-4) whose results were published (Watching The
Lord of the Rings) by Peter Lang in 2007. In 2007 he also directed a
research project for the British Board of Film Classification into
audience responses to sexual violence on screen, whose outcomes can
be found on their website. › , theatre audiences, and the idea of ‘liveness’, Studies in Theatre and
Performance, 23.1, 21-40. Deborah Barkun Ursinus College, P.O. Box 1000, 601
East Main Street, Collegeville, PA,
19426-1000, United States of
America Keywords digital media, knitting,
craft, art, women Deborah Barkun is an Assistant Professor of Modern and
Contemporary Art History at Millersville University of Pennsylvania.
She holds a BFA. from Carnegie-Mellon University in printmaking and
an MA and Ph.D. in History of Art from Bryn Mawr College. She is
the recipient of a series of research and teaching awards including a
Whiting Fellowship in the Humanities (2004 – 2005). She has
presented papers at Vanderbilt University, the Philadelphia Museum of
Art, the Pennsylvania Academy of Fine Arts, and the Philadelphia Art
Alliance. Her essay 'Four-letter Words: LOVE and AIDS in the Age of
Appropriation and Proliferation' will appear in the forthcoming Eros
and Ambiguity: Essays on Love throughout the Ages. She is currently
working on a book entitled Art, AIDS, and Collective Identity: The
Collaborative Body of General Idea. › Orienteering with double moss: The cartographies of half/angel's The
Knitting Map, International Journal of Performance Arts and Digital Media,
3.2&3, 183-196. Matthew Barnard Independent Composer, Sound Artist
and Researcher Keywords acousmatic composition,
radio art, acoustic ecology, binaural
method Dr. Matthew Barnard is a composer, sound artist and researcher. His
research interests lie in acousmatic composition, radio art and acoustic
ecology, revolving around the binaural method of recording and
reproduction, its aesthetic implications, advantages and use in the
composition and phonographical process. › REVIEWS, Journal of Music, Technology and Education, 4.1, 91-104. Hazel Barnes University of KwaZulu-Natal,
Pietermaritzburg campus, King
George V Avenue, Glenwood,
Durban, 4041, South Africa Keywords applied drama, healing
and development Hazel Barnes is a Senior Research Associate in Drama and
Performance Studies on the Pietermaritzburg campus of the University
of KwaZulu-Natal. She is also a Mellon Visiting Scholar at the
University of Cape Town and Consultant and Member of the Research
Committee of Drama for Life and visiting lecturer, Division of
Dramatic Arts, Witwatersrand University. She has a particular interest
in Applied Drama for healing and development but has also directed
and acted. › Where Do We Go From Here? : developing women's playscripts in postapartheid Southern Africa, Studies in Theatre and Performance, 20.1, 31-42. Vincent L. Barnett Keywords publicity effects, A.E.W.
Mason, Baroness Orczy, Sir Oswald
Stoll, history, art, propaganda, Russia Vincent L. Barnett's research interests include the history of crossmedia adaptation in the United Kingdom and the United States in the
1920s and 1930s, and also the wider economic and aesthetic history of
cinema in the West across the twentieth century. He recently completed
work as a Research Fellow on a three-year AHRC-funded project in
media history at Bedfordshire University, and is currently investigating
the corporate background to the financing of film production at RKO in
the period 1938–1942. His other main research interest is the history of
ideas, and in 2009 he published the volume on Marx in the Routledge
Historical Biographies series. › The commercial effects of the adaptation of novels into films in the United
Kingdom, 1910–1940, Journal of Adaptation in Film & Performance, 3.1, 528. Brydie-Leigh Bartleet Dr. Brydie-Leigh Bartleet is a lecturer in Research and Music
Literature at the Queensland Conservatorium, Griffith University. She
Griffith University, Queensland
Conservatorium, South Bank, PO Box
3428, South Brisbane QLD, 4101,
Australia was research fellow on the Australia Research Council funded project
Sound Links (2007–2008), one of Australia's largest studies into the
dynamics of community music. Her recent research focuses on a crosscultural collaborative project with Indigenous musicians from Barkly
Regional Arts in Central Australia and undergraduate music and
education students from Brisbane. She is a Commissioner on the
International Society for Music Education's Community Music
Activities Commission and the Councillor for Research on the Music
Council of Australia and is involved in Australia's Community Music
Network. As a community music facilitator she has conducted a
number of bands, orchestras, choirs and jazz ensembles from Australia,
Thailand, Singapore and Taiwan. Keywords community music,
learning dynamics, education › Sound Links: Exploring the social, cultural and educational dynamics of
musical communities in Australia, International Journal of Community
Music, 1.3, 335-356. › Connections in China: Harmonizing stories of community music from around
the world, International Journal of Community Music, 4.1, 7-14. Sarah J. Bartolome Louisiana State University, School of
Music, Baton Rouge, LA 708032504, United States of America Keywords The Revels, community
music, music education, participation,
traditional music Sarah J. Bartolome is an Assistant Professor of Music Education at
Louisiana State University in Baton Rouge, Louisiana. A specialist in
music for children, Sarah has taught general music and directed
children’s choirs in both Boston and Seattle. A frequent clinician, she
has presented workshops for music educators at local and regional
conferences across the United States. She has contributed articles to
such publications as Research Studies in Music Education, The Music
Educator’s Journal, and The Kodaly Envoy. Research interests include
ethnomusicology and Music Education, choral culture globally,
instrumental music practice, child and adolescent musical values, and
community music. › John Langstaff: community musician and reveler, International Journal of
Community Music, 2.2&3, 157-167. Keren Barzilay-Shechter Lesley University, 5 Phillips Place,
Cambridge, Massachusetts, 2138,
United States of America Keywords expressive arts, therapy,
conflict resolution, psychodrama,
Keren Barzilay-Shechter, MA is an Israeli expressive therapist
specializing in psychodrama. For more than fifteen years, she has
worked with children, adolescents and adults in different settings such
as community clinics, schools and mental institutions. She is currently
a doctoral candidate in expressive therapy where she is researching the
role of the defense mechanisms in the Israeli psyche within the context
of the Israeli–Palestinian conflict. She has special interest in the
possible contribution of expressive therapy in enhancing and
therapeutic action, methodology,
group psychotherapy, Israeli –
Palestinian youth processing these defenses. Barzilay-Shechter is a faculty member at
Lesley University. › The Artsbridge group, Journal of Applied Arts & Health, 1.3, 333-339. Glenna Batson Winston-Salem State University Retired, Department of Physical
Therapy, 434 Fearrington Post,
Pittsboro, NC, 27312, United States
of America Glenna Batson, PT, ScD, MA, was the first person trained by Irene
Dowd in Ideokinesis in 1977. She is a certified teacher of the
Alexander Technique (since 1989), and has taught on dance science
and somatics for over three decades. She was in residence at the Trinity
Laban Conservatoire of Music and Dance in London in 2009 as a
Fulbright Senior Specialist. Keywords reflexivity, first person,
intention, rest, somatic(s) education,
dance, performance, poetry, text,
neuroscience, synthesis › The somatic practice of intentional rest in dance education preliminary steps
towards a method of study, Journal of Dance & Somatic Practices, 1.2, 177197. Alice Bayliss University of Leeds, School of
Performance & Cultural Industries,
Leeds, LS2 9JT, United Kingdom Keywords playful arenas, hyperphysical interfaces, sensing, tangibles,
club culture Alice Bayliss is a lecturer in Applied Theatre and Intervention at the
School of Performance and Cultural Industries, University of Leeds.
She teaches on both undergraduate and postgraduate programmes and
specialises in exploring interactive, democratic performance in
unanticipated performance arenas – namely underground clubs, parties
and festivals. She has published widely in the field of performance
interaction and design and is currently involved in the EPSRC/AHRC
funded project Design for the 21st Century. Her collaboration with
Jennifer Sheridan has spanned over four years. Together they formed
the performance company 'Floorspace' and are co-chairs and founders
of the (re)Actor conference series on Digital Live Art
(www.DigitalLiveArt.co.uk). › New shapes on the dance floor: influencing ambient sound and vision with
computationally augmented poi, International Journal of Performance Arts
and Digital Media, 1.1, 67-. › Editorial, International Journal of Performance Arts and Digital Media, 2.3,
217-220. › The interior life of iPoi: Objects that entice witting transitions in
performative behaviour, International Journal of Performance Arts and
Digital Media, 3.1, 17-36. › Emergent objects: Designing through performance, International Journal of
Performance Arts and Digital Media, 3.2&3, 269-280. › Editorial, International Journal of Performance Arts and Digital Media, 4.1,
3-6. Nancy Beardall Lesley University, 5 Phillips Place,
Cambridge, MA 02138, United States
of America Keywords relational development,
dance therapy, movement therapist Nancy Beardall, Ph.D., B.C.-D.M.T., C.M.A., L.M.H.C., is the
Dance/Movement Therapy Coordinator at Lesley University,
Cambridge, MA. As a dance/movement therapist, Certified Movement
Analyst and educator, Nancy’s work has focused on dance, dance
therapy and social/emotional and relational development using the
expressive arts in the public schools. She has developed numerous
curricula and co-authored Making Connections: Building Community
and Gender Dialogue in Secondary Schools with Janet Surrey and
Stephen Bergman. › Spirals dancing and the Spiral Integrated Learning Process: Promoting an
embodied knowing, Journal of Applied Arts & Health, 2.1, 7-23. Sue Becker Teesside University, School of Social
Sciences & Law, Teesside University,
Borough Road, Middlesbrough, TS1
3BA, United Kingdom Keywords television comedy, racism,
Little Britain, Matt Lucas, David
Walliams Dr. Sue Becker is a social psychologist working at Teesside University.
She completed her Ph.D. at Loughborough University looking at the
ways in which arguments around child contact arrangements are
negotiated and managed discursively. She specializes in the use of
qualitative data corpora, for example naturally occurring talk and text;
visual images and haptics boxes to explore and unpack participants’
understandings of sensitive and abstract topics such as health and
happiness. Becker has research interests in qualitative psychology
including social stigma and the use of laughter and humour to
ameliorate and manage both perceived and enacted stigma in
interaction. › Racism in comedy reappraised: Back to Little England?, Comedy Studies,
1.2, 191-200. Anastasia Belina The University of Leeds, Music
Department, Woodhouse Lane, Leeds,
LS2 9JT, United Kingdom Keywords Taneyev, Oresteia,
Anastasia Belina has a Ph.D. from the University of Leeds, where she
completed a dissertation entitled, 'A Critical Re-Evaluation of
Taneyev’s Oresteia'. Anastasia is a writer and translator for Naxos and
Toccata Classics recording labels, and a regular presenter of talks and
lectures on Russian music. Her research interests include Russian and
European opera, Soviet music, and Wagner. Aeschylus, Clytemnestra, Cassandra › Representation of Clytemnestra and Cassandra in Taneyev's Oresteia, Studies
in Musical Theatre, 2.1, 61-81. Cindy L. Bell Hofstra University, Department of
Music, 101 New Academic Buliding,
Hempstead, New York, NY 11549,
United States of America Keywords community, choir, adult
education, music, education In 2008, Cindy L. Bell joined Hofstra University in New York as
Associate Professor of Music Education and Director of the University
Choir. This appointment followed an eight year position at Queens
College, City University of New York. A specialist in choral music
education, teacher training and community choirs, she has presented
clinics at NYSSMA, MENC and ACDA Eastern Division and National
Conventions, and the ISME 2002 Community Music Seminar in
Holland. Dr. Bell is published in music journals including Music
Educators Journal, Bulletin for the Council of Research in Music
Education, Journal of Music Teacher Education, and International
Journal of Research in Choral Singing and guest conducts choirs of all
ages. She also directs the Mariners Chorus at the US Merchant Marine
Academy. › Toward a definition of a community choir, International Journal of
Community Music, 1.2, 229-241. George Belliveau University of British Columbia,
Department of Language and Literacy
Education, c/o George Belliveau,
Main Mall, Vancouver, V6T 1Z4,
Canada Keywords performance, research,
ethics, inner voices, ethnic studies,
theatre George Belliveau is Associate Professor in the Faculty of Education at
the University of British Columbia where he teaches undergraduate and
graduate courses in Theatre/Drama Education. His research interests
include drama and social justice (bullying), theatre teacher education,
drama and L2 learning, drama across the curriculum, Canadian theatre
and research-based theatre. His work has been published in journals
such as International Journal of Education and the Arts, Arts and
Learning Research Journal, Canadian Journal of Education, English
Quarterly, Theatre Research in Canada, Active Learning in Higher
Education, among others. His co-authored book with Lynn Fels,
Exploring Curriculum: Performative Inquiry, Role Drama and
Learning (2008) is published by Pacific Educational Press. › Whose story is it anyway? Exploring ethical dilemmas in performed
research, Performing Ethos: An International Journal of Ethics in Theatre &
Performance, 1.1, 85-95. Sima Belmar Sima Belmar is a doctoral candidate in performance studies at the
University of California, Berkeley. University of California-Berkeley,
1908 Parker Street, Berkeley, CA
94704, United States of America › Triple take: Practicing Hegel, reading Alexander, Journal of Dance &
Somatic Practices, 2.2, 131-142. Keywords performance studies,
inhibition, mediation, sublation, habit Harmony Bench Ohio State University Keywords Interet, dance, archiving,
choreography Harmony Bench is Assistant Professor of Dance at The Ohio State
University. Harmony received her Ph.D. in Culture and Performance
from UCLA; she also holds degrees in Performance Studies (MA) from
NYU and in Ballet (BFA) and Women’s Studies (BA) from the
University of Utah. Her publications appear in Forum Modernes
Theater, The International Journal of Performance Arts and Digital
Media, and Extensions: The Online Journal for Embodiment and
Technology. She is currently on the editorial board of the newly created
Screendance Journal, which aims to foster sustained intellectual
discourse around issues of dance created for screen media. Harmony’s
current research projects include mobile and social media as sites for
choreographic inquiry and analysis, including the impact of
communications technologies on movement patterns and gestures. › Computational choreographies: performance in dance online, International
Journal of Performance Arts and Digital Media, 5.2&3, 155-169. Steve Benford University of Nottingham,
Department of Computer Science,,
University Park, Nottingham, NG7
2RD, United Kingdom Keywords mixed reality
performance, interactive art,
archiving, architecture, metadata,
replay, research Steve Benford is Professor of Collaborative Computing in the Mixed
Reality Laboratory at Nottingham, where he explores novel interaction
and communication technologies for rich and dynamic social
interaction, focusing on the potential of ubiquitous computing to
enhance the creative industries. For more than ten years now this has
involved working with artists, ethnographers and scholars from the arts
and humanities to create, tour and study a series of mixed reality
performances. He is directing EPSRC's Doctoral Training Centre in
Ubiquitous Computing for the Digital Economy, leading the MRL's
Platform grant in the Widespread Adoption of Ubiquitous Computing
and directing the Creator Digital Economy Cluster; he is also Head of
the School of Computer Science. › Riders Have Spoken: A practice-based approach to developing an
information architecture for the archiving and replay of a mixed reality
performance, International Journal of Performance Arts and Digital Media,
6.2, 209-223. John Bennett Liverpool Hope University,
Department of Drama and Theatre
Studies, Haigh Street, Liverpool,
Merseyside, L3 8QB, United
Kingdom John Bennett is a senior lecturer in Drama and Theatre Studies at
Liverpool Hope University. He studied at Bretton Hall College in the
late 1970s and appeared in the first production of John Godber’s
Bouncers at the Edinburgh Festival in 1977. He has lectured and
published on various aspects of Godber’s work and is currently
researching contemporary popular theatre in Liverpool and Hull. Keywords Brighton, devised theatre,
Godber, British theatre, popular
culture › Three careful owners: Divergent methodologies and shifting critical
perceptions of the Hull Truck Theatre Company, Studies in Theatre and
Performance, 26.3, 273-288. Emma Bennett Keywords poetry, sculpture, comedy Emma Bennett is a London-based writer and artist. She has co-created
a body of acclaimed performance work, which formed one-third of a
collaborative project ‘These Horses’, which has toured throughout the
United Kingdom and Germany. Her solo work is mainly text-based,
and explores the intersection between poetry, sculpture and comedy. › Dog, Studies in Theatre and Performance, 30.1, 13-18. Jane Bentley University of Strathclyde, 16
Richmond Street, Glasgow, G1 1XQ,
United Kingdom Keywords community music, mental
health, song, worship music, choir,
religion For Jane, it is more fun to do music with people, than for them. To this
end, she gained a first class BA in Community Arts at the University of
Strathclyde, followed by a Ph.D. in musical interaction and
participation. She is a freelance community musician, working
primarily in mental health, social inclusion, education, and church
music contexts. She has a particular research interest in the social and
communicative affordances of music making, and musical entrainment. › Community; authenticity; growth: The role of musical participation in the
Iona Community's island centres, International Journal of Community Music,
2.1, 71-77. Richard Berger Bournemouth University, Media
School, Talbot Campus, Fern Barrow,
Poole, Dorset, BH12 5BB, United
Kingdom Richard Berger is Reader in Media & Education and Head of
Postgraduate Research at the Media School, Bournemouth University,
UK. › ‘Are There Any More at Home Like You?’: Rewiring Superman, Journal of
Adaptation in Film & Performance, 1.2, 87-101. Keywords heteroglossia, remediation,
rewiring, transmedia, videogame Gunter Berghaus University of Bristol, Department of
Drama: Theatre, Film, Television,
Cantocks Close, Bristol, BS8 1UP,
United Kingdom Keywords avant-garde, futurism,
Italian futurism Günter Berghaus was, for many years, a Reader in Theatre History and
Performance Studies and is now is a Senior Research Fellow at the
University of Bristol. He has directed numerous plays from the
classical and modern repertoire and has been organizer of several
international conferences. He has published some 20 books on various
aspects of theatre history, performance studies and the avant-garde. He
is a leading expert on Italian Futurism and edits the International
Yearbook of Futurism Studies. His current project is a bibliographic
handbook, International Futurism, 1945-2009, which lists some 25,000
studies concerned with the artists who were active in the movement
and with aesthetic genres and media in which Futurism exercised a
particularly noteworthy influence. › Artaud's Jet de Sang: a Critical Post-Production Analysis, Studies in Theatre
and Performance, 21.1, 4-17. Marsha Berry School of Creative Media and the
Design Research Institute, Geoplaced
Knowledge Program, RMIT
University, Melbourne, Australia Keywords digital media, locative
media, mediatization, networking,
urban space Dr. Marsha Berry is an artist and a researcher. She teaches narrative
and interactive design for new media for undergraduate degrees in the
School of Creative Media at RMIT University, Australia. Marsha
supervises MA and Ph.D. postgraduate students across a range of
research topics concerned with new media, narrative and mobility. Her
art practice has included performing arts, video art and photo media.
Recently, she has explored notions of memory, place and displacement
through video art, photography and evolved images. Her current
research investigates mobile media, urban fields, geoplaced knowledge
and postmemory. › Locative media: geoplaced tactics of resistance, International Journal of
Performance Arts and Digital Media, 4.2&3, 101-116. Russ Bestley London College of Communication,
United Kingdom Keywords graphic design research
methods, information design, British
popular culture, alternative music Dr. Russell Bestley is a Principal Lecturer at the London College of
Communication, where he is currently Head of Postgraduate Graphic
Design Programme. His areas of specialist interest include graphic
design research methods, information design and British popular
culture, in particular late twentieth century popular and alternative
music. He has co-authored and designed a number of publications,
including Visual Research: An Introduction to Research Methodologies
in Graphic Design (AVA Academia, 2004, revised 2nd edition 2011),
Up Against the Wall: International Poster Design (RotoVision, 2002)
and Experimental Layout (RotoVision, 2001), and has contributed
articles to publications including Eye magazine, Zed, Émigré, The
National Grid and the Oxford Encyclopaedia of the Modern World. His
Ph.D. thesis, entitled ‘Hitsville UK: Punk Rock and Graphic Design in
the Faraway Towns, 1976–84’, wasThe Art of Punk › From ‘London’s Burning’ to ‘Sten Guns in Sunderland’, Punk & Post Punk,
1.1, 41-71. Simon Biggs Edinburgh College of Art, Research,
Lauriston Place, Edinburgh, EH3
9DF, United Kingdom Keywords digital arts, interactive
media, electronic literature, new
media, critical theory, digital culture,
augmented reality Simon Biggs is a visual artist who has worked within the digital arts
since the late 1970s. His work engages themes around social and
personal ontologies through an engagement with interactive systems
and situated artworks. He has collaborated with choreographers such as
Stephen Petronio, Sarah Rubidge and Sue Hawksley, composers such
as Hans Peter Kuhn, Stuart Jones, Jon Rose and Garth Paine and
scientists in a number of disciplines at laboratories in the United
Kingdom, United States and Australia. He is also an author and curator
active in the area of new media arts and techno-cultural studies. He is
currently Professor at Edinburgh College of Art. › Memory maps in interactive dance environments, International Journal of
Performance Arts and Digital Media, 2.2, 123-138. Johannes Birringer Brunel University, School of Arts,
Uxbridge, Middlesex, UB8 3PH,
United Kingdom Keywords collaboration, music,
technology, multimedia, dance,
theatre, video, performance, digital
arts Johannes Birringer is professor of Performance Technologies in the
School of Arts at Brunel University (London) where he directs the
DAP-Lab and the Centre for Contemporary and Digital Performance.
He is a choreographer and artistic director of AlienNation Co., a
multimedia ensemble based in Houston
(www.aliennationcompany.com). He has created numerous dancetheatre works, video installations, interactive works and site-specific
performances in collaboration with artists in Europe, North America,
Latin America, China and Japan. Author of several books, including
Media and Performance: Along the Border (1998), Performance on the
Edge: Transformations of Culture (2000), Performance, Technology &
Science (2008), and Dance and Cognition (coeditor, 2005). He founded
Interaktionslabor Göttelborn in Germany, and directs media and
performance workshops all over the world, in Belo Horizonte, Istanbul,
Beijing, Oslo, and at the EMPAC. › Interactivity: ‘user testing’ for participatory artworks, International Journal
of Performance Arts and Digital Media, 1.2, 147-. › Digital Cultures Lab, 2005, International Journal of Performance Arts and
Digital Media, 2.2, 105-108. › Reviews, International Journal of Performance Arts and Digital Media, 3.1,
83-. › Moveable worlds/Digital scenographies, International Journal of
Performance Arts and Digital Media, 6.1, 89-107. Melissa Blanco Borelli University of Surrey, Department of
Dance, Film and Theatre, Guildford,
GU2 7XH, United Kingdom Keywords mulatta body, race,
sexuality, Hollywood, film, racialized
hips, movement, choreography,
feminism Melissa Blanco Borelli is a lecturer in Dance and Film Studies at the
University of Surrey. She has a Ph.D. in Dance History and Theory
from UC Riverside, and was a Martin Luther King Jr. Visiting Scholar
at MIT in the Department of Music and Theatre Arts. Currently, she
works on her manuscript that examines mulatta corporeality and
comparative social dance histories in Cuba and New Orleans. Her work
appears in Dance Chronicle and Women & Performance: A Journal of
Feminist Theory. › A taste of honey: choreographing mulatta in the Hollywood dance film,
International Journal of Performance Arts and Digital Media, 5.2&3, 141153. Geoffrey Block University of Puget Sound, School of
Music, 1500 N. Warner, Tacoma,
WA, 98416, United States of America Keywords Jumbo, musicals of the
1930s, Rodgers and Hart, Billy Rose Professor Geoffrey Block earned a Ph.D. and an MA from Harvard
University and a BA from UCLA. He was a Fulbright Fellow at the
University of Bonn and has received a National Endowment for the
Humanities Fellowship. Distinguished Professor of Music History at
the University of Puget Sound, Tacoma, Washington, Block is the
author of Ives: ‘Concord’ Sonata (Cambridge University Press, 1996),
Enchanted Evenings: The Broadway Musical from Show Boat to
Sondheim (Oxford University Press, 1997) and Richard Rodgers (Yale
University Press, 2003), the inaugural volume of the Yale Broadway
Masters series, for which he serves as general editor. › Revisiting the glorious and problematic legacy of the jazz age and depression
musical, Studies in Musical Theatre, 2.2, 127-146. › Is life a cabaret? Cabaret and its sources in reality and the imagination,
Studies in Musical Theatre, 5.2, 163-180. Carola Boehm Manchester Metropolitan University
Cheshire, Contemporary Arts, Crewe
Green Road, Crewe, CW1 5DU,
United Kingdom Keywords music technology,
education, interdisciplinarity, higher
education Carola Boehm holds degrees in musicology, computer science and
electrical engineering. She is Acting Head of Department of
Contemporary Arts at Manchester Metropolitan University. Lecturing
and researching in the area of music and music technology since the
early 90s, she has held previous positions at the University of Glasgow,
the University of Mainz, the Conservatory of Music in Hannover, and
the Royal Conservatory of Music in Den Haag. Since 1999 the CoDirector of the Centre for Music Technology at Glasgow University,
she is also one of the founding members of n-ISM (Network for
Interdisciplinary Studies in Science, Technology and Music). Her
research areas include music technology education, methodologies for
designing music systems, performance research and the interplay of
interdisciplinarity, creativity and technology. › The discipline that never was: current developments in music technology in
higher education in Britain, Journal of Music, Technology and Education,
1.1, 7-22. Yvon Bonenfant University of Winchester, Department
of Performing Arts, Sparkford Rioad,
Winchester, Hants, SO22 4NR,
United Kingdom Keywords dance, somatics, pulsation,
emotion, experience Yvon Bonenfant is a performance maker, researcher and interventionist
who is currently a senior lecturer in Performing Arts at the University
of Winchester. His performances and artworks have been realized in
Canada, the United States, the United Kingdom, Japan, Portugal and
France. Trained in analyse psychocorporelle, and a virtuosic extended
vocalist, he is interested in new approaches to interdisciplinary
performance making and activism after the end of post-modern
platitudes. He is an overseas research associate of the Institut
d’Esthétique des Arts et Technologies of the University of Paris 1
Panthéon-Sorbonne. › Towards a politics of felt pulsation: De-disciplining voice and movement in
the making of a musi-dance performance, Studies in Theatre and
Performance, 28.1, 39-58. › Textures and Translations: B(earth) in between Extended Voice and Visual
Arts, Journal of Adaptation in Film & Performance, 1.3, 237-256. › Enskinning between extended voice and movement: somatics, touch, contact
and the camera, Journal of Dance & Somatic Practices, 1.1, 65-87. Marie Louise Bourbeau Master Sharing International inc, 45,
de la Tourelle, Québec, Canada Keywords performance, spatial
design, audience, image schemata,
new media Marie Louise Bourbeau is a mezzo soprano soloist with an
international career. She has expertise in the training of voice and
breathing techniques. Ms Bourbeau now resides in Quebec City, where
she is developing an artistic practice in inter-arts performance
production and offers coaching in career development and production
contexts. Dr. Geoffrey Edwards and Ms Bourbeau are partners in a
company called Master Sharing International, formed to facilitate the
collaboration between the arts and the sciences. › Image schemata - a guiding principle for multi-modal expression in
performance design, International Journal of Performance Arts and Digital
Media, 1.3, 189-206. Chelcy Bowles University of Wisconsin-Madison,
Division of Continuing Studies, 21 N.
Park St., Room 7352, Madison,
Wisconsin, 53715, United States of
America Keywords Irish music, music
education, historical harp Chelcy Bowles is Professor of Music and Director of Continuing
Education in Music at the University of Wisconsin-Madison where she
directs professional development programs for music teachers and
performers, the community adult music education program, and the
Madison Early Music Festival. She holds a Ph.D. in Music Education,
and has taught music at the elementary, secondary, college, and
continuing adult levels. Her work has been published in numerous
professional journals and presented at major conferences. She is
national chair of MENC’s Adult and Community Music Education
Research Group and serves on the editorial boards of American String
Teacher and International Journal of Community Music. Also a
harpist, she edited and co-authored A Harp in the School: A Guide for
School Ensemble Directors and Harpists (2006), and has special
interests in historical harp and traditional Irish music. › Editorial, International Journal of Community Music, 1.2, 139-141. › New Initiatives, International Journal of Community Music, 1.2, 287-291. Elizabeth Boyce Independent Keywords audience, collaboration,
failure, Simon Ellis, Colin Poole,
Choreodrome Elizabeth Boyce is a writer and editor who first worked with words
within contemporary art practice. She trained in Fine Art (Painting) at
RMIT University, in Melbourne, her birth city. Over ten years she
exhibited installations and works on paper that increasingly integrated
text, until writing and editing became her primary practices. At the
same time, she began writing for artists in disciplines including
installation and dance. She has since worked in publishing, now lives
in London, and still writes for artists and arts organizations. › My name is Colin, and this is Simon, Choreographic Practices, 1.1, 65-78. Andy Brader Queensland University of Technology
Creative Industries Faculty, K Block
410, Victoria Park Rd, Kelvin Grove,
Brisbane, 4059, Australia Keywords education, youth, music,
multimedia, technical support Andy Brader is a Research Fellow specializing in education, music and
technology. He trained as a sociologist, music producer and youthwork practitioner in the United Kingdom. His research focuses on
multi-media content created by and with disengaged youth. His
teaching expertise focuses on the development of blended multi-media
education projects. Brader possesses significant skills in managing
projects and working collaboratively with stakeholders in low socioeconomic areas. As the founder of a non-profit recording facility in the
United Kingdom he has a strong commitment to securing first-class
multi-media education services for all young people. › Synchronous learner support for music-sequencing software, Journal of
Music, Technology and Education, 2.2&3, 159-174. Erin Brannigan University of New South Wales,
School of English, Media and
Performing Arts, R.119, Level 1,
Webster Building, Kensington, NSW,
2052, Australia Keywords dance, film, Deleuze,
Balázs Dr. Erin Brannigan works in the fields of dance and film as an
academic and curator. She is currently a lecturer in Dance at the
University of NSW, Sydney, Australia. Erin was the founding Director
of ReelDance International Dance on Screen Festival (since 1999) and
has curated dance screen programmes and exhibitions for Sydney
Festival 2008, Melbourne International Arts Festival 2003, Dancehouse
in Melbourne, Performance Space in Sydney and international dance
screen festivals. Her most reccent monograph, Dancefilm:
Choreography and the Moving Image, was published by the Oxford
University Press in 2011. › Micro-choreographies: the close-up in dancefilm, International Journal of
Performance Arts and Digital Media, 5.2&3, 121-139. Thea Brejzek Zurich University of the Arts (ZHdK),
Institute for Design and Technology,
Ausstellungstr 60, Zurich, CH-8031,
Switzerland Keywords performance, ubiquity,
social network, scenography, flash
mob Professor Thea Brejzek (Ph.D.) is Program Director of the Doctorate
Program Scenography, a collaboration between the Zurich University
of the Arts (ZHdK) and the Institute for Theatre, Film and Media
Studies at the University of Vienna, and Curator for Theory at the 2011
Prague Quadrennial of Performance Design and Space Informed by
her dual backgrounds as opera and new music stage director and
academic, Thea’s research addresses questions of virtuality and
physicality on the mediated stage, intermediality and practice based
research in scenography. She is the author of "Physicality and
Virtuality: Memory, Space and Actor on the Mediated Stage" in:
Alison Odey and Christine White (eds), The Potentials of Spaces: The
Theory and Practice of Scenography and Performance, published in
2006 by Intellect, Bristol. › From social network to urban intervention: On the scenographies of flash
mobs and urban swarms, International Journal of Performance Arts and
Digital Media, 6.1, 109-122. MARY F. BREWER Department of English and Drama at
Loughborough University Keywords Mary Brewer lectures in the Department of English and Drama at
Loughborough University. She specializes in English and American
drama from the late nineteenth century through contemporary
performance. Her research interests focus on theatre and social identity,
including gender, race, sexual, religious and national identities. › Offerings on the Altar of national pride: Pioneer plays and American
identity, Studies in Theatre and Performance, 31.3, 243-258. Larry Brewster University of San Francisco, School
of Business and Professional Studies,
2130 Fulton St, San Francisco, CA
94117, United States of America Keywords music, politics, selfesteem, work ethic, race Larry Brewster served as dean of the College of Professional Studies at
the University of San Francisco (1999-2007) and as acting dean of the
School of Education (2002-2004). Before joining USF, he was
academic dean at Menlo College, and has served as dean at Golden
Gate University and professor of Political Science in the California
State University system. Dr. Brewster regularly consults in public
policy and organizational development and has industry experience as
former Director of Market Research for BT Tymnet, an international
data and telecommunications company. He recently co-authored
California Politics, 2nd ed., Wadsworth & Co., 2004, and The Public
Agenda: Issues in American Politics, 5th ed., Wadsworth & Co., 2004.
He earned his doctorate at the University of Southern California and
currently is Professor of Public Administration in the College of
Professional Studies. › The California arts-in-corrections music programme: A qualitative study,
International Journal of Community Music, 3.1, 33-46. Pauline Brooks Liverpool John Moores University,
Dance Department, Faculty of
Pauline Brooks is senior lecturer in Dance at Liverpool John Moores
University. Her creative research includes collaboration with Professor
Luke Kahlich of Temple University in Philadelphia, USA, involving
dance and telematic performance, and with Professor Patrick
Education, Community and Leisure,
Barkhill Road, Liverpool, L17 6BD,
United Kingdom Carmichael involving semantic technology with the ESRC/EPSRC
Ensemble Project and the MIT-based SIMILE team. Her work has, to
date, been presented at conferences on dance, technology and pedagogy
in the United Kingdom, the United States of America and Malaysia.
Before lecturing at LJMU, she performed with Nexus Dance Theatre
(Scotland), Springs Dance Co. (England), Ann Vachon/Dance Conduit
and Sybil Dance Co. (USA) She has choreographed and taught
extensively in the United Kingdom and overseas, including posts at
Temple and Clarion Universities in America, and at Aberdeen and
Edinburgh Universities. Keywords spatial zones, telematic
performance, live art, dance › Creating new spaces: Dancing in a telematic world, International Journal of
Performance Arts and Digital Media, 6.1, 49-60. Helen Brooks University of Kent, School of Arts,
Jarman building, Canterbury, Kent,
CT2 7UG, United Kingdom Keywords Drury Lane, theatre
management, James Lacy, women's
rights, Theophilus Cibber Helen's research interests and teaching specialisms are around
Restoration and long eighteenth-century theatre and performance with
a special emphasis on women's involvement of theatre of the period.
She has published on eighteenth century actresses and theatre managers
and is currently working on a monograph examining the complex
relationship between the actress and concepts of gender over the
eighteenth century. As a theatre historian Helen is also interested in the
application of new technologies to research and teaching in the theatre
history. In 2008-09 she led the development of the Integrated
Performance and Learning Environment in Second Life, at University
of Nottingham, with funding from the Nottingham E-Learning Team. › ‘Your sincere friend and humble servant’: Evidence of managerial aspirations
in Susannah Cibber's letters, Studies in Theatre and Performance, 28.2, 147159. Kevin Brown University of Missouri, Theatre, 129
Fine Arts Building, Columbia, MO
65211, United States of America Keywords performance, technology,
liveness, presence, postmodern body,
embodiment, chatterbots Dr. Kevin Brown is Assistant Professor of Theatre at the University of
Missouri at Columbia. He has published numerous articles, including
'Auslander's Robot' and 'The Auslander Test: Or, "Of Bots and
Humans"' in the International Journal of Performance Arts and Digital
Media, 'Spectacle as Resistance: Performing Tree Ordination in
Thailand' in the Journal of Religion and Theatre, 'Dancing into the
Heart of Darkness' in Puppetry International, 'Liveness Anxiety:
Karaoke and the Performance of Class,' in Popular Entertainment
Studies, and 'European Theatre and Performance' in the Encyclopedia
of World Popular Culture. Previously, he was an Assistant Professor of
Theatre and Cinema at Missouri Western State University, and he
received his Ph.D. from the University of Colorado at Boulder. › Auslander’s robot, International Journal of Performance Arts and Digital
Media, 2.1, 3-22. › The Auslander Test: or, ‘Of Bots and Humans’, International Journal of
Performance Arts and Digital Media, 4.2&3, 181-188. Carol Brown University of Auckland, National
Institute of Creative Arts and
Industries, University of Auckland, 26
Symonds Street, Auckland, New
Zealand Keywords performance installations,
interactive performance,
choreography Carol Brown is an award-winning choreographer, Artistic Director of
Carol Brown Dances and currently a senior lecturer in Dance at
Auckland University. Her work takes place at the intersection between
movement, architecture and performance and includes solos, group
works for theatre, performance installations and site-responsive events.
Collaborative conversations across disciplines are core to her research
as they impact on the ways we inhabit and activate space through
performance. Current research is focused on choreography for urban
environments (Urban Devas and Tongues of Stone) and interactive
performance (Revolve). › Design, digital gestures and the in[ter]ference of meaning: Reframing
technology's role within design and place through performative gesture,
International Journal of Performance Arts and Digital Media, 7.1, 5-22. Andrew Brown Queensland University of
Technology,, Faculty of Creative
Industries, Victoria Park Rd, Kelvin
Grove, QLD 4059, Australia Andrew Brown is Professor of Digital Arts at the Queensland
Conservatorium of Music, Brisbane, Australia. He was formerly the
Research Manager at the Australasian Cooperative Research Centre for
Interaction Design. He is a musician, researcher and educator with
expertise in technologies that support creativity, algorithmic music and
art, and the philosophy of technology. Keywords engagement, generative,
virtual, networking, ensemble › Communities of sound: Examining meaningful engagement with generative
music making and virtual ensembles, International Journal of Community
Music, 1.3, 357-374. Hugh Brown QUT Creative Industries Faculty,
Musk Avenue, Kelvin Grove, Qld
4059, Australia Hugh Brown is a Ph.D. candidate in QUT’s Creative Industries Faculty.
A lifelong semi-professional musician, he was editor of online politics
and current affairs journal On Line Opinion
(www.onlineopinion.com.au) before teaching communications at the
University of Queensland and then commencing his Ph.D. study at
QUT. Keywords internet, new media,
online culture, Musowiki › Musowiki.net: notes on the creation of an online community music facility,
International Journal of Community Music, 3.2, 277-290. Andrew R. Brown Queensland Conservatorium, Griffith
University, Professor of Digital Arts,
Queensland Conservatorium, Griffith
University, South Bank campus, 140
Grey Street, Qld. 4101 Australia Keywords Andrew R. Brown is an educator, researcher, musician and author. He
is Professor of Digital Arts at the Queensland Conservatorium in
Brisbane, Australia. His academic expertise is in technologies that
support creativity and learning, computational music and art, and the
philosophy of technology. His creative activities focus on real-time
audio-visual works using generative processes and live-coding
performances. He is the author of Computers in Music Education:
Amplifying Musicality, published by Routledge in New York. › eBILITY: from tool use to partnerships, Journal of Music, Technology and
Education, 4.2-3, 201-215. Nick Bryan-Kinns Queen Mary - University of London,
Department of Computer Science,
Mile End Road, London, E1 4NS,
United Kingdom Keywords interactivity, music, HCI,
multimodal interaction Dr. Nick Bryan-Kinns is a senior lecturer in Graphical User Interface
design at Queen Mary, University of London. His research focuses on
exploring the nature of mutually engaging interaction, in particular,
collaborative music interaction. Bryan-Kinns’ recent projects include
EPSRC funded grants on exploring mutual engagement through the
design of novel shared musical instruments, mobile music
collaboration for teens, and novel tangible interaction. He was involved
in two EPSRC funded networks focusing on the art-computer crossover and designing for the 21st century, chaired the ACM Creativity
and Cognition conference 2010, has served on the NSF CreativeIT
panel, and was co-chair of the BCS international conference on HCI in
2006 focusing on the theme of Engagement. In 1998 he was awarded a
Ph.D. in Human Computer Interaction from the University of London. › The interior life of iPoi: Objects that entice witting transitions in
performative behaviour, International Journal of Performance Arts and
Digital Media, 3.1, 17-36. Hilary Bungay Canterbury Christ Church University,
Sidney De Haan Research Centre for
Hilary has been at Christ Church University since June 2003. She is a
part-time senior lecturer in Medical Imaging and contributes to both
radiography profession specific and the interprofessional modules. For
two days a week Hilary is seconded to the Sidney De Haan Research
Arts & Health, Mill Bay, Folkestone,
CT20 1JG, United Kingdom Centre where she is currently involved in an evaluation of the Silver
Song Club Project (Silver Song Clubs provide opportunities for older
people to come together to make music and sing with the guidance of
experienced musicians and volunteer support). She has recently been
looking at ‘Arts on Prescription’ schemes around the country to
investigate the feasibility of setting up a programme locally. Her
particular research interests are cancer, older people, and health service
evaluation. Keywords well-being, group singing,
health, older people, ageing › The Silver Song Club Project: A sense of well-being through participatory
singing, Journal of Applied Arts & Health, 1.2, 165-178. Pamela Burnard University of Cambridge, Faculty of
Education, University of Cambridge
184 Hills Rd, Cambridge CB2 2PQ Keywords technology, music
education, pedagogy, activity theory Pamela Burnard (BMus, DipEd, MMus, MEd, Ph.D.) works at the
University of Cambridge, UK where she manages higher degree
courses in arts, culture and education and in educational research. She
is co-editor of the British Journal of Music Education, associate editor
of the Psychology of Music and serves on numerous editorial boards.
She is section editor of the 'Creativity Section' in the International
Handbook of Research in Arts Education (Springer, 2007), and the
'Musical Creativity as Practice' section of the forthcoming Oxford
Handbook of Music Education (OUP, 2010). She is convenor of British
Education Research Association Creativity SIG. › Reframing creativity and technology: promoting pedagogic change in music
education, Journal of Music, Technology and Education, 1.1, 37-56. › Educational leadership, musical creativities and digital technology in
education, Journal of Music, Technology and Education, 4.2-3, 157-171. George Burrows University of Portsmouth, Creative
Arts, Film and Media, Wiltshire
Building Hampshire Terrace,
Portsmouth, Hampshire, PO1 2ED,
United Kingdom Keywords Claudio Monteverdi,
Charles Mingus George is senior lecturer in Music, having joined the university in
2001. Previously, he lectured in Music for the Open University and
Newcastle University where he also pursued postgraduate studies. His
academic interests are wide ranging, encompassing the whole musical
spectrum, from Claudio Monteverdi to Charles Mingus. His work
brings new critical approaches to the study of music while also using
music as a critical tool to explore other disciplines. Thus he is
interested in psychoanalytical, sociological and philosophical
understandings of interdisciplinary texts and practices involving music.
George is also founding editor of Studies in Musical Theatre and cofounder of the international Song, Stage and Screen conference. › Editorial, Studies in Musical Theatre, 1.2, 121-122. › Editorial, Studies in Musical Theatre, 1.1, 3-6. › Editorial, Studies in Musical Theatre, 1.3, 225-226. › Editorial, Studies in Musical Theatre, 2.1, 3-4. › Editorial, Studies in Musical Theatre, 2.2, 125-126. › Reviews, Studies in Musical Theatre, 2.2, 209-215. › Books received, Studies in Musical Theatre, 2.2, 217-217. › Editorial, Studies in Musical Theatre, 2.3, 221-222. › Editorial, Studies in Musical Theatre, 3.2, 141-142. › Editorial, Studies in Musical Theatre, 3.3, 233-234. › Editorial, Studies in Musical Theatre, 4.2, 139-140. › Editorial, Studies in Musical Theatre, 4.3, 245-246. › Reviews, Studies in Musical Theatre, 4.3, 343-349. › EDITORIAL, Studies in Musical Theatre, 5.2, 131-132. J. Bryan Burton West Chester University of
Pennsylvania, School of Music,
Swope Hall, 100 West Rosedale
Avenue, West Chester, PA 193825428, United States of America Keywords Native Americans, culture,
music education, United States J. Bryan Burton is currently the Professor and Chairperson of Music
Education and Coordinator of Graduate Studies in Music at West
Chester University of Pennsylvania. His interest in intercultural music
education has taken him as both researcher and lecturer to over thirty
states, Canada, Europe, Africa, Asia, Australia, South America and
New Zealand. He is the author, co-author or contributing author of over
forty books in the field of intercultural music education and music
education. He is also noted for his work in research methodology and
music education philosophy. Of mixed Native American and European
descent, his long-standing interest in the music of the original
inhabitants of North America has led him to meet and work with many
musicians and tribal leaders and he has shared their social dances and
songs with music teachers in over 200 workshops and presentations at
state, national and international music education conferences. › Community of learning: Music learning and performance practices among
the native peoples of North America, International Journal of Community
Music, 3.3, 365-370. Tom Burvill Macquarie University, Department of
Media, Music and Cultural Studies,
Building Y3A, North Ryde, NSW
2109, Australia Associate Professor Tom Burvill is Senior Research Fellow in the
Department of Media, Music and Cultural Studies at Macquarie
University, Sydney, where he taught Australian Cultural Studies and
Performance and Theatre Studies for over 30 years. Tom has published
on Australian alternative and political theatre, on ethics and
Keywords archiving, performance,
documentation, digital media, ethics,
theatre performance and on the production and reception of Chekhov in
English-speaking cultures. He has had a long-term association with
Sidetrack Performance Group in Marrickville, Sydney, as dramaturg
and consultant and is currently writing the company's 30-year history. › Access to digitized performance documentation and the AusStage database,
Studies in Theatre and Performance, 30.3, 305-321. Jeffrey E. Bush Arizona State University, School of
Music, P.O. Box 870405, Tempe, AZ
85287-0405, United States of
America Keywords adult music making, music
education, professional development Jeffrey E. Bush is the Associate Director for the School of Music at
Arizona State University. His interests include adult music making,
music education curriculum, and professional development for
teachers. Jeff’s presentations have been featured at the International
Society for Music Educators, the Music Educators National Conference
In-Service Conference, the National Symposium for Music Instruction
Technology, the National Orff-Schulwerk Association National
Conference, the Greek Society for Music Education, and the
International Music Education Research Symposium. His publication
credits include contributions to Music Education, General Music
Today, Journal of Technology in Music Education, Music Educators
Journal, Ostinato, and Percussive Notes. Dr. Bush is currently a
member of the editorial committee of General Music Today and is
immediate past chair of the MENC Adult and Community Music
Education Special Research Interest Group. › New Initiatives, International Journal of Community Music, 1.2, 287-291. Anthony Bushard University of Nebraska, School of
Music, 1400 R Street, Lincoln, NE
68588, United States of America Keywords musical theatre, film
score, theatre, 1950s, conformity Anthony Bushard is Assistant Professor of Music History at the
University of Nebraska School of Music. Professor Bushard’s research
interests are in Contemporary American music, specifically jazz, blues,
and film music. His work has been featured in , the Journal of Film
Music, Studies in Musical Theatre, the New Grove Dictionary of Jazz,
Second Edition, and is forthcoming in On the Waterfront: A Film Score
Guide, College Music Symposium, and the Journal of Music History
Pedagogy. › From On the Waterfront to West Side Story, or There's Nowhere Like
Somewhere, Studies in Musical Theatre, 3.1, 61-75. Matthew Bushell University of Northampton, School of
the Arts, Park Campus, Boughton
Green Road, Northampton, NN2
7AL, United Kingdom Matthew Bushell served three years in the British Army and has just
completed a BA in Creative Writing at the University of Northampton.
He has also been a director of a local arts organization, project manager
for a local participatory arts project and a rehabilitation support worker
for people with acquired brain injury. › Reviews, Journal of Applied Arts & Health, 1.2, 223-231. Keywords creative writing,
rehabilitation support Jennifer Cable University of Richmond, Booker Hall
of Music, Richmond, Virginia, 23173,
United States of America Keywords Henry Carey, Henry
Purcell, Baroque Jennifer Cable earned her DMA and MM degrees from the Eastman
School of Music in Rochester, NY, and her BM degree from Oberlin
College. The study of eighteenth-century English song is the primary
focus of her research work, with recent papers and lecture recitals
presented on the cantatas of Johann Christoph Pepusch, the early
eighteenth century English cantata, and the solo vocal music of Henry
Carey. Her published essays examine Henry Carey’s treatment of
political satire, and the development of the eighteenth century English
cantata. Dr. Cable is an Associate Professor of Music at the University
of Richmond, Richmond, Virginia, where she directs the Vocal
Program and serves as the Director of the Richmond Scholars Program. › Gods! I can never this endure: madness made manifest in the songs of Henry
Purcell (16591695) and Henry Carey (16891743), Studies in Musical
Theatre, 4.1, 15-26. Paul Cairns University of York, Department of
Computer Science, Deramore Lane,
Heslington, York, YO10 5GH, United
Kingdom Paul Cairns is a Senior Lecturer in Human–Computer Interaction at the
University of York. He has a strong interest in the diversity of research
methods needed to study human-computer interaction. To this end, he
has applied a wide mix of quantitative and qualitative methods to the
understanding of the immersive experience of playing videogames. Keywords human-computer
interaction, playing videogames › ‘Liveness’ in human-machine interaction, International Journal of
Performance Arts and Digital Media, 7.2, 221-237. Patricia Shehan
Campbell Patricia Shehan Campbell teaches undergraduate and graduate courses
in Music Education, including music for children, world music
pedagogy, sociology of music, and research methods. She was named
University of Washington, School of
Music, Seattle WA, 98195, United
States of America Donald E. Petersen Professor of Music in 2000, and continues to hold
this appointment. Her interests include music in early and middle
childhood, world music pedagogy, and the use of movement as a
pedagogical tool. Campbell is published widely on issues of crosscultural music learning, children’s musical development, music
methods for children, and the study of world music in K-12 schools
and university courses. She serves on the board of Smithsonian
Folkways, and on the editorial committee of the British journal,
Psychology of Music. Her most recent work includes Musician and
Teacher: Orientation to Music Education (2008) and Tunes and
Grooves (2008). Keywords The Revels, community
music, music education, participation,
traditional music, culture › John Langstaff: community musician and reveler, International Journal of
Community Music, 2.2&3, 157-167. › Music Alive! In the Yakima Valley, International Journal of Community
Music, 3.2, 303-307. Cristina Cano Vara Universidad Autónoma de Madrid,
Spain, Filología Inglesa, Spain Keywords Beckett, Stage plays,
Paratextuality, Marisa Paredes,
Alvaro del Amo, interpretation Cristina Cano Vara recently completed a Ph.D. thesis on Beckett at the
Universidad Autónoma de Madrid, Spain. Her thesis explored Beckett's
'performance poetics' analysed through the study of the author's
Epitexts and the scope of his authorial influence on the Spanish Theatre
of the twenty-first century. She has mostly published on Beckett and
Maria Irene Fornes, and is especially interested in cultural translation
for the stage. › Beckett’s Not I vs. del Amo’s Yo no :some notes on cultural translation,
Studies in Theatre and Performance, 25.1, 23-32. Tom Cantrell Tom Cantrell is lecturer in drama in the Department of Theatre, Film
and Television at the University of York. University of York, Department of
Theatre, Film and Television,
Heslington, York, YO10 5DD, United
Kingdom › Playing for real in Max Stafford-Clark's Talking to Terrorists, Studies in
Theatre and Performance, 31.2, 167-180. Keywords drama, terrorists, theatre
and performance Michael Carklin University of Glamorgan, Cardiff
School of Creative and Cultural
Industries, Atrium, Adam Street,
Cardiff, CF24 2FN, United Kingdom Based at the University of Glamorgan, Michael Carklin is Head of
Academic Programmes. His previous work includes co-directing King
Oedipus, where Rob Smith was Musical Director. › Audience journeys through multiple stories: Adapting King Oedipus for
performance, Journal of Adaptation in Film & Performance, 4.1, 69-92. Keywords space and place, lived
geographies, cinema, South Africa,
childhood Paul Carr University of Glamorgan, Department
of Arts and Media, Pontypridd,
Rhondda, CF37 1DL, United
Kingdom Keywords Frank Zappa, music,
theatre, narrative, composition With over twenty years experience in both the music industry and
academia, Paul Carr has acquired a wide range of research and
professional interests. Originally studying Commercial Music at
graduate diploma level at Newcastle College in the early 1980s, he
subsequently obtained his BA(hons) from Middlesex University,
followed by a Ph.D. under the supervision of Gavin Bryars. Prior to his
current position of Head of the Music Academy at Glamorgan
University, he was head of Popular Music at Bournemouth and Poole
College for nine years. As a musician he has performed and recorded
with some of the most well respected musicians on the international
music scene, including 'The James Taylor Quartet' and Bob Berg. He is
currently working on an edited book on Frank Zappa in addition to an
ESF research project on widening participation in the music industry. › Frank Zappa and musical theatre:ugly ugly o’phan Annie and really deep,
intense, thought-provoking Broadway symbolism, Studies in Musical
Theatre, 1.1, 41-56. Rachel Carroll University of Teesside, School of Arts
and Media, Middlesbrough, TS1
3BA, United Kingdom Keywords television, Charles
Dickens, Bleak House, illegitimacy,
neo-Victorian Dr. Rachel Carroll is Principal Lecturer in English at the University of
Teesside. She has published widely on representations of gender and
sexuality in twentieth century and contemporary fiction, including neoVictorian fiction. She is the editor of Adaptation in Contemporary
Culture: Textual Infidelities (Continuum, 2009). Dr. Carroll’s principal
research and publication interests are in gender and sexuality studies,
especially feminist theory but more recently queer theory and also
masculinity studies. She has published a book, Rereading
Heterosexuality: Feminism, Queer Theory and Contemporary Fiction
and Film (Edinburgh University Press). Recent publication topics
include spinsterhood and heterosexuality in Sarah Waters’ fiction,
representations of human cloning in Kazuo Ishiguro’s fiction and
depictions of illegitimacy in the 2005 BBC television adaptation of
Dickens’s Bleak House. › Queer beauty: illness, illegitimacy and visibility in Dickens's Bleak House
and its 2005 BBC adaptation, Journal of Adaptation in Film & Performance,
2.1, 5-18. Deborah Cartmell De Montfort University, Clephan
Building, The Gateway, Leicester,
LE1 9BH, United Kingdom Keywords adaptation, genre, Jane
Austen, Pride and Prejudice, romantic
comedy, biography Dr. Deborah Cartmell is a reader in English, the director of the Centre
for Adaptations and the head of Taught Postgraduate Programmes at
De Montfort University. She is co-editor of Shakespeare (Routledge)
and Adaptation (Oxford University Press) and the Founder and trustee
of the Association of Adaptation Studies. Her most recent publication
is Screen Adaptation: Impure Cinema (Palgrave, 2010) with Imelda
Whelehan, and she has edited a volume, A Companion to Literature,
Film and Adaptation (Blackwell). › Pride and Prejudice and the adaptation genre, Journal of Adaptation in Film
& Performance, 3.3, 227-243. Sheelagh Chadwick Brandon University, School of Music,
18th St, MB, Brandon, MB, R7A
6A9, Canada Keywords pedagogy, community,
song, chorus, race, culture, African
American music Sheelagh Chadwick is an Assistant Professor of Music Education at
Brandon University in Manitoba, Canada. She teaches undergraduate
and graduate courses in music education and community music, and
also supervises student teachers. She taught Music Education in
Botswana for six years while also working on National committees
developing assessment procedures for both junior and senior secondary
music programmes, and curriculum for the secondary music teacher
diploma. She has participated in conferences in Kenya, the United
States, the United Kingdom, Canada and China. Her research interests
include teachers as agents of curriculum, formal and informal teaching
and learning of indigenous African music, teacher education in Africa,
and community music. › Lift every voice and sing: Constructing community through culturally
relevant pedagogy in the University of Illinois Black Chorus, International
Journal of Community Music, 4.2, 147-162. Karen Cham Digital Media Institute, Faculty of
Art, Design & Architecture, Kingston
Karen Cham is an artist, lecturer and researcher. She is Principal
Lecturer in Digital Media and Development Director of the Digital
Media Institute at Kingston University, UK. She has been working with
audio-visual technology since 1987, making performance, installation
University, Knights Park, Grange
Road, Kingston, KT1 2TQ, United
Kingdom and screen-based works. She explores the poetic potential of media
technologies within a critical context. Current research interests include
digital semiotics, computational media aesthetics and design for
interaction. Keywords digital media, interactive
art, reflexive practice, poststructuralism, complexity theory › Reconstruction theory: Designing the space of possibility in complex media,
International Journal of Performance Arts and Digital Media, 3.2&3, 253268. Franc Chamberlain University College Cork, Drama &
Theatre Studies, College Road, Cork,
Co. Cork, Ireland Keywords Performance Studies,
theatre, hegemony, interdisciplinarity Franc Chamberlain was the course leader for Performance Studies at
The University of Northampton. He was responsible for the
development of this course, which was the first undergraduate
Performance Studies degree in the United Kingdom. Franc
Chamberlain currently teaches the practice and theory of theatre at
undergraduate and post-graduate level at University College Cork, and
has a particular interest in devising and the development of the actor
/performer as a creative artist. He is the author of Michael Chekhov
(Routledge, 2002); more recent publications include contributions to
Sacred Theatre (ed. Yarrow, Intellect 2007) and Physical Theatres: A
Critical Reader (ed. Keefe & Murray, Routledge, 2007). › Editorial, Studies in Theatre and Performance, 25.3, 179-188. › Interrogating boundaries/respecting differences? The role of theatre within
Performance Studies, Studies in Theatre and Performance, 25.3, 263-. David Chandler Doshisha University, KarasumaHigashi-iru, Fusokan bld,
Imadegawa-dori, Kamigyo-ku,,
Kyoto, 602-8580, Japan David Chandler is an Associate Professor in English Literature at
Doshisha University, Kyoto. His research interests include provincial
writing in late eighteenth century England, especially that of Norwich,
and also the works of Charles Dickens. › Reviews, Studies in Musical Theatre, 4.3, 343-349. Keywords Shakespeare, Charles
Dickens, literary study Freda Chapple Chapple's Voice Coaching, shover
Freda Chapple was the Programme Director of the Literature and
Creative Media programme for The Institute for Lifelong Learning at
the University of Sheffield and the founder co-convener of the
Parish Hall Events Centre,Own
company Intermediality in Theatre and Performance Research Group of the
International Federation for Theatre Research, with Chiel Kattenbelt. Keywords voice, theatre, business,
community › Adaptation as Education: A Lady Macbeth of the Mtsensk District, Journal
of Adaptation in Film & Performance, 1.1, 17-32. Helen J. Chatterjee University College London, Room
G17, UCL Wolfson House, 4
Stephenson Way, London, NW1 2HE,
United Kingdom Helen Chatterjee is Deputy Director of Museums and Collections and
Senior Lecturer in Biological Sciences at University College London.
Her research interests include touch and the value of object handling in
health and wellbeing, and its pedagogical function in education. › Evaluating the therapeutic effects of museum object handling with hospital
patients: A review and initial trial of well-being measures, Journal of Applied
Arts & Health, 2.1, 37-56. Keywords education, object
handling, touch Brigid Cherry St Mary’s University College, Culture
and Creative Arts, Waldegrave
Road,Twickenham, Middlesex, TW1
1LA, United Kingdom Keywords horror, cult, fan culture,
Gothic aesthetic Brigid Cherry is a senior lecturer in Communication, Culture and
Creative Arts at St Mary’s University College, Twickenham, UK,
where she teaches modules on horror cinema, cult film and television,
youth culture and film aesthetics. Her research has focussed on horror
and science fiction fandoms, particularly the female horror film
audience, and online science fiction fan cultures. She has recently
published work on fan responses to the return of Doctor Who, the
feminine aesthetic of horror cinema, cultural borrowings in alternative
music video and fan canons. Her Film Guidebook on Horror was
published by Routledge in 2009. She is currently working on a
monograph on trans-media storytelling in and is editing a collection on
True Blood for I.B. Tauris’s Cult Television series. Her current
research projects include feminine handicrafts as forms of
femaleDoctor Who › Negotiating the Punk in Steampunk: Subculture, Fashion & Performative
Identity, Punk & Post Punk, 1.1, 5-25. Kennedy C. Chinyowa University of the Witwatersrand, Wits
School of the Arts, Private Bag 3,
Kennedy C. Chinyowa is a lecturer and research fellow in Dramatic
Arts at the University of the Witwatersrand in Johannesburg, South
Africa. He has taught at several universities including the University of
Zimbabwe, Griffith University (Australia), University of KwaZulu-
Wits, Johannesburg, 2050, South
Africa Natal and Tshwane University of Technology (South Africa). He was a
visiting scholar in the Centre for Applied Theatre Research at Griffith
University where he obtained his Ph.D. degree in Theatre for
Development. Apart from winning numerous research awards and
presenting several conference papers and workshops, he has published
widely in books and international refereed journals such as Research in
Drama Education (UK), Studies in Theatre and Performance (UK),
Drama Australia (Nadie) Journal and the South African Theatre
Journal. Keywords make-believe,
metacommunication, paradox,
repetition, imitation › More Than Mere Story-Telling: the pedagogical significance of African
ritual theatre, Studies in Theatre and Performance, 20.2, 87-96. › The Sarungano and Shona Storytelling: an African Theatrical Paradigm,
Studies in Theatre and Performance, 21.1, 18-30. › Frames of metacommunication in African theatre for development, Studies in
Theatre and Performance, 27.1, 13-24. › By whom and for whom? An aesthetic appraisal of selected African popular
theatre workshops, Studies in Theatre and Performance, 28.1, 5-22. › Theatrical performance as technology: the case of drama in AIDS education
(DramAidE) in South Africa, Studies in Theatre and Performance, 29.1, 3352. › Playing against violence: a case study of popular theatre in Zimbabwe,
Studies in Theatre and Performance, 29.3, 275-287. Sylvia Chong National Institute of Education,
Singapore, 1 Nanyang Walk, 637616,
Singapore Keywords community music,
education Dr. Sylvia Chong is currently the Deputy Head, Office of Academic
Quality Management, National Institute of Education (NIE), Singapore.
She is concurrently an Associate Professor of Visual and Performing
Arts at NIE. Her current research interests focus on the role of
community music on education as well as teacher quality and
effectiveness. › Music links A music ensemble outreach programme for schools,
International Journal of Community Music, 4.1, 39-46. Eddy K. M. Chong Nanyang Technological University,
Visual & Performing Arts, 50
Nanyang Avenue, 639798, Singapore Keywords straddle tonal studies,
traditional music, music education,
Eddy Chong is an Associate Professor at the National Institute of
Education, Nanyang Technological University, Singapore. He teaches
music theory and analysis across diploma, undergraduate and graduate
levels. His research interests straddle tonal studies and twentiethcentury music. Beyond his initial doctoral work on developing a neoSchenker approach to analysing Ravel, he has since broadened his
music-analytical purview to examine the music of Lutosławski,
educational technology Hindemith and Persichetti in some detail. He has also been exploring
the musical systems of Chinese, Indonesian and Japanese traditional
music so as to better understand some of the musical fusions in more
recent works. He has presented at various international conferences,
and has published in journals and book chapters. › Blogging transformingmusic learning andteaching: Reflections ofa teacherresearcher, Journal of Music, Technology and Education, 3.2-3, 167-181. Broderick D. V. Chow Institute for Performing Arts
Development, University of East
London, Office EB 1.14, Docklands
Campus, University Way, London,
E16 2RD Keywords political philosophy,
stand-up comedy, contemporary
readings Dr. Broderick D. V. Chow is a lecturer in Theatre Studies at the
Institute of Performing Arts Development, University of East London.
His research centres on contemporary readings of political philosophy,
and performance as ideological critique. His practice-as-research Ph.D.
thesis ‘How to do things with jokes’ was the first Ph.D. to be awarded
by Central School of Speech & Drama, University of London. His
practice includes solo performance, stand-up comedy, devising and
installation. Broderick has a BA in Theatre and English from the
University of British Columbia, and an MA from the Central School of
Speech & Drama. › Parkour and the critique of ideology: Turn-vaulting the fortresses of the city,
Journal of Dance & Somatic Practices, 2.2, 143-154. Paul Christman Keywords Rodgers and Hart,
Broadway, theatre, music, Hans
Spialek, Hugh Martin Paul Christman holds the Weitzenhoffer Professorship in Musical
Theatre at the University of Oklahoma where he has served on the
faculty since 1999. He received a Master of Music in Performance
from Arizona State University and a Dual Bachelor of Arts in Theatre
and Music from Wright State University (OH). With Music Theatre of
Wichita, he has been musical director/conductor for twenty-four
productions since 1994. He has guest taught at the Stage School in
Hamburg, Germany and the Danish Academy of Musical Theatre;
lectured at the Music in Gotham American Musical Theater
Conference (N.Y.C.), the Song, Stage & Screen Conference (U.K.), the
Musical Theatre Educators Alliance Conference (N.Y.C.) and Putting
It Together: Teaching Musical Theatre in U.K. Higher Education
(U.K.) and written for the National Association of Teachers of Singing
Journal and Studies in Musical Theatre Journal. › Pal Joey: reconstructing a Classic Rodgers and Hart Score, Studies in
Musical Theatre, 3.2, 171-183. Necla Çikigil Middle East Technical University,
Department of Modern Languages.
Department of Music and Fine Arts,
Bogaz Sokak 15/2, Gazi Osman Pasa,
Ankara, 6700, Turkey Keywords dialogue, Coranto,
Galliard, la volta, pavane, ballet,
historical dances, Shakespeare,
effective presentations, performance Dr. Necla Çikigil, an instructor of English and History of Theatre at the
Middle East Technical University in Ankara, received her MA in
Shakespeare Studies at the Shakespeare Institute, Birmingham
University. Because of her combined interest in theatre and ballet
(being a graduate of Beatrice Appleyard’s Ballet School in Ankara),
she received her Ph.D. for an analysis of Romeo and Juliet as ballet in
the Theatre Department at Ankara University. Her major publications
are on literary works translated into ballet, danced versions of
Shakespeare’s works and reviews of Shakespeare productions. › Renaissance dance patterns in Shakespeare's Italian plays: An analysis of
dialogues, Studies in Theatre and Performance, 26.3, 263-272. Roger Clegg De Montfort University, Performance
and Digital Arts, The Gateway,
Leicester, LE1 9BH, United Kingdom Keywords theatre, dance, Richard
Tarlton, carnival, Will Kemp, Samuel
Foote Roger Clegg is a lecturer in Drama at De Montfort University where he
delivers a module on Popular Theatre and twentieth century
performance. He completed his Ph.D. at the University of Exeter,
where Peter Thomson was his supervisor, in 2005. Roger’s current
research interests include popular theatre and the popular tradition in
theatre and performance, including: the clown and fool figure; carnival,
the carnivalesque and subversive performance; and popular
performance on the early modern English stage. He is currently editing
a collection of stage jigs from the sixteenth and seventeenth centuries. › ‘He’s for a jig or a tale of bawdry—’: notes on the English dramatic jig,
Studies in Theatre and Performance, 29.1, 67-83. Stephen Clift Canterbury Christ Church University,
Sidney De Haan Research Centre for
Arts & Health, University Centre
Folkestone, Mill Bay, Folkestone,
CT20 1JG, United Kingdom Keywords older people, health, group
singing, Stephen Clift is Professor of Health Education within the department of
Health, Wellbeing and the Family at Canterbury Christ Church
University. He has made contributions to health education and
promotion in the fields of HIV/AIDS and sex education for young
people, international travel and tourism, and evaluation of the Health
Promoting School. His current interests are focused on the
contributions of the arts and music to healthcare and health promotion.
Together with Grenville Hancox, Professor of Music at Christ Church
University, he has recently established the Sidney De Haan Research
Centre for Arts and Health. › Choral singing and psychological wellbeing: Quantitative and qualitative
findings from English choirs in a cross-national survey, Journal of Applied
Arts & Health, 1.1, 19-34. › The Silver Song Club Project: A sense of well-being through participatory
singing, Journal of Applied Arts & Health, 1.2, 165-178. John M. Clum Duke University, Theater Studies, 109
Page Auditorium, Campus Box
90680, United States of America Keywords homosexuality, Tennessee
Williams, theatre, operatic
productions John Clum (Ph.D., Princeton) is the author of a number of books
including Still Acting Gay: Male Homosexuality in Modern Drama
(2001), Something for the Boys: Musical Theater and Gay Culture
(2000), and "He’s All Man": Learning Masculinity, Gayness, and Love
from American Movies (2002), and essays on Tennessee Williams, Sam
Shepard, and Larry Kramer. He has also edited two major anthologies
of contemporary drama. Professor Clum’s own plays have been
produced in theaters around America and seven of his plays have been
published. He has also directed over sixty professional and university
theatrical and operatic productions. He has twice won Duke’s
Distinguished Teaching Award. › REVIEWS, Studies in Musical Theatre, 5.1, 117-123. Jane Coad The University of the West of
England, The Centre for Child and
Adolescent Health, Frenchay
Campus, Coldharbour Lane, Bristol,
United Kingdom Keywords health, social care, genetic
information, photography, young
people Jane Coad is a Senior Research Fellow (Post Doctoral) in The Centre
for Child and Adolescent Health, The University of the West of
England and Honorary Senior Research Fellow in a DH funded project
known as FamilyTalk; (Communicating Genetic Information across
Families) at The University of Birmingham. Jane undertakes
participatory research with children and young people in a variety of
health and social care settings using a range of qualitative research
methods both locally in Bristol and Birmingham but also nationally.
Her current research projects include engaging children and families in
research around communicating genetic information; using
photography to explore young people’s perceptions of health and lives,
memories of paediatric intensive care unit and the effects of early arts
on young children’s health and development. › REVIEWS, Journal of Applied Arts & Health, 2.1, 93-101. Claire Cochrane University of Worcester, Henwick
Grove, Worcester, WR2 6AJ, United
Claire Cochrane is a senior lecturer in Drama at University College
Worcester. She is the author of two books on the Birmingham
Repertory Theatre: Shakespeare and the Birmingham Repertory
Theatre 1913-1929 and Birmingham Rep: A City’s Theatre 1962-2002
Kingdom and is currently working on a book on twentieth century British theatre
practice for Cambridge University Press which focuses on regional
theatre and the relationship with London. She also writes on the
development of contemporary Black British and British Asian theatre. Keywords British theatre, regional
theatre, British Asian theatre, Black
British theatre › It stands for more than theatre, Studies in Theatre and Performance, 20.3,
188-. Katye Coe Coventry University, c/o Summer
Dancing, Priory Street, Coventry,
CV1 5FB, United Kingdom Keywords Summer Dancing, dance,
art Katye Coe is a dance artist and senior lecturer whose primary dance
practices are Skinner Releasing Technique, Contact Improvisation and
Non stylised movement (Helen Poynor). She has collaborated with Joe
Moran (Dance Art Foundation) on his new work, Open to Change, and
toured her solo, Behind my Back, in London and Essex Spring 2010.
Katye is the artistic director of Summer Dancing, an international
festival of dance and performance. › Artist-led, artist-used: experiences at Coventry's Summer Dancing 2009,
Journal of Dance & Somatic Practices, 1.2, 199-214. Don D. Coffman University of Iowa, Frost School of
Music, University of Miami, Coral
Gables, FL 33134, Iowa, PO Box
248204, United States of America Keywords lifelong learning, adult
education, gerontology, instrumental
music education Don D. Coffman, Professor of Music Education, chairs the Department
of Music Education and Music Therapy at the University of Miami’s
Frost School of Music and is Professor Emeritus of Music Education at
The University of Iowa. . He has served on the Executive Committee of
the Society for Research in Music Education and chaired the Adult and
Community Music Education Special Research Interest Group of
MENC: The National Association for Music Education and the
Community Music Activity Commission of the International Society
for Music Education. He currently serves on the editorial boards of the
Journal of Research in Music Education and the International Journal
of Community Music. His passion is making music with
‘chronologically gifted’ adults in wind bands. In 2006 he was honoured
for his work with his New Horizons Band with two awards for State
Outreach and Public engagement and the State of Iowa Governor’s › Survey of New Horizons International Music Association musicians,
International Journal of Community Music, 1.3, 375-390. › Learning from our elders: survey of New Horizons International Music
Association band and orchestra directors, International Journal of
Community Music, 2.2&3, 227-240. › ‘And they lived happily ever after’: Community music and higher education?,
International Journal of Community Music, 4.2, 97-104. Mary L. Cohen University of Iowa, Music Education
Department, Iowa City, IA 522421795, United States of America Keywords prison,community, social
justice, Elvera Voth, prison choir Mary Cohen, Ph.D., Assistant Professor of Music Education, holds a
joint appointment with the School of Music and the College of
Education at the University of Iowa. She earned her BME, MME and
Ph.D. degrees from the University of Kansas and has ten years of
experience teaching general music in schools in Kansas. At Iowa, she
teaches undergraduate choral methods, elementary methods and
graduate courses. Dr. Cohen combines research and teaching in her
work with two community choirs. Her research is published in the
International Journal of Research in Choral Singing, Australian
Journal of Music Education, Journal of Historical Research in Music
Education, Journal of Correctional Education, International Journal of
Community Music and Choral Journal. › Conductors' perspectives of Kansas prison choirs, International Journal of
Community Music, 1.3, 319-333. › Editorial, International Journal of Community Music, 3.1, 3-6. › Risk taker extraordinaire: An interview with Elvera Voth, International
Journal of Community Music, 3.1, 151-156. Stefanie Cohen Keywords dance, somatics, living
body Stefanie Cohen, Registered Somatic Movement Educator, International
Somatic Movement Education and Therapy Association (ISMETA), is
an independent dance/movement artist and somatic practitioner,
teaching and performing throughout the United States. She completed
the Contemplative Dance Year-Long programme in Authentic
Movement, in 1998. Currently, she is working towards completing her
MA in Dance and Somatic Well-Being:Connections to the Living Body
– an approved programme of ISMETA – from the University of
Central Lancashire (US branch at Moving Body Resources, New York
City). She is also the owner and manager of SOMA: Studio Of
Movement Arts, in Ann Arbor, Michigan, United States. › Sightless touch and touching witnessing: Interplays of Authentic Movement
and Contact Improvisation, Journal of Dance & Somatic Practices, 2.1, 103112. Sara Cohen University of Liverpool, School of
Music, 80-82 Bedford Street South,
Liverpool, Liverpool, L69 7WW,
Sara Cohen is a Professor in the School of Music and Director of the
Institute of Popular Music. She has a DPhil in Social Anthropology
from Oxford University and specializes in ethnographic approaches to
music research, and in research on music and urban geography. United Kingdom › ‘A fanzine of record’: Merseysound and mapping Liverpool’s Post Punk
popular musicscapes, Punk & Post Punk, 1.1, 87-104. Keywords ethnographic approaches
to music research, urban geography Bruce Cole The University of York, Department
of Music, Heslington, York, YO10
5DD Keywords disability arts, prison
education, community music Bruce Cole is Fellow in Community Music at the University of York,
where he is responsible for undergraduate and postgraduate
programmes (including the United Kingdom’s first M.A. in
Community Music) and developing outreach work with the education
departments of orchestras and disability arts and prison education
programmes. He has also been external examiner and consultant in
community music to institutions in the United Kingdom, Ireland, Japan
and Africa. Before joining the University of York in 1986, he founded
and ran the Lewisham Academy of Music, a resource centre for young
people in southeast London. A composer who has worked in the music
industry, concert hall, theatre and film, he has held two residencies in
London schools and authored and co-authored six books on school
music. He is also Chief Examiner in Music and Music Technology to
the London examinations board Edexcel. › Community music and higher education: A marriage of convenience,
International Journal of Community Music, 4.2, 79-89. › Reflections on community music and higher education, International Journal
of Community Music, 4.2, 91-95. Dave Collins University Centre Doncaster,
University Centre, Doncaster, South
Yorkshire DN5 7SZ, Doncaster, UK Keywords classical guitar, protocol
analysis, phenomenology, cognition Dave Collins is Deputy Director of Higher Education at University
Centre, Doncaster. He is the founder and editor of the International
Journal of Performance Arts and Digital Media, now in its seventh
year, and the founder of the Journal of Music, Technology and
Education. His primary interest is in the area of creative cognition and
music composition and the search for appropriate modes of enquiry. › Introduction, International Journal of Performance Arts and Digital Media,
7.1, 3-4. › Problem-solving strategies and processes in musical composition:
Observations in real time, Journal of Music, Technology and Education, 4.1,
47-76. › 'Getting there': Do we need to study how people compose music?, Journal of
Music, Technology and Education, 4.2-3, 173-179. Jane Collins Keywords Africa, Victorian, colonial,
costume, audience, performance,
scenography Jane Collins is Reader in Theatre at the Wimbledon College of Art. She
is a writer and director whose extensive links with African theatre
include the co-direction in Kampala (Uganda) of Maama Nalukela
Ne’zzadde Lye (1995), a version of Mother Courage which was the first
official African translation of a play by Brecht. With Michael Pavelka,
she is joint-curator of the exhibition ‘Stages Calling’ at the Royal
National Theatre (March 2007). The exhibition marks thirty years of
the history of the Market Theatre in Johannesburg. › ‘Umuntu, Ngumuntu, Ngabantu’: The story of the African choir, Studies in
Theatre and Performance, 27.2, 95-114. Lisa Colton University of Huddersfield,
Department of Music, Queensgate,
Huddersfield, West Yorkshire, HD1
3DH, United Kingdom Keywords medieval music, gender
and identity, plainsong Dr. Lisa Colton is Subject Leader for Music at the University of
Huddersfield, where she is also the Director of the Centre for the Study
of Music, Gender and Identity (MuGI). She has published a critical
edition of the York Masses, as well as journal articles in Music and
Letters, Journal of the Royal Musical Association and Plainsong and
Medieval Music and Contemporary Music Review. She is Chair of the
Plainsong and Medieval Music Society. › Book Reviews, Studies in Musical Theatre, 1.3, 309-324. Claire Conceison Duke University, Durham, NC 27708,
United States of America Keywords contemporary theatre,
intercultural performance, Gao
Xingjian, Meng Jinghui Claire Conceison joined Duke University from Tufts University in
2009. She taught two courses in Autumn 2010 ('Sport as Performance'
and 'China: Theatre and Society') and two courses in Spring 2011
('Sport as Performance' and 'The China Theatre Experiment,' a
contemporary Chinese theatre workshop resulting in a production). Her
research interests include contemporary theatre practice in mainland
China, intercultural performance, translation and cultural transmission,
and Asian American cultural production. Her scholarly projects in
progress include a comprehensive history of Chinese spoken drama, a
study of the French-language plays of Gao Xingjian, an anthology of
plays of Meng Jinghui, and an edited volume on sport as performance. › Face Time – Time to Face Realities of Cultural Production in the American
University, Studies in Theatre and Performance, 21.2, 96-108. WILLIAM CONDEE Keywords William F. Condee (J. Richard Hamilton/Baker and Hostetler Professor
of Humanities and Professor of Theater, Ohio University) is the author
of two books, Coal and Culture: The Opera House in Appalachia (Ohio
University Press, 2005) and Theatrical Space: A Guide for Directors
and Designers (Scarecrow Press,1995), as well as ‘Experiments with
architectural space in the German theatre’, in A History of German
Theatre (Cambridge University Press, 2008) and ‘Architecture for the
twentieth century: Imagining the theatre in the 1920s’, in
Experimenters, Rebels, and Disparate Voices: The Theatre of the 1920s
Celebrates American Diversity (Greenwood, 2003). His articles on
theatre space have appeared in the Journal of American Drama &
Theatre, Architectural Review, World Architecture, the Journal of
American Culture Scenography International, Theatre Design and
Technology and Themes in Drama. Articles on other subjects have
appeared in The Oxford Encyclopedia of Theatre and Performance,
Theatre Survey, Theatre Annual, Western › Three bodies, one soul: Tradition and Burmese puppetry, Studies in Theatre
and Performance, 31.3, 259-274. Rob Conkie La Trobe University, Department of
Theatre & Drama, Victoria, 3086,
Australia Dr. Rob Conkie is a lecturer in Theatre & Drama at La Trobe
University in Melbourne, Australia. He earned his doctorate from the
University of Southampton. His teaching and research focuses on
practical and theoretical approaches to Shakespeare in performance. › Democratizing Shakespeare, Studies in Theatre and Performance, 23.3, 179190. Keywords carnival, commedia
dell’arte, Bell Shakespeare Company,
popular tradition, Bakhtin Roy Connolly University of Sunderland, Drama
Department, Priestman Building,
Green Terrace, Sunderland, Tyne and
Wear, SR2 7EE, United Kingdom Keywords embodiment, psychology,
emotion, memory Roy Connolly is a senior lecturer in Drama, and Programme Leader for
the MA in Contemporary Performance Practice at the University of
Sunderland. His research interests include Irish theatre, acting and
psychology and directing. He has presented papers at national and
international conferences and has published articles in the Irish Studies
Review, Studies in Theatre and Performance, and the Journal of
Theatre History Studies. He has also contributed chapters to the series
the Dictionary of Literary Biography and is author of Fighting the
Waves: The Evolution of Lyric Players Theatre (2000). › The Laws of Normal Organic Life or Stanislavski Explained: Towards a
scientific account of the subconscious in Stanislavski's system, Studies in
Theatre and Performance, 27.3, 237-260. › Embodying interpretation, Studies in Theatre and Performance, 27.1, 43-58. › Brecht and the disembodied actor, Studies in Theatre and Performance, 28.2,
91-110. › Something real is needed: Constructing and dismantling presence, Studies in
Theatre and Performance, 30.2, 203-218. Costas Constandinides University of Nicosia,
Communications, 46 Makedonitissas
Ave, P.O. Box 24005, Nicosia, 1700,
Cyprus Keywords intertextuality, digital
media, realism, doppelgänger Dr. Costas Constandinides is a lecturer in the Department of
Communications at the University of Nicosia, Cyprus. He has taught in
the Department of Film, Theatre and Television at the University of
Reading, UK, where he was also awarded his Ph.D. He is a member of
the Film Selection Committee of Cyprus Film Days International film
festival and a member of the Script Evaluation Subcommittee of the
Cinema Advisory Committee of Cyprus. He is the author of the book
From Film Adaptation to Post–celluloid Adaptation: Rethinking the
Transition of Popular Narratives and Characters across Old and New
Media (New York/London: Continuum, 2010). His research interests
mainly focus on film adaptation, post-celluloid adaptation, digital
cinema and transnational horror cinema. › Adapting the Literature of the Double: manifestations of cinematic forms in
Fight Club and Enduring Love, Journal of Adaptation in Film &
Performance, 2.2, 95-107. Grayson Cooke Southern Cross University, School of
Arts and Social Sciences, Southern
Cross University, Military Road, East
Lismore, NSW 2480, Australia Keywords cinema, technology, new
media, multimedia, performance, live
art Grayson Cooke is an interdisciplinary scholar and media artist, Senior
Lecturer in the School of Arts and Social Sciences at Southern Cross
University, and Course Coordinator of the Bachelor of Media degree.
Grayson has performed live audio-visual works in Australia, New
Zealand, Italy and the United Kingdom. He has exhibited works of new
media and photography in Australia and Canada and he has published
academic articles in numerous print and online journals. He is also an
associate editor for the online cultural theory journal Transformations.
He holds an interdisciplinary Ph.D. from Concordia University in
Montreal. › Startmaking sense: Live audio-visual media performance, International
Journal of Performance Arts and Digital Media, 6.2, 193-208. Steve Cooper University of Wolverhampton,
Wulfruna Street, Wolverhampton,
WV1 1LY, United Kingdom Keywords podcasting, assessment
feedback, iPod, independent learning,
improving practice Steve is a senior lecturer in Popular Music at the University of
Wolverhampton and is a key member of the university’s Podagogy
research team. He is currently evaluating how a range of iPod related
technologies support the student learning experience. Steve is a regular
podcast contributor and releases regular episodes for students studying
Songwriting & Performance at the University of Wolverhampton. He
holds a first class honours degree in Music and Popular Music, a MA in
Higher Education teaching, a Licentiate Diploma in guitar from the
London College of Music and is a teaching fellow of the Higher
Education Academy. Steve is also a well-established guitarist who has
performed and recorded throughout the UK & Europe for more than
fifteen years. › Delivering student feedback in higher education: the role of podcasting,
Journal of Music, Technology and Education, 1.2&3, 153-165. Elizabeth Titrington
Craft Keywords Rent, Jonathan Larson,
musical theatre, national identity Elizabeth Titrington Craft is a Ph.D. candidate in Historical
Musicology at Harvard University. She earned bachelor’s degrees in
Music and Sociology from the College of William and Mary and a MA
from the University of Maryland at College Park. Her master’s thesis
examined the creation of by Jonathan Larson. She is currently coauthoring an article about an exhibit she co-curated on ‘Nadia
Boulanger and Her American Composition Students’, forthcoming in
the proceedings of the Crosscurrents conference on American and
European Music in Interaction, 1900–2000. She is also at work on a
dissertation examining ethnicity and national identity in American
musical theatre through narratives of Americanization. › ‘Is this what it takes just to make it to Broadway?!’: Marketing In the Heights
in the twenty-first century, Studies in Musical Theatre, 5.1, 49-69. Jennifer-Lynn Crawford Jennifer-Lynn Crawford is currently on faculty at Northern School of
Northern School of Contemporary
Dance, 98 Chapeltown Road, Leeds,
LS7 4BH, United Kingdom Keywords contemporary dance,
release-based technique Contemporary Dance where she lectures in release-based technique.
She also teaches on a freelance basis throughout the UK, Germany and
Scandinavia. Jennifer-Lynn currently situates her research interests
within ‘The Nature of Things’, a project with long-term collaborator
and choreographer Charlotte Spencer. › Reflections on Skin, Journal of Dance & Somatic Practices, 2.2, 177-187. Brian Crow University of Birmingham, Drama
Department, P.O.Box 363,
Birmingham, West Midlands, B15
2TT, United Kingdom Keywords drama, Sikhism, theatre,
management, arts Brian Crow is a senior lecturer in Drama and Theatre Arts and Director
of Postgraduate Studies at the University of Birmingham. He has
previously taught in universities in Nigeria and Australia. He has
directed some twenty productions in university theatres in Nigeria and
Australia, as well as at Birmingham. In Nigeria he directed several
productions of plays by Brecht adapted and translated for Nigerian
audiences, as well as David Hare’s Fanshen and Beckett’s Waiting for
Godot, while in Australia his productions included his own play,
Something Better (1988) about a group of Australian socialists who
established a utopian settlement in Paraguay in the 1890s. At
Birmingham his most recent credits include Louis Nowra’s Australian
play, The Golden Age (2003). › The Behzti affair revisited: British multiculturalism, audiences and strategy,
Studies in Theatre and Performance, 27.3, 211-222. Ben Curry Cardiff University Keywords Le nozze di Figaro,
Mozart, semiotics, opera, music Ben Curry is a Ph.D. student at Cardiff University researching the
application of semiotics to music. He holds a BMus. from Cardiff
University and an MA from the University of Bristol. He has taught
students at Cardiff, Bristol and Bath Spa Universities and has given
research papers on musical semiotics at conferences in Bristol, Cardiff,
Liverpool, Surrey and Vilnius. › Musical semiotics in action: applying and debating Hatten's semiotics in a
musico-dramatic context, Studies in Musical Theatre, 4.1, 53-65. Brian Curson al'Kamie Intermedia Theatre, c/o Blue
Cottage Keywords digital scenography,
dance, virtual environment,
complexity theory, emergence Brian Curson studied science and engineering, and worked as a
software analyst and engineer before switching to study martial arts
and then dance at the Rambert School of Dance. He has worked
internationally as an independent dance artist since 1996 collaborating
with film-makers, sculptors, and composers, while simultaneously
developing an interest in and working as a lighting designer. Mr
Curson formed al’Ka-mie with Dr. Stuart in 2000 and not only dances
and choreographs, but he is also responsible for the design and
development of the computer systems and lighting used. › Exploring Living Room: The dancing body and live immersion in digital
scenography, International Journal of Performance Arts and Digital Media,
2.3, 259-274. Dennis Cutchins Brigham Young University,
Department of English, Office 4167
JFSB, Provo, UTAH, 84602, United
States of America Dennis Cutchins has taught at BYU since 1997. He earned a Ph.D. in
American literature, specializing in contemporary Native American
novels, from the Florida State University in 1997. Dr. Cutchins has
written several articles on Native American authors Leslie Marmon
Silko and Louise Erdrich. He teaches American literature, with
specializations in Native American literature and film and literature. Keywords American literature,
Native American literature › ADAPTATION: THE JOURNAL OF LITERATURE ON SCREEN
STUDIES, DEBORAH CARTMELL, TIMOTHY CORRIGAN AND
IMELDA WHELEHAN (eds.) (2008), VOL. 1, NO. 1 AND NO. 2, Journal
of Adaptation in Film & Performance, 3.1, 99-100. William M Dabback James Madison University, School of
Music, 800 South Main Street,
Harrisonburg, VA 22807, United
States of America Keywords identity, older adults,
social interaction, Shenandoah Valley,
community music Dr. William M. Dabback is Assistant Professor of Music Education at
James Madison University in Virginia where he teaches courses in
instrumental methods, instrument pedagogy and conducting. He
received his MM and Ph.D. from the Eastman School of Music. Prior
to commencing his doctoral work, he served twelve years as the
Towanda High School band director in Pennsylvania. His research
interests include the relationships between sociological interactions,
learning and identity; musical improvisation; teacher preparation; and
instrumental pedagogy. › Identity formation through participation in the Rochester New Horizons
Band programme, International Journal of Community Music, 1.2, 267-286. › Exploring communities of music in Virginia's Shenandoah Valley,
International Journal of Community Music, 3.2, 213-227. Jerri Daboo The University of Exeter, Department
of Drama, Thornlea, New North
Road, Exeter, EX4 4LA, United
Kingdom Keywords Zen, Bhodhidharma,
Hotei, Michael Chekhov,
psychophysical, Steiner Jerri Daboo is a lecturer in Drama at the University of Exeter. Her
research focuses on a psychophysical approach to performance, and she
has been training in and teaching the work of Michael Chekhov for five
years. Her research and practice also examine an intercultural and
interdisciplinary investigation of the bodymind in performance,
including neurophysiology, sports psychology, Buddhism, and Chinese
and Japanese forms of biomedicine. › Notes and Queries, Studies in Theatre and Performance, 23.2, 125-. › Reviews, Studies in Theatre and Performance, 26.3, 297-. › Michael Chekhov and the embodied imagination: Higher self and non-self,
Studies in Theatre and Performance, 27.3, 261-274. › Editorial, Studies in Theatre and Performance, 29.2, 117-119. › To learn through the body: teaching Asian forms of training and performance
in higher education, Studies in Theatre and Performance, 29.2, 121-131. › Reviews, Studies in Theatre and Performance, 30.3, 361-371. Robert Jude Daniels University of Chichester, Performing
Arts, College Lane, Chichester, West
Sussex, PO19 6PE, United Kingdom Keywords phenomenology, physical
theatre, practice as research, outdoor
arts, live art, devised theatre,
interdisciplinarity Robert is a senior lecturer in Performing Arts and Programme
Coordinator for the MA Theatre Collectives. A graduate of the
University of Northampton, and University of Kent; his research,
practice and teaching interests include practice-based Research in
Performance Studies, Live Art and Dance, Interdisciplinary
Performance Composition, Street Theatre, site-specific theatre and
devised contemporary performance. Robert is also artistic director of
Bootworks Theatre Collective; a theatre company which tours
internationally with a project called The Black Box (among other
projects). Bootworks are supported by The British Council, Arts
Council and have an association with Without Walls, The Battersea
Arts Centre, Forest Fringe, Farnham Maltings and are a resident
company in the ShowRoom theatre space at the University of
Chichester. › Inside out: what is (my) practice in Performance Studies?, Studies in Theatre
and Performance, 25.3, 239-252. Glorianna Davenport Keywords culture, reflexivity,
computing audience, identity, metaaudience, off-stage performance Glorianna Davenport is Visiting Scientist at the MIT Media
Laboratory. Trained as a sculptor and film-maker, her work in digital
media, storytelling and performance has continually expanded
prevailing aesthetic paradigms, pioneered new channels of
communication and invented compelling technological tools for rich
media expression. › Self-reflexive performance: dancing with the computed audience of culture,
International Journal of Performance Arts and Digital Media, 1.3, 237-. Pedro de Senna Buckinghamshire New University,
Faculty of Design, Media and
Management, Queen Alexandra Road,
High Wycombe, HP11 2JZ, United
Pedro de Senna is a theatre practitioner and academic. He is a lecturer
in Drama at Buckinghamshire New University. His current research
interests are intertextuality, translation and collaborative projects.
Recent/current practice research includes 'The July 22nd Project', with
Upstart Theatre (as an actor), and directing 'MILF' by Donna Savery.
Kingdom His play The Tragedy of Ismene, princess of Thebes opened in the
Centro Cultural Banco de Brasil, Rio de Janeiro, in 2007. Keywords Brazilian theatre,
postcolonial theatre, theatre
translation, Chico Buarque, Ruy
Guerra › In Praise of Treason: Translating Calabar, Journal of Adaptation in Film &
Performance, 1.1, 33-44. › This Blasted translation: or location, dislocation, relocation, Journal of
Adaptation in Film & Performance, 2.3, 255-265. Peter De Vries Monash University, Faculty of
Education, McMahons Road,
Frankston, Victoria 3199, Australia Keywords performance, ageing,
phenomenology, gerontology Dr. Peter de Vries is a senior lecturer in the Faculty of Education at
Monash University. Peter’s research revolves around early childhood
learning and engagement in music, music teaching in the primary
school, and active engagement with music in older age. Peter is
currently early childhood chair for the Music Council of Australia. He
has published his research in refereed journals such as Music Education
Research, The International Journal of Music Education, Early
Childhood Education Journal, and the International Journal of
Education and the Arts. › Everyone deserves music: the role of music in the lives of two older
Australians, International Journal of Community Music, 3.2, 245-254. Rob Dean University of Glamorgan, Cardiff
School of Creative and Cultural
Industries, Department of Drama and
Music, Atrium, Adam Street, Cardiff,
CF24 2XF, United Kingdom Keywords underscoring, soundbridge, non-diegetic, Boucicault,
Shyamalan Rob Dean is a lecturer in Drama at the University of Glamorgan. He
recently completed his thesis entitled ‘UNPLUGGED: A comparative
analysis of live Music in late Victorian Theatre and recorded Music in
the modern sound film.’ His research into sound design has focused
upon the similarities in aural techniques used by different forms of
media incorporating the study of radio, television, installations and
performance. He will also be researching the use of sound effects,
music and dialogue in the original presentation of silent film. During
the last year he has been creating and developing a musical genre
which he has named ‘meme music’ which refers to an eclectic
collection of sonic samples taken from all areas of entertainment. The
aural material is mixed together to create both subjective and objective
meaning through cultural references, thematic juxtaposition and
musical connections. › From melodrama to blockbuster:a comparative analysis of musical
camouflage in Victorian theatre and twenty-first-century film, Studies in
Musical Theatre, 1.2, 139-152. Kathryn Deane Sound Sense, Riverside House,
Rattlesden, Bury St Edmunds, IP30
0SF, United Kingdom Keywords community music,
conferences, research and theory,
practice and leadership Kathryn Deane ran large-scale community music projects across
England before becoming director of Sound Sense, the UK association
for community musicians, in 1995. She has carried out advocacy work
across government, including as an author of the Music Manifesto
report 'Making every child’s music matter'; she carries out major
research into community music; and is an adviser to the Sing Up
Beyond the Mainstream programme. She is a visiting lecturer on
community music; editor of Sounding Board, the UK journal of
community music; sits on the editorial board of the International
Journal of Community Music; and co-edited Music And The Power Of
Partnerships (National Association of Music Educators). She is deputy
chair of the Music Manifesto Partnership and Advocacy Group; an
executive member of the Music Education Council; and chair of
Voluntary Arts Network. › 11th Community Music Activity International Seminar: A personal
reflection, International Journal of Community Music, 1.3, 299-310. Piet Defraeye University of Alberta, Department of
Drama, 11487 89 ave, Edmonton,
AB, T6G 2M7, Canada Piet Defraeye is a theatre scholar, critic and director. He has published
on Theatre of Provocation, political theatre and contemporary mise en
scène in Canada and Europe in English, French, Dutch and German.
He teaches at the University of Alberta. His research is focused on
Reception Theories and Theatre of Provocation. Keywords political theatre, Theatre
of Provocation › Theatre in Germany: summer 2007 theatre festivals in Munich and
Heidelberg*, Studies in Theatre and Performance, 29.1, 85-91. Jaime del Val Keywords body, embodiment, digital
culture, performance, interactivity,
technology Jaime del Val is a digital and visual artist, composer and pianist,
choreographer and performer, writer, independent researcher, activist
and director of REVERSO, the Body Technologies Project. His
interactive dance performances have received several international
awards. He regularly teaches the Body Technologies Workshop and
has participated in numerous international congresses, festivals and
exhibitions in the fields of digital and visual art, music, dance and
critical theory. He has published on digital art, dance & technology and
critical theory in diverse journals and is the editor of REVERSO, the
first journal of queer theory in Spanish. › Situated Tékhne. Beyond the performative: metaformative bodies and the
politics of technology in post-postmodernism, International Journal of
Performance Arts and Digital Media, 2.2, 187-208. Scott deLahunta Keywords interactivity, art,
technology, dance Scott deLahunta works from his base in Amsterdam as a researcher,
writer, consultant and organizer on a wide range of international
projects bringing performing arts into conjunction with other
disciplines and practices. He is an Associate Research Fellow at
Dartington College of Arts, Research Fellow with the Art Theory and
Research and Art Practice and Development Research Group,
Amsterdam School for the Arts, and Affiliated Researcher with
Crucible (Cambridge University Network for Interdisciplinary
Research). He lectures on the Amsterdam Master in Choreography and
serves on the editorial boards of Performance Research, Dance Theatre
Journal and the International Journal of Performance and Digital
Media. › Isadora ‘almost out of beta’: tracing the development of a new software tool
for performing artists, International Journal of Performance Arts and Digital
Media, 1.1, 31-46. › Sharing descriptions of movement, International Journal of Performance
Arts and Digital Media, 3.1, 3-16. Paul G. Dempster University of Leeds, School of
Medicine, Leeds Institute of Health
Sciences, Charles Thackrah Building,
101 Clarendon Road, Leeds, LS2 9LJ,
United Kingdom Paul joined the Institute of Health Sciences in 2008. Currently he is a
Research Manager and Fellow in the Academic Unit for Primary Care.
His prior research in the Yorkshire Centre for Health Informatics and
the Centre for Health and Social Care focussed on examining the
rollout of electronic health programmes and investigating the role of
governance within Foundation Trust Hospitals. › REVIEWS, Journal of Applied Arts & Health, 2.1, 93-101. Keywords ageing, death,
bereavement, social care Rea Dennis University of Glamorgan, School of
Creative and Cultural Industries,
Atrium Campus, Adam Street,
Cardiff, CF24 2NX, United Kingdom Keywords autobiography, memory,
embodiment, improvisation,
performance Rea Dennis is a scholar and practitioner based at the School of Creative
and Cultural Industries, University of Glamorgan, UK. She has a long
interest in story and theatre-based methodologies for cultural
development and has applied these in various contexts over the past
twenty years. She completed her Ph.D. in Applied Theatre at Griffith
University in Australia in 2004. Her interests include unblocking
human potential through expressive arts and autobiography/memory
and physiological performance practices. › Big clumsy feet stomping all over: shame, caution and fear in performance
for peace building*, Studies in Theatre and Performance, 29.1, 53-66. Sarah Dickenson Keywords Theatre 503, dramaturg Sarah Dickenson is a dramaturg, director and project manager. Since
2000 she has worked for the national writers' organisation, Writernet,
where her project work has focused on the development of training and
resources to empower playwrights nationally and internationally. She
has worked with individual playwrights as dramaturg and for the script
departments of companies including The National Theatre, Oval
House, Soho Theatre and Writers’ Centre, The Gate, The Donmar
Warehouse and Graeae. She was formerly New Writing Associate for
the Red Room and is currently dramaturg for Theatre 503 and for the
Responses programme at the Hall for Cornwall. › The Commotion Time – Whitsun experiments, Studies in Theatre and
Performance, 30.1, 45-50. Sarah Jane Dickenson University of Hull, United Kingdom,
The Drama Department, Cottingham
Road, Hull, HU6 7RX, United
Kingdom Sarah Jane Dickenson is the deputy Dean of the Faculty of Arts and
Social Sciences and a senior lecturer in drama at the University of Hull,
UK and a National Teaching Fellow. She specializes in applied drama,
and the structure of written drama. She has been commissioned to write
plays for young people to perform in a variety of situations and for a
variety of purposes. Keywords scriptwriting, applied
drama, theatre, Euripides › After Cyclops: Appropriating the chorus of Euripides when scriptwriting for
applied drama, Journal of Adaptation in Film & Performance, 3.3, 291-304. › The Tipping Point, Journal of Adaptation in Film & Performance, 3.3, 305328. Steve Dillon Queensland University of
Technology, Senior Lecturer, Faculty
of Creative Industries: Music &
Sound, Queensland University of
Technology, Victoria Park Rd. Kelvin
Grove, Qld. Australia Keywords engagement, generative,
virtual, networking, ensemble Steve C. Dillon studied music education at the University of South
Australia, before completing a master of music education and a
doctorate of philosophy at La Trobe University in Melbourne. He has
combined a career as a professional singer songwriter with school
music teaching. He is a senior lecturer in music and sound at
Queensland University of Technology, director of the DISC Research
Network and project leader of the Network Jamming Research Group.
Steve is series editor of the 'Meaningful Music Making for Life' book
series and reviewer for international journals. He is current president of
the Musicological Society of Australia, Queensland branch, and is an
active affiliate of ISME and ASME. His research interests focus on
meaningful engagement with music making, and designing digital
media technologies and relational pedagogies to provide access to
cognitive growth, health and well being through music making. › Communities of sound: Examining meaningful engagement with generative
music making and virtual ensembles, International Journal of Community
Music, 1.3, 357-374. › eBILITY: from tool use to partnerships, Journal of Music, Technology and
Education, 4.2-3, 201-215. Steve Dixon Brunel University, Uxbridge,
Middlesex, UB8 3PH, United
Kingdom Keywords temporality,
disorientation, digital arts,
postmodernism, freeze-frame, theatre Steve Dixon is Professor of Performance and Technology at Brunel
University in West London, where he is also Head of School of Arts,
and Deputy Director of the BitLab Research Centre. He has a
professional background in theatre, film, television, opera and stand-up
comedy, and his recent creative practice-as-research includes
international multimedia theatre tours as director of The Chameleons
Group (since 1994), two award winning CD-ROMs, interactive Internet
performances and telematic arts events. He has published extensively
on several subjects, including performance studies, digital arts,
robotics, Artificial Intelligence and pedagogy. He is Associate Editor
of The International Journal of Performance Arts and Digital Media,
and co-director of The Digital Performance Archive. › Theatre, technology, and time, International Journal of Performance Arts
and Digital Media, 1.1, 11-30. › A history of virtual reality in performance, International Journal of
Performance Arts and Digital Media, 2.1, 23-54. › The philosophy and psychology of the scenographic house in multimedia
theatre, International Journal of Performance Arts and Digital Media, 6.1, 724. Philipp Dorstewitz Maastricht University, Faculty of Arts
and Social Science (FASoS), Grote
Gracht 80-82, PO Box 616, MD
Maastricht, 6211, Netherlands Keywords urban planning,
deliberation, social planning Philipp Dorstewitz obtained his Ph.D. from the London School of
Economics with a thesis on John Dewey's philosophy and its
application of social and urban planning. Trained in philosophy and
business studies he held temporary teaching appointments at the
University College, Dublin and at the London School of Economics.
Since 2007 he has been a full time lecturer at Maastricht University
where he teaches in the arts and culture program. Philipp Dorstewitz
has published several articles on the link between philosophy, policy
and imaginative forms of deliberation. › Community, communication, social change: Music in dispossessed Indian
communities, International Journal of Community Music, 4.1, 59-70. Oliver Double University of Kent, Eliot College,
Canterbury, Kent, CT2 7NS, United
Kingdom Keywords Munich cabaret, Liesl
Karlstadt, politics, Nazism, Brecht Oliver Double started his career as a stand-up comedian and is now a
senior lecturer in Drama at the University of Kent. He is the author of
Stand-up! On Being a Comedian (1997) and Getting the Joke (2005).
He has also written chapters and articles on comedy, cabaret, Variety
theatre and punk. His stand-up comedy DVD Saint Pancreas, produced
as part of a practice-as-research project, is available from the
University of Kent website. › Teaching Stand-Up Comedy: a mission impossible?, Studies in Theatre and
Performance, 20.1, 14-23. › Karl Valentin's ‘Father and Son Discuss the War’, Studies in Theatre and
Performance, 27.1, 5-12. › ‘I am a Poor, Skinny Man’: Persona and physicality in the work of Karl
Valentin, Studies in Theatre and Performance, 28.3, 213-221. › Not the definitive version: an interview with Ross Noble, Comedy Studies,
1.1, 5-19. Denise Doyle University of Wolverhampton, School
of Art & Design, Wolverhampton,
West Midlands, WV1 1SB, United
Kingdom Keywords Second Life, Spinoza,
body, technology, Internet Denise is a senior lecturer in Digital Media at the University of
Wolverhampton and Ph.D. candidate at SMARTlab, University of East
London. She contributes to the contextual and practice-based strand of
the UG Digital Media programme at Wolverhampton. She is a theorist
and new media practitioner. Her research interests include: virtual
worlds, interactive film, database cinema, philosophies of the
imagination, practice-based research methods, critical theory and media
arts practice, phenomenological and ethnographic research methods,
digital narratives, and multiplayer games and virtual learning
environments. › Embodied narrative: The virtual nomad and the meta dreamer, International
Journal of Performance Arts and Digital Media, 3.2&3, 209-222. › Art and the avatar: the kritical works in SL project, International Journal of
Performance Arts and Digital Media, 4.2&3, 137-153. Natalie Draper Independent Scholar Keywords Stephen Sondheim,
concept musical, metadrama, Richard
Hornby, psychological narrative Natalie Draper received her BA in Music from Carleton College in
Northfield, Minnesota and her MM in Composition from the University
of Cincinnati’s College-Conservatory of Music in Cincinnati, Ohio.
She currently works as a freelance composer in the Washington, D.C.
metropolitan area, where she writes concert music for acoustic, electroacoustic and electronic mediums. Natalie currently works as a music
theory Teaching Assistant for Frances McKay’s AP Music Theory
course at the Levine School of Music in Washington, D.C. › Concept meets narrative in Sondheim's Company: Metadrama as a method of
analysis, Studies in Musical Theatre, 4.2, 171-183. Paul Draper Griffith University, Queensland
Conservatorium Research Centre, 58
Parklands Dr, Gold Coast, QLD 4215,
Australia Keywords knowledge transfer, music
2.0, music technology, praxis
intervention, social networking Paul Draper is Professor of Digital Arts in the Queensland
Conservatorium Research Centre and the Centre for Public Culture and
Ideas at Griffith University. He is a musician and head of Music
Technology at the Queensland Conservatorium where he has written
and convened degree programs in sound production, multimedia and
popular music. Paul is the Director of IMERSD, the Australian
university sector’s premier 5.1 surround-sound recording and postproduction studios, engaging in industry projects, work-integrated
learning, research training and the creation of public value through the
open access podcasting site, Radio IMERSD. Paul publishes as an
active record producer and writes on higher education and the arts. › Music two-point-zero: music, technology and digital independence, Journal
of Music, Technology and Education, 1.2&3, 137-152. John Drummond University of Otago, Music,
Department of Music, PO Box 56,
Dunedin, New Zealand Keywords Ngati Toa, whanau,
community music, training John Drummond, BA, BMus, Ph.D., is Blair Professor of Music at the
University of Otago in New Zealand. He trained in the United
Kingdom as a musicologist and composer specializing in opera. In the
late 1980s he became involved in music education, joining the ISME
Commission on Community Music Activity, which he chaired from
1990-92. He joined the ISME Board in 1995 and was elected president
from 2000-02. From 2002-04 he was on the Steering Group for the
International Music Council project on musical diversity, and has been
a member of the Cultural Diversity in Music Education Network for
many years. In 2008 John co-authored a report on Cultural Policy for
the NZ Government, Culture Matters. He is currently engaged in a
research project on the Future of Opera within the research programme
Sustainable Futures for Musical Cultures, hosted by the Queensland › Prelude: The ISME Commission on community music activity and its Oslo
seminar, International Journal of Community Music, 3.3, 327-329. › The multicultural dimension: Thoughts on the special experience of the New
Zealand seminar, International Journal of Community Music, 3.3, 317-320. Patrick Duggan University of Northampton, Avenue
Campus, St George’s Avenue,
Northampton, NN2 6JD, United
Kingdom Keywords trauma, physicality,
audience, performance, theatre,
philosophy, ethics, practice Patrick is a lecturer in the Division of Performance Studies, University
of Northampton. Much of his research is interdisciplinary in nature and
all of it is informed by and reflected in his practice. Patrick's primary
research interests include: contemporary British and Irish theatre,
performance and Live Art; trauma theory and performance;
psychoanalysis and performance; performance practice; theatre of the
1990s; directors and directing; philosophy and performance. Patrick
writes on, curates and creates performance and theatre; he is co-founder
of and director with Crisis Theatre, with whom his directorial credits
include The Birthday Party, Did You Hear The One About The
Irishman?, and 4.48 Psychosis. He has been extensively involved in
devising and performing work focusing on physical limits, the body,
duration and notions of contemporary masculinity. › The touch and the cut: an annotated dialogue with Kira O'Reilly, Studies in
Theatre and Performance, 29.3, 307-325. Zachary Dunbar Central School of Speech and Drama,
Eton Avenue, London, NW3 3HY,
United Kingdom Keywords culture, history, Dionysus,
Michael Bennett, chorus, A Chorus
Line, Nietzsche, Richard Schechner,
Dionysus in ’69 Zachary Dunbar is a concert pianist and a theatre practitioner and
composer (www.zebfontaine.com). His original UK productions are
Delphi, Texas, Quaternary, Year of the Pig, Out of Character and The
Cows Come Home. He holds a Ph.D. from Royal Holloway (University
of London), and is a lecturer in Music Theatre and Greek Tragedy at
Central School of Speech and Drama. His forthcoming publications
include chapters in Theorising Performance: Greek Drama
(Duckworth), The Cambridge Companion to Theatre History
(Cambridge) and Theatre Noise: The Sound of Performance
(Cambridge Scholars). › Dionysian reflections upon A Chorus Line, Studies in Musical Theatre, 4.2,
155-169. Aleksandar Sasha
Dundjerovic University of Manchester, Martin
Harris Centre for Music and Drama,
Oxford Road, Manchester, Greater
Manchester, M13 9PL, United
Kingdom Keywords Robert Lepage, theatre,
directing, Brazilian theatre, Zulu
Time, multimedia, performance,
Dr. Aleksandar Dundjerovic is a lecturer in Contemporary Performance
and Directing, and his specialist area is the work opus of Robert
Lepage. His books include The cinema of Robert Lepage: Poetics of
Memory (2003) and Theatricality of Robert Lepage (2006). He is MA
program director for Theatre practice in Drama at the University of
Manchester. › Juliette at Zulu Time: Robert Lepage and the aesthetics of ‘techno-en-scene’,
International Journal of Performance Arts and Digital Media, 2.1, 69-86. mise-en-scene, robotics, technology,
digital media, interdisciplinarity Michael Dunn University Centre, Doncaster College,
School of Arts, South Yorkshire, DN5
7SZ, United Kingdom Michael Dunn lectures on the BA Creative Music Technology degree
programme at University Centre, Doncaster. His research interests
include creativity and compositional processes of composers and the
role of sonic elements in multimedia art, with a particular focus on
failure as an artistic concept. Keywords creativity and
compositional processes of
composers, sonic elements in
multimedia art, failure › Problem-solving strategies and processes in musical composition:
Observations in real time, Journal of Music, Technology and Education, 4.1,
47-76. Becky Dyer Arizona State University, 96 West
Ranch Road, Tempe, AZ 85284,
United States of America Keywords dance pedagogy,
postmodern dance, somatic
movement, somatic epistemology Becky Dyer (Ph.D., M.F.A., M.S.) is an Assistant Professor in the
School of Dance at Arizona State University where she teaches
Laban/Bartenieff Praxis and Somatic Studies, dance pedagogy and
contemporary postmodern dance technique. Becky is a certified LabanBartenieff Movement Analyst (CLMA), ISMETA registered somatic
movement therapist (RSMT), ISMETA registered somatic movement
educator (RSME), and holds a secondary dance education certification.
Her research focuses on somatic approaches to teaching and learning,
somatic epistemology, transformative learning perspectives and
collaborative enquiry process. Becky’s work has been published in
Research in Dance Education, the Journal of Aesthetic Education and
Somatics Magazine/Journal. She also authored two chapters of the
book, Dance: Current Selected Research, vol. 7. › Somatic voyages: Exploring ego, self and possibilities through the
Laban/Bartenieff framework, Journal of Dance & Somatic Practices, 2.2,
233-250. Martha Eddy Moving On Center, Somatic
Movement Therapy, 49 West 27th
Street, New York, NY, 10001, United
States of America Keywords somatics, body, education,
Martha Eddy, CMA, RSMT, Ed.D. is Director of the Dynamic
Embodiment Somatic Movement Therapy Training (DE-SMTT)
affiliated with Moving On Center and in partnership with the State
University of New York – Empire State College where she is Adjunct
Associate Professor. DE-SMTT is housed at the Center for Kinesthetic
Education in New York City. CKE provides somatic movement
sessions to individuals of all ages and professional consulting to
therapy schools, hospitals, and community centers in the use of movement and
kinesthetic awareness in education, health, and creative endeavors. She
is an author, worldwide lecturer, and choreographer of community
dance. Her curricula are affiliated with undergraduate, MA and
doctoral programing at SUNY-ESC, Javeriana University, the
International University of Professional Studies (IUPS) and Santa
Barbara Graduate Institute (SBGI). › A brief history of somatic practices and dance: historical development of the
field of somatic education and its relationship to dance, Journal of Dance &
Somatic Practices, 1.1, 5-27. Braínne Edge Salford University, Media and
Performance Division, Adelphi
Building, Peru St, Salford, M5 4WT,
United Kingdom Keywords improvisation, comedy,
television, audience Braínne Edge’s varied improvisation training stems from classes with
Keith Johnstone, Neil Mullarkey (The Comedy Store Players, London),
Mick Napier (Annoyance Theater, Chicago), Kate Watson (The Second
City, Chicago), and Dick Chudnow (ComedySportz Founder), to name
a few. She has performed improvisation in just under half of the states
in the USA, as well as all over the UK and Ireland. She manages and
facilitates a successful Improv and Stand Up training programme at the
Comedy Store, Manchester. Braínne achieved a first-class honours
degree in Media and Performance from Salford University and a MA in
Film and Video from The Surrey Institute of Art and Design. Braínne
founded the UK division of ComedySportz in 2001.Braínne is also a
lecturer in Performance at Salford University and currently heads its
Television Comedy modules. › Comedy improvisation on television: does it work?, Comedy Studies, 1.1,
101-111. Kathryn Edney Independent scholar, Regis College,
214 Main Street, Freeport, Maine,
4032, United States of America Keywords race, civil rights, Juanita
Hall, Flower Drum Song Kathryn Edney earned her Ph.D. in American Studies at Michigan
State University; her dissertation is entitled ‘“Gliding through Our
Memories”: The Performance of Nostalgia in American Musical
Theater’. She served as the managing editor for the Journal of Popular
Culture for two years and now serves on its editorial board. She is
currently an adjunct instructor of American History at Regis College
(Weston, MA). › Integration through the wide open back door: African Americans respond to
Flower Drum Song (1958), Studies in Musical Theatre, 4.3, 261-272. Geoffrey Edwards Université Laval,, Departement of
Geomatics Sciences, Pavillon Casault,
Sainte-Foy, Québec, G1K 7P4,
Canada Keywords performance, spatial
design, audience perceptions, image
schemata, multi-modality, new media Geoffrey Edwards is a senior scientist in geomatics who has long
worked at the interface between disciplines. His work over the past ten
years has been concerned with using insights from cognitive science to
develop improved tools for spatial representation and analysis. For the
past two years, Dr. Edwards has been integrating this approach into the
performing arts as well as creating a body of work as a sculptor. Dr.
Edwards and Ms. Marie Louise Bourbeau are partners in a company
called Master Sharing International, formed to facilitate the
collaboration between the arts and the sciences. › Image schemata - a guiding principle for multi-modal expression in
performance design, International Journal of Performance Arts and Digital
Media, 1.3, 189-206. Alistair Edwards University of York, Department of
Computer Science, Heslington, York,
YO10 5DD, United Kingdom Keywords computer speech, speech
synthesis, synthetic actors, voice
acting, speech interfaces Alistair Edwards is a senior lecturer in Computer Science at the
University of York. He has research interests in human-computer
interaction. In particular he has been investigating the use of ‘novel’
forms of interaction – that is interaction which goes beyond the
keyboard, mouse and screen, and includes speech, as well as nonspeech sounds. He has published around 100 research papers and is
author or co-author of a number of books, including two on the use of
speech output in human-machine interaction. › Place, authenticity time: a framework for synthetic voice acting,
International Journal of Performance Arts and Digital Media, 4.2&3, 155180. Alistair D. N. Edwards University of York, Department of
Computer Science, Deramore Lane,
Heslington, York, YO10 5GH, United
Kingdom Keywords human-computer
interaction, liveness, synthetic speech,
computer-generated, actors,
mediatized, pauses Alistair Edwards is a Senior Lecturer in Computer Science at the
University of York. He has research interests in human-computer
interaction. In particular he has been investigating the use of ‘novel’
forms of interaction – that is interaction which goes beyond the
keyboard, mouse and screen, and includes speech, as well as nonspeech sounds. He has published around 100 research papers and is
author or co-author of a number of books, including two on the use of
speech output in human-machine interaction. › ‘Liveness’ in human-machine interaction, International Journal of
Performance Arts and Digital Media, 7.2, 221-237. Garrett Eisler CUNY Graduate Center, Theatre,
City University of New York, 365
Fifth Ave, New York, 10016, United
States of America Keywords American drama, musical
theatre, Jewish studies Garrett Eisler is currently completing a Ph.D. in Theatre Studies at the
CUNY Graduate Center in New York City. He previously received an
MA in Literature from New York University and an MFA in Directing
from Boston University. He has contributed essays to Studies in
Musical Theatre, The Journal of American Drama and Theatre, The
Eugene O'Neill Review, and the Best Plays Theatre Yearbook series.
His essay on Stephen Sondheim's Road Show will appear in the
forthcoming Oxford Handbook on Sondheim Studies. He also edited the
most recent Dictionary of Literary Biography volume on '20th Century
American Dramatists'. As a critic, he has reviewed plays for Time Out
New York and the Village Voice and writes on contemporary theatre for
his › Kidding on the level: the reactionary project of I’d Rather Be Right, Studies
in Musical Theatre, 1.1, 7-24. › Encores! and the downsizing of the classic American musical, Studies in
Musical Theatre, 5.2, 133-148. David Elliott New York University, 35 West 4th St,
New York, 10012, United Kingdom Keywords music education,
community music, philosophy,
creativity Dr. David J. Elliott is Professor of Music and Music Education at New
York University. For 27 years, he was Professor and Coordinator of
Music Education at the University of Toronto. He has held visiting
professorships at several universities, including Indiana, North Texas,
Northwestern, and Limerick. He is the author of Music Matters: A New
Philosophy of Music Education (Oxford, 1995); editor of Praxial
Music Education: Reflections and Dialogues (Oxford, 2005); founder
and co-editor of the International Journal of Community Music; and an
award-winning composer/arranger with works published by Boosey &
Hawkes. › Editorial, International Journal of Community Music, 1.1, 3-4. › Editorial, International Journal of Community Music, 1.2, 139-141. Sarah T. Ellis University of California at Los
Angeles, Theatre and Performance
Studies, 507 Raymond Ave., Santa
Monica, 90405, United States of
America Sarah T. Ellis is a Ph.D. student in Theatre and Performance Studies at
the University of California at Los Angeles. In 2008, she graduated
summa cum laude from Duke University with a BA in Theatre
Studies/Music and English. In addition to composing new musical
theatre, she researches the intersections of formal and social integration
in the American musical. Keywords musicals, theatre,
temporality, corporeality, integration › Establishing (and re-establishing) a sense of place: musical orientation in The
Sound of Music, Studies in Musical Theatre, 3.3, 277-283. Simon Ellis Roehampton University, Senior
Lecturer, Dance (Practice-based),
Froebel College, Roehampton Lane,
London, SW15 5PJ, United Kingdom Keywords audience, collaboration,
failure, Choreodrome Simon Ellis is a New Zealand-born independent performance maker
and performer with a broad practice founded on choreographic
traditions. He has a practice-led Ph.D. (investigating improvisation,
remembering, documentation and liveness) and is currently Senior
Lecturer in dance at the University of Roehampton in London. His
choreographies have included site-specific investigations, screendance,
installation, webart, and more conventional black box works. Recent
projects include Anamnesis, and Desire Lines for Place Prize 2010. › My name is Colin, and this is Simon, Choreographic Practices, 1.1, 65-78. Manny Emslie The University of Chester, Kingsway
Building, Kingsway, Newton,
Chester, CH2 2LB, United Kingdom Keywords Skinner Releasing
Technique, pedagogy, somatic Manny Emslie is a certified facilitator of Skinner Releasing Technique.
She has recently joined the Faculty of Performing Arts at the
University of Chester, where she is a Senior Lecturer in Dance. Manny
is currently working on a solo for performance that is informed by
Skinner Releasing principles and sensory experiences of time and
place. › Skinner Releasing Technique: dancing from within, Journal of Dance &
Somatic Practices, 1.2, 169-175. Helena Enright University of Exeter, The Queen's Dr,
Exeter, Devon, EX4 4QJ, United
Kingdom Keywords school projects, directing Helena Enright is a freelance theatre practitioner. A founder member of
Amalgamotion Theatre Company, she has worked as both a director
and actor in theatre and film. As a teacher and facilitator she has
worked on many outreach, community and school projects in Ireland
and more recently the United Kingdom. She is the author of four plays,
Less Than a Year (2006), Walking Away (2007), Under Pressure
(2008) and Aquéro (2010). She is currently completing doctoral
research at the University of Exeter. › Letting it breathe: Writing and performing the words of others, Studies in
Theatre and Performance, 31.2, 181-192. Megan Evans Megan Evans, Ph.D. (Hawai’i), is a lecturer in Theatre at Victoria
University of Wellington, New Zealand. Her research focuses on xiqu
Victoria University of Wellington
Theatre Programme, PO Box 600,
Wellington, 6140, New Zealand (indigenous Chinese music drama) in contemporary China, and has
included two years of study at the National Academy of Chinese
Theatre Arts in Beijing. Her work has appeared in the Asian Theatre
Journal, Theatre Research International. Keywords Chinese theatre, jingju,
Peking opera, Beijing opera, Camel
Xiangzi, Lutuo Xiangzi › Signifying Beijing: Legitimizing innovation in the Chinese jingju play Camel
Xiangzi, Studies in Musical Theatre, 5.2, 181-193. Kate Evans Scarborough Psychotherapy Training
Institute, 117 Columbus Ravine,
Scarborough, YO12 7QU, United
Kingdom Keywords creativity,, creative writing
therapeutic writing, free writing,
writerly self, mental well-being,
depression Kate Evans BSc MA is a writer and a UKCP-registered
psychotherapeutic counsellor, working out of Scarborough
Psychotherapy Training Institute. She is co-ordinator of, and tutor on,
the BA (Hons) in Creative Writing at the University of Hull
Scarborough Campus. › The chrysalis and the butterfly: A phenomenological study of one person’s
writing journey, Journal of Applied Arts & Health, 2.2, 173-186. William A. Everett University of Missouri-Kansas, City
Conservatory of Music and Dance,
Kansas City, MO 64110, United
States of America Keywords Candide, Bernstein,
Hellman, Romberg, Friml William Everett is Professor of Musicology and Associate Dean for
Graduate Studies and Curriculum at the University of Missouri-Kansas
City Conservatory of Music and Dance. His books include Rudolf
Friml, Sigmund Romberg, The Musical: A Research and Information
Guide, On Bunker’s Hill: Essays in Honor of J. Bunker Clark (coeditor), Historical Dictionary of the Broadway Musical (co-author),
and The Cambridge Companion to the Musical (co-editor). › Candide and the tradition of American operetta, Studies in Musical Theatre,
3.1, 53-59. Dave Everitt De Montfort University, Institute of
Creative Technologies, 30 Woodland
Avenue, Melton Mowbray,
Leicestershire, LE13 1DZ, United
Kingdom Dave Everitt is an artist and researcher whose work concerns
physiological input in mediated art, the interplay of order and disorder
in mathematical pattern and collaborative live art-technology projects.
A research fellow at Leicester's Institute of Creative technologies,
former visiting researcher and artist at Creativity and Cognition
Research Studios at Loughborough University, and a recipient of Arts
Council England funding, he maintains two occasionally productive
collaborative art-technology projects. His principal interests are the
Keywords emergence, collaboration,
transdisciplinary, art-technology,
internet, computer programming implications of the interdisciplinary sciences for artists and creators,
and web programming culture/technologies; he runs a media
information design consultancy, lectures and researches in New Media
and art-technology partnerships. › Emergence and complexity: Some observations and reflections on
transdisciplinary research involving performative contexts and new media,
International Journal of Performance Arts and Digital Media, 3.2&3, 239252. David Fallow The University of Exeter, The
Queen's Dr, Exeter, Devon, EX4 4QJ,
United Kingdom Keywords Shakespeare, Elizabethan
apprenticeship, leather industry,
usury, recusancy Dr. David Fallow completed his doctoral studies at the Department of
Drama of the University of Exeter in 2011. In the 1970s, before
embarking on a career in international finance, he graduated in Scots
Law at the University of Aberdeen. He also holds a BA in Theatre from
Dartington College of Arts and an MA in Staging Shakespeare from
the University of Exeter. › Like father like son: Financial practices in the Shakespeare family, Studies in
Theatre and Performance, 28.3, 253-263. › Notes and queries 1: Hamlet, Crowner's courts and the exhumation of rotted
corpses, Studies in Theatre and Performance, 31.1, 113-120. Laura Farrell-Wortman University of Arizona, 5433 E
Fairmount Pl, Tucson,, Arizona, AZ
85712, United States of America Laura Farrell-Wortman is an MA candidate in Theatre Studies at the
University of Arizona. She is a graduate of New York University, with
a BA in Irish Literature. Her research considers the intersections
between dramatic production, Irish identity and the European Union. › The Riverdance phenomenon and the development of Irish identity in the
global era, Studies in Musical Theatre, 4.3, 311-319. Keywords Ireland, globalization,
European Union, Riverdance, Irish
dance Dita Judith Federman University of Haifa, Graduate School
of Creative Art Therapies, DMT
training, Mt. Carmel, Haifa, 31905,
Israel Dita Federman is a researcher, lecturer and the director of Dance
Movement Therapy training at the Graduate School of Creative Art
Therapies, University of Haifa, Israel. She is an accredited Dance
Movement Therapist, psychotherapist and senior supervisor (DMT).
Dr. Federman has experience working within psychiatric settings and
with children, adults and the geriatric population. Keywords empathy, kinesthetic
ability, DMT, group, training,
assessment › Kinesthetic ability and the development of empathy in Dance Movement
Therapy, Journal of Applied Arts & Health, 2.2, 137-154. Anne Fenech Keywords leisure, drama,
engagement, neuroscience, therapy Anne Fenech is currently a lecturer at the University of Southampton
School of Health Sciences. Her background is in management (MBA),
gerontology (MSc) and occupational therapy (DipCOT). Her career
history has included several Head Occupational therapist posts before
moving into general/policy management and more recently a research
fellowship. She is currently the English Board Member for the South
East Region of the College of Occupational Therapists and also a
Registration Assessor for the Health Professions Council. › Inspiring transformations through participation in drama for individuals with
neuropalliative conditions, Journal of Applied Arts & Health, 1.1, 63-80. Anna Fenemore University of Leeds, School of
Performance & Cultural Industries,,
Leeds, LS2 9JT., United Kingdom Keywords interactivity, participation,
virtual, performance, telematic Dr. Anna Fenemore is a lecturer in Theatre and Performance in the
School of Performance and Cultural Industries at Leeds University. Her
research and teaching interests include: spectating embodiment;
performer bodywork training; multi-sensory immersive performance;
performance and phenomenology; theories of performance space/place;
and performance and death studies. Anna is also Artistic Director of
Manchester based Pigeon Theatre, an all-women, experimental
performance company. Pigeon Theatre are currently Associate Artists
at the Green Room Manchester. Anna also works as a
performer/devisor. › Dialogical interaction and social participation in physical and virtual
performance space, International Journal of Performance Arts and Digital
Media, 3.1, 37-58. David Fenton Keywords Hotel Pro Porma,
intermediality, mediatization,
mimesis, Algebra of Parapraxis David Fenton is an Australian contemporary performance maker,
theatre director and academic. From 2007-09 David was lecturer in
Performance Studies at the Creative Industries Faculty of Queensland
University of Technology, where he completed his award winning
Ph.D., 'Unstable Acts -a practice-led investigation in Performance
Innovation 2007'. David has been a freelance theatre director in
Australia for twenty years. His theatre works have toured nationally
and internationally. From 2000-02 David was Festival Director for
Sydney Gay and Lesbian Mardi Gras Festival, from 1996-99 he was
Artistic Director of Riverina Theatre Company and most recently
David was Artistic Director of Replay Theatre Company Northern
Ireland. His most recent research interests are the ethics of Applied
Theatre and Intermediality in children’s theatre practice. › Hotel Pro Forma's The Algebra of Place; destabilising the original and the
copy in intermedial contemporary performance, International Journal of
Performance Arts and Digital Media, 3.2&3, 169-182. › The Empty City: A practice-led study in intermedial theatre-making, Studies
in Theatre and Performance, 30.2, 157-172. Stephen Fernandez Nanyang Technological University,
50 Nanyang Avenue, Singapore,
639798, Singapore Keywords augmented reality, virtual
reality, theatre masks, virtual masks,
Gopal Baratham Stephen Fernandez is has completed his MA in English at the Nanyang
Technological University where he had previously received a BA (First
Class Honours) degree in English Literature. He has strong research
interests in modern drama, the confluence of digital technology and
contemporary theatre practice, critical theory, hermeneutics,
postmodernism as well as 'postmodern ethics'. Stephen has written a
MA thesis which looks at the relationship between ethics and
postmodernism (i.e., 'postmodern ethics') in the dramatic works of
Harold Pinter. › Digitally augmented reality characters in live theatre performances,
International Journal of Performance Arts and Digital Media, 5.1, 35-49. Helen Ferrara Murdoch University, 90 South Street,
Murdoch WA, 6150, Australia Keywords tourism, marketing,
teaching, social change Helen Ferrara is first and foremost a parent who is passionate about the
world we are bequeathing to our children. Living in different countries
including England, Italy and Australia, as well as working in the varied
fields of tourism, marketing and teaching, has enabled her to develop a
perspective that is questioning and open to renewal. It is just such a
holistic perspective, together with a more egalitarian social change,
which she actively promotes in her writing. Helen has recently
submitted a thesis on the nurturing of creativity for her Ph.D. at
Murdoch University. › Child’s play: We can all bewinners with creativity, Performing Ethos: An
International Journal of Ethics in Theatre & Performance, 1.2, 225-227. Giselle M. d. S Ferreira Open University, Faculty of Maths,
Computing and Technology, Walton
Hall, Milton Keynes,
Buckinghamshire, MK7 6AA, United
Kingdom Keywords music technology, open
education, curriculum,team teaching Giselle Ferreira is a lecturer at the Department of Communication and
Systems, Faculty of Maths, Computing and Technology at the UK
Open University, where she is part of the team responsible for the
introduction, integration and development of music technology in the
university's curriculum. Giselle has a multidisciplinary background in
electronics engineering, music and education, and her research interests
revolve around issues surrounding disciplinarity, with particular
interest on questions that arise in the relationship between education,
technology and politics. She is a Fellow of the UK Higher Education
Academy and has been recently awarded a Teaching Fellowship at the
Open University's Centre for Open Learning of Mathematics, Science,
Computing and Technology, COLMSCT. Giselle is currently a
member of the Academic Team supporting OpenLearn, the university's
Open Educational Resources Initiative. › Crossing borders: issues in music technology education, Journal of Music,
Technology and Education, 1.1, 23-36. Joe Fierro Santa Ana Jail Keywords prison, rehabilitation, CD,
Santa Ana, California After graduating from New Mexico State University with a degree in
Music Education, Joe Fierro moved to Southern California, where he
has spent many years as a professional musician doing studio work as
well as playing with various musical groups. Joe is a registered
investment advisor representative and a member of the worship team at
church, and he also plays with the local bands. › Free inside: The music class at Santa Ana Jail, International Journal of
Community Music, 3.1, 143-150. Andrew Filmer University of Aberystwyth,
Department of Theatre, Film and
Television Studies, Parry Williams
Bldg, Penglais, Aberystwyth, Dyfed,
SY23 3AJ, United Kingdom Andrew Filmer is a lecturer in drama, theatre and performance in the
Department of Theatre, Film and Television Studies at Aberystwyth
University. His research addresses issues of place, space and
performance, improvisation, theatre architecture and backstage space.
His work has appeared in New Theatre Quarterly, Australasian Drama
Studies and the edited collection Patronage, Spectacle and the Stage
(2006). Keywords space, theatre,
inhabitation, performance, practice,
professional craft › Making space for performance, Studies in Theatre and Performance, 30.3,
275-287. Teresa A Fisher New York University, Steinhardt
School of Culture, Education, and
Human Development, 82 Washington
Square East, Pless Hall, 2nd Floor
Annex, New York, NY 10012, United
States of America Keywords Boal, facilitation, applied
theatre, informed consent Teresa A. Fisher is a doctoral candidate in the educational theatre
programme at New York University. A former mental health
counsellor and play therapist, Teresa’s interest is in using theatre to
explore how we understand our bodies, focusing on obesity. She is an
educator, theatre artist, and an administrator. She is also the
Production Manager/Administrator for the Program in Educational
Theatre’s New Plays for Young Audiences summer series for the New
York City Arts in Education Roundtable. › First do no harm: Informed consent principles for trust and understanding in
applied theatre practice, Journal of Applied Arts & Health, 1.2, 157-164. Jason Fitzgerald Yale College, 1120 Chapel Street,
New Haven, CT 06510-2302, United
States of America Keywords effigy, celebrity, Rose's
Turn, Patti LuPone, identity Jason Fitzgerald earned his MFA in Dramaturgy and Dramatic
Criticism from Yale School of Drama in 2008, and his AB from
Harvard College in 2004. He is currently a teaching fellow at Yale
College and a freelance theatre reviewer in New York City, writing
theatre reviews for Backstage, among others. He is currently working
towards a a Ph.D. in the theatre subcommittee of the Department of
English and Comparative Literature at Columbia University. › ‘I had a dream’: ‘Rose's Turn’, musical theatre and the star effigy, Studies in
Musical Theatre, 3.3, 285-291. Sylvie Fortin Université du Québec à Montréal,
Dance, C.P. 8888, Succ CebntreVille, Montréal, H3C-3P8, Canada Keywords health, Foucault,
Feldenkrais Method, dance Sylvie Fortin, Ph.D., is Associate Professor at the Université du
Québec à Montréal, Canada, and director of the graduate programmes
in dance and somatic education. She is well known as a somatic
practitioner and prolific author of body-related issues in the arts. Sylvie
is currently involved in a series of funded research projects focusing on
the constructions of health. She is part of CINBIOSE (Centre for the
Study of Biological Interactions on Human Health) and ‘Invisible That
Hurts’, two interdisciplinary research groups that favour an
interdisciplinary and feminist approach. › The experience of discourses in dance and somatics, Journal of Dance &
Somatic Practices, 1.1, 47-64. Jonathan Foster University of Sheffield, Department
of Information Studies, Regent Court,
211 Portobello Street, Sheffield, S1
4DP, United Kingdom Jonathan Foster is a lecturer in Information Management at the
University of Sheffield, where he teaches information management in
the digital economy, and information management and strategy. His
research interests are in information and knowledge management and
strategy, educational informatics, computer-based collaborative group
work and learning, and digital economy. Keywords mixed reality,
performance, interactive art,
archiving, information, architecture,
metadata, replay, practice-based
research › Riders Have Spoken: A practice-based approach to developing an
information architecture for the archiving and replay of a mixed reality
performance, International Journal of Performance Arts and Digital Media,
6.2, 209-223. Anthony Fothergill The University of Exeter, The
Queen's Dr, Exeter, Devon, EX4 4QJ,
United Kingdom Keywords cultural history,
contemporary theory, Joseph Conrad,
modern literature Anthony Fothergill teaches English at the University of Exeter. He has
also taught at the University of Heidelberg. His translations include a
very early drama by Mozart and ‘The Foreign Policy of the Third
Reich’. Anthony's book Secret Sharers, Joseph Conrad and his
Cultural Reception in Germany’ (Peter Lang Verlag) was published in
2006. The focus of his intellectual and research interests is modern
(mainly English and European) literature, cultural history, and
contemporary theory. His current, interdisciplinary, research
concentrates on Joseph Conrad and Germany and the politics of
cultural reception. He has published on a number of modernist writers
in addition to Conrad, including Virginia Woolf, T.S. Eliot, and
Thomas Mann; on literary and philosophical modernity; and on
literature and film. › Bertolt Brecht's ‘Measures against Authority’, Studies in Theatre and
Performance, 27.2, 169-170. David Francis University of Brighton, Centre for
Research in Innovation Management,
Falmer, Brighton,, BN1 9PH, United
Kingdom Keywords technology transfer, soft
technology, continuous improvement,
facilitation, Africa David Francis is Deputy Director of the Centre for Research in
Innovation Management. › REVIEWS, Studies in Musical Theatre, 5.1, 117-123. Ben Francombe University of Chichester, Bishop
Otter Campus, College Lane,
Chichester, PO19 6PE, United
Kingdom Keywords performance strategy,
British theatre, individuality, solo
performance, postolonial discourse Dr. Ben Francombe is Head of Performing Arts at the University of
Chichester. His Ph.D. (Glasgow University, 1993) was on the
development of performance strategies for new writing at the Abbey
Theatre Dublin. He worked as a freelance theatre director before
becoming the director of the Ramshorn New Playwrights Initiative
based at Strathclyde University. He has taught at the Royal Scottish
Academy of Music and Drama, Liverpool John Moores University,
Bretton Hall (were he was Head of Acting) and the University of
Leeds. His main research interests are in Marginality and Postcolonial
discourse in contemporary British Theatre; Individuality and Solo
Performance; Twentieth Century Irish Theatre and the Politics of
Performance Training. He has published and presented at conferences
recently on the subjects of the Scottish National Theatre, Practice as
Research in Performance, British Actor Training and on the work of
playwrights Brian Friel, Tom Murphy and Frank McGuinness. › Falling Off a Wall: Degrees of Change in British Actor Training, Studies in
Theatre and Performance, 21.3, 176-187. Paul J. C. M Franssen English Department, Trans 10, 3512
JK, Utrecht, Netherlands Keywords adaptation,
disillusionment, radical socialism,
contemporary arts, Arnold Wesker,
The Merchant, Shakespeare Paul J. C. M. Franssen is a lecturer at the English Department of
Utrecht University, The Netherlands. He has published widely on
Shakespeare and adaptations of Shakespeare. He is a board member of
the Shakespeare Society of the Low Countries and editor of its
periodical, Folio. He has co-edited The Author as Character (AUP,
1999), Shakespeare and European Politics (University of Delaware
Press, 2008) and Shakespeare and War (Palgrave Macmillan, 2008). › But never mind about politics: Arnold Wesker's The Merchant and its critics,
Journal of Adaptation in Film & Performance, 3.3, 245-258. Jason Freeman Georgia Institute of Technology,
Center for Music Technology,
Georgia Tech, 840 McMillan Street,
Atlanta, Georgia, 30332, United
States of America Jason Freeman is Assistant Professor in the School of Music at Georgia
Tech, where he teaches Music Technology and serves as executive
director of the university's ensemble-in-residence. As a composer,
Freeman's works break down conventional barriers between
composers, performers and listeners. His music has been performed by
the American Composers Orchestra, the Rova Saxophone Quartet, the
So Percussion Group and the Nieuw Ensemble, among others. Keywords Internet, participation,
music, open form, interactivity, online
culture › Web-based collaboration, live musical performance and open-form scores,
International Journal of Performance Arts and Digital Media, 6.2, 149-170. John Freeman Curtin University of Technology,
Kent St., Bentley WA, 6102,
Australia Keywords solo performance,
autoethnographic research, creative
processes John Freeman came to Curtin University in 2010 from Brunel
University West London, where he was Reader in Theatre, Senior
Tutor and Deputy Head for the School of Arts. He is author of Tracing
the Footprints (2003) New Performance/New Writing (2007) Blood,
Sweat & Theory: Research through Practice in Performance (2010)
and The Greatest Shows on Earth (2011). In addition to these books he
has written for over 30 international journals, with articles on solo
performance, autoethnographic research, creative processes, new
strategies for performance, theatre of identity and displacement and
creative practice-based research. His chapter on John Leguizamo's live
performances ('Socializing the Self: Autoethnographical Performance
and the Social Signature') appears in Sensualities/Textualities and
Technologies: Writings of the Body in 21st Century Performance
(2010). › Writing the self: the heuristic documentation of performance, Studies in
Theatre and Performance, 22.2, 95-106. Helen Freshwater University of London, Birbeck
College, Department of English and
Humanities, Malet Street,
Bloomsbury, London, WC1E 7HX,
United Kingdom › The Author: Tim Crouch inconversation with HelenFreshwater, Performing
Ethos: An International Journal of Ethics in Theatre & Performance, 1.2,
181-195. Keywords dramaturg, theatre,
physical theatre Michael Fry East 15 Acting School, Hatfields,
Rectory Lane, Loughton, Essex, IG10
3RY, United Kingdom Keywords Hardy, transference
challenges, prose narrative, drama Dr. Michael Fry has been a director and writer for over twenty years.
He was previously Arts Council Associate Director at Chester Gateway
and Liverpool Everyman theatres, Artistic Director of Great Eastern
Stage and NOT The National Theatre, Professor of Directing at
Washington University and Senior Lecturer at Coventry University. He
has edited ‘Frontline Drama 4’ for Methuen (1996), produced critical
introductions of ‘The Critic’, ‘The Caretaker’ and ‘Death of a Salesman’
for the British Council and his study of stage adaptations since 1980
will be published by Oberon on 2011. His plays are published by
Methuen, Samuel French and Oberon. He is currently Deputy Director
of East 15 Acting School at the University of Essex. › Researching the Method: Some Personal Strategies, Journal of Adaptation in
Film & Performance, 1.2, 147-159. Yoshiko Fukushima University of Hawai'i at Hilo,
Department of Languages,
Humanities Division, 200 W. Kawili
Street, Hilo, HI 96720-4091, United
States of America Keywords Japanese comedy,
experimental performance,
performance studies Yoshiko Fukushima is Chair of the Department of Languages at the
University of Hawai’i at Hilo, where she is Associate Professor of
Japanese Studies. Until 2009 she taught at the University of Oklahoma.
She completed her Ph.D. in Performance Studies at Tisch School of the
Arts, New York University in 2000. She is the author of Manga
Discourse in Japanese Theatre: The Location of NodaHideki’s Yume
no Yuminsha (Routledge: 2003). She is currently working on two booklength studies of a history of modern Japanese comedy and Japan’s
experimental performance in the 1990s › Ambivalent mimicryin Enomoto Kenichi’swartime comedy:His revue and
Blackface, Comedy Studies, 2.1, 21-37. George Gagneré Compagnie Incidents Mémorables,
20, rue Sadi Carnot, 93300
Aubervilliers, France Keywords computer graphics,
augmented reality, digital
scenography, cinema, new media George Gagneré received his Ph.D., which focused on the concept of
artistic permanence in theatre production, at Paris III Sorbonne
Nouvelle in 2001. In parallel, he collaborated with Stephan
Braunschweig, Peter Stein and Giorgio Barberio Corsetti as Stage
Directing Assistant in theater and opera. George Gagneré is the artistic
director of the theater company Incidents Mémorables of which he
directed the principal shows and performances since its foundation in
1999. His work is dedicated to the flexible exploration of relationships
between performing and electronic arts. › Revisiting the layer/mask paradigm for augmented scenery, International
Journal of Performance Arts and Digital Media, 2.3, 237-258. Melodie G Galloway University of North Carolina,
Asheville, Department of Music, One
University Heights, CPO 2290
Asheville, NC 28804, United States
of America Keywords Stephen Sondheim, revue,
Melodie G. Galloway holds a MA from Florida State University
in Vocal Performance and a Doctor of Musical Arts degree in
conducting from the University of North Carolina at Greensboro. Her
experience as a conductor and soprano soloist includes opera, musical
theatre and a professional vocal ensemble, for which she has been a
soloist in Russia, Estonia, Ireland, England and Spain, and for former
Presidents Bush and Clinton as part of the White House Christmas
celebrations. Currently, she is an Assistant Professor in music: choral
small-scale musical, intimate musical conductor and coordinator of Vocal Studies. She frequently appears as
a clinician and conference contributor in the fields of musical theatre,
choral repertoire and techniques, and jazz. As an invited speaker
in March 2007, Galloway presented ‘Coloring Outside the Lines:
Conflicts and Resolutions in Dave Brubeck’s “Jazzy” Mass’ as part of
the Leeds College of Music International Jazz Conference ‘Jazz: Inside
and Outside’. › Is less truly more? Exploring intimacy and design in small-scale musical
theatre, Studies in Musical Theatre, 4.1, 103-111. Steve Garrett Cultural Concerns, Wales, 35
Beauchamp Street, Riverside, Cardiff,
CF11 6AX, United Kingdom Keywords youth, community music,
Welsh arts Steve Garrett has been involved with the practice and development of
community music in Wales for many years, working in a variety of
contexts. He is vice-chair (formerly chair) of the Wales Association of
Community Artists, and was an Arts Council of Wales Council
member from 2000 until 2004. Currently he runs Cultural Concerns, a
freelance community arts consultancy based in Cardiff, working in
areas of policy and practice relating to participatory arts activities that
empower individuals and their communities. As well as devising and
delivering a range of community-based participatory arts activities, he
provides advice and training in community arts project management
and cultural policy development. Steve also organizes regular
international cultural exchange projects, is coordinator of the annual
Riverside Festival, on the board of Cardiff's Chapter Arts Centre and a
community reporter for BBC Radio Wales. › The role of community music in helping disadvantaged young people in
South Wales to confront social exclusion, International Journal of
Community Music, 3.3, 371-377. Serena Gaurracino University of Naples L’Orientale,
Italy Keywords gender and cultural
studies, film theory, performance
studies, postcolonial literature Serena Guarracino holds a two-year research grant at the University of
Naples ‘L’Orientale’, where she received her Ph.D. in ‘Literatures,
Cultures, and Histories of Anglophone Countries’ in 2005. Her research
interests encompass gender and cultural studies, film theory,
performance studies and postcolonial literature, with a particular focus
on the relationship between music and literature. She recently authored
the book La primadonna all’opera. Scrittura e performance nel mondo
anglofono (Trento: Tangram Edizioni Scientifiche, 2010), and is
currently writing a book on contemporary rewritings of Traviata,
Carmen and Madama Butterfly from a postcolonial perspective. She
edited with Marina Vitale a double issue for the journal AION
Anglistica titled ‘Music and the Performance of Identity’ (13.1–2,
2009). She is a member of the scientific board of the ‘Centro Archivio
Donne’ (Women’s Studies Centre) at the University of Naples
‘L’Orientale’. › Beth Ditto and the Post- Feminist Masquerade; or How ‘Post’ can Post Punk
Be?, Punk & Post Punk, 1.1, 111-122. Gabriella Giannachi University of Exeter, UK, The
Queen's Dr, Exeter, Devon, EX4 4QJ,
United Kingdom Keywords mixed reality
performance, participation,
interactivity, archiving, information
architecture, metadata Gabriella Giannachi is Professor in Performance and New Media and
Director of the Centre for Intermedia at the University of Exeter. Her
book publications include Virtual Theatres (2004) and Politics of New
Media Theatre (2007). She has published articles in Contemporary
Theatre Review, Leonardo, Performance Research, TDR and and has
developed conference papers for IVA 2009, CHI 2008 and CHI 2009.
She is an investigator in the RCUK-funded Horizon Digital Economy
Research Hub (2009–2014). › Riders Have Spoken: A practice-based approach to developing an
information architecture for the archiving and replay of a mixed reality
performance, International Journal of Performance Arts and Digital Media,
6.2, 209-223. Jools Gilson-Ellis University College Cork,, Department
of English, O'Rahilly Building, Cork,
Ireland Jools Gilson-Ellis is a writer, choreographer, performer and installation
artist based in Ireland. She is co-director (with Richard Povall) of the
performance production company half/angel, and teaches performance
at University College Cork. She holds a practice-based Ph.D. in
Theatre & Performance Studies from the University of Surrey. Keywords digital media, knitting,
craft, art, women › Orienteering with double moss: The cartographies of half/angel's The
Knitting Map, International Journal of Performance Arts and Digital Media,
3.2&3, 183-196. Dimple Godiwala Dimple Godiwala was educated at the Universities of Bombay and
Oxford. She is the author of 'Breaking the Bounds: British Feminist
Dramatists Writing in the Mainstream since c. 1980' (Peter Lang), and
has written in the field of cultural, feminist, dramatic and postcolonial
theory. Her critical anthology 'Alternatives Within the Mainstream:
Keywords empire, patriarchy, gender
studies, sexuality, Britain, twentiethcentury, Bourdieu, Foucault, race British Black and Asian Theatre' will be published by Cambridge
Scholars Press in 2006. She is currently compiling 'Alternatives Within
the Mainstream II: Postwar Queer British Theatres'. › ‘The performativity of the dramatic text’: domestic colonialism and Caryl
Churchill’s Cloud Nine, Studies in Theatre and Performance, 24.1, 5-22. › Editorial Introduction, Studies in Theatre and Performance, 26.1, 3-12. › Genealogies, archaeologies, histories: the revolutionary 'interculturalism' of
Asian theatre in Britain, Studies in Theatre and Performance, 26.1, 33-48. › : providing a forum for British-Asian women playwrights, Studies in Theatre
and Performance, 26.1, 69-84. › Scripts to performances: a bibliographical essay on the production history of
Cloud Nine, Studies in Theatre and Performance, 26.2, 161-. Sarah Goldingay University of Exeter, Drama, The
Queen's Dr, Exeter, Devon, EX4 4QJ,
United Kingdom Keywords religion, spirituality,
performance, theatre, drama, Howard
Barker Dr. Sarah Goldingay is a lecturer in Drama at the University of Exeter.
Her main research interests lie in the practice of culture, religion and
spirituality and its performance in contemporary British Society.
Recent publications have focused on the performance of multiple states
of consciousness by trance mediums in a series of UK séances and the
role of the audience at performances of stage mediums. She continues
to work as a researcher on the interdisciplinary Ian Ramsey Pilgrimage
project at Oxford University. Forthcoming publications from this
project will use both quantitative and qualitative data to consider the
experience and motivations of 600 pilgrims at five international sites:
Stonehenge, Glastonbury, Lourdes, Fatima and Santiago de
Campostella. Next year she will begin working on a project examining
the performance of pain. She continues to work as a performance
practitioner. › Plagiarising theory: performance and religion?*, Studies in Theatre and
Performance, 29.1, 5-14. › Reviews, Studies in Theatre and Performance, 30.3, 361-371. Lizbeth Goodman SMARTlab Digital Media Institut,
Unversity of East London, 4-6
University Way, London, E16 2RD,
United Kingdom Keywords play, replay, presentation,
Lizbeth Goodman is Chair in Creative Technology Innovation at the
University of East London, where she is also founder and Director of
the SMARTlab Digital Media Institute and the MAGIC Multimedia &
Games Innovation Centre. She is also Director of Studies for the UEL
practice-based Ph.D. programme in Performance & Digital Media.
Lizbeth has been appointed Professor of Inclusive Design for
Education/Chair of Creative Technology Innovation and Executive of
the Innovation Academy at SMARTlab’s new main base in Ireland at
re-presentation, self University College Dublin. She will also continue to supervise and
direct the Ph.D. programme in London and to direct the development
of other new sites soon to open in Seattle at the University of
Washington, and in Toronto. › Editorial: Performing and Being (There) live and online, International
Journal of Performance Arts and Digital Media, 3.2&3, 97-100. › Introduction Part 1: Performance futures: Bodies in movement, viewed
through multiple screens, International Journal of Performance Arts and
Digital Media, 3.2&3, 101-102. › Performing self beyond the body: Replay culture replayed, International
Journal of Performance Arts and Digital Media, 3.2&3, 103-122. › Introduction Part 2: First, second and third spaces: Digital narratives and the
spaces of performance, International Journal of Performance Arts and
Digital Media, 3.2&3, 167-168. Paul Granjon UWIC, Media Arts and Performance,
School of Art and Design, Howard
Gardens, Cardiff, United Kingdom Keywords performance, HCI,
evolution, art Paul Granjon is a visual artist living in Cardiff who has exhibited selfmade machines since 1996. He teaches media art and performance in
UWIC, Cardiff. He was one of the artists representing Wales at the
Venice Biennale 2005. He works with electronics, robotics, video and
computer programming. His subject matter is the evolution of the
relation and respective status of human and machine. He applies a
playful, hands-on approach to the production of machines for video
films, installations and performances. The presentation of his work
often comprises humorous elements, combined with a darker vision.
The work, which comments on the effects of exposure to an
increasingly technological and complex environment, feeds on Paul
Granjon's ambiguous feelings of concern and attraction towards the
effects of progress. › Performing with machines and machines that perform, International Journal
of Performance Arts and Digital Media, 4.1, 45-57. Gill Greaves York Teaching Hospital, Wigginton
Road, York, YO31 8HE, United
Kingdom Gill Greaves is the Art and Design Officer for York Teaching Hospital,
where she works with patients producing art as a form of distraction
and therapy. She also arranges for local musicians to come and play to
the patients. Keywords art and design, art therapy › Forgetting the machine: Patients experiences of engaging in artwork while
on renal dialysis, Journal of Applied Arts & Health, 2.1, 57-72. Debbie Green University of London, Central School
of Speech and Drama, Eton Avenue,
London, NW3 3HY, United Kingdom Keywords power, dyskinesia, text,
photography, theatre, voice Debbie Green is a part-time senior lecturer in Movement for Actors on
the BA (Hons) Acting Pathway at the Central School of Speech and
Drama, University of London. She also teaches on the MA Voice
Studies course and is author of: 2009, ‘Integrated Movement Practices
and Breath’, in Breath in Action, ed. J. Boston and R. Cook London:
Jessica Kingsley. › Dance with time: Movement, when all is said and done, Journal of Applied
Arts & Health, 1.2, 205-213. Stephen Greer University of Wales Aberystwyth,
Department of Theatre, Film and
Television Studies, Parry-Williams
Building, Penglais Campus,
Aberystwyth, Ceredigion SY23 3AJ,
United Kingdom Stephen Greer is lecturer in Drama, Theatre and Performance at
Aberystwyth University. His research focuses on the intersection of
queer theory and contemporary performance practice, with particular
interest in notions of identity and community in collaborative and
interactive works; he is currently developing a monograph on
contemporary British queer performance. He has a background in
improvisation, and is Associate Producer for the theatre and radio
comedy group, The Penny Dreadfuls. Keywords queer theory, interactive
works, queer performance › Collaborative performance and asynchronous action: World Without Oil's
fragmented forum, International Journal of Performance Arts and Digital
Media, 7.1, 61-76. Sean Gregory Guildhall School of Music & Drama,
The Barbican Centre, Silk Street,
London, EC2Y 8DT, United
Kingdom Keywords collaboration, facilitation,
conservatoire Sean Gregory, M.Phil BA (Hons.) FGS LGSM (PCS), works as a
composer, performer and creative producer throughout the United
Kingdom and overseas. He leads collaborative arts projects for all ages
and abilities in association with many British and international
orchestras, opera companies, theatres, galleries and arts/education
organizations. His commissions range from chamber works to largescale collaborations in the community and include performances in a
huge range of contexts and venues at local, national and international
levels. Sean is Director of Creative Learning for the Barbican Centre
and Guildhall School of Music & Drama. This post, incorporating
Barbican Education and Guildhall Connect, has been recently
established to develop and deliver a range of world-class creative
learning programmes involving music, theatre, visual arts, cinema,
dance and literature across the Barbican Centre and Guildhall School,
in close collaboration with the London Symphony Orchestra, resident
and associate companies and relevant partners. › Collaborative approaches: Putting colour in a grey area, International
Journal of Community Music, 3.3, 387-397. Yvonne Griggs De Montfort University, English
Dept, Clephan Building, The
Gateway, Leicester, LE1 9BH, United
Kingdom Keywords King Lear, adaptation,
intertextuality, genre, Festen, The
King is Alive, Shakespeare Dr. Yvonne Griggs is a lecturer in English at De Montfort University.
Her research interests include literary adaptations to screen,
Shakespeare on screen, adaptation theory and screenplay writing. She
has recently published a book entitled Screen Adaptations:
Shakespeare’s King Lear (Methuen), and formerly worked as Editorial
Assistant for the British Shakespeare Association’s academic journal,
Shakespeare. Her teaching interests include literary adaptations,
Shakespeare, screenplay writing and adaptation theory. › Ran: Chaos on the ‘Western’ Frontier, Journal of Adaptation in Film &
Performance, 1.2, 103-116. › Dogmatic Shakespeare: a ‘recognition of ghostly presences’ in Thomas
Vinterberg's Festen and Kristian Levring's The King is Alive, Journal of
Adaptation in Film & Performance, 2.2, 109-119. Marco Grosoli University of Bologna, Via Zamboni,
33, 40126 Bologna, Italy Keywords Rohmer, Bazin, cinema,
mixed media, ontology, space Marco Grosoli was awarded a Ph.D. in Film Studies (University of
Bologna), for a dissertation concerning the integral corpus of writings
(2600 articles) by André Bazin. His other research interests are French
criticism, French New Wave, film theory and media studies. His essays
also appeared in Fata Morgana, zizekstudies.org and on several edited
collections (among others, about Korean cinema and Paul Schrader).
As a film critic, he regularly contributes to Italian film periodicals such
as Cinergie, La Furia Umana and Sentieri Selvaggi. › Rohmer's Les amours d'Astre et de Celadon as a systematical synthesis for
Bazin's space-based adaptation theory, Journal of Adaptation in Film &
Performance, 3.2, 115-127. Sue Hacking University of Central Lancashire,
School of Health, Preston,
Lancashire, PR1 2HE, United
Kingdom Sue Hacking works for the School of Health, University of Central
Lancashire. Her current research topics include the impact of visual and
creative methodologies in social science research. She is also interested
in the evaluation and knowledge transfer potential for prevention
science through community based and distractive interventions. Keywords social science, mental
health, distractive interventions › REVIEWS, Journal of Applied Arts & Health, 2.1, 93-101. Rami Haddad University of Jordan, Music
Department, Amman, 11942, Jordan Keywords music, technology, Nay,
Shabbaba Dr. Rami Haddad is Vice-Dean of the Faculty of Arts & Design and a
lecturer at the University of Jordan. He completed a Bachelors in
Musicology at the University of Yarmouk, a MA in Educational
Administration at the University of Jordan and a Ph.D. in Music
Education at the University of Meunster, Germany. He has published
several papers in musicology, music education, music therapy, and
ethnomusicology. In addition he has translated a book entitled Kodály’s
Principles in Practice, An Approach to Music Education through the
Kodály Method. › Educational tools based on MIR system for Arabian woodwinds, Journal of
Music, Technology and Education, 3.1, 31-46. Markos Hadjioannou King's College London, Film Studies
Department, Strand, London, WC2R
2LS, United Kingdom Keywords new media, digital arts,
ontology, intermediality,
spectatorship, Nietzschean ethics,
contemporary arts, cinema, film
theory Markos Hadjioannou is a part-time lecturer in Film Studies at King's
College London. His research interests include cinema technologies,
especially the relationship between celluloid and digital cinema;
contemporary film theory; and continental philosophy, especially poststructuralism and Nietzschean ethics. › In between stage and screen: The intermedial in Katie Mitchell's some trace
of her, International Journal of Performance Arts and Digital Media, 7.1,
43-59. Cordelia V. Hall The University of Glasgow,
Department of Computing Science,
Glasgow, G12 8QQ, United Kingdom Cordelia V. Hall works in the Computer Science Department at the
University of Glasgow. Here her research topics include discrete
mathematics, studies of program constructs and functional
programming. › Calibrating a bowing checkerfor violin students, Journal of Music,
Technology and Education, 3.2-3, 125-139. Keywords computer science, music
education, violin students Richard J. Hand University of Glamorgan, Department
of Drama and Music, Cardiff School
of Creative and Cultural Industries,
Atrium, 86-88 Adam Street, Cardiff,
Wales, CF24 2XF, United Kingdom Richard J. Hand is Professor in Theatre and Media Drama at the
University of Glamorgan, Wales. He is the author of The Theatre of
Joseph Conrad: Reconstructed Fictions (Palgrave 2005) and Terror on
the Air: Horror Radio in America (McFarland 2006) and has a
particular interest in interdisciplinarity and adaptation within the
performing arts and media. Research interests include Adaptation,
Horror Studies, European Theatre, Radio Drama and Popular Culture. Keywords Frank Zappa, music,
theatre, narrative, composition › Frank Zappa and musical theatre:ugly ugly o’phan Annie and really deep,
intense, thought-provoking Broadway symbolism, Studies in Musical
Theatre, 1.1, 41-56. › Staging an 'unbearable spectacle': Joseph Conrad's Laughing Anne, Studies
in Theatre and Performance, 21.2, 109-117. › Editorial, Journal of Adaptation in Film & Performance, 1.1, 3-4. › Editorial, Journal of Adaptation in Film & Performance, 1.2, 83-85. › Editorial, Journal of Adaptation in Film & Performance, 1.3, 173-175. › Editorial, Journal of Adaptation in Film & Performance, 2.1, 3-4. › Editorial, Journal of Adaptation in Film & Performance, 2.2, 91-93. › Editorial, Journal of Adaptation in Film & Performance, 2.3, 197-199. › Editorial, Journal of Adaptation in Film & Performance, 3.1, 3-4. Steffen Hantke Sogang University, Department of
English, CPO Box 1142, Seoul, 100611, Korea Sout Steffen Hantke teaches in the English Department at
Sogang University, Seoul, and has a particular interest in horror
studies and adaptation. › How to adapt to heterodoxy: A story from the intercultural classroom,
Journal of Adaptation in Film & Performance, 4.1, 93-102. Keywords horror studies, adaptation Benjamin J. Harbert University of California, Department
of Ethnomusicology, Schoenberg
Music Building, Box 951657, Los
Angeles, CA 90095-1657, United
States of America Keywords Louisiana, transcendence,
gospel, jazz, R&B Ben Harbert is a Ph.D. candidate at the University of California, Los
Angeles and received a Bachelor of Arts in music and anthropology
from Wesleyan University. He has examined topics including Egyptian
extreme metal, American prison music, seventeenth century musical
exploration in the Near East, the Spanish nationalist avant-garde and
the mathematical principles of Indian rhythms. In 1997, Harbert was
awarded the Thomas J. Watson Fellowship for a year-long study in
Egypt, India and Spain. At Chicago’s Old Town School of Folk Music,
he developed and directed a comprehensive World Music Department
and acted on the Education Committee for the Chicago World Music
Festival. He is currently an Artist in Residence at the Los Angeles
Music Center as an American music specialist. He is writing his Ph.D.
dissertation on music in Louisiana prisons at the University of
California, Los Angeles. › I'll keep on living after I die: Musical manipulation and transcendence at
Louisiana State Penitentiary, International Journal of Community Music, 3.1,
65-76. Graeme Harper Oakland University, Director, The
Honors College, Vandenberg Hall,
Oakland University, MI 48309, USA Keywords Welsh culture,
nationalism, performance, Wales,
Australia, ontology Professor Graeme Harper is Associate Editor of the Creative Industries
Journal. Now Director of the Honors College at Oakland University,
Michigan, he has worked at universities in the United States, Australia
and the United Kingdom, where he established the National Institute
for Excellence in the Creative Industries. He remains an Honorary
Professor in the UK. Also a Professor of Creative Writing, he has
published creative and critical work, including On Creative Writing
(MLM, 2010), Moon Dance (Parlor, 2010) and Sound and Music in
Film and the Visual Media: A Critical Overview (Continuum, 2009). › Editorials, Studies in Theatre and Performance, 24.3, 147-150. › Keeping up with the Joneses: an inside out/upside down view of performance
in Wales, Studies in Theatre and Performance, 24.3, 193-204. Anna Harpin University of Exeter, Department of
Drama, College of Humanities,
Thornlea, New North Road, Exeter,
EX4 4LA, United Kingdom Anna Harpin is a lecturer in Drama at the University of Exeter, as well
as a writer and director with the theatre company Idiot Child. Recent
publications include ‘Marginal Experiments: Peter Brook and Stepping
Out Theatre Company’ (2010) and ‘Intolerable Acts’ (2011). Her
research interests include health, medicine, philosophy and ethics,
trauma and stand-up comedy. Keywords ecology, folklore, heritage,
politics, state of the nation, tragedy › Land of hope and glory: Jez Butterworth's tragic landscapes, Studies in
Theatre and Performance, 31.1, 61-73. Geraldine Harris Lancaster University, Department of
Theatre Studies, The Roundhouse,
Lancaster, Lancashire, LA1 4YW,
United Kingdom Geraldine Harris teaches in the Department of Theatre Studies at the
University of Lancaster. Gerry's move into focusing on the politics of
subjectivity and identity in contemporary theatre and performance was
reflected in articles for The Contemporary Theatre Review, New
Theatre Quarterly and Studies in Theatre Production and in her 1999
monograph Staging Feminities Performance and Performativity
Keywords The Medead, Medea,
disrupted language, performance,
deconstruction, intertextuality (Manchester University Press), which considers performances by Rose
English, Bobby Baker and Annie Sprinkle. This was followed by a
period of consolidating her research into the aesthetics and politics of
television drama, which resulted in her monograph Beyond
Representation: Television Drama and the Politics and Aesthetics of
Identity (Manchester University Press, 2006). › Foreshadowings and after blows: Fiona Templeton's The Medead (in
progress), Studies in Theatre and Performance, 23.3, 165-178. James Harris United Kingdom Keywords England, Canetti,
Anglophilia, satire, caricatures James Harris is a writer and translator resident in Berlin. He is the
Associate Editor of Comedy Studies and has published work in he May
Anthologies, The Liberal and Bordercrossing Berlin, and his novella
‘The Comedy of Maria’ was published by Cerise Press in Summer
2010. › Mutual intelligibility: depictions of England in German literature and
thought, Comedy Studies, 1.1, 61-69. › Editorial, Comedy Studies, 1.2, 139-140. › Reviews, Comedy Studies, 1.2, 219-223. Gillian Harrison Artsupport Australia, Australia
Council for the Arts, Level 1, 9–11
Cavenagh Street, Darwin, NT 0801,
Australia Keywords history, Australia,
community, music Gillian Harrison has worked as a musician, music teacher, teacher of
English as a second language and a TAFE college lecturer. She has
also worked as a Community Music Officer in Footscray and as the
National Art and Working Life Music Officer with the ACTU. Gillian
has worked with Aboriginal musicians in training and skills
development programmes since moving to the Northern Territory in
1993 and was Manager of CAAMA Music, the Aboriginal recording
studio and label in Alice Springs. She is currently the Northern
Territory Manager for Artsupport Australia, an initiative of the
Australia Council for the Arts to grow cultural philanthropy. › Community music in Australia, International Journal of Community Music,
3.3, 337-342. Peter Harrop Professor Peter Harrop teaches performance studies in the Performing
University of Chester, Berth Ddu, The
Firs, Rhosesmor, Flintshire, CH7 6PJ,
United Kingdom Arts Department of the University of Chester where he is currently ProVice Chancellor. He previously taught at Bretton Hall College and
Addis Ababa University. He is interested in performance anthropology,
most particularly traditions of mumming, ceremonial activity more
broadly, and the intersection of time and place in the performance of
culture. Keywords embodiment, pedagogy,
performance, theatre, writing › What's in a name?, Studies in Theatre and Performance, 25.3, 189-200. LaResse Harvey A Better Way Foundation, PO Box
942, Hartford, CT 06101, United
States of America Keywords creativity, music, drama,
art LaResse Harvey is A Better Way Foundation’s African American
Policy Director. She is a formerly incarcerated single mother with over
ten years experience in community activism on issues of a woman’s
right to choose, housing, re-entry, drug treatment and custodial parental
rights. She holds a Baccalaureate Degree in Social Work from Saint
Joseph College in West Hartford and several Associate Degrees:
Human Services, Liberal Arts & Science, and General Studies.
Currently she is working on her MA at Post University in Waterbury.
She has conducted strategy caucuses at University of Connecticut
School of Social Work using 'The Arts' as a tool to reduce recidivism
and Undoing Racism training at Saint Joseph College with future
educators. › Creativity inside and outside prison walls: A journey of inspiration,
International Journal of Community Music, 3.1, 129-132. Sue Hawksley Northern School of Contemporary
Dance, 98 Chapeltown Road, LS7
4BH, United Kingdom Keywords choreography, dance,
somatics, installation, interactivity,
live art Sue Hawksley is a dancer and choreographer who has worked with
companies such as Rambert Dance Company, Mantis and cie. Philippe
Genty, with choreographers such as Richard Alston, Siobhan Davies,
Merce Cunningham and Trisha Brown and with artists such as Derek
Jarman, Bruce McLean and Simon Biggs. She is currently lecturer in
Contemporary Dance at the Northern School of Contemporary Dance,
Leeds. › Memory maps in interactive dance environments, International Journal of
Performance Arts and Digital Media, 2.2, 123-138. C. Michael Hawn Southern Methodist University,
Perkins School of Theology, SMU
Box 750133, Dallas, TX, 75275-0133,
United States of America Keywords music, song, religion, oral
tradition, prayer, Christianity C. Michael Hawn is Professor of Church Music and Director of the
Sacred Music Program at Perkins School of Theology, Southern
Methodist University, Dallas, Texas. He is the author of two books on
cross-cultural liturgy and global congregational song: One Bread, One
Body: Exploring Cultural Diversity in Worship (2003) and Gather into
One: Praying and Singing Globally (2003). More recently, he was the
music director for the IX Assembly of the World Council of Churches
in Porto Alegre, Brazil (2006) and was elected Fellow of the Hymn
Society in the United States and Canada (2008) for research and
leadership of global Christian song in liturgy. › Christian song in a global church: The role of musical structure in
community formation, International Journal of Community Music, 2.1, 5770. Casey J. Hayes Hewitt School, Creative Arts
Department Chair, 45 East 75th
Street, New York City, New York,
NY 10021, United States of America Keywords community music, equal
rights, homosexuality, gender studies,
sexuality, chorus, social justice Casey J. Hayes is co-music director of the New York City Gay Men’s
Chorus and Chairman of the Creative Arts Department at the Hewitt
School, New York City. He is a Ph.D. candidate in Music Education at
New York University. Prior to his arrival in New York City, Casey was
both the Assistant Conductor and Principal Accompanist for the
Indianapolis Men’s Chorus. Casey began playing the piano at age 7
under legendary teachers Armilla Zix Wilson and Edgar Roberts of The
Juilliard School. He has Undergraduate and Graduate Degrees in Music
Education and Choral Conducting from Butler University, where he
studied with acclaimed choral conductor Henry Leck and
composer/arranger James Quitman Mulholland. Casey is an ABD
doctoral candidate in Music Education at New York University’s
Steinhardt School of Education, where he specializes in the study of
Educational Outreach within Gay/Lesbian/Bisexual/Transgender
choruses. › Community music and the GLBT chorus, International Journal of
Community Music, 1.1, 63-68. › Book Review, International Journal of Community Music, 2.2&3, 267-268. Karen Hayes Keywords › REVIEWS, Journal of Applied Arts & Health, 2.2, 187-198. RAND T. HAZOU Keywords Rand Hazou studied at the University of Queensland and La Trobe
University. In 2004 he was commissioned by the UNDP to travel to the
Occupied Territories in Palestine to work as a theatre consultant
running workshops for Palestinian youth. In 2009 he was awarded a
Ph.D. in Theatre and Drama at La Trobe University. His thesis
examined the latest wave of political theatre in Australia engaging with
asylum seekers and refugees. › Hypermediacy and credibility in documentary theatre: The craft of makebelieve in Théâtre du Soleil’s Le Dernier Caravansérail (2005), Studies in
Theatre and Performance, 31.3, 293-304. Rand Hazou La Trobe University, Theatre and
Drama Program, Bundoora Campus,
Melbourne, 3086, Australia Keywords Australia, asylum seekers,
refugees, theatre, drama Rand Hazou completed a Bachelor of Arts in Geography, Media
Studies and Drama at the University of Queensland in 1998. In 2003 he
was awarded First Class Honours in Theatre and Drama at La Trobe
University. In 2004 Rand was commissioned by the UNDP to travel to
the Occupied Territories in Palestine to work as a theatre consultant
running workshops for Palestinian youths. In 2009 Rand was awarded
a Ph.D. in Theatre and Drama at La Trobe University. His thesis
examined the latest wave of political theatre in Australia dealing with
asylum seekers and refugees. › Dys-appearance andcompassion: The body,pain and ethical enactmentsin
Mike Parr’s Close theConcentration Camps (2002), Performing Ethos: An
International Journal of Ethics in Theatre & Performance, 1.2, 153-166. Andrew Head University of Hull, School of Arts &
New Media, Scarborough Campus,
Filey Road, Scarborough, North
Yorkshire, YO11 3AZ, United
Kingdom Keywords Krapp’s Last Tape, film,
disability, technology, media studies Andrew Head is a lecturer in Theatre Studies at the Scarborough
campus of the University of Hull. He has directed and performed in
several of Beckett’s shorter pieces in Britain and abroad. Andrew has
research and teaching interests in the work of Samuel Beckett; theories
of audience response and the theatre event and twentieth century
political theatre. He teaches across the BA curricula in Theatre and
Performance with specific interests in critical practice; acting and
live/performance art practices; site-specific performance and Beckett in
Performance. He is investigating the possibility of locating Beckett’s
later dramatic works amidst the context of contemporary performance
practice enriched with the emerging traditions of performance art, live
art and intermedial performance and a body of theoretical discourse
which has sought to articulate these developing art forms in the years
since Beckett’s death. › ‘... I wouldn’t want them back.’ Issues of process and technology in a recent
production of Krapp’s Last Tape, Studies in Theatre and Performance, 25.1,
47-54. Garry Headland Institution St Joseph, British
International Section, 13 Rue du
Drapeau, Le Havre, Seine Maritime,
76620, France Keywords stage business, set piece,
visual comedy, verbal comedy,
physical comedy After a ten-year period spent in the printing industry, Garry Headland
moved on to complete a degree in French at the University of Sheffield
in 1983 and subsequently went on to teach and study in France. He
completed his doctorate on the work of the Anglo-Irish dramatist and
lawyer, Arthur Murphy, in 2007 at Bordeaux University. His interest in
live theatre began with amateur dramatics in England in his home town
of Nottingham as well as performance in the Drama Studio at Sheffield
University. After taking up residence in France he followed actor
training in Rouen then Bordeaux and finally Le Havre where he
became involved in improvisation theatre. He currently teaches English
Literature to students aged 11-18 in the British International Section of
St Joseph's Institute in Le Havre where his interest in live theatre
involves writing short plays for children as well as adaptations of
Shakespeare for older students. › Arthur Murphy and eighteenth-century stage business, Studies in Theatre and
Performance, 28.1, 23-38. David G. Hebert Bergen University College, Grieg
Academy, Faculty of Education, P.O.
Box 7030, Bergen, N-5020, Norway Keywords Tonga, New Zealand,
youth, Polynesia, Japan, cultural
translation, education, sociology,
ethnic studies, art, research,
globalization David G. Hebert (Ph.D., University of Washington) is Assistant
Professor of Music at Boston University, where he directs doctoral
dissertations and teaches graduate courses in research methods,
sociology/psychology of music education and an ethnomusicology
seminar. He previously taught for leading universities in Russia, Japan
and New Zealand, and his scholarly publications appear in a dozen
different peer-reviewed journals. His book Wind Bands and Cultural
Identity in Japanese Schools (Springer) describes the world’s largest
music competition. › Music transmission in an Auckland Tongan community youth band,
International Journal of Community Music, 1.2, 169-188. Dee Heddon Deirdre (Dee) Heddon is a Reader in Theatre Studies at the University
of Glasgow. She has published widely on autobiographical
University of Glasgow, Department
of Theatre, Film & TV Studies,
Gilmorehill Centre, 9 University
Avenue, Glasgow, G12 8QQ, United
Kingdom performance in various journals and collections and is the author
of Autobiography and Performance (Palgrave 2008) and co-author of
Devising Performance: A Critical History (Palgrave, 2005). Dee is also
the co-author of Walking, Writing and Performance: Autobiographical
Texts, Phil Smith, Carl Lavery and Deirdre Heddon, ed. Roberta Mock,
Bristol: Intellect, 2009. Keywords autobiography,
performance, theatre › Reviews, Studies in Theatre and Performance, 27.2, 201-. Eric T. Hetzler University of Huddersfield,
Department of Drama, Queensgate,
Huddersfield, HD13DH, United
Kingdom Keywords acting, emotion in
performance, the actor's experience,
acting theory Eric T. Hetzler is completing a Ph.D. in England, after receiving his
BA in Performance from the University of Wisconsin-Madison and his
MFA in the same subject from the University of Georgia. He is a
professional actor, director and former Executive/Artistic Director of
the Central Minnesota Children's Theatre. › Actors and emotion in performance, Studies in Theatre and Performance,
28.1, 59-78. Dr. Eric Hetzler University of Huddersfield › REVIEWS, Studies in Theatre and Performance, 31.3, 351-354. Keywords Allan Hewitt University of Strathclyde, Department
of Sport, Culture and the Arts, Tom
Bone Building, 76 Southbrae Drive,
Glasgow, G13 1PP, United Kingdom Dr. Allan Hewitt is Head of Department of Sport, Culture and the Arts
at the University of Strathclyde, Glasgow. He teaches across a range of
undergraduate music and Music Education programmes and is an
active performer and composer. Current research is in the area of
musical participation and wellbeing. Keywords music, technology,
composition, childhood, creativity,
software › Some features of children's composing in a computer-based environment: the
influence of age, task familiarity and formal instrumental music instruction,
Journal of Music, Technology and Education, 2.1, 5-24. Lee Higgins Liverpool Institute for Performing
Arts, Mount Street, Liverpool, United
Kingdom Keywords community, music,
communication, history, animatuer,
definitions Lee Higgins leads the integrated arts postgraduate programme and the
undergraduate community arts provision at the Liverpool Institute for
Performing Arts, UK. He is the current chair of the International
Society of Music Education’s (ISME) commission for Community
Music Activity and joint editor of the International Journal of
Community Music. As a community musician he has worked across the
education sector as well as within health settings, prison and probation
service, youth and community, and orchestra outreach. › Editorial, International Journal of Community Music, 1.1, 3-4. › Growth, pathways and groundwork:Community music in the United
Kingdom, International Journal of Community Music, 1.1, 23-38. › Editorial, International Journal of Community Music, 1.2, 139-141. › Editorial, International Journal of Community Music, 1.3, 297-298. › Community music and the welcome, International Journal of Community
Music, 1.3, 391-400. › Editorial, International Journal of Community Music, 2.2&3, 105-107. › Editorial, International Journal of Community Music, 3.2, 161-164. › Editorial, International Journal of Community Music, 3.3, 311-315. › EDITORIAL, International Journal of Community Music, 4.2, 75-77. Jessica Hillman SUNY Freedonia, Department of
Theatre and Dance, 209 Rockefeller
Arts Center, Fredonia, NY, 14063,
United States of America Keywords authenticity, David
Leveaux, ethnic studies, Fiddler on
the Roof, musical theatre Dr. Jessica Hillman teaches Musical Theatre Styles, Musical Theatre
History, Script Analysis, Acting, and Audition Techniques at SUNY
Fredonia. An Actors' Equity Association member, she has performed
professionally on tour, in regional theatres across the country, and in
new musicals in NYC. Her acting credits include Tess in the 2001
national tour of Crazy for You, and lead roles in Fiddler on the Roof,
Cinderella and The Last Five Years. She has directed and/or
choreographed musicals and plays at University of Colorado,
University of Denver, the Colorado Shakespeare Festival, Colorado
Light Opera and the Fort Salem Theatre. She received her BA degree
in Theatre History from Cornell University and her MA and Ph.D.
from University of Colorado at Boulder, where she was the recipient of
the Chancellor’s and Devaney Fellowships. › Goyim on the roof: embodying authenticity in Leveaux’s Fiddler on the
Roof, Studies in Musical Theatre, 1.1, 25-40. › Reviews, Studies in Musical Theatre, 3.2, 219-226. Evangelos Himonides Institute of Education, University of
London, 20 Bedford Way, London,
WC1H 0AL, United Kingdom Keywords song, psychoacoustics,
quality perception, music, education,
chorus Evangelos Himonides holds the University of London’s first ever
‘lecturer in Music Technology Education’ position. His teaching
centres on music education, psychology and perception, music
technology and information technology, at post-graduate level, at the
Institute of Education, University of London. He also leads the
postgraduate course ‘Music Technology in Education’. He holds a
Music Diploma from the Macedonian Conservatoire of Thessaloniki,
Greece, a Bachelors of Science in Information Technology
(Multimedia) with Star First Class Honours from Middlesex
University, UK, a Masters in Education with distinction from the
University of Surrey, UK and a Ph.D. in Psychoacoustics and
Information Technology from the University of London. He is a
Chartered I.T. professional with the British Computer Society.
Evangelos has had an ongoing career in experimental research in the
fields of psychoacoustics, music perception, music cognition,
information technology, human-computer interaction, special needs,
the singing voice and singing development. › Mapping a beautiful voice: theoretical considerations, Journal of Music,
Technology and Education, 2.1, 25-54. › Reviews, Journal of Music, Technology and Education, 2.1, 81-84. › Mapping a beautiful voice: The continuous response measurement apparatus
(CReMA), Journal of Music, Technology and Education, 4.1, 5-25. Claire Hind York St John University, Faculty of
Arts, Lord Mayors Walk, York, YO31
7EX, United Kingdom Keywords dark play, games,
adaptation, performance, writing,
adaptation Claire Hind is a senior lecturer at York St John University where she
specializes in conceptual performance practice, the ensemble and
performance writing. She has a Ph.D. in practice led research from the
University of Leeds and was supervised by Professor Mick Wallis and
Dr. Anna Fenemore. Her work investigates the playful, ironic and
psychoanalytical processes of making live and mediated performance
within enclosed intimate spaces and works through the attitudes,
encounters repetitions and drives of rehearsal. Claire has directed
performance workshops in St. Petersburg, developed for over nine
years cross-cultural performance projects at the Sibiu International
Theatre Festival Romania, has worked frequently in the United States
as an artist and lecturer and most recently co-curated the international
Writing Encounters symposium at York St John University. › Hotel Two Rooms: The practice of adaptation, projection and play in
performance, Journal of Adaptation in Film & Performance, 3.1, 71-88. Eri Hirabayashi Japan Keywords ritual, practice theory,
identity, Japan, community, music Eri Hirabayashi earned her Ph.D. from the Irish World Academy of
Music and Dance, University of Limerick, Ireland, in 2010. In addition,
she was the acting course director of the MA Ritual Chant and Song
programme and lecturer (Ritual Studies) from 2009 to 2010 at the
above university. The focus of her research is the function and impact
of ritual music and music performance – particularly that of Shinto
music – on group behaviour in modern Japan. › Identity, roles and practice in ritual music, International Journal of
Community Music, 2.1, 39-55. Hilda Ho Murray Royal Hospital, Department
of Forensic Psychiatry, Muirhall
Road, Perth, PH2 7BH, United
Kingdom Keywords mentally disordered
offenders, forensic psychiatry, mental
health, creativity, drama, theatre Dr. Hilda Ho, MBChB, MRCPsych, MPhil, is the Regional Consultant
Forensic Psychiatrist for the north of Scotland. Her current post
involves the planning of a new medium-secure unit for the north of
Scotland. Dr. Hilda won the RCPsych in Scotland Research Prize 2010
with her paper 'Violence risk assessment: the use of the PCL-SV, HCR20 and VRAG to predict violence in mentally disordered offenders
discharged from a medium secure unit in Scotland'. She was presented
with her prize by the Chairman of the RCPsych in Scotland, Dr. Peter
Rice at the Apex Hotel, Edinburgh. › A descriptive analysis of a pilot drama project in a forensic psychiatric
setting, Journal of Applied Arts & Health, 1.3, 267-280. Alison Hodge Royal Holloway, University of
London, Department of Drama and
Theatre, Egham Hill, Egham, TW20
0EX, United Kingdom Keywords theatre, actor training,
performance research Alison Hodge is a freelance theatre director and Reader in Theatre
Practice in the Department of Drama and Theatre at Royal Holloway
College, University of London. She is the contributing editor of
Twentieth Century Actor Training (Routledge, 2000) second
edition Actor Training (Routledge 2010) and co-authored with
Wlodzimierz Staniewski Hidden Territories: The Theatre of
Gardzienice (Routledge, 2004). She was a founder and co-artistic
director of Theatre Alibi and is currently the Artistic Director of The
Quick and the Dead, an international performance research company
(DVD: Core Training: the development of core training and
performance (Arts Archives, 2007). › Actor Training, Studies in Theatre and Performance, 20.3, 184-187. Ceri Hovland University of Reading, Department of
Film, Theatre and Television,
Bulmershe Court, Woodlands
Avenue, Reading, RG6 1HY, United
Kingdom Ceri Hovland is a final year Ph.D. student in the Department of Film,
Theatre and Television at the University of Reading. Her thesis
explores the role of performance in film within mise-en-scène and
strategies of narration through epistemological framing and close
textual analysis. › We felt that if we kept looking hard enough, we might begin to understand
how they were feeling and who they were: Point of view and performance in
The Virgin Suicides, Journal of Adaptation in Film & Performance, 3.3,
259-270. Keywords Sofia Coppola, The Virgin
Suicides, point of view, performance,
photography, adaptation Gillian Howell The University of Melbourne,
Australia, The Provost, Victoria 3010,
Australia Keywords Australian Art Orchestra,
creative education, original music Gillian Howell is a Melbourne-based musician and director of music
collaborations and compositions, who works with diverse groups to
devise and perform original music. Her work takes her to arts
organizations and community groups throughout Australia and
overseas, including the Melbourne Symphony and Australia Chamber
Orchestras, the Song Room, the Australian Art Orchestra and Musica
Viva, and most recently as a 2010 Asialink artist-in-residence in East
Timor. She teaches at the University of Melbourne's Graduate School
of Education in the Artistic and Creative Education cluster, and is
Program Director of the Australian National Academy of Music's
Outreach and Community Program. › Do they know they're composing': Music making and understanding among
newly arrived immigrant and refugee children, International Journal of
Community Music, 4.1, 47-58. Polly Hudson University of Coventry, Priory Street,
Coventry, CV1 5FB, United Kingdom Keywords somatic practices, Skinner
Releasing Technique, moving-image
works Polly Hudson is a dancer, artist and teacher whose work is deeply
informed by somatic practices. Polly makes performance and movingimage works, often combining the two. She has shown numerous
works nationally and internationally, most recently the dance film
Multiple Body: A Continent of Skin which travelled to the Ismeta
Festival in New York, to Brighton International Screen Dance Festival
and to Lisbon Video Danz Festival. Polly is a senior lecturer in Dance
at Coventry University where she teaches MA and BA, and a visiting
lecturer at Birmingham School of Acting. Polly is currently training to
be a certified teacher of the Skinner Releasing Technique. › Somatic Approaches Applied to Artistic Movement in Technical Training:
Somatic Approaches and the Arts, by Reserche en Mouvement. Three DVDs,
Journal of Dance & Somatic Practices, 1.2, 263-265. Dorinda Hulton University of Exeter, Drama
Department, Arts, Languages and
Literature, New North Road,
Thornlea, Exeter, Devon, EX4 4LA,
United Kingdom Dorinda Hulton is a part-time senior lecturer in Drama at Exeter and a
freelance director and dramaturg. Recent publications include ‘Joseph
Chaikin’ in Actor Training (Routledge 2009), ‘Sites of Micro-political
Theatre’ (PAJ 2009), DVD-ROM (Open University 2009) and
‘Towards a “New Aesthetic” for Creating Theatre in a Conflict Zone’
(European Off Network 2009). Keywords Cyprus, site, dramaturgy,
reading imagery, Verfremdungseffekt,
schizophrenia › The One Square Foot project, Studies in Theatre and Performance, 27.2,
155-168. › Joseph Chaikin: The Presence of the Actor, Studies in Theatre and
Performance, 30.2, 219-224. Nick Hunt Rose Bruford College of Theatre and
Performance, School of Design,
Management and Technical Arts,
Rose Bruford College of Theatre and
Performance, Lamorby Park Sidcup,
Sidcup, DA15 9DF, UK Keywords theatre lighting,
performance making, technical arts Nick Hunt graduated with a degree in mechanical engineering before
deciding that theatre was more interesting than thermodynamics. After
ten years as a professional lighting technician and designer, he started
teaching at Rose Bruford College, where – some fifteen years later – he
is currently Head of the School of Design, Management and Technical
Arts. Nick is close to completing his doctoral thesis, ‘Repositioning the
Role of the Lighting Artist in Live Theatre Performance’, which
examines the performative potential of light and the lighting artist.
Nick’s other research interests include digital scenography and digital
performance, the history of theatre lighting and the roles and status of
the various personnel involved in theatre-making. › Alternative materialities: Scenography in digital performance, International
Journal of Performance Arts and Digital Media, 6.1, 3-6. › Lighting on the hyperbolic plane: Towards a new approach to controlling
light on the theatre stage, International Journal of Performance Arts and
Digital Media, 7.2, 205-220. › REVIEWS, International Journal of Performance Arts and Digital Media,
7.2, 259-267. Leon Hunt Brunel University, Film & Television
Studies, Brunel University, Uxbridge,
Uxbridge, Middlesex, UB8 3PH,
United Kingdom Keywords Thai cinema, martial arts,
Leon Hunt is a senior lecturer in Film and Television Studies at Brunel
University. He is the author of British Low Culture: From Safari Suits
to Sexploitation (Routledge 1998), Kung Fu Cult Masters: From Bruce
Lee to Crouching Tiger (Wallflower Press 2003/Peking University
Press 2010), and the BFI TV Classics volume on The League of
Gentlemen (BFI/Palgrave Macmillan 2008), and co-editor of East
Asian Cinemas: Exploring Transnational Connections on Film (I.B.
Tauris 2008). He is currently writing a book on cult British comedy for
real Manchester University Press. › Near the knuckle? It nearly took my arm off! British comedy and the new
offensiveness, Comedy Studies, 1.2, 181-190. Mark Hutchings University of Reading, Department of
English Language and Literature,
Whiteknights, Reading, Berkshire,
RG6 6UR, United Kingdom Mark Hutchings teaches in the Department of English Language and
Literature at the University of Reading. His main research interests lie
in early modern drama in performance, Anglo-Spanish relations and
theatre history. He is co-author (with A.A. Bromham) of Middleton
and His Collaborators (Plymouth, 2008) and editor of Three Jacobean
‘Turkish’ Plays (Manchester University Press, forthcoming Keywords indoor playhouse, interval,
The Changeling, Middleton’s politics,
Spain, stage directions › De Flores between the acts, Studies in Theatre and Performance, 31.1, 95111. Kimberley Hutt London Metropolitan University,
166–220 Holloway Road, London, N7
8DB, United Kingdom Kimberley Hutt, BSc, PGCE, MSST, is the course leader for BSc
(Hons) Sports and Dance Therapy and senior lecturer in Sports
Therapy at London Metropolitan University. She is currently studying
MSc. Dance Science at Laban, London. › Corrective alignment and injury prevention strategies: Science, somatics or
both?, Journal of Dance & Somatic Practices, 2.2, 251-263. Keywords dance therapy, dance
science, sports therapy Elke Huwiler University of Amsterdam,
Department of German Literature,
Spuistraat 210, NL-1012 VT
Amsterdam, Netherlands Keywords analytical model,
narratology, semiotics, German
‘Hörspiel’, sound art Elke Huwiler is an assistant Professor in the Department of German
Literature at the University of Amsterdam. She also teaches in the
Department of Literary Studies and Media and Culture. She wrote her
dissertation on Radio Drama and is currently doing research in the field
of Historical Performance Studies. › Radio drama adaptations: An approach towards an analytical methodology,
Journal of Adaptation in Film & Performance, 3.2, 129-140. Valentina Iadeluca Centro Didattico Musicale, Via delle
Egadi, 42 – 00141 Roma, Italy Keywords well-being, inclusion,
music education, anthropological
approach, Orff-Schulwerk Valentina Iadeluca is an interpreter of modern music and a jazz singer.
She graduated in ancient literature and management for the cultural and
communication sector. She runs teacher training courses in Italy and
abroad in early childhood music education, voice training for children,
interdisciplinary projects in schools and planning of music activities.
On behalf of the Commune of Rome, she is author and responsible for
the project 'Children in the Centre': a system of educational services in
the music and play area. She is currently director and music teacher of
the CDM Centro Didattico Musicale in Rome. › Bambini al Centro: Music as a means to promote wellbeing. Birth and
configuration of an experience, International Journal of Community Music,
1.3, 311-318. Martin Iddon University of Leeds, School of Music,
Leeds, LS2 9JT, United Kingdom Keywords contemporary arts,
musicology, composition Martin Iddon is a musicologist and composer. He studied musicology
and composition at the Universities of Durham and Cambridge with
John Butt and Ian Cross (musicology) as well as Robin Holloway and
Fabrice Fitch (composition), and has studied composition privately
with Chaya Czernowin, Steven Kazuo Takasugi, Ole Lützow-Holm,
and Steve Martland. His articles have been published in journals such
as Musical Quarterly, Twentieth century Music, and Contemporary
Music Review. His music has been performed in Great Britain,
Germany, Canada, Spain, Italy and the USA, and has been shortlisted
by the Sound & Music. He currently lectures at the University of
Leeds. › Reviews, Studies in Musical Theatre, 2.1, 109-120. Suna Imre University of Winchester, Winchester,
SO22 4NR, United Kingdom Keywords dance, processes,
movement, interview, Tufnell Suna Imre is a dance artist and senior lecturer in Dance at the
University of Winchester. She specializes in improvisation and has
collaborated with a diverse range of artists to create cross-disciplinary
installations and performances throughout the United Kingdom. Her
key interests include developing movement vocabulary that is sourced
from the application of somatic processes; and investigating closely the
interface between the moving body within specific environments.
Other work includes the creation of an improvised duet that utilizes
aspects of authentic movement and contact improvisation as its
foundation, performed in the United Kingdom in 2009, and a collection
of interviews with practitioners and educators in the field of somatic
dance practice. › Keeping Your Wits, Journal of Dance & Somatic Practices, 1.1, 111-120. Mike Ingham University of Lingnan, Department of
English, Tuen Mun,, Hong Kong Keywords Evans Chan, essay film,
Hong Kong, transnational, Tiananmen
Square Mike Ingham has a Modern Languages tertiary background in the
United Kingdom. He now teaches in the English Studies programme at
the Department of English in Lingnan University, Hong Kong. He is
interested in many aspects of performing, particularly drama, poetry
and music, and is a founder member of Theatre Action, a Hong Kongbased theatre group that specializes in action research on more literary
drama texts. As well as doing scholarly work on theatre in performance
and cinema, he directs theatre in Hong Kong and writes performing arts
criticism for local media. His books include Staging Fictions (Edwin
Mellen Press, 2004) and Hong Kong: A Cultural and Literary History
(Signal/HKU Press/OUP, 2007). › Following the dream/passing the meme: Shakespeare in ‘translation’, Studies
in Theatre and Performance, 28.2, 111-126. Michael I. Jackson Reverend Michael Jackson qualified as a solicitor but then left legal
practice to become director of a charity. He concurrently studied for the
ministry and was ordained priest. He is a member of the CCOA
Research Group. Keywords charity, ministry, art
education › Engagement in the arts and well-being and health in later adulthood: An
empirical study, Journal of Applied Arts & Health, 2.1, 25-36. Christian Jacquemin LIMSI-CNRS & University Paris Sud
11, Computer Science Department,
Bat 480, Campus Scienfifique
d'Orsay, Orsay, 91400, France Keywords computer graphics,
augmented reality, cinema, new
media, technology Christian Jacquemin is a Professor in Computer Science at the
University of Paris-11 and Head of the Visualisation and Interaction
project at CNRS-LIMSI. He has published major conferences in
Information Retrieval and Information Visualisation. He authored a
book on Natural Language Processing published by MIT Press in 2001.
He is involved in several collaborations on artistic application of
interactive graphics (theatre, art installations, sound and graphic
design). His current research interests include information, interactive
3D graphics and audio, and advanced graphics rendering and its
applications to arts. › Revisiting the layer/mask paradigm for augmented scenery, International
Journal of Performance Arts and Digital Media, 2.3, 237-258. Kurt Jensen Keywords Agnes DeMille, Oscar
Hammerstein II, Oklahoma!, Richard
Rodgers, Rouben Mamoulian Kurt Jensen, an independent scholar in Alexandria, Virginia, was the
researcher for Michael Sragow’s biography Victor Fleming: An
American Movie Master (2008, Pantheon). He is a graduate of Roanoke
College. He is writing Rouben Mamoulian: The Art of Gods and
Monkeys for University Press of Mississippi. › What did Mamoo do? The Rouben Mamoulian papers and Oklahoma!,
Studies in Musical Theatre, 4.3, 247-259. Daniel Jernigan Nanyang Technological University,
Department of English, S3.2 B4 27,
639798, Singapore Keywords augmented reality, virtual
reality, theatre masks, Gopal
Baratham Daniel Jernigan is Assistant Professor of English at Nanyang
Technological University, Singapore. His interests include drama and
theatre studies, postmodernism and creative writing. Dr. Jernigan’s
critical work on Caryl Churchill and Tom Stoppard has been published
in Modern Drama and Comparative Drama. His edited collection,
Drama and the Postmodern: Assessing the Limits of Metatheatre
(2008) is available through 48 Daniel Jernigan, Stephen Fernandez,
Russell Pensyl and Lee Shangping Cambria Press. › Digitally augmented reality characters in live theatre performances,
International Journal of Performance Arts and Digital Media, 5.1, 35-49. Albert Jewell Reverend Dr. Albert Jewell is a Methodist minister, who recently
completed a Ph.D. at the University of Wales on the topic of well-being
in older Methodists. He is a member of the CCOA Research group. Keywords Methodism, art therapy,
art education › Engagement in the arts and well-being and health in later adulthood: An
empirical study, Journal of Applied Arts & Health, 2.1, 25-36. Jamie Jewett Choreographer and multimedia artist Jamie Jewett is the artistic
Lostwax / Rhode Island School of
Design, Digital + Media, 96 Transit
St, Providence, RI, 2906, United
States of America director of Lostwax. He has created numerous multimedia
performances exploring the use of site-specific video, interactivity, and
the real-time manipulation of media sources in a dance idiom based on
release technique. Jamie teaches at the Rhode Island School of Design
and Brown University. Keywords dance, media studies,
video, interactivity, technology › Seeing the mind, stopping the mind, the art of Bill Viola, International
Journal of Performance Arts and Digital Media, 4.1, 81-94. Jeffrey Johnson Open University, Walton Hall, Milton
Keynes, Buckinghamshire, MK7
6AA, United Kingdom Keywords architecture, complex
systems, interactivity, urban space,
4D design Jeffrey Johnson is Professor of Complexity Science and Design in the
Department of Innovation and Design at the Open University. He is
principal investigator of the designing for the 21st Century Cluster
'Embracing Complexity in Design 2' funded jointly by the AHRC and
the EPSRC. Jeffrey is also Head of Department of Design,
Development, Environment and Materials. › An approach to the design of interactive environments, with reference to
choreography, architecture, the science of complex systems and 4D design,
International Journal of Performance Arts and Digital Media, 3.2&3, 281-. Patrick M. Jones SetnoSyracuse Universityr School of
Music, Syracuse University, 215
Crouse College, Syracuse, NY 13244,
United States of America Keywords lifelong learning, lifespan,
music, education, school music Patrick M. Jones, Ph.D., is a Professor and Director of the Setnor
School of Music at Syracuse University. He has enjoyed an
international career as a conductor of military and youth bands and is
Conductor Emeritus of the Sinfonisches Blasorchester Eifel-Ardennen.
He has presented papers and published articles on a variety of topics.
His scholarly interests include music education theory, history and
policy. He has served as an officer and board member of various
professional organizations is currently national chair of the MENC
History Special Research Interest Group, a member of the ISME Music
Policy: Cultural, Educational and Mass Media Commission, and serves
on the editorial boards of the International Journal of Community
Music and Visions of Research in Music Education. › Lifewide as well as lifelong: broadening primary and secondary school music
education's service to students' musical needs, International Journal of
Community Music, 2.2&3, 201-214. Christopher Jones University of Hull, Creative Music
Technology, Scarborough Campus,
Filey Road, Scarborough, YO11 3AZ,
United Kingdom Christopher Jones teaches studio production and live sound at the
University of Hull, Scarborough Campus. He also provides support to
the studio facilities within the School of Arts and New Media. He
studied Creative Music Technology as an undergraduate, and then
Sonic Arts as a postgraduate. Christopher is currently enrolled as a
Ph.D. student with the university. Keywords peer learning,
collaboration, recording, music › Peer learning in the music studio, Journal of Music, Technology and
Education, 2.1, 55-70. › Reviews, Journal of Music, Technology and Education, 2.2&3, 196-206. Dawn Joseph Deakin University, Melbourne,
Faculty of Arts and education, 221
Burwood Highway, Burwood, 3125
Victoria, Australia Keywords culture, multiculturalism,
identity, community music Dr. Dawn Joseph is a senior lecturer in Music and Education Studies in
the Faculty of Arts and Education, Deakin University, Melbourne,
Australia. She is currently responsible for teaching both undergraduate
and postgraduate courses. Dawn researches, publishes and reviews in
national and international journals in the areas of teacher education,
African music, cultural diversity and multiculturalism. She is currently
a national committee member of the Australian Society for Music
Education (ASME) and also serves as a committee member for the
ASME Victorian Chapter. › Sharing music and culture through singing in Australia, International
Journal of Community Music, 2.2&3, 169-181. Tim Joss Keywords music, travellers, Great
Britain, community music Tim Joss is Director of the Rayne Foundation, which works to help
reduce exclusion, heal divisions in society and create new relationships
for the benefit of society. In 2008, Tim wrote ‘New Flow – a better
future for artists, citizens and the state’. The Public Engagement
Foundation, which Tim founded, applies ‘New Flow’ ideas. It aims to
open up markets for the arts in non-arts settings. Previously Tim was
Artistic Director & Chief Executive of festivals in Bath. He was Chair
of the British Arts Festivals Association and Chair of the Community
Music Commission of the International Society for Music Education.
He is currently Chair of the Culture Forum created by the National
Campaign for the Arts and Arts & Business and is a trustee of the
London Sinfonietta. › Community music development in Great Britain, International Journal of
Community Music, 3.3, 321-326. Olaf Jubin Regent’s American College, Inner
Circle, Regent’s Park, London, NW1
4NS, United Kingdom Olaf Jubin is a senior lecturer in Media Studies and Musical Theatre at
Regent’s American College London and a visiting lecturer on the MA
in Musical Theatre at Goldsmiths College, University of London. He
has written and co-edited several books, among them an analysis of the
dubbing and subtitling of film musicals. Keywords US movie musical, US
media corporations, dubbing,
subtitling, German-language musical
market › From That's Entertainment! to That's Entertainment? – globalization and the
consumption of the Hollywood musical in Germany and Austria, Studies in
Musical Theatre, 3.3, 235-251. › Experts without expertise? Findings of a comparative study of American,
British and German-language reviews of musicals by Stephen Sondheim and
Andrew Lloyd Webber, Studies in Musical Theatre, 4.2, 185-197. Karen Jurs-Munby University of Lancaster, Lancaster
Institute for Contemporary Arts, The
Roundhouse, Lancaster, LA1 4YW,
United Kingdom Karen Jürs-Munby teaches Theatre Studies at the Lancaster Institute
for the Contemporary Arts, Lancaster University. Her research interests
include theories of acting and performing, relationships between text
and performance, and more generally new dramaturgies in
contemporary theatre. Her translation and introduction to Hans-Thies
Lehmann’s Postdramatic Theatre appeared in 2006. Keywords text, performance, postdramatic theatre › Text Exposed: Displayed texts as players onstage in contemporary theatre,
Studies in Theatre and Performance, 30.1, 101-114. Deborah Kapchan New York University, Department of
Performance Studies, 721 Broadway,
6th Floor, New York, NY 10003,
United States of America Keywords Sufism, community,
liturgy, secularism, religion Deborah Kapchan is Associate Professor of Performance Studies at
New York University. She writes on aesthetics, music, narrative and
religion in North Africa and the North African diaspora. She is the
author of Gender on the Market: Moroccan Women and the Revoicing
of Tradition (University of Pennsylvania, 1996), as well as Traveling
Spirit Masters: Moroccan Trance and Music in the Global
Marketplace (Wesleyan University Press, 2007). She has also written a
third book, Poetic Justice: Translating Art and Ideology in Morocco
(contracted with University of Texas Press). She has been a
Guggenheim Fellow, a Fulbright-Hays recipient, as well as a grantee of
the American Institute of Maghreb Studies, the Wenner-Gren
Foundation and the Social Science Research Council. › Singing community/remembering in common: Sufi liturgy and North African
identity in southern France, International Journal of Community Music, 2.1,
9-23. Claudia Kappenberg University of Brighton, School of
Arts and Media, Flat 2, 56-57 Ainger
Road, London, NW3 3AH, United
Kingdom Keywords performance, sitespecificity, choreography, film,
screendance Claudia Kappenberg danced professionally in Europe and New Zealand
and completed an MA Fine Art/Film and Video at Central Saint
Martins College of Art and Design in 1998. She is a senior lecturer in
Performance and Visual Art at the University of Brighton. Her projects
comprise single screen work as well as screen-based installations and
live site-specific events and have been shown in Europe, the United
States and the Middle East. Claudia is co-founder of the White Market
project and co-curated the What If… Festival in London in 2010. She
runs an international Screendance Network with UK- and US-based
scholars and artists and is Co-Editor of the International Journal of
Screendance. Research interests include screendance and
interdisciplinary performance, site-specific work; theories and histories
of the body and historical developments in dance, film and artist’s
video; questions of representation within a post-modern framework,
feminist debates within post-modernism and questions › Does screendance need to look like dance?, International Journal of
Performance Arts and Digital Media, 5.2&3, 89-105. Pamela Karantonis University of Greenwich, Department
of Communications and Creative
Arts, Park Row, London, SE10 9LS,
United Kingdom Keywords gender studies, musicals
and opera, androgyny, impersonation,
popular culture Pamela is a senior lecturer in Drama at the University of the West of
England, Bristol. She has a practical interest in the areas of opera,
contemporary experimental performance and postcolonial theory. She
has also taught at the University of New South Wales Sydney, where
she completed her doctoral thesis. She is an active researcher with the
Music Theatre Working Group of the International Federation for
Theatre Research. Additionally Pamela has presented papers at
conferences held by the Theatre and Performance Research
Association, the Amsterdam School of Cultural Analysis and Song,
Stage and Screen in Portsmouth and Leeds. › Takarazuka is burning: music theatre and the performance of sexual and
gender identities in modern Japan, Studies in Musical Theatre, 1.2, 153-166. Sidsel Karlsen Hedmark University College,
Department of Teacher Education and
Science, 2418 Elverum, Norway Keywords music, education,
festivals, community music, practice Sidsel Karlsen works as Professor of Music Education at Hedmark
University College in Hamar, Norway and as a postdoctoral researcher
at the Department of Music Education, Sibelius Academy in Helsinki,
Finland. She holds a Bachelor of Music Education and a Master of
Music from the Norwegian Academy of Music, and received her Ph.D.
in Music Education at Luleå University of Technology, Sweden, in
2007. Prior work experiences include freelancing as a classical singer,
working as a community musician and as a festival administrator. Dr.
Karlsen teaches general music education theory and has published
articles in Scandinavian and international journals. Her research
interest lies, among other things, within the area of exploring musical
learning within informal contexts outside school as well as music
education in multicultural societies. › Learning through music festivals, International Journal of Community
Music, 2.2&3, 129-141. Kate Katafiasz Newman University College, Creative
Arts, Genners Lane, Bartley Green,
Birmingham, B32 3NT, United
Kingdom Keywords theatre, psychology,
Edward Bond, Lacan, graph of desire,
trauma theory Kate Katafiasz was for several years a drama teacher in Birmingham
secondary schools. She moved into teacher training before setting up
and running a popular Single and Combined Honours Drama degree at
Newman University College in Birmingham, where she now works
part-time. Her interest in Edward Bond’s plays stems from his work in
Birmingham schools with Big Brum Theatre in Education Company
and the National Association of Teachers of Drama. She is currently
finishing her Ph.D.: 'Drama and Desire', which explores Bond's
dramaturgical innovations in relation to Lacanian topology. Other
research interests include Lacan’s ‘Graph of desire’ and understanding
the psycho-semiotic implications of using Lacan’s registers in
performance; applying insights from Lacan’s graph to Edward Bond’s
new dramaturgy and recent plays; and positioning Trauma Theory in
relation to the Graph of Desire and contemporary theatre. › Quarrelling with Brecht: Understanding Bond’s post-structuralist political
aesthetic, Studies in Theatre and Performance, 28.3, 237-251. John Keefe London Metropolitan
University/Queens University
(Canada) BISC, Sir John Cass
Department of Art, Media and
Design/Arts & Humanities, Central
House, 59-63 Whitechapel High
Street, London, E1 7PF, United
Kingdom Keywords empathy, materiality,
knowing complicity, economy of
regard, spectatorial dramaturgy,
physical theatre, recycling John Keefe is a lecturer in Theatre, Performance and Film, a theatre
director and performance dramaturg. He has developed projects and
material on ‘physical theatre’ and on the role of the performance
dramaturg for Mime Action Group/Total Theatre, the Directors Guild
of Great Britain and the Dramaturgs Network. He is a senior lecturer at
the SJCAMD Undergraduate Centre, London Metropolitan University
and field lecturer in Theatre, Drama and Performance at the Queen’s
University (Canada) Bader International Study Centre. His most recent
publications include ‘Berkoff’s “Londons”: staging psycho-geographies
of the feared and the ecstatic’ (Literary London, 7: 2, 2009), 'A
Spectatorial Dramaturgy, or the spectator enters the (ethical) frame'
(Performing Ethos 1:1, 2010), and 'Play(ing) It Again: recycling as
theatres, histories, memories' (Art History and Criticism 6, 2010). › A spectatorial dramaturgy, or the spectator enters the (ethical) frame,
Performing Ethos: An International Journal of Ethics in Theatre &
Performance, 1.1, 35-52. Adele Keeley The Arts University College at
Bournemouth, Faculty of Media and
Performance, Wallisdown, Poole,
Dorset, BH12 5HH, United Kingdom Keywords costume design, digital
arts Adele Keeley has an MA in Theatre Arts from Nottingham Trent
University where she focused her research on the Digital Platform for
Costume Design Communication. Her thesis and subsequent articles on
the subject track how the digital platform can inform both the process
and the communication of design. Currently, Adele works as a senior
lecturer at the Arts University College at Bournemouth teaching on the
BA (Hons) Costume with Performance Design course. As a costume
practitioner Adele has worked as both a costume maker and designer
and continues to practice alongside her teaching – using it as a platform
for research. Adele recently co-ordinated a project involving a group of
UK students working collaboratively with two professional costume
designers from North America. The project tracked the design and
realization of costumes via the Internet. › The digital platform for costume design communication, International
Journal of Performance Arts and Digital Media, 6.1, 41-48. Tim Keenan University of Queensland, English,
Media Studies and Art History,
Brisbane, QLD 4072, Australia Keywords English Restoration
Theatre, Lincoln's Inn Fields theatre
1661-1674, Modern Japanese Theatre,
Hirata Oriza, Seinendan Dr. Tim Keenan lectures in Drama at the University of Queensland.
His main research interests are centred on English Restoration theatre
(1660-1700): particularly scenic staging 1660-1674. He also has a
practice-led interest in modern Japanese theatre, especially the plays of
Hirata Oriza. Before becoming an academic, Tim directed several plays
in London, including the European premiere of Betsuyaku Minoru’s
The Elephant, which won an inaugural Japan Festival Fund award in
1994. At the University of Hull, he also directed large-scale
productions of John Dryden and William Davenant’s 1667 adaptation
of Shakespeare’s The Tempest (2007), and the first English-language
production of Hirata Oriza’s The Scientifically Minded, which toured to
the Agora Theatre, Tokyo in April 2010. › Adapting the adaptors: staging Davenant and Dryden's Restoration Tempest,
Journal of Adaptation in Film & Performance, 2.1, 65-77. Jem Kelly University Of Chichester, College
Lane, Chichester, West Sussex, PO19
6PE, United Kingdom Keywords audito, Three Tales,
Derrida, Merleau-Ponty, interactivity Jem Kelly is a senior lecturer in Performance Arts at the University of
Chichester. Jem's research practice interrogates combined media
performances that generate new modes of apprehension and conditions
of reception. His current research interest centres on interactions of live
performance elements and play-back media, particularly directionality
of sound immersive performance environments. › Auditory space: emergent modes of apprehension and historical
representations in Three Tales, International Journal of Performance Arts
and Digital Media, 1.3, 207-236. Stewart Kember Lancaster University, BigDog
Interactive, Lancaster, Lancashire,
LA1 4YW, United Kingdom Keywords architecture, installation,
performance Stewart Kember is a founding member and Director of BigDog
Interactive. As part of his work with BigDog (and formerly
.:thePooch:.), Stewart has conceived and constructed bespoke
interactive systems for a wide variety of contexts and audiences. This
catalogue of past works has furnished him with a wealth of knowledge
and experience in the development of installation and performance
support systems. › A support architecture for high dependability in digital performance
andinstallation art, International Journal of Performance Arts and Digital
Media, 2.1, 87-. Mary Copland Kennedy University of Victoria, PO Box 3010,
STN CSC Victoria, BC V8W 3N4,
Australia Keywords choir, community, culture,
teaching, learning Mary Copland Kennedy is an Associate Professor of Music Education
at the University of Victoria, BC, Canada, where she teaches
undergraduate and graduate courses in Music Education in addition to
conducting the Philomela Women’s Choir. Dr. Kennedy’s research
interests include choral music, creativity, and music and community.
Among her publications are articles in Journal of Research in Music
Education, British Journal of Music Education, International Journal
of Music Education, Music Education Research, Research Studies in
Music Education, and Choral Journal. In addition, she has presented
papers and sessions at regional, national and international conferences
and written three book chapters for Canadian Music Educators
Association publications. › The Gettin' Higher Choir: Exploring culture, teaching and learning in a
community chorus, International Journal of Community Music, 2.2&3, 183200. Baz Kershaw University of Warwick, School of
Theatre, Performance and Cultural
Policy Studies, Millburn House,
Coventry, CV4 7HS, United Kingdom Keywords community-based theatre,
performance ecology Baz Kershaw was formerly Chair of Drama at the University of Bristol,
and Director of the five-year research project PARIP (Practice as
Research in Performance). He trained and worked as a design engineer
before reading English and Philosophy at Manchester University and
holds higher degrees from the Universities of Hawaii and Exeter. He
has extensive experience as a director and writer in experimental,
radical and community-based theatre, including productions at the
legendary Drury Lane Arts Lab in London. More recently he has
mounted site-specific productions on the Bristol heritage ship, the SS
Great Britain. He has published many articles in international journals,
and is the author of The Politics of Performance (Routledge 1992) and
The Radical in Performance (Routledge 1999), and editor of The
Cambridge History of British Theatre, Vol 3 – Since 1895 (2004). › Performance, Memory, Heritage, History, Spectacle – The Iron Ship, Studies
in Theatre and Performance, 21.3, 132-149. Alexandra Kertz-Welzel Ludwig Maximilian University in
Munich, Music Education, Munich,
Germany Keywords Germany, cross-cultural
studies, typologies, history Alexandra Kertz-Welzel is Professor and Chair of the Department of
Music Education at Ludwig Maximilian University (LMU) in Munich,
Germany. She obtained a Ph.D. in Musicology from Saarland
University in Saarbrücken, Germany, as well as MAs in Music
Education, Germanics, Philosophy, Piano Performance and
Harpsichord Performance. From 2005-2011, she was lecturer of Music
Education and Philosophy of Music Education at the University of
Music in Saarbrücken, Germany, and, from 2002-2005, visiting scholar
and guest lecturer of Music Education at the University of Washington
in Seattle, WA (United States). › A matter of comparative music education? Community music in Germany,
International Journal of Community Music, 1.3, 401-409. Andrew King University of Hull, Scarborough
Campus, Filey Road, Scarborough
North, Yorkshire, YO11 3AZ, United
Kingdom Keywords learning technology,
music, studio practice, problem
solving, contingent learning, peer
learning Dr. Andrew King is the Deputy Dean for Learning and Teaching, the
Programme Director for the MEd. in ‘Music, Technology and
Education’, a lecturer in Creative Music Technology, and a University
Teaching Fellow at the University of Hull, Scarborough Campus. His
main teaching and research areas include Recording,
Psychoacoustics,Live Sound, Music and ICT. He is also editor of the
journal Music, Technology and Education. › Problem solving with learning technology in the music studio, Journal of
Music, Technology and Education, 1.1, 57-68. › Reviews, Journal of Music, Technology and Education, 1.2&3, 167-185. › Editorial, Journal of Music, Technology and Education, 2.1, 3-4. › Peer learning in the music studio, Journal of Music, Technology and
Education, 2.1, 55-70. › An expert in absentia: a case study for using technology to support recording
studio practice, Journal of Music, Technology and Education, 2.2&3, 175185. › Editorial, Journal of Music, Technology and Education, 3.1, 3-4. › Editorial, Journal of Music, Technology and Education, 4.1, 3-4. Rachel Kirk School of Languages, Literatures and
Performing Arts, 10 University
Square, Queen's University Belfast,
Belfast, BT71NN, United Kingdom Keywords Plautus, translating
comedy, carnivalesque Rachel Kirk is a doctoral candidate in Translation at Queen’s
University of Belfast. Her practice as research thesis focuses on
documenting the process of translating Plautus’ Roman comedy Casina
for performance in an effort to reconnect the theory and practice of
theatre translation. Her research interests include theatre translation,
translating comedy, classical performance reception and the
carnivalesque. › The time-travellingmiser: Translation andtransformation in
Europeancomedy, Comedy Studies, 2.1, 39-46. Phil R. Kirkman University of Cambridge, Faculty of
Education, 184 Hills Road,
Cambridge, CB2 8PQ, United
Kingdom Keywords musical cultures, music
education, National Curriculum As well as his involvement with the Faculty PGCE course at
Cambridge University, Phil spends time studying and working in the
field of music education research. Before this he worked as a music
teacher in Greater Manchester and later as a high school Director of
Music in Essex. Phil is committed to widening equality through music
education and broadening our understanding of how school classrooms
can become environments that facilitate the emergence of musical
cultures. He frequently contributes to several web publications and
maintains a personal blog on music education and technology. He also
regularly provides in-service training for teachers in the Eastern region
and writes and performs music with groups local to the Cambridge
area. › Exploring contexts fordevelopment: Secondarymusic students’
computermediatedcomposing, Journal of Music, Technology and Education,
3.2-3, 107-124. Hilary Kneale independent artist Keywords body-based responses, fine
art, VAIN liveart Hilary Kneale is an Oxford-based independent artist, with a
background in education, fine art and movement, who works both
within the United Kingdom and Europe. Her key areas of interest are
body-based responses in relation to site and object through presence,
performance and installation. She works with these forms in a rich mix
of cross-art-form collaboration both within natural and man-made
environments and other specifically constructed landscapes. As cofounder of VAIN liveart, an Oxford-based live art platform that fed the
National Live Art Review (NLAR), Hilary has a continued interest in
supporting new and emerging practitioners, currently through
undergraduate and postgraduate guest teaching. When working as an
accredited teacher of Gabrielle Roth’s 5 Rhythms™, her teaching is
informed by her study of non-stylized movement, with Helen Poynor. › A field guide to a physical philosophy, Journal of Dance & Somatic
Practices, 2.2, 205-217. › ‘You’re asking me to what…? getting moving in North Bovey’, Journal of
Dance & Somatic Practices, 2.2, 125-128. Lone Koefoed Hansen Aarhus University, Department of
Aesthetic Studies, Langelandsgade
139, Aarhus C, DK-8000, Denmark Keywords locative media,
psychogeography, site-specific
performativity, culture, geography,
mapping Dr. Lone Koefoed Hansen is a researcher working in the interface
between mobile media, urban space and everyday performativity. She
is an Assistant Professor at Aarhus University (Denmark) and recently
received her Ph.D. degree, which focused on digital aesthetics and
culture in the age of pervasive computing and mobile media. She is
currently partaking in the research project Digital Urban Living and is
a board member of the Digital Aesthetics Research Centre. › Lost in location – on how (not) to situate aliens, International Journal of
Performance Arts and Digital Media, 5.1, 3-22. Katja Kolcio Wesleyan University, Department of
Dance, 275 Washington Terrace,
Middletown, CT, 6459, United States
of America Keywords somatics, dance,
embodiment, identity Katja Kolcio, Ph.D. is Associate Professor of Dance at Wesleyan
University. Her research is in social somatic theory, investigating the
role of physical engagement and creativity in practices of knowledge
production, and about modern dance as a political art form. Katja's
choreography engages the community and environment within which it
occurs. Her interests also include integrating traditional arts into
contemporary performance. Her most recent publications are Movable
Pillars Creating a Foundation for Dance Studies in the Academy,
1956-1978 (2010, Wesleyan University Press), 'Faking It: The
Necessary Blind Spots of Understanding' (2009, Cultural
Studies/Critical Methodologies), 'A Somatic Engagement of
Technology' (2005, International Journal for Performance Art and
Digital Media), and book reviews in the Dance Research Journal and
the New England Theater Journal. › A somatic engagement of technology, International Journal of Performance
Arts and Digital Media, 1.2, 101-126. Jozefina Komporaly De Montfort University, Department
of Performance and Digital Arts, De
Montfort University, The Gateway,
Leicester, LE1 9BH, United Kingdom Keywords stage translation, drama,
education Jozefina Komporaly is a senior lecturer in Drama at De Montfort
University, where she has been lecturing since 2005. She has published
in the field of contemporary British and European theatre, women’s
writing and translation and adaptation for the stage. She is the author of
the monograph Staging Motherhood: Contemporary British Women
Playwrights (Palgrave, 2006). Her current work focuses on
contemporary francophone theatre and on the role of translation in the
international circulation of cultural products. › Adaptation, Translation, Multimediality:A Hungarian Bestseller Across
Cultures, Journal of Adaptation in Film & Performance, 1.3, 191-204. › The Gate Theatre: A translation powerhouse on the inter-war British stage,
Journal of Adaptation in Film & Performance, 4.2, 129-143. Mitchell Kossak Lesley University, 29 Everett Street,
Cambridge, MA, 2138, United States
of America Keywords mental health, therapeutic
massage, expressive arts therapies Mitchell Kossak is Assistant Professor and Division Director, Division
of Expressive Therapies at Lesley University, United States. He is also
the co-chair of The Institute For Body, Mind and Spirituality. He has
presented his work and research at conferences nationally and
internationally. He is a licensed mental health counselor, and nationally
certified in therapeutic massage and bodywork. His clinical work
combines expressive arts therapies with body-centered approaches with
a variety of populations. His doctoral studies was in Interdisciplinary
Studies with a concentration in Psychology and a specialization in
Transpersonal Psychology and Expressive Arts Therapies. His current
research focuses on art based improvisational structures that can lead
toward and enhance therapeutic attunement. › Reviews, Journal of Applied Arts & Health, 1.2, 223-231. › Editorial, Journal of Applied Arts & Health, 1.2, 133-137. › REVIEWS, Journal of Applied Arts & Health, 2.2, 187-198. › EDITORIAL, Journal of Applied Arts & Health, 2.2, 107-111. Violetta Kostka Academy of Music, Gdańsk, ul.
Kmieca 5, 80-279 Gdańsk, Poland Keywords neotonality, satire, piano,
manuscript, neoclassicism, opera Violetta Kostka was trained at the University of Poznań and received
her Ph.D. from the Institute of Art of the Polish Academy of Sciences
in Warsaw. She has won scientific scholarships from the Polish Library
in Paris and the University of Cambridge and currently teaches Music
History at the Academy of Music in Gdańsk. A member of the Polish
Composers’ Union, she has authored more than 50 articles, mainly on
musical life in eighteenth century Gdańsk, and the music of Polish
composers of the nineteenth and twentieth centuries. She has taken part
in many conferences at home and abroad, including conferences in
Greifswald, Leipzig and Frankfurt. Dr. Kostka headed a project entitled
'Tadeusz Zygfryd Kassern. Life and output' financed by the Committee
of Scientific Research and is the co-editor of a forthcoming Lexicon of
the XXth Century Culture of Pomerania. › The rediscovery of Comedy of the Dumb Wife (1953) by Polish composer
Tadeusz Kassern, Studies in Musical Theatre, 4.1, 45-52. Angelos Koutsourakis University of Sussex, Brighton,
United Kingdom Keywords Lars von Trier, Brecht,
form Angelos Koutsourakis has recently submitted his Ph.D. for examination
at the University of Sussex. His Ph.D. thesis offers a post-Brechtian
reading of Lars von Trier, with the view to identifying the political
implications of form in his films. He has published articles on Lars von
Trier, Bertolt Brecht, Theo Angelopoulos, Alexander Kluge and other
European auteurs. › From post-Brechtian performance to post-Brechtian cinema: Shirley Clarke’s
adaptation of The Living Theatre’s production of The Connection,
International Journal of Performance Arts and Digital Media, 7.2, 141-154. Susan Kozel Malmö University, MEDEA
Collaborative Media Institute, 205 06
Malmö, Sweden Keywords art, research,
choreography, media studies,
technology Susan Kozel is a dancer and writer and is Professor of New Media with
the MEDEA Collaborative Media Institute at the Malmö University,
Sweden, and is Director of Mesh Performance Practices. Her
performances and installations have toured internationally and she has
published widely. She is the author of Closer: Performance,
Technologies, Phenomenology, published by MIT Press. › Mobile social choreographies: Choreographic insight as a basis for artistic
research into mobile technologies, International Journal of Performance Arts
and Digital Media, 6.2, 137-148. Paula Kramer Coventry University, Coventry
School of Art and Design, ICE
Building, Puma Way, Coventry, CV1
2TT, United Kingdom Paula Kramer is currently a Ph.D. student at Coventry University, and
her practice-based research is dedicated to the exploration of nonstylized movement in the natural environment. She performs, teaches
and researches in remote rural as well as urban sites. › Book Review, Journal of Dance & Somatic Practices, 2.1, 113-116. Keywords practice-based research,
natural environment Orly Krasner City College of New York, Division
of Humanities and the Arts, 160
Convent Avenue, New York, NY,
10031-9198, United States of
America Dr. Krasner, Ph.D., began working at the City College of New York in
2009 after having been an important member of the adjunct faculty for
many years. Aside from employing her expertise in FIQWS and
Elementary Musicianship, she is also the Music 10100 supervisor,
spearheading an attempt to better coordinate the 32 sections that are
taught each semester. › REVIEWS, Studies in Musical Theatre, 5.1, 117-123. Keywords musical theatre,
Elementary Musicianship Katja Krebs University of Bristol, Senate House,
Tyndall Avenue, Bristol, BS8 1TH,
United Kingdom Keywords place, community,
practice-as-research, short film, arts Katja Krebs’ research interests are mainly in areas related to translation
studies, theatre history and historiography, and adaptations for
performance. She is particularly interested in the relationship between
translation practice and dramatic tradition; she authored the book,
Cultural Dissemination and Translational Communities (St. Jerome,
2007), which explores ways in which an interdisciplinary approach to
the study of theatre history can provide insights into the formation of
(national) dramatic traditions. This project was supported by an AHRC
grant. Related research interests include the relationship between
concepts of translation and adaptation, early twentieth century
European theatre history, the relationship between folk performance
and Realpolitik, and the investigation of translation as performative
practice. › Editorial, Journal of Adaptation in Film & Performance, 1.1, 3-4. › Editorial, Journal of Adaptation in Film & Performance, 1.2, 83-85. › Editorial, Journal of Adaptation in Film & Performance, 1.3, 173-175. › Editorial, Journal of Adaptation in Film & Performance, 2.1, 3-4. › Editorial, Journal of Adaptation in Film & Performance, 2.2, 91-93. › Editorial, Journal of Adaptation in Film & Performance, 2.3, 197-199. › Editorial, Journal of Adaptation in Film & Performance, 3.1, 3-4. › FOUND IN TRANSLATION – GREEK DRAMA IN ENGLISH, J.
MICHAEL WALTON (2007), Journal of Adaptation in Film &
Performance, 3.1, 101-102. › Editorial, Journal of Adaptation in Film & Performance, 3.3, 225-226. › Editorial, Journal of Adaptation in Film & Performance, 3.2, 111-113. › Editorial, Journal of Adaptation in Film & Performance, 4.1, 3-4. › EDITORIAL, Journal of Adaptation in Film & Performance, 4.2, 113-114. Gunter Kreutz Oldenburg University, Carl von
Ossietzky Universität Oldenburg,
Ammerländer Heerstraße 114-118,
Oldenburg, D-26129, Germany Keywords choral singing,
psychological, well-being,
WHOQOL-BREF, cross-national
survey Gunter Kreutz is Professor of Systematic Musicology, Oldenburg
University, Oldenburg, Germany. Gunter Kreutz studied (historical)
musicology, media studies and literature at the University of Marburg,
and (systematic) musicology and Communication Scientific basis of
speech and music at the Technical University of Berlin. After a year
abroad studying at the San Francisco State University, United States,
he earned Master of Arts degree from the Technical University of
Berlin. In 2004 he was appointed University Lecturer in Music
Education at the Goethe University in Frankfurt, with a focus on
systematic musicology. From April 2006 to April 2008 Kreutz worked
as a Research Fellow at the Royal Northern College of Music,
Manchester, United Kingdom. In February 2008 he was offered a
professorship of Systematic Musicology at the Carl von Ossietzky
University of Oldenburg. His research interests lie in music (neuro)
cognitive and emotional (social) psychology of music, performance,
music and health research. › Choral singing and psychological wellbeing: Quantitative and qualitative
findings from English choirs in a cross-national survey, Journal of Applied
Arts & Health, 1.1, 19-34. Andrew Krikun Bergen Community College, 400
Paramus Road, Paramus, New Jersey,
7652, United States of America Keywords adult education,
community music, history, New Deal,
Willem Van de Wall Andrew Krikun is Assistant Professor of Music at Bergen Community
College in Paramus, New Jersey and a Ph.D. candidate in Music
Education at New York University. He is a member of the steering
committee for the North American Coalition for Community Music.
His articles have appeared in the Journal of Popular Music Studies, the
Journal of Historical Research in Music Education, Diversity Digest,
and The Beat. He has presented at professional conferences for the
College Music Society, the International Association for the Study of
Popular Music and Music and Lifelong Learning. In 2006, he was
awarded a Teaching Excellence Award from the University of Texas,
National Institute for Staff and Organizational Development. As a
singer-songwriter, he has maintained an active career as a performer,
composer and recording artist. › Community music during the New Deal: the contributions of Willem Van de
Wall and Max Kaplan, International Journal of Community Music, 3.2, 165173. Nathan B. Kruse University of North Texas, Music
Education, 1155 Union Circle
#311367, Denton, TX 76203-5017,
United States of America Keywords community, music, adult
education, sociology Nathan Kruse is an Assistant Professor of Music Education in the
College of Music at the University of North Texas, where he currently
teaches Music Education methods courses, supervises instrumental
music student teachers and assists the Denton New Horizons Senior
Band. Dr. Kruse taught for ten years in the public schools of New
Mexico and Michigan and currently researches precepts of adult Music
Education and ethnographic traditions of community music. He holds a
BME from Butler University in Indianapolis, an MME from the
University of New Mexico in Albuquerque and a Ph.D. in Music
Education from Michigan State University in East Lansing. Dr. Kruse
is also the Southwestern Division Representative of the Adult and
Community Music Education Special Research Interest Group (ACME
SRIG) within the Music Educators National Conference (MENC): The
National Association for Music Education. › ‘An elusive bird’: perceptions of music learning among Canadian and
American adults, International Journal of Community Music, 2.2&3, 215225. Stefanie Kuhn University of Exeter, Department of
Drama, Thornlea, New North Road,
Exeter, United Kingdom Keywords human-computer
interaction, motion tracking, presence,
performance, extended presence Stefanie Kuhn received her Diploma in Applied Theatre Studies at the
Justus-Liebig-Universität Gießen (Germany) and has worked as
Assistant Dramatic Adviser and Assistant Director for several opera
productions at the theaters of Gießen and Luzern (Switzerland). In
October 2005 she began her Ph.D. research at the University of Exeter,
where she is associated with the research project 'Performing Presence:
From the Live to the Simulated'. She explores the impact of new media
technologies on the performer’s presence in contemporary opera
performance. › Extended presence: The instrumental(ised) body in André Werner's
Marlowe: The Jew of Malta, International Journal of Performance Arts and
Digital Media, 2.3, 221-236. Bernhard Kuhn Bucknell University, Dept. of Foreign
Language Programs, Lewisburg, PA
17837, United States of America Keywords film, opera, Aida,
Clemente Fracassi, intermediality,
postwar Italian cinema (1945–55),
adaptation Dr. Bernhard Kuhn is Associate Professor of Italian Studies at
Bucknell University, where he teaches Italian language, culture and
cinema. His current areas of research include Italian opera, Italian
cinema and intermediality. He is the author of a book entitled Die Oper
im italienischen Film (Opera in Italian Cinema) and several articles
concerning intermedial aspects of the relationship between stage media
and film. › The film-opera Aida (1953): intermediality and operatics, Journal of
Adaptation in Film & Performance, 2.1, 19-33. Petra Kuppers University of Michigan, Department
of English Language and Literature,
2550 Dana Street, Apt 8FG, Berkeley,
CA 94704, United States of America Keywords embodiment, dance,
writing, choreography, Hijikata,
Olimpias Petra Kuppers teaches Performance Studies at the University of
Michigan. Publications include The Scar of Visibility: Medical
Performances and Contemporary Art (Minnesota, 2007) and
Community Performance: An introduction (Routledge, 2007),
Disability Culture and Community and Performance: Find a Strange
and Twisted Shape (Palgrave, 2011). She is also artistic director of The
Olimpias. › Butoh Rhizome: Choreography of a moving writing self, Choreographic
Practices, 1.1, 79-96. Yuko Kurahashi Kent State University, School of
Theatre and Dance, Kent, Ohio, OH
44242-0001, United States of
America Keywords Matthias Langhoff, Nick
Philippou, Clare Davidson, Laura
Harvey, Michael Boyd Yuko Kurahashi teaches in the School of Theatre and Dance at Kent
State University, Ohio. She was previously a dramaturg with such
companies as Arena Stage (Washington, DC), Group Theatre (Seattle)
and La Jolla Playhouse. She is the author of Asian American Culture
on Stage: the History of the East West Players (1999). › Theatre as the healing space: Ping Chong’s Children of War, Studies in
Theatre and Performance, 24.1, 23-36. Martha Ladly Ontario College of Art & Design OCAD, 100 McCaul Street, Toronto,
Ontario, M5T 1W1, Canada Martha Ladly is Associate Professor of Design at the Ontario College
of Art and Design, where her specialty is interactive communication.
She is a mentor with the Canadian Film Centre's Interactive Project
Lab (IPL) and a faculty member with the Habitat Interactive Art and
Entertainment Program. Prior to her appointment at OCAD, Martha
was the creative director of HorizonZero; a bilingual internet
Keywords phenomenology, new
media, internet, community,
communication publication dedicated to creating and showcasing the best in digital art
and culture in Canada, in collaboration with the Banff New Media
Institute and Culture. › Being there: Heidegger and the phenomenon of presence in telematic
performance, International Journal of Performance Arts and Digital Media,
3.2&3, 139-150. Ming-yan Lai The Chinese University of Hong
Kong, Shatin, NT, Hong Kong SAR,
China Keywords testimony, trade unions,
subalternity, servitude,
interculturalism Ming-yan Lai teaches cultural studies at the Chinese University of
Hong Kong. Her interdisciplinary work focuses on issues of alternative
modernities, representations of and for the marginalized, oppositional
discourses, and gender in intersection with ethnicity, class, and
nationality. She is the author of 'Nativism and Modernity: Cultural
Contestations in China and Taiwan under Global Capitalism' (2008).
Her current research on the experiences, public articulations, and
representations of foreign domestic workers in Hong Kong has been
published in various journals. › The sexy maid in Indonesian migrant workers' activist theatre: subalternity,
performance and witnessing, Performing Ethos: An International Journal of
Ethics in Theatre & Performance, 1.1, 21-34. Paul R. Laird University of Kansas, School of
Music, Murphy Hall, Room 334.,
1530 Naismith Drive, Lawrence,
Kansas, 66045-3102, United States of
America Keywords Broadway, musicals,
theatre, Leonard Bernstein, Stephen
Schwartz Paul R. Laird is Professor of Musicology at the University of Kansas,
where he teaches undergraduate and graduate courses in Music History
and directs the Instrumental Collegium Musicum. His research interests
include American musical theatre and Baroque music. Among his
books is Leonard Bernstein: A Guide to Research, and with William A.
Everett he is co-author of The Historical Dictionary of the Broadway
Musical. Laird and Everett co-edited both editions of The Cambridge
Companion to the Musical. › The American musical theatre in 1957, Studies in Musical Theatre, 3.1, 5-11. › ‘It Couldn’t Happen Here in Oz’: Wicked and the creation of a ‘critic-proof’
musical, Studies in Musical Theatre, 5.1, 35-47. Ian Lamond Born near Liverpool, Ian Lamond grew up in Blackpool. He studied his
first degree, which was in Philosophy, at Manchester University. He
Sheffield Hallam University,
Department of Cultural Policy, 53
Ingleway Avenue, Blackpool,
Lancashire, FY3 8JJ, United
Kingdom then left academia to work in the arts, initially as a freelance
community arts project coordinator and then in local government. In
2005 he studied for an MA in Cultural Policy and Management at
Sheffield Hallam University. Since 2007, he has worked at the
university as an associate lecturer, becoming a full-time doctoral
student in 2009. His interests include somatic theory, semiotics,
ontology, cultural theory and political philosophy. Keywords concept of the self,
identity, somatic practice, dance,
PMLD › One step back, Journal of Dance & Somatic Practices, 1.2, 225-235. Anne Lanceley University College London, UCL
Institute for Women’s Health,
Medical School Building, 74 Huntley
Street, London, WC1E 6AU, United
Kingdom Anne Lanceley is a senior lecturer and Nurse Specialist at UCL
Institute for Women’s Health. She combines a clinical role supporting
women with gynaecological cancer with running a research programme
in symptom management, recovery after treatment and risk reduction
for survivors. › Evaluating the therapeutic effects of museum object handling with hospital
patients: A review and initial trial of well-being measures, Journal of Applied
Arts & Health, 2.1, 37-56. Keywords gynaecology, art therapy,
nursing, curating Leigh Landy De Montfort University, Music,
Technology and Innovation Research
Centre, Clephan Building, De
Montfort University, Leicester LE1
9BH, UK Keywords electroacoustic music,
internet, online learning,
communication Leigh Landy (www.mti.dmu.ac.uk/~llandy) holds a Research Chair at
De Montfort University where he directs the Music, Technology and
Innovation Research Centre. His scholarship is divided between
creative and musicological work. His compositions include several for
video, dance and theatre. He has worked extensively with the late
playwright, Heiner Müller and the new media artist, Michel Jaffrennou
and was composer in residence for the Dutch National Theatre during
its first years of existence. Currently he is artistic director of Idée Fixe
– Experimental Sound and Movement Theatre. His publications focus
on the studies of electroacoustic music, including the notion of musical
dramaturgy, contemporary music in a cross-arts context, access and the
contemporary time-based arts, and devising practices in the performing
arts. He is editor of Organised Sound: an international journal of music
technology (CUP) and on the editorial board of JMTE and is author of
five books including What's › The ElectroAcoustic Resource Site (EARS), Journal of Music, Technology
and Education, 1.1, 69-82. › Discovered whilst entering a new millennium: A technological revolution
that will radically influence both music making and music education, Journal
of Music, Technology and Education, 4.2-3, 181-188. David Lane Keywords dramaturgy, new writing,
terminology, playwriting, Tim Crouch David Lane has been a dramaturg and playwright for seven years,
beginning his career as the Literary Assistant at Soho Theatre and
Writers’ Centre in London before working freelance with various
theatres and new writing organizations. He is now based in Bristol and
works across higher education as a tutor of dramaturgy and script
development (Exeter University, Goldsmiths College, City University)
and also for professional theatres as a dramaturg and script consultant
(Theatre Royal Bath, Exeter Northcott, Bristol Old Vic). He has also
been commissioned to write several plays for young people and is
contributed a new volume on Contemporary British Drama to EUP’s
Critical Guides to Literature in 2010. › A Dramaturg's perspective: Looking to the future of script development,
Studies in Theatre and Performance, 30.1, 127-142. Thomas Langston University of Queensland, Penguin,
Tasmania, PO Box 203, Australia Keywords choir, social capital,
fellowship, community music,
community, involvement Thomas Langston is a researcher, music teacher, choir director and
singing teacher in north-west Tasmania, Australia. He conducts a large
community choir that performs the standard repertoire of large-scale
works such as Handel’s Messiah, Haydn’s The Creation,
Mendelssohn’s Elijah and Mozart’s Requiem. As well as undertaking
research into the relationships between social capital and community
music, Thomas is a musicologist whose interests lie in Renaissance
music, especially Cavalieri, Striggio, the Camerata and the music of the
Florentine court. › It is a life support, isn’t it? Social capital in a community choir, International
Journal of Community Music, 4.2, 163-184. BRETT LASHUA Leeds Metropolitan University, Leeds
Metropolitan University, Carnegie
Faculty, 221 Cavendish Hall,
Headingley, Headingley, LS6 3QS,
United Kingdom Keywords Liverpool, heritage,
fanzines, cultural geography Brett Lashua is a Lecturer in the Carnegie Faculty at Leeds
Metropolitan University. His scholarship is concerned with
ethnographic work involving young people, popular music and
arts/cultural practices. Questions of history and cultural geographies
also run through his work. › ‘A fanzine of record’: Merseysound and mapping Liverpool’s Post Punk
popular musicscapes, Punk & Post Punk, 1.1, 87-104. Carl Lavery Aberystwyth University, Department
of Theatre, Film and Television
Studies, Parry-Williams Building,
Aberystwyth, SY23 3AJ, United
Kingdom Keywords practice, theory, the city,
situationism, fluxus Carl Lavery teaches theatre and performance at Aberystwyth
University. His monographs, co-edited collections and co-authored
books include Jean Genet: Performance and Politics (2006, with Clare
Finburgh and Maria Shevtsova), Sacred Theatre (2007, with Ralph
Yarrow et al.), Walking, Writing and Performance: Autobiographical
Texts by Deirdre Heddon, Carl Lavery & Phil Smith (2009), The
Politics of Jean Genet's Theatre: Spaces of Revolution (2010),
Contemporary French Theatre and Performance (2011, with Clare
Finburgh) and A Lone Twin Companion: Exchanges, Responses,
Dialogues (2011, with David Williams). He is currently writing a book
on located performance for Manchester University Press. › Teaching Performance Studies: 25 instructions for performance in cities,
Studies in Theatre and Performance, 25.3, 229-238. David Haldane Lawrence Keywords chorus, gender studies,
sexuality, homosexuality, comedy,
theatre David Haldane Lawrence received his doctorate from Birkbeck
College, University of London, in October 2006. Since then he has
published articles on nineteenth and early twentieth century theatre and
gender issues, as well as presenting papers at recent conferences and
seminars. Currently, he is engaged in further research for a forthcoming
book on masculinities and the nineteenth century stage. › Chorus boys: words, music and queerness (c.1900-c.1936), Studies in
Musical Theatre, 3.2, 157-169. Bryce Lease University of Exeter, Department of
Drama, Thornlea, New North Road,
Exeter, Devon, EX4 4LA, United
Kingdom Keywords European theatre,
directing, dramaturgy, semiotics,
political theatre, homosexuality Bryce Lease is a lecturer in Drama at the University of Exeter, having
lectured previously at the University of Bristol. In 2009, he completed
his Ph.D., Fantasy or Symptom? The Political in Polish Theatre at the
University of Kent, where he worked with the European Theatre
Research Network (ETRN). Bryce is currently completing a
monograph on theatre and the construction of cultural identity in
Poland. His main areas of research concern the intersections between
political and psychoanalytic theory and contemporary performance
practice. Memberships include the Irish Society for Theatre Research
(ISTR), Deutsche Gesellschaft für Theaterwissenschaft, Theatre and
Performance Research Association (TaPRA), Performance Stduies
International (PSi) and the Queer Studies Working Group within the
International Federation for Theatre Research (IFTR). › Contemporary utopian dreams: contemplating Staniewski's Golden Ass,
Journal of Adaptation in Film & Performance, 2.1, 35-45. › Reviews, Performing Ethos: An International Journal of Ethics in Theatre &
Performance, 1.1, 113-115. › REVIEWS, Performing Ethos: An International Journal of Ethics in Theatre
& Performance, 1.2, 229-244. Adam J. Ledger University of Hull, Cottingham Road,
Hull, Yorkshire, HU6 7RX, United
Kingdom Keywords ISTA, flow, Roberta
Carreri, Pura Desa, Tom Leabhart,
theatre anthropology Adam J. Ledger is a lecturer in drama at the University of Hull, a
director, and completing a Ph.D. in Performance Practice. His research
covers performance practice, especially directing and acting; devising;
pedagogies of practice in the university; documentation and the Odin
Teatret. He has contributed to the work of, and maintained connections
with, several European universities and organisations. He is a module
writer and tutor on Rose Bruford’s MA Theatre and Performance
Studies. Recently, he participated in validation exercises for external
institutions. › Notes and Queries, Studies in Theatre and Performance, 25.2, 153-164. › Looking up ‘secrets’: definitions, narrative and pragmatism in A Dictionary
of Theatre Anthropology: the Secret Art of the Performer, Studies in Theatre
and Performance, 26.2, 147-160. Roc Lee Keywords research, music,
education, history, prison Roc Lee has a MA in Music Composition with an emphasis in Stage
Music from the Catholic University of America (CUA), where he is
studying composition under Dr. Andrew E. Simpson. He graduated
from the the Greatbatch School of Music at Houghton College in the
Spring of 2007 with a Bachelor’s in Music Composition magna cum
laude under Dr. Mark Hijleh. His experience serving on AmeriCorps
prompted his interest in music education in prisons and music in
support of social justice. He is active in organizing events and recitals
that pertain to his special interests. › Music education in prisons: A historical overview, International Journal of
Community Music, 3.1, 7-18. Rosemary Lee Middlesex University, 29 Harcourt
Rosemary Lee is a choreographer, performer and a research associate at
ResCen (Middlesex University). She presents her work in a wide
variety of contexts and works with performers of all ages, both
professional and non-professional. Road, London, N22 7XW, United
Kingdom › Writing with a choreographer's notebook, Choreographic Practices, 1.1, 2141. Keywords practitioner knowledge,
practice as research, dance writing Mary A. Leglar University of Georgia, Hugh Hodgson
School of Music, 250 River Road,
Athens, GA 30602, United States of
America Keywords schools, music,
community, history Mary A. Leglar is Professor and Associate Director for academic
programmes at the University of Georgia's Hodgson School of Music.
She is editor of the Southeastern Journal of Music Education and the
Georgia Music News, and has served on the editorial board of the
Journal of Music Teacher Education. She has published in a number of
professional journals, including The Quarterly and the International
Journal of Music Education, and has co-authored chapters on teacher
education in The Handbook of Research on Music Teaching and
Learning (Schirmer) and The New Handbook of Research on Music
Teaching and Learning (Oxford). A recipient of the UGA Sandy
Beaver Professorship for excellence in teaching, she has presented
research on teacher education at professional conferences
internationally. › Community music in the United States: An overview of origins and
evolution, International Journal of Community Music, 3.3, 343-353. Thomas Leitch University of Delaware, English
Department, 212 Memorial Hall,
Newark DE, DE, 19716, United
States of America Professor Thomas Leitch teaches Film Studies in the English
Department at the University of Delaware and has published widely on
adaptation studies. His recent contributions to the field include Film
Adaptation and Its Discontents (2007). › Vampire adaptation, Journal of Adaptation in Film & Performance, 4.1, 516. Keywords film studies, film
adaptation Samuel Leong Hong Kong Institute of Education,
Department of Cultural & Creative
Arts, Department of Cultural &
Creative Arts, Faculty of Arts &
Sciences, The Hong Kong Institute of
Professor Samuel Leong (Ph.D.) is Associate Dean (Quality Assurance
& Enhancement) of the Faculty of Arts and Sciences and Head of the
Department of Cultural and Creative Arts. He is also Director of the
UNESCO Arts in Education Observatory for Research in Local
Cultures and Creativity in Education, and serves as Director of
Research of the International Drama/Theatre and Education
Association (IDEA) and on the boards of eight refereed journals. Education, 10 Lo Ping Road, Taipo,
New Territories, Hong Kong Keywords › Navigating the emerging futures in music education, Journal of Music,
Technology and Education, 4.2-3, 233-243. Lisa Lewis University of Glamorgan, Department
of Arts and Media School of
Humanities, Law and Social Sciences,
Pontypridd, Rhondda, CF37 1DL,
United Kingdom Keywords Welsh-language drama,
Wales, performance, pedagogy Lisa Lewis is currently a reader in Drama and Head of Division at the
University of Glamorgan, Wales. She was previously a lecturer in
Theatre and Performance Studies at the University of Wales,
Aberystwyth. Her research interests cover heritage and performance;
performance, culture and identity; site specific theatre; museums and
heritage sites as performance; performative writing; performance and
everyday life; and autobiographical performance. She is currently
writing a book, Performing Wales: History and Site, for University of
Wales Press, based on several years of practice-as-research in the field
of heritage and performance. › Welsh-language production/Welsh-language performance: the resistant body,
Studies in Theatre and Performance, 24.3, 163-176. Graham Ley University of Exeter, Department of
Drama, Thornlea, New North Road,
Exeter, Devon, EX4 4LA, United
Kingdom Graham Ley is a Professor in the Exeter University Drama Department.
His books include From Mimesis to Interculturalism (1999) and The
Theatricality of Greek Tragedy (2007). His research interests include,
in addition to classical theatre and British Asian theatre, dramaturgy
and comparative performance theory. › Reviews, Studies in Theatre and Performance, 28.2, 185-194. Keywords history, archiving,
documentation, diaspora, embodiment › Composing a history: The British Asian theatre research project at Exeter,
Studies in Theatre and Performance, 30.2, 225-232. › ‘Discursive embodiment’: the theatre as adaptation, Journal of Adaptation in
Film & Performance, 2.3, 201-209. Julia Lippert Martin Luther University HalleWittenberg, English Studies
Department, Dachritzstr. 12,
Halle/Saale, 6099, Germany Dr. Julia Lippert is Executive Director at the Centre for United States
Studies and assistant lecturer for pedagogy at the English Department
at Martin Luther University Halle-Wittenberg. Her main research
interests are in cognitive narratology across genres and media, theories
of the mind, adaptation studies, film analysis and postmodern literature.
Her most recent study on a cross-medial cognitive reading model for
historio(bio)graphic texts will appeared in 2010 (with WVT). Keywords documentary, drama,
media studies, history, television › Bennett's George III on the small screen: An inquiry into televisual
adaptations of the past, Journal of Adaptation in Film & Performance, 3.2,
141-155. Hugo Liu MIT, Media Laboratory, 20 Ames
Street, 320D, Cambridge, MA 02139,
United States of America Keywords culture, reflexivity,
computing audience, identity, metaaudience, off-stage performance Hugo Liu is a researcher in media arts and sciences at MIT. Inspired by
literary theory, informed by artificial intelligence, and rhizomous in
method, he has established a research programme around the
computation of self’s subconscious flows- points-of-view, aesthetics,
attitudes, identity, and sense-of-humour. Cultural taste, time dilation,
myth, and libido are his present topics. › Self-reflexive performance: dancing with the computed audience of culture,
International Journal of Performance Arts and Digital Media, 1.3, 237-. Simon Lock University of Plymouth, School of Art
& Media, B314 Portland Square,
Drake Circus, Plymouth, Devon, PL4
8AA, United Kingdom Simon Lock is currently working as a lecturer in System Dependability
at Lancaster University, where he teaches courses on Critical Systems
Engineering and System Dependability. In his work with BigDog
Interactive, Simon is particularly interested in human–computer
interaction in highly social spaces. He has also finished a six-year long
project on socio-technical system dependability, with an EPSRC fund. Keywords interaction, technology,
new media, games, performance › A support architecture for high dependability in digital performance
andinstallation art, International Journal of Performance Arts and Digital
Media, 2.1, 87-. Sharon Lockyer Brunel University, Sociology and
Communications, School of Social
Sciences, Brunel University,
Uxbridge, Middlesex, UB8 3PH,
United Kingdom Keywords masculine discourses,
ageing female body, self-deprecation,
Joan Rivers, stand-up comedy,
Sharon Lockyer is a Lecturer in Sociology and Communications at
Brunel University, UK. She researches in the sociology of mediated
culture and critical comedy studies. She is the editor of Reading Little
Britain: Comedy Matters on Contemporary Television (Tauris 2010)
and a co-editor (with Michael Pickering) of Beyond a Joke: the Limits
of Humour (Palgrave 2005, 2009). She has published in a range of
academic journals including Social Semiotics, Popular
Communication: the International Journal of Media and Culture,
Journalism Studies, International Journal of Social Research
Methodology: Theory & Practice, Ethical Space: the International
sexuality, gender Journal of Communication Ethics, and Discourse & Society. › From toothpick legs to dropping vaginas: Gender and sexuality in Joan
Rivers’ stand-up comedy performance, Comedy Studies, 2.2, 113-123. › Analysing stand-up comedy, Comedy Studies, 2.2, 99-100. Mary Jo Lodge Lafayette College, Apt E, 907 George
Street, Easton, PA, 18042, United
States of America Mary Jo Lodge is an Assistant Professor of English and Theatre at
Lafayette College in Easton, PA and is the Music Theatre and Dance
Focus Group Representative for the Association for the Theatre in
Higher Education. She holds a Ph.D. in Musical Theatre and is an
active director, choreographer and performer. Keywords Scrubs, Xena, Buffy,
television shows, Every Good Boy
Deserves Favour › Beyond ‘Jumping the Shark’: the new television musical, Studies in Musical
Theatre, 1.3, 293-306. › Special Theatrical Event: Every Good Boy Deserves Favour, Studies in
Musical Theatre, 3.2, 213-218. Gica Loening University of Edinburgh, Institute for
Music in Human and Social
Development (IMHSD), Alison
House, 12 Nicolson Square,
Edinburgh, EH8 9DF, United
Kingdom Gica Loening is a freelance community musician and researcher,
currently tutoring on the Scots Music Group’s Inspire project. She also
coordinates and tutors Edinburgh’s ‘Fun Fiddle’ group. She obtained an
MSc. in Music in the Community at Edinburgh University in 2008, and
has since been engaged as a researcher on several community music
research projects. She is a founder member of The Belle Star Band and
Celter Schmelter. Keywords 'Fun Fiddle', community
music, Scottish education › Community music knowledge exchange research in Scottish higher
education, International Journal of Community Music, 4.2, 133-146. Alys Longley University of Auckland, National
Institute of Creative Arts and
Industries, 26 Symonds Street,
Auckland, New Zealand Keywords poetic methodology,
choreography Alys Longley is a lecturer in Dance at Auckland University; she has
recently submitted a Practice-Led Ph.D. study that asks ‘How might
language crease and fold from dance experience?’ This has led to the
creation of the Kinesthetic Archive Project, involving a solo
performance, an artist's book, a sound archive and a critical essay. This
study currently merges poetic methodologies and choreography,
drawing on the practices and writings of dance maker Simone Forti and
philosopher Brian Massumi. Recent interdisciplinary choreographies
include Kinesthetic Archive (TAPAC, NZ 2006); Camper (Tempo
Dance Festival 2007); and Suture (Maidment Theatre, NZ 2006). › Design, digital gestures and the in[ter]ference of meaning: Reframing
technology's role within design and place through performative gesture,
International Journal of Performance Arts and Digital Media, 7.1, 5-22. Rebecca Loukes University of Exeter, Department of
Drama, College of Humanities,
Thornlea, New North Road, Exeter,
EX4 4LA, United Kingdom Rebecca Loukes is a performer and co-founder of RedCape Theatre.
She trained in the body awareness practices of Elsa Gindler with Eva
Schmale and Charlotte Selver, and Asian martial/meditation arts with
Phillip Zarrilli. She is a senior lecturer in Drama at the University of
Exeter, where she writes and teaches around practices and histories of
performer training, acting and contemporary performance. Keywords history of somatic
practices, Elsa Gindler, Charlotte
Selver, Carola Speads, Elaine
Summers › Elaine Summers and Kinetic Awareness: Part 2 Interview with Elaine
Summers, Journal of Dance & Somatic Practices, 2.1, 91-101. › Elaine Summers and Kinetic Awareness: Part 1, Journal of Dance & Somatic
Practices, 2.1, 75-89. Katharine Low Central School of Speech and Drama,
University of London, Eton Avenue,
London, NW3 3HY, United Kingdom Keywords theatre and performance,
applied theatre, sexual health, South
Africa, HIV/AIDS Katharine Low is a practice-based Ph.D. student in the Drama
department at the University of Manchester, supervised by James
Thompson and Jenny Hughes. Through her research project, ‘our place,
our stage’ (OPOS), she is exploring the role of applied theatre in sexual
and reproductive health communication in the Nyanga township in
South Africa, focusing in particular on concepts of spatiality, risktaking and resistance. › Creating a space for the individual: Different theatre and performance-based
approaches to sexual health communication in South Africa, Journal of
Applied Arts & Health, 1.1, 111-126. Victoria Lowe University of Manchester, 83
Foxbench Walk, Manchester, M21
7RE, United Kingdom Victoria Lowe is a lecturer in Drama and Screen Studies at the
University of Manchester, UK. Her Ph.D. thesis, ‘The matinee idol and
the false beard’ (2004) examined the relationship between performance
and stardom in British Cinema in the 1930s. She is currently
conducting research into the actor’s voice in British Cinema. Keywords theatre, British arts,
stardom, voice › Robert Donat: reflections on stage and screen acting in 1930s Britain, Studies
in Theatre and Performance, 29.3, 225-237. Michael J. Lowis Keywords music, emotion, peak
experiences, spiritual, experiment Dr. Michael Lowis is a chartered psychologist, and currently Visiting
Fellow, Occupational Sciences, The University of Northampton. His
research interests include the psychology of music, the psychology of
humour, and life satisfaction in the later years. He is the author of over
70 academic papers and conference presentations, and is called upon by
the media from time to time for specialist opinion. He is also an
amateur musician. › Emotional responses to music listening: A review of some previous research
and an original, five-phase study, Journal of Applied Arts & Health, 1.1, 8192. › Engagement in the arts and well-being and health in later adulthood: An
empirical study, Journal of Applied Arts & Health, 2.1, 25-36. Mary Luckhurst University of York, Department of
Theatre, Heslington, York, YO10
5DD, United Kingdom Keywords creative writing,
contemporary drama, Caryl Churchill Mary Luckhurst is Professor of Modern Drama and co-founder of the
new Department of Theatre, Film and Television at the University of
York. She is the Principle Investigator of a three-year HEA-funded
project engaged in the exchange of research and teaching methods
between universities and conservatoires. She has written nine books
ranging on subjects from acting, directing, creative writing, dramaturgy
and celebrity. She has written many articles on contemporary drama
and is currently writing a book on Caryl Churchill. › Ethical stress andperforming real people, Performing Ethos: An International
Journal of Ethics in Theatre & Performance, 1.2, 135-152. Chee-Hoo Lum Nanyang Technological University,
Visual and Performing Arts Academic
Group, National Institute of
Education, 1 Nanyang Walk, 637616,
Singapore Chee-Hoo Lum completed his doctorate in Music Education at the
University of Washington under an overseas graduate scholarship from
NTU-NIE (Nanyang Technological University – National Institute of
Education), and had previously been awarded the Lee Kuan Yew and
the Association of Nanyang University Graduates gold medals. He is
currently Assistant Professor of Music Education at the National
Institute of Education, Singapore and is the director of the UNESCONIE Centre for arts research in education, part of a region-wide
Keywords health, therapy,
reminiscence therapy, senior citizens,
memory, community music, ageing network of observatories stemming from the UNESCO Asia-Pacific
action plan. He is also an associate editor of the International Journal
of Education and the Arts. His primary research interest in music
education focuses on children’s musical cultures and their shifting
musical identities; the use of media and technology by children, in
families and in pedagogy; creativity and improvisation in children’s
music; elementary music methods; and world › Reflective dialogues in community music engagement: An exploratory
experience in a Singapore nursing home and day-care centre for senior
citizens, International Journal of Community Music, 4.2, 185-197. Tiel Lundy University of Colorado Denver,
English, Campus Box 175, P.O. Box
173364, Denver, Colorado, United
States of America Keywords American culture, film
studies, adaptation, ethnic studies,
material culture Dr. Tiel Lundy is Instructor of Literature and Film at the University of
Colorado Denver. Her research interests include late-nineteenthcentury American literature, ethnic studies and film studies. She has
published articles on Charles Chesnutt, Henry James and Jane
Campion, and is currently at work on a project on fashion and film. › Mired in desire: Jane Campion's Portrait of erotics, Journal of Adaptation in
Film & Performance, 2.3, 211-222. Sun Luyi Sun Luyi has a Ph.D. in Arts, and she is the former Vice-President of
the Open University of China (specialist in distance education). The Open University of China,
President Office, No. 160
Fuxingmennei Street, Beijing,
100031, China › Communication and responsibility: Open universities in China and
community music education, International Journal of Community Music, 4.1,
15-21. Keywords distance education,
community music Sophia Lycouris University of Edinburgh, Edinburgh
College of Art - Graduate School,
Lauriston Place, Edinburgh, EH3
9DF, United Kingdom Dr. Sophia Lycouris is Director of the Graduate Research School at the
Edinburgh College of Art (Edinburgh, UK). Her research is concerned
with the use of interactive technologies in interdisciplinary
choreographic projects and the role of choreographic approaches in
interdisciplinary projects which address issues of movement in the
social and public space. Keywords architecture, interactivity,
urban space, 4D design, complex
systems › An approach to the design of interactive environments, with reference to
choreography, architecture, the science of complex systems and 4D design,
International Journal of Performance Arts and Digital Media, 3.2&3, 281-. Esther MacCallumStewart University of Chichester, Media
Studies, 98 Rugby Road, Brighton,
East Sussex, BN1 6ED, United
Kingdom Keywords MMORPGs, online
culture, virtual worlds, science fiction,
gender studies, World of Warcraft,
The Lord of the Rings, social
narratives, internet, games, digital
culture Dr. Esther MacCallum-Stewart is Research Fellow at SMARTlab, the
University of Dublin, and Lecturer at the University of Chichester. She
is an expert in online communities, role play and gaming, and has
written extensively about the forms of interaction that develop online
between communities of players. Her research investigates digital
narratives, and in particular the relationship between communities and
the narratives they create for themselves in games, online resources and
interactive media. She is interested in roleplay, storytelling and social
relationships as aspects of play within virtual spaces. Esther's most
recently edited books include Lord of the Rings Online (with Tanya
Kryzwinska and Justin Parsler, both University of Brunel, March
2012), and on the theme of Love in Games (with Jessica Enevold,
University of Lund, forthcoming Autumn 2012). She is also writing her
own book on social narrative and online communities. She lectures in
Games › The warfare of the imagined – building identities in Second Life,
International Journal of Performance Arts and Digital Media, 3.2&3, 197208. James MacDonald University of Exeter, Department of
Drama Keywords disability, displacement,
East European diaspora, comedy,
grotesque James MacDonald is a playwright and Research Fellow in Drama at the
University of Exeter. His 'collected' plays have been published in three
volumes, As Russia Goes (Studies in Theatre and Performance
Supplement 2000), Russia, Freaks and Foreigners (Intellect 2008) and
Carnival Texts (Intellect 2011). Individually published plays include
Countryside, New Theatre Publications, Balance Is Stillness, together
with an interview, in Peering behind the Curtain, ed. Thomas Fahy and
Kimball King (Routledge 2002) and the one-act Crippled Ruth in Two
Short Plays (STP Supplement 1996). › Anthony Creighton and John Osborne, Studies in Theatre and Performance,
28.3, 265-266. › Reviews, Studies in Theatre and Performance, 30.2, 233-243. › How I came to write my first play, Studies in Theatre and Performance, 30.3,
355-356. › The Virtue of Living a Lie, Studies in Theatre and Performance, 30.3, 289-
303. Claire MacDonald University of the Arts, London,
Southampton Row, London, WC1B
4AP, United Kingdom Keywords voice, process, poetry,
performance, pedagogy Dr. Claire MacDonald is the Director of the International Centre for
Fine Art Research at the University of the Arts, London. A founder of
two British visual theatre companies, she writes for performance, has
recently completed a novel, is a founding editor of Performance
Research and a contributing editor to PAJ, a journal of performance
and art, in New York. In 2006 she initiated ‘The Space Between
Words’, a writing network for performance writing, and in September
2008 she co-curated, with Claire Hind, the international writing
symposium ‘Writing Encounters’ at York St. John University. › In Bed, Studies in Theatre and Performance, 30.1, 59-62. › Conducting the flow: Dramaturgy and writing, Studies in Theatre and
Performance, 30.1, 91-100. Ana Gabriela Macedo Universidade do Minho, Portugal,
Departamento de Estudos Ingleses e
Norte Americanos, Instituto de Letras
e Ciências Humanas, Campus de
Gualtar, Braga, 4710-057, Portugal Keywords translation, revision,
intertextuality, literature, feminism Ana Gabriela Macedo is a Professor of English Literature and Director
of the Humanities Research Centre at Universidade do Minho in Braga,
Portugal. A co-editor of Identity and Cultural Translation (Peter Lang,
2006) and Portuguese Dictionary of Feminist Criticism (Porto, Ed.
Afrontamento, 2005), amongst others, she has published extensively in
the field of women's writing, feminism and visual culture. She is a
translator of Sylvia Plath's poetry into Portuguese, and her monograph
on Paula Rego (entitled Paula Rego e o Poder da Visão) is forthcoming
(Lisbon, Ed. Cotovia). › After Mrs. Rochester: Rewriting as re-vision, Journal of Adaptation in Film
& Performance, 3.3, 271-289. Ben Macpherson University of Winchester, Faculty of
the Arts, Hampshire, SO22 4NR,
United Kingdom Keywords somatic performance,
interdisciplinary frameworks Ben Macpherson is a Ph.D. student at the University of Winchester,
UK. His research focuses on interdisciplinary frameworks for
negotiating texts in performance, post-structural theory, and somatic
performance theory. He is a composer/lyricist of works including The
Eighth Square, and has contributed to several UK and Canadian
Performing Arts projects as musical theatre consultant. › Book Reviews, Studies in Musical Theatre, 1.3, 309-324. › ‘Eliza, where the devil are my songs?’:negotiating voice, text and
performance analysis in Rex Harrison’s Henry Higgins, Studies in Musical
Theatre, 2.3, 235-244. › Reviews, Studies in Musical Theatre, 3.3, 311-319. Michael Takeo Magruder Michael Takeo Magruder is an artist and researcher based in King’s
Visualisation Lab (KVL), located in the Department of Digital
Humanities, King’s College London. His practice explores concepts
ranging from media criticism and aesthetic journalism to digital
formalism and computational aesthetics, deploying information age
technologies and systems to examine our networked, media-rich world.
His projects have been showcased in over 200 exhibitions in 30
countries, including Manifesta 8: The European Biennial of
Contemporary Art, Murcia; the Courtauld Institute of Art, London;
EAST International 2005, Norwich; Georges Pompidou Center, Paris;
Tokyo Metropolitan Museum of Photography, Japan; and TransMedia-Akademie, Hellerau. His work has been funded by the Esmée
Fairbairn Foundation, the Andy Warhol Foundation for the Visual Arts,
Arts Council England and The National Endowment for the Arts, USA,
and he has been commissioned by numerous public galleries in the
United Kingdom and abroad. King’s College London, Department
of Digital Humanities, King’s
Visualisation Lab, Strand, London,
WC2R 2LS, United Kingdom Keywords media criticism, aesthetic
journalism digital formalism,
computational aesthetics › Transitional space(s): Creation, collaboration and improvisation within
shared virtual/physical environments, International Journal of Performance
Arts and Digital Media, 7.2, 189-204. Roger Mantie Boston University, Music Education,
272 Cherry Street, West Newton,
MA, 2465, United States of America Keywords Foucault, discourse
analysis, school music, lifelong
music-making, music education Roger Mantie is an active scholar at Boston University with interests in
curriculum, ethics, discourse analysis, jazz education, lifelong
participation in music, philosophy, school bands, social justice, teacher
education, and Michel Foucault. He has published in Action, Criticism,
and Theory for Music Education, Canadian Music Educator, Canadian
Winds, Critical Studies in Improvisation, International Journal of
Community Music, Music Education Research, and has two chapters in
the book Exploring Social Justice: How Music Education Might
Matter. Prior to his appointment at Boston University, Roger taught
instrumental music in Manitoba, directed jazz ensembles and taught
improvisation at Brandon University. › Closing the gap: does music-making have to stop upon graduation?,
International Journal of Community Music, 1.2, 217-227. Sudesh Mantillake University of Peradeniya, Sri Lanka,
Fine Arts, Department of Fine Arts,
Faculty of Arts, Peradeniya, 20400,
Sri Lanka Sudesh Mantillake is a lecturer in the Department of Fine Arts at the
University of Peradeniya, Sri Lanka. He is a dancer and a
choreographer. Apart from Sri Lankan dance, he has studied Indian,
Latin American and Western dance forms. Sudesh has a BA in Fine
Arts from the University of Peradeniya, Sri Lanka and an MSc in
Communication Science from the University of Lugano, Switzerland. Keywords Kandyan dance, dance,
performances, semiotics, cultural
heritage management, culture,
communication › Ves näţuma, a common dance type in Kandyan dance of Sri Lanka: a
semiotic analysis of selected features with a brief introduction to the relevant
approaches of Indian and Western semiotics, Studies in Theatre and
Performance, 29.2, 187-192. Peter Marteinson University of Toronto, French Keywords epistemology, ontology,
social being, comedy, laughter,
semiotics Professor Peter Marteinson is a Canadian researcher educated at the
International School of Brussels (Belgium), the University of Toronto
(Canada) and the Ecole Normale Supérieure (Paris). His doctorate in
French on the aesthetics of comedy (1998) was the inspiration for his
later English-language book-length study of laughter in general: On the
Problem of the Comic, Legas Press, Ottawa, Canada (2006). He lives
in Toronto, Canada, where he teaches, writes and co-edits the
University of Toronto learned journal Sémiotique appliqué/Applied
Semiotics with Professor Pascal Michelucci. › Thoughts on the current state of humour theory, Comedy Studies, 1.2, 173180. Yasutaka Maruki Pacific University, World Languages
and Literatures Department, 2043
College Way, Forest Grove, Oregon,
97124, United States of America Keywords jo-ha-kyu, waki, T. S.
Eliot, Zeami Yasutaka Maruki is an Assistant Professor at the Pacific University in
Forest Grove, Oregon, where he teaches in the World Languages and
Literature Department. He holds a Ph.D. in Comparative Literary &
Cultural Studies from the University of Connecticut, 2006, entitled
'Theater of Eternity: Zeami and Anton Chekhov'. He also has a MA
from Towson University. his research intersts are the Japanese
Language, Noh and Anime (Sci-Fi). He is co-author of the book
Bugen: Dancing Illusion of Noh (Tokyo: Being Net Press, 2010). › A fusion of drama and religion: A study of Mugen Noh in Thomas Becket,
Studies in Theatre and Performance, 30.2, 187-201. Mogomme Masoga University of South Africa, The
Department of Art History, Visual
Arts and Musicology, Sunnyside
Campus, Building 12C, P O Box 392,
Unisa, 3, South Africa Mogomme Masoga is a researcher at the Department of Musicology,
University of South Africa and with the DBSA (Development Bank of
Southern Africa), Research Unit (Midrand, Gauteng Province, in South
Africa). His research interests include: indigenous knowledge systems;
building sustainable communities; African musicology (African
drumming); dance and drama performance; sacred sites and
landscaping; and identity construction at selected sacred sites. Keywords ritual, healing, music,
community › Lenyalo la Badimo (The Wedding of Ancestors): Music in familial and
community healing rituals, International Journal of Community Music, 2.1,
85-89. Vuyisile Mathiti Parliament, Labour Relations Unit,
PO Box 15, Cape Town, 8000, South
Africa Keywords juvenile offenders, music
education, law, mentors, Africa Vuyisile Mathiti taught in the Department of Psychology at the
University of the Western Cape, South Africa at both undergraduate
and postgraduate levels. He has partnered with various organizations
and Universities in the United States on community projects such as
diversion of juvenile offenders, HIV/AIDS risk reduction counseling
and the training of HIV/AIDS Lay counselors. He served on the
Editorial Board of the journal, Article 19. He is currently managing the
Wellness Programme of the Parliament of the Republic of South
Africa. › South Africa, the arts and youth in conflict with the law, International
Journal of Community Music, 1.1, 69-88. Gerard Matte Gerard Matte teaches drama and politics at Australian Catholic
University. Australian Catholic University,
Locked Bag 4115, Fitzroy, Victoria,
3065, Australia Keywords anguage, taboos,
audiences, performance, politeness
strategies, humour theory, Joan
Rivers, comedy › Can we talk? The reframing of social permissions in the comedy of Joan
Rivers, Comedy Studies, 2.2, 161-171. Ewa Mazierska University of Central Lancashire,
School of Journalism, Media and
Communication, Harrington Building
244, Preston, Lancashire, PR1 2HE,
United Kingdom Keywords travel, post-communism,
capitalism, disappointment, Poland Ewa Mazierska is Professor of Contemporary Cinema at the School of
Journalism, Media and Communication, University of Central
Lancashire, UK. Her publications include over ten monographs and
edited collections in Polish and English concerning various aspects of
European cinema, including Nabokov's Cinematic Afterlife
(McFarland, 2011), Jerzy Skolimowski: The Cinema of a
Nonconformist (Berghahn, 2010), Masculinities in Polish, Czech and
Slovak Cinema (Berghahn, 2008), Crossing New Europe: The
European Road Movie (Wallflower Press, 2006, co-author Laura
Rascaroli), and Pasja: Filmy Jean-Luca Godarda (Ha!art, 2010). › Escape into a different person, escape into a different reality: Despair by
Vladimir Nabokov and RainerWerner Fassbinder, Journal of Adaptation in
Film & Performance, 3.1, 29-42. Marie McCarthy University of Michigan, School of
Music, Theatre & Dance, E.V. Moore
Building, 1100 Baits Dr., Ann Arbor,
MI, 48109-2085, United States of
America Marie McCarthy is Professor and Chair of Music Education at the
University of Michigan. Her research explores the historical and
sociocultural foundations of music education. Her second book,
Toward a Global Community: The International Society for Music
Education, 1953–2003, was published to mark the 50th anniversary of
the Society and includes a history of the Commission on Community
Music Activity. Keywords community music, The
International Society for Music
Education, ISME, Commission for
Community Music Activity › The Community Music Activity Commission of ISME, 1982–2007: A forum
for global dialogue and institutional formation, International Journal of
Community Music, 1.1, 39-48. Christopher McCullough Christopher is Emeritus Professor of Theatre at the University of
University of Exeter, Drama
Department, Arts, Languages and
Literature, Thornlea, New North
Road, Exeter, Devon, EX4 4LA,
United Kingdom Exeter. His published work and theatrical practice as a director, have
focused primarily, but not exclusively, on the dissemination of
sixteenth and seventeenth century stage practices and early twentieth
century European political theatre. The new research interest to which
he aspires is a study of the stage practices emanating from the theatrical
adaptation of Gothic novels. Keywords art, post-impressionism,
poetry › Harley Granville Barker: A very English avant-garde, Studies in Theatre and
Performance, 27.3, 223-236. Gordon McDougall Drastic Action, Oxford House,
Temple Cloud, Bristol, Somerset,
BS39 5BW, United Kingdom Keywords theatre, unconscious,
dream Gordon McDougall is an internationally-known theatre director and
academic. He has been Artistic Director of the Traverse Theatre (196668), Granada TV’s Stables Theatre (1968-71), the Oxford Playhouse
Company (1974-84) and the Citadel Theatre, Edmonton, Canada
(1984-87). From 1996 to 2001 he was Principal of the Guildford
School of Acting and then became Director of Drama at the University
of Oklahoma. He was twice nominated by London critics as Best
Director and his productions have been seen all over Britain and in
fifteen foreign countries. He has worked extensively at RADA and for
Granada Television and has taught at over a dozen universities in
Europe and the Americas. He currently runs a consultancy company,
Drastic Action. › Theatrical truth: the dialogue between audience and performance, Studies in
Theatre and Performance, 22.2, 107-117. › Theatre and the unconscious: the three-dimensional dream, Studies in
Theatre and Performance, 23.2, 107-116. Ian McFadyen Media Arts Corporation Australia, 36
Network Drive, Wynnum,
Queensland, 4178, Australia Ian McFadyen is a writer, actor and producer of film and television. › Can we talk? The reframing of social permissions in the comedy of Joan
Rivers, Comedy Studies, 2.2, 161-171. Keywords language, taboos,
audiences, performance, politeness
strategies, humour theory, Joan
Rivers, comedy Phillip McIntyre University of Newcastle, School of
DCIT, ICT Building, University of
Newcastle, Callaghan, New South
Wales, 2308, Australia Phillip McIntyre is a songwriter, record producer, engineer, music
journalist and academic. He teaches Media Production and Media
Studies courses in communication at the University of Newcastle
NSW, Australia, where he researches creativity and cultural
production. Keywords creative process, art,
practitioner, documentary › Rethinking the creative process: The systems model of creativity applied to
popular songwriting, Journal of Music, Technology and Education, 4.1, 7790. Kara McKechnie University of Leeds, School of
Performance and Cultural Industries,
Leeds, LS2 9JT, United Kingdom Keywords The Flying Dutchman,
Calixto Bieito, Stuttgart State Opera,
interpretation, semiotics Kara McKechnie is a Lecturer in Dramaturgy and Literary
Management at the University of Leeds. She has a professional
background in opera and gained her MA from the University of
Heidelberg, Germany. She has worked extensively on Alan Bennett
(Ph.D. 2004), specifically in the field of television drama (Alan
Bennett, The Television Series, Manchester University Press 2007). She
teaches and publishes on adaptation, intermediality and new writing,
and has recently been working with Opera North, both within the
University of Leeds partnership with the company, and as a freelance
dramaturg. › Detached signifiers, dead babies and demon dwarves: Bieito's Dutchman,
Studies in Musical Theatre, 2.1, 101-108. Joslin McKinney University of Leeds, School of
Performance & Cultural Industries,
Leeds, West Yorkshire, LS2 9JT,
United Kingdom Joslin McKinney is lecturer in Scenography in the School of
Performance and Cultural Industries at the University of Leeds, UK.
Her practice-led research investigates the nature of the communication
that occurs when audiences encounter design for the stage. Recent
work includes ‘Projection and Transaction: The spatial operation of
scenography’ Performance Research 10(4) 2005. Keywords design process,
interdisciplinarity, play, embodied
knowing, responsiveness › Emergent objects: Designing through performance, International Journal of
Performance Arts and Digital Media, 3.2&3, 269-280. Dermott Mcmeel University of Auckland, National
Institute of Creative Arts and
Industries, 26 Symonds Street,
Auckland, New Zealand Keywords architecture, robotics,
digital media, locative media Dermott McMeel's research is primarily conducted within the
discipline of architecture. However, there is increasing interaction
between architecture, robotics, information sciences and art. With an
interest in the social, collaborative, experiential and philosophical
implications of digital media, he seeks to advance the discussion on the
influence of technology in both the design/making process and in
occupying the built environment. His current research has a focus on
locative media and the effect of GPS and mobile phones on the ‘craft’
of design and construction, in both commercial and educational
contexts. Dermott is lecturer in Digital Design at the University of
Auckland in New Zealand. › Design, digital gestures and the in[ter]ference of meaning: Reframing
technology's role within design and place through performative gesture,
International Journal of Performance Arts and Digital Media, 7.1, 5-22. Emma Meehan Trinity College, Drama Department,
Dublin, Ireland Keywords body image, Joan Davis,
somatic practices Emma Meehan is a performer and researcher whose interest focuses on
physical approaches to performance. She has recently completed her
doctoral research at the Drama Department, Trinity College on the
work of Irish choreographer and dancer Joan Davis. Her research was
supported by Trinity College Dublin and The Irish Department of Arts,
Sport and Tourism. She is currently teaching part-time at the Drama
Department in Trinity College and developing a new performance
piece on body image. › Visuality, discipline and somatic practices: The ‘Maya Lila’ performance
project of Joan Davis, Journal of Dance & Somatic Practices, 2.2, 219-232. Robert Meffe Keywords Broadway, Les
Misérables, keyboard Robert Meffe has been a professional music director in New York City
since 1991. On Broadway he was Associate Conductor for Little
Women and the last six years of the run of Les Misérables. He was
Music Director for the national tour of The Phantom of the Opera and
has played keyboards for Mamma Mia!, Hairspray, Avenue Q, The
25th Annual Putnam County Spelling Bee, Grey Gardens and Bombay
Dreams. Mr Meffe holds a Bachelors Degree in Pre-Medical Studies
and Music from the University of Notre Dame and a MA in Choral
Conducting from the University of Cincinnati College-Conservatory of
Music. Currently an Assistant Professor at Pace University, Meffe is
the Director of Music for the BFA program in Musical Theater. › How many musicians does it take? A history and analysis of the shrinking
Broadway pit orchestra, Studies in Musical Theatre, 5.1, 99-115. Maria Mendona Kenyon College, Music and
Anthropology Departments, Storer
Hall, Gambier, Ohio, 43022, United
States of America Keywords education, gamelan,
rehabilitation, music, prison Maria Mendona is Assistant Professor in Asian Music and Culture in
the Music and Anthropology Departments at Kenyon College. Her
research interests include Indonesian music (particularly gamelan
traditions of Java and Sunda), globalization of culture, and music and
prisons. She has worked as an ethnomusicologist in a variety of settings
in the United States and the United Kingdom, including
Ethnomusicology Editor for the 2001 edition of The New Grove
Dictionary of Music and Musicians, as well as advising and leading
projects involving gamelan performance and education for a range of
British arts institutions, including the South Bank Centre, St David’s
Hall, Cardiff, and the Hallé Orchestra. › Prison, music and the rehabilitation revolution: The case of Good Vibrations,
Journal of Applied Arts & Health, 1.3, 295-307. Nancy Menning University of Iowa, Department of
Religious Studies, 314 Gilmore Hall,
Iowa City, IA 52242, United States of
America Nancy Menning has a Ph.D. from the Department of Religious Studies
at the University of Iowa, with a specialty in ethics. She is a graduate
of the National Instructor Training Institute of Temple University’s
Inside-Out Prison Exchange Program, which encourages partnerships
between institutions of higher learning and correctional systems in
order to offer transformative learning experiences in prison contexts. Keywords prison choirs, New
Zealand, Maori, biculturalism, art › Singing with conviction: New Zealand prisons and Maori populations,
International Journal of Community Music, 3.1, 111-120. Usha Menon University College London, UCL
Elizabeth Garrett Institute for
Women’s Health, Maple House, 149
Tottenham Court Road, London,
WC1T 7DN, United Kingdom Usha Menon is Professor of Gynaecological Cancer and Head of the
Gynaecological Cancer Research Centre at UCL Institute for Women’s
Health, and Consultant Gynaecologist for UCLH NHS Trust, London.
She is principal investigator on the UK ovarian cancer screening trials. › Evaluating the therapeutic effects of museum object handling with hospital
patients: A review and initial trial of well-being measures, Journal of Applied
Arts & Health, 2.1, 37-56. Keywords art therapy, gynaecology,
well-being measures Daniel Meyer-Dinkgräfe University of Lincoln, Lincoln School
of Performing Arts, Brayford Pool,
Lincoln, Lincolnshire, LN6 7TS,
United Kingdom Keywords consciousness studies,
theatre, television studies Daniel Meyer-Dinkgräfe studied English and Philosophy at the
Universität Düsseldorf, Germany, trained as a teacher, worked as
manager of a computer software company, taught Literature and
Philosophy in Norway (1989-1991) and German at various schools in
London. In 1994 he obtained his Ph.D. at the Department of Drama,
Theatre and Media Arts, Royal Holloway, University of London. His
thesis on Consciousness and the Actor was published by Peter Lang
(Frankfurt, 1996). From 1994 to 2007 he was a lecturer and senior
lecturer in the Department of Theatre, Film and Television Studies,
University of Wales Aberystwyth. Since October 2007 he has been
Professor of Drama at the Lincoln School of Performing Arts,
University of Lincoln. For Routledge he edited Who’s Who in
Contemporary World Theatre, and published Approaches to Acting,
Past and Present with Continuum in 2001. › Notes and Queries, Studies in Theatre and Performance, 25.2, 165-. Vida. L. Midgelow University of Northampton, School of
the Arts, Avenue Campus, St.
Georges Ave, Northampton, NN2
6JD, United Kingdom Keywords embodied knowing,
articulation, Practice-as-Research
(PaR), The Choreographic Lab Dr. Vida. L. Midgelow is Reader in Dance and Performance at The
University of Northampton, UK. Her research activities cross between
PaR and written modes of articulation and analysis. She has particular
interests in improvisation, creative methodologies, documenting
performance and dance analysis. Her book, Reworking the ballet:
Counter Narratives and Alternative Bodies, was published by
Routledge in 2007. In the same year the poetic and playful, TRACE:
Improvisation in a box, was published. For these projects she received
funding from AHRC and Arts Council England. Dr. Midgelow is codirector of ‘The Choreographic Lab’. In addition, she serves on the
executive board of ‘The Society of Dance History Scholars’ (USA) and
is currently Chair of the ‘Standing Conference on Dance in Higher
Education’. › Articulating choreographic practices, locating the field: An introduction,
Choreographic Practices, 1.1, 3-19. Tim Miles University of Surrey, Guildford,
Surrey, GU2 7XH, United Kingdom Keywords Northern Ireland, The
Troubles, Gary Mitchell, Sigmund
Freud, Henri Bergson, stand-up
comedy, humour Tim is currently based at the University of Surrey, in both the
Department of English, and the Department of Dance, Film and
Theatre. He has taught at all undergraduate levels, at five UK
universities. In addition,he has four years experience as a research
supervisor (at Royal Holloway International). › Playing cricket shots in my mind: Cricket and the drama of Harold Pinter,
Studies in Theatre and Performance, 31.1, 17-31. › ‘Pack up your troubles and smile, smile, smile’: comic plays about the legacy
of ‘the Troubles’, Comedy Studies, 1.1, 43-59. › Sex, pies and Jilly Cooper:An online, cooperativeanalysis of humourand the
erotic, Comedy Studies, 2.1, 63-71. Derek Miller Stanford University, 1801 Rose St.
#6, Berkeley, CA 94703, United
States of America Keywords Oklahoma!, Jewish
studies, community, Rodgers and
Hammerstein Derek Miller is a graduate student researching musical theatre,
particularly Rodgers & Hammerstein. He is interested in the musical as
an American cultural export and as a lingua franca among American
performers. As an actor, he has studied at Boston University, the
Atlantic Theatre Company, and with Anne Bogart and SITI Company.
He has appeared onstage at Williamstown, the New York Fringe
Festival, Columbia University and in numerous productions at Yale,
from which he graduated with a BA in English. › ‘Underneath the ground’: Jud and the community in Oklahoma!, Studies in
Musical Theatre, 2.2, 163-174. Ray Miller Appalachian State University, Theatre
and Dance, Chapell Wilson, Boone,
North Carolina, N.C. 28608, United
States of America Keywords musical theatre,
choreography, dance aesthetics,
pedagogy Dr. Miller has directed and/or choreographed over 200 musicals,
operas, plays and/or dance concerts. He has delivered papers on topics
ranging from musical theatre and dance aesthetics to pedagogy and
theatre history at conferences held by the Congress on Research in
Dance, the Association for Theatre in Higher Education, Writing
Across the Curriculum, American Society for Theatre Research,
Southern Humanities, Dance History Scholars, Centre National de la
Danse and other academic conferences. His work has been published in
Dance Research Journal, Theatre Journal, Text and Performance
Quarterly and Dance Chronicle. Praeger Press will publish his book on
the history of musical theatre dance on the American stage. In addition
to serving as a faculty member in the Department of Theatre and Dance
and as a faculty development associate for the Hubbard Center, Dr.
Miller also serves as the President for › Reviews, Studies in Musical Theatre, 4.3, 343-349. Brett Mills University of East Anglia, School of
Film and Television Studies,
University of East Anglia, NR4 7TJ,
UK Brett Mills is Head of the School of Film and Television Studies,
University of East Anglia. He is the author of Television Sitcom (BFI,
2005) and The Sitcom (Edinburgh, 2009) and co-author of Reading
Media Theory: Thinkers, Approaches, Context (Pearson, 2009). He is
currently undertaking the three-year AHRC-funded project, Make Me
Laugh: Creativity in the British Television Comedy Industry. Keywords textual analysis, pleasure,
humour theory, Joan Rivers, stand-up
comedy › ‘A pleasure working with you’: Humour theory and Joan Rivers, Comedy
Studies, 2.2, 151-160. › Analysing stand-up comedy, Comedy Studies, 2.2, 99-100. Frank Millward Kingston University, Knights Park,
Kingston upon Thames, Surrey, KT1
2QJ, United Kingdom Keywords synaesthesia, nonlinear
Frank Millward is an academic whose practice-as-research includes
extensive and diverse outputs exhibited in a variety of forms: largescale site-specific: Dining With Alice (Artichoke 2011 & 1999), Used
To Be Slime (Glasgow 2010); digital media: Uneasy Dreams (DVD
2011); performance: From Anger To Sadness (NRLA 2009); music
works: solo piano 1, 2 and 3 (series) – timelines for DJ and Orchestra
systems, multimedia art, sonic art,
improvisation (published by Wirripang). He has received major international grants
and awards from The Australian Research Council, The Australia
Council, The Arts Council UK as well as from publishers, festivals and
corporate sponsors. His research explores cross-disciplinary
connections between technology, science and art where sound and
moving image are used to shape new interactive forms in live
performance. As principal lecturer, Millward teaches digital media,
audio-visual editing, sonic arts and supervises Ph.D. › Visiosonics – Developing moving images in direct response to sound –
improvising with technology, International Journal of Performance Arts and
Digital Media, 7.2, 171-188. John Milton University of São Paolo, Department
of Modern Languages and Literatures,
São Paolo, Brazil Keywords representation, transfer,
transmission, factory translation, recreation Dr. John Milton teaches English Literature and Translation Studies at
the University of São Paulo, Brazil. He is the author of O Poder da
Traducao (The Power of Translation), which wasrepublished as
Traducao: Teoria e Pratica (Translation: Theory and Practice); O
Clube do Livro e a Traducao (The Clube do Livro and Translation) and
Images of a Trembling World, a travel book on Japan. He has also
edited (with Paul Bandia) Agents of Translation. › Between the cat and the devil: Adaptation Studies and Translation Studies,
Journal of Adaptation in Film & Performance, 2.1, 47-64. Márta Minier University of Glamorgan, Department
of Drama and Music, Cardiff School
of Creative and Cultural Industries,
Atrium, Adam Street, Cardiff, Wales,
CF24 2XF, United Kingdom Dr. Márta Minier is a lecturer in Drama at the University of
Glamorgan. Her publications have appeared in journals and collections
including, Gramma, The Anachronist, New Voices in Irish Criticism
and the European Intertexts series (Peter Lang). › Reviews, Journal of Adaptation in Film & Performance, 1.2, 161-170. › Adaptation, Translation, Multimediality:A Hungarian Bestseller Across
Cultures, Journal of Adaptation in Film & Performance, 1.3, 191-204. Keywords Irish criticism, Drama
studies, multimediality › EDITORIAL, Journal of Adaptation in Film & Performance, 4.2, 113-114. Rick Mitchell An award-winning dramatist of over twenty plays, Rick Mitchell
teaches playwriting, performance studies, and literature at California
California State University,
Department of English, 18111
Nordhoff Street, Northridge,
California, CA 91326-8248, United
States of America State University, Northridge, where he is Professor of English. Other
plays carried by Intellect include Brecht in L.A. and The Composition
of Herman Melville. Mitchell lives in Los Angeles. › Composing Herman Melville: performing history through the presence of the
now, Studies in Theatre and Performance, 21.2, 83-95. Keywords The Confidence Man, Karl
Marx, Benjamin Franklin, modernity,
riverboat Roberta Mock University of Plymouth, School of
Humanities and Performing Arts,
Plymouth, Devon, PL4 8AA, United
Kingdom Keywords research, SCUDD, theatre,
AHRB Roberta Mock is Professor of Performance Studies and the Director of
the Arts and Humanities Doctoral Training Centre at the University of
Plymouth. Between 1996 and 2006, she directed and performed with
Lusty Juventus physical theatre. Her books include Jewish Women on
Stage, Film and Television; Performance, Embodiment and Cultural
Memory (as co-editor with Colin Counsell); and Walking, Writing and
Performance: Autobiographical Texts by Deirdre Heddon, Carl Lavery
and Phil Smith (as editor). She is also the editor of Intellect’s Playtext
series and is currently writing a book entitled Doing Performance
Research, with Baz Kershaw and Gillian Hadley, for Palgrave
Macmillan. › Notes and Queries, Studies in Theatre and Performance, 24.2, 129-. › Pedagogies of Theatre (Arts) and Performance (Studies), Studies in Theatre
and Performance, 25.3, 201-214. › Really Jewish? Joan Rivers Live at the Apollo, Comedy Studies, 2.2, 101111. Tony Moon Tony Moon is an award-wining film-maker and academic working at
Southampton Solent University. He lectures in documentary, drama
production and scriptwriting. He is also the author of Down by the
Jetty, the authorised biography of the beat group Dr.Feelgood. Keywords Gumshoe, Mr. Saturday
Night, The Entertainer, stand-up
comedy › Spotlight kids: The depiction of stand-up comedians in fictional drama: film,
television and theatre, Comedy Studies, 1.2, 201-208. › Scenes in the House ofComedy: Interview withStewart Lee, Comedy Studies,
2.1, 5-12. › Up and down with Barry Cryer: From an interview conducted on 22 July
2011, Comedy Studies, 2.2, 173-178. James Mooney University of Leeds, School of Music,
Leeds, LS2 9JT, United Kingdom Keywords auditory awareness, sonic
environment, post-modernism,
modernism, memetics James Mooney's current research interests include scientific and
design-led research in music; auditory awareness and the sonic
environment; music technology; multi-loudspeaker sound
spatialisation; cultural history, modernism and post-modernism; open
source software and hardware; free improvisation; applied
electroacoustic composition; music, memetics and consciousness. › Frameworks and affordances:Understanding the toolsof music-making,
Journal of Music, Technology and Education, 3.2-3, 141-154. Tracey Moore Florida International University, Head
of Voice & Movement, Theatre
Department, UP Campus, PAC 131,
11200 SW 8th Street, Miami, Florida,
FL 33199, United States of America Keywords microphones, monitors,
Broadway, Wesley Balk, Stanislavski,
musical theatre Tracey Moore is head of the Musical Theatre Bachelor of Fine Arts at
Western Kentucky University (WKU) where she directs and teaches.
Her book, Acting the Song, was published in 2008 by Allworth Press.
Before academia, Tracey was a professional actress and singer in New
York for nearly twenty years. The ‘Before Broadway’ series at WKU,
where new musicals are presented in a staged-reading format with the
writers in residence, is in its third year. Previous productions include a
re-telling of the Cinderella story by John Thomas Oaks called Chipper
and a true story of a murderer brought to justice by Clay Zambo and
Susan Murray called Greenbrier Ghost. › Teaching the Broadway singing style, Studies in Musical Theatre, 1.1, 85-96. › The out-of-town tryout goes back to school, Studies in Musical Theatre, 3.3,
303-309. Adrian Moore Sheffield University, Music
Department, Jessop Building, 34
Leavygreave Road, Sheffield, S3
7RD, United Kingdom Keywords music technology,
electroacoustic music, signal
processing, human–computer
interaction Dr. Adrian Moore is a senior lecturer in the Department of Music at the
University of Sheffield. He is a composer of electroacoustic music and
is the director of the University of Sheffield Sound Studios. His
research interests are focused towards the development of the
acousmatic tradition in electroacoustic music, the performance of
electroacoustic music, signal processing and human–computer
interaction in music. His music has been commissioned by the Groupe
de Recherches Musicales (GRM), the Institute International de
Musique Electroacoustique de Bourges (IMEB) and the Arts Council
of England. › Adapting to change: working with digital sound using open source software
in a teaching and learning environment, Journal of Music, Technology and
Education, 1.2&3, 113-120. › Reviews, Journal of Music, Technology and Education, 2.1, 75-81. Dave Moore The University of Sheffield, Western
Bank, Sheffield, S10 2TN, United
Kingdom Keywords music technology, sound
diffusion, computer programming Dr. Dave Moore is the studio manager at the University of Sheffield.
He is a computer programmer and developer. He completed his Ph.D.
in 2003 based around two software prototypes for sound diffusion and
currently teaches undergraduate and postgraduate music technology.
His interest in open source software led to the free publication of the
software ‘Resound’ online. › Adapting to change: working with digital sound using open source software
in a teaching and learning environment, Journal of Music, Technology and
Education, 1.2&3, 113-120. Nick Moran Central School of Speech and Drama,
Embassy Theatre, Eton Avenue,
London, NW3 3HY, United Kingdom Keywords projected image,
audiences, stage design, screen Nick Moran has over 25 years of experience in design and production
for theatre, opera and large-scale events. His lighting design work was
included in Collaborators, an exhibition of contemporary theatre design
at the Victoria and Albert Museum in 2007-08, and at the Word Stage
Design exhibition in Seoul (2009). He has a BSc in Physics and, in
2001, gained an MA in Modern Drama and Performance through part
time study. In 2003, he joined Central School as lecturer in lighting
and, in 2005, became Design for Performance pathway leader for the
Theatre Practice BA. Publications include Performance Lighting
Design (A&C Black London 2007), and regular contributions to , the
magazine of the ALD. › Resisting the lure of the screen, International Journal of Performance Arts
and Digital Media, 6.1, 77-88. Nikki Moran Edinburgh University, Institute for
Music in Human and Social
Development (IMHSD), Alison
House, 12 Nicolson Square,
Edinburgh, EH8 9DF, United
Kingdom Nikki Moran is a lecturer in Music at the Edinburgh University, where
she researches music as social interaction. Nikki teaches at
undergraduate and postgraduate level, including courses on the MSc. in
Music in the Community. › Community music knowledge exchange research in Scottish higher
education, International Journal of Community Music, 4.2, 133-146. Keywords community music, music
education, social interaction Joe Moran Dance Art Foundation, Unit 15,
Toynbee Studios, 28 Commercial
Street, London, E1 6AB, United
Kingdom Joe Moran is a dance artist and artistic director of Dance Art
Foundation. He creates dance and video works for theatres, galleries
and public spaces and is currently touring his adaptation of At Once,
the new solo by American choreographer Deborah Hay. Moran directs
the national Breathing Space dance-in-health programme and curates
and teaches widely. Keywords Summer Dancing, dance,
art › Artist-led, artist-used: experiences at Coventry's Summer Dancing 2009,
Journal of Dance & Somatic Practices, 1.2, 199-214. Karen Morden Keywords comedy, identity, Britain,
pastoral, Vivian Stanshall, carnival Karen Morden is a writer, editor and artist. She completed a D.Phil.
thesis in Media and Cultural Studies at the University of Sussex, which
focused on Vivian Stanshall and his work. She has written about
comedy for The Kettering and The Idler magazines, and has
contributed to a number of popular books, including 1001 Paintings
You Must See Before You Die, 501 Directors and 101 War Films. › The odd boy: a celebration of Vivian Stanshall, Comedy Studies, 1.2, 209218. Jacquelyn Ford Morie University of Southern California,
Institute for Creative Technologies,
12015 Waterfront Drive, Playa Vista,
CA 90094-2536, United States of
America Keywords Second Life, metaverse,
digital culture, virtual worlds, arts,
health Dr. Jacquelyn Ford Morie is a scientist, an artist and an expert in
harnessing new technologies to support core human aesthetics, needs
and desires. From her early photography, printmaking and sculpture,
she progressed to creating Virtual Reality (VR) artworks in the 1990s
that were highly immersive and emotional experiences. From her
science focus, she has developed multi-sensory techniques for VR that
can predictably elicit emotional responses from participants within
simulated environments, including inventing a scent collar that can be
used to deliver odours to a participant in a VR scenario. Most recently
she has been adapting her techniques to socially based, 3D virtual
worlds. Her other research interests include topics such as space,
identity, art and play in technological environments, and she has
presented extensively on these topics at conferences worldwide. She
received her Ph.D. from the University of East London’s SMARTlab in
2008. › Performing in (virtual) spaces: Embodiment and being in virtual
environments, International Journal of Performance Arts and Digital Media,
3.2&3, 123-138. Elise Morrison Harvard University, Derek Bok
Center for Teaching and Learning,
Science Center 313, One Oxford
Street, Cambridge, MA 02138-2901 Keywords theatricality, affect, public
space, remediation, defamiliarization,
surveillance Elise Morrison recently received her Ph.D. from Brown University in
theatre and performance studies. Her dissertation ‘Discipline and
Desire: Surveillance, Feminism, Performance’ looks at artists who
strategically employ technologies of surveillance to create
performances and installations that pose new and different ways of
interacting with and understanding apparatuses of surveillance. She
teaches courses on this topic as a lecturer on Dramatic Arts at Harvard
University, where she also works as the Associate Director for
Speaking Instruction. Morrison is currently a resident artist at
Perishable Theatre in Providence, RI, where she teaches acting and
develops new mixed media cabaret and theatre work. › Performing citizen arrest: Surveillance art and the passerby, International
Journal of Performance Arts and Digital Media, 7.2, 239-257. Daniel Mroz University of Ottawa, Department of
Theatre, 135 Séraphin-Marion,
Ottawa, Ontario, K1N 6N5, Canada › Technique in exile: The changing perception of taijiquan, from Ming dynasty
military exercise to twentieth-century actor training protocol, Studies in
Theatre and Performance, 28.2, 127-145. Keywords contemporary arts, devised
theatre, Battery Opera, One Reed
Theatre Ensemble, Chinese martial
arts, Taijiquan, martial arts › From movement to action: martial arts in the practice of devised physical
theatre, Studies in Theatre and Performance, 29.2, 161-172. Madhuja Mukherjee Jadavpur University, LB Block, Salt
Lake, Kolkata, West Bengal, India Madhuja Mukherjee is currently Assistant Professor at the Department
of Film Studies at Jadavpur University and has contributed to the
Studies in Musical Theatre journal. › Reviews, Studies in Musical Theatre, 4.2, 227-235. Keywords Film Studies, musical
theatre Meg Mumford The University of New South Wales,
UNSW, Sydney, NSW 2052,
Australia Meg Mumford is a lecturer in Theatre and Performance Studies at The
University of New South Wales. Her research focuses on: the politics
of performing bodies; theatre and social reality; translation,
intercultural exchange, German theatre and Tanztheater, and theories of
acting, gender and performance. She has published widely on Bertolt
Keywords social reality, intercultural
exchange, German theatre, Pina
Bausch Brecht and has completed a volume on Brecht for the Routledge
Performance Practitioners series (2008). She has also co-authored
work with Alison Phipps both on the translation and intercultural issues
raised by their staging of Marieluise Fleißer's Purgatory in Ingolstadt,
and on contemporary German theatre. More recently she has written
about the national and gender politics of the early work of Pina Bausch. › Translating the strange, performing the peculiar: Marieluise Fleißer's
Fegefeuer/Purgatory in Ingolstadt, Studies in Theatre and Performance, 22.2,
69-81. Katja Münker Dancer, Choreographer, Feldenkrais
Practitioner, Berlin Keywords physiotherapy, human
intelligence, yoga, improvisation Katja Münker is a freelance dancer/choreographer, Feldenkrais
practitioner and physiotherapist based in Berlin. She has been teaching
movement, dance and improvisation in national and international
contexts since 1990. In her teaching, she focuses on ease and individual
interpretation of movement and on conscious learning by the use and
stimulation of human intelligence in and through movement. In her
creative work, she is interested in long-term processes with various
outcomes like performances, installations, walks, lectures and writings.
Her recent interest is walking as research and performance practice.
She was trained in the Feldenkrais Methode by Mark Reese and in
Movement Studies with Amos Hetz. In her dance and improvisation,
she trained originally with Keriac, but was also influenced by Keith
Hennessy, Kathleen Hermesdorf, K. J. Holmes, Stephanie Maher, Lisa
Nelson and colleagues. She has longterm experience in yoga, BMC,
Tai Ji Chuan and Qi Gong. › A continuous experiment and a continuous finding: A reflection on
choreography, somatic practice and the aesthetics of change and conditions,
Written from practice, Journal of Dance & Somatic Practices, 2.2, 163-176. Teresa Murjas University of Reading, Film, Theatre
& Television, Woodlands Avenue,
Reading, Berkshire, RG6 1HY,
United Kingdom Keywords Polish theatre, Polish film,
fin-de-siecle European theatre,
practice-as-research, translation,
Holocaust representation Teresa Murjas is a lecturer in Theatre at the University of Reading. She
specialises in late nineteenth/early twentieth century European theatre
and translation. She supervises student directors in her department as
well as directing her own practice as research projects. She studied at
the universities of Manchester and London and completed her Ph.D. at
the University of Birmingham. She has also worked as a lecturer in
Theatre and a director at the University of Lodz in central Poland.
Teresa's productions have all been staged as public performances,
many on the London fringe, including her translation of Slawomir
Mrozek's The Turkey and Strindberg's Miss Julie, both of which have
inspired several journal articles. She has also directed two of
Zapolska's plays in her own translation. › A Question of Identity: translating and directing Slawomir Mrozek's The
Turkey, Studies in Theatre and Performance, 21.3, 162-175. › Bring me the head of a greenfinch: Miss Julie in Britain, Studies in Theatre
and Performance, 24.1, 37-54. › Bloomers ignite: Zolaesque zealotry in British productions of Miss Julie,
Studies in Theatre and Performance, 24.2, 113-128. Szabolcs Musca Keywords European theatre,
translation processes, theatrical
systems Szabolcs Musca is a Ph.D. student at Bristol University. His research
interests include translation and adaptation for performance,
dramaturgy and European theatre with a special emphasis on Central
and Eastern Europe. In his current research project he is looking at
translation processes and its effects on theatre productions of foreign
plays arguing that translation practices and histories are constantly
shaping dramaturgical solutions and interventions. › Reviews, Journal of Adaptation in Film & Performance, 3.3, 329-338. David E. Myers Georgia State University, School of
Music, P.O. Box 4097, Atlanta,
30302-4097, United States of
America Keywords American music,
education, lifelong learning, music David Myers is Professor of Music, Associate Director of the School of
Music, and Founding Director of the Center for Educational
Partnerships in Music at Georgia State University, USA. His primary
interests are teacher education, lifespan music learning and
collaborative music education programmes. He has been a music and
opera panelist for the National Endowment for the Arts and a
consultant on arts education partnerships for organizations such as the
American National Guild of Community Schools of the Arts, Opera
America, the Atlanta Symphony and the New York Philharmonic. › Freeing music education from schooling:toward a lifespan perspective on
music learning and teaching, International Journal of Community Music, 1.1,
49-62. Sreedevi K. Nair NSS College for Women,
Neeramankara, Thiruvananthapuram,
Sreedevi K. Nair teaches English at NSS College for Women in India.
Her doctoral research was on literary translations from Malayalam into
English. At present, she is doing post-doctoral research on ‘Towards an
Indian Theory of Translation – A Study Based on Various Ramayanas
Kerala, Pin-695-040, India in Malayalam’. She is the recipient of a Senior Fellowship of the Indian
Council of Social Sciences Research, a Post-doctoral Fellowship of the
Indian Council of Historical Research, an Academic Associateship of
the Indian Institute of Advanced Studies in Shimla and a Junior
Fellowship for Literature from the Ministry of Human Resource
Development, India. She was International Guest in Residence at the
Wakeforest University, North Carolina in 1998 and Visiting Scholar at
the University of British Columbia in 2005. She has translated
extensively from and into English. In 2004, she received the Kerala
State Lalit Kala Academy Award for the Best Translator. Keywords Tholpava Koothu,
Pulavar, Koothu Madom, Ramayana,
notional audience › When goddess turns spectator: on multiple audiences in Tholpava Koothu
performance in Kerala, Studies in Theatre and Performance, 29.2, 173-186. Kate Napier Head of Curriculum, GSA
Conservatoire, Millmead Terrace,
Guildford, Surrey, GU2 4YT, United
Kingdom Keywords acting, musical theatre,
integration, training, singing,
publishing Kate Napier was, concurrently and successively, Head of Theatre
Studies, Head of Curriculum, and Head of Postgraduate Studies at GSA
– the Guildford School ofActing – one of the UK’s principal musical
theatre training establishments. She has recently left GSA to pursue
personal research and practice interests, and is a memberof the
Conference of Drama Schools Research Forum. She holds a Ph.D.
from the University of London. › Integration and performance:the usefulness of books in musical theatre
training, Studies in Musical Theatre, 2.3, 283-293. Devora Neumark Keywords community, performance,
dialogue, displacement Interdisciplinary artist Devora Neumark is a faculty member in the
MFA-Interdisciplinary Art programme at Goddard College (Vermont)
and co-director of Engrenage Noir/LEVIER, a Montreal-based nonprofit community & activist arts advocacy and funding organization. Its
most recent initiatives are intended to stimulate dialogue about healthy
interdependence and ethical responsiveness while encouraging artistic
creation addressing the systemic causes of poverty. Neumark is also
currently a Humanities Ph.D. Candidate at Concordia University’s
Centre for Interdisciplinary Studies in Society and Culture. Her
research project ‘Radical Beauty for Troubled Times: The (un)making
of Home’ examines the role that beauty plays in the process of
homemaking in the aftermath of forced displacement. › Close proximity, Performing Ethos: An International Journal of Ethics in
Theatre & Performance, 1.1, 69-83. Christopher Newell University of Hull, School of Arts and
New Media, University of Hull,
Scarborough Campus, Filey Road,
Scarborough, North Yorkshire, YO11
3AZ Keywords computer speech, speech
synthesis, synthetic actors, voice
acting, liveness, speech interfaces Christopher Newell is an opera director and computer scientist. As an
opera director he has directed for a number of the major UK opera
companies. He is Academic Director of iHull; Institute for Creativity
and Innovation at the University of Hull and an Honorary Research
Fellow in the HCI group in the computer science department at the
University of York. He currently holds a Wingate Scholarship to
develop a radio melodrama for computer voices. With Alistair Edwards
at York he is leading an EPSRC-funded network in Creative Speech
Technology (CreST). › Place, authenticity time: a framework for synthetic voice acting,
International Journal of Performance Arts and Digital Media, 4.2&3, 155180. › ‘Liveness’ in human-machine interaction, International Journal of
Performance Arts and Digital Media, 7.2, 221-237. JETON NEZIRAJ Keywords Jeton Neziraj is a playwright and the Artistic Director of the National
Theatre of Kosovo. His plays have been published and translated into
several languages, and there have been productions in the US and in
various European countries. Liza po fle/Liza is Sleeping was awarded
first prize in a national drama competition. Neziraj has contributed
essays on theatre to journals and newspapers at home and abroad, and
his books include one on the Kosovar actor Faruk Begolli. He is the
founder and leader of the theatre company Multimedia Center, whose
special interest is in contemporary theatre. › Theatre in Kosovo: The challenges in the new state, Studies in Theatre and
Performance, 31.3, 339-348. Mary Noonan University College Cork, O'Rahilly
Building, Department of French,
Cork, Ireland Keywords playwriting, soundscape,
orality, textuality, body Mary Noonan is lecturer in French at University College Cork, where
she teaches modern and contemporary French theatre and theories of
performance. She has published widely in the field of contemporary
French theatre, including articles and chapters on the drama of
Marguerite Duras, Nathalie Sarraute and Hélène Cixous, the history of
French women playwrights of the twentieth century, the voice in
contemporary French theatre and the emerging ‘theatre of the text’ in
contemporary France. In 2005, she organized an international
conference entitled The Contemporary French Theatre: Writing,
Performing, Teaching. Recent publications include articles on the
theatre of French playwright Noëlle Renaude in Yale French Studies
(No.112, 2007) and in Studies in Theatre and Performance (2010).
Articles on the cinema of Marguerite Duras and on the work of Valérie
Rouzeau are forthcoming. › An archaeology of soundscapes: The theatre of Noëlle Renaude, Studies in
Theatre and Performance, 30.1, 115-126. Sally Jane Norman University of Sussex, Attenborough
Centre for Creative Arts, Silverstone
Sb 310, Sussex House, Brighton, BN1
9RH, United Kingdom Keywords arts, culture, technology,
practice, cosmic adventure Sally Jane Norman is a theorist and practitioner working in performing
arts and technology. Her writings include texts published by the
Performing Arts Laboratory of the Centre National de la Recherche
Scientifique and commissioned studies for UNESCO and the French
Ministry of Culture. She has served on many international juries and
commissions, and after launching a pioneering practice-based Digital
Arts Ph.D. as Director of the Ecole supérieure de l’image (AngoulêmePoitiers), joined Newcastle University in 2004 to direct Culture Lab, a
new interdisciplinary practice-driven research facility. › Instant conductors, International Journal of Performance Arts and Digital
Media, 2.2, 109-122. Sarah O'Brien Teesside University, School of Arts &
Media, Middlesbrough, Tees Valley,
TS1 3BA, United Kingdom Sarah O’Brien is a teaching fellow at Lancaster University and has
recently completed her Ph.D. (P-a-R) with the Theatre Studies section,
Lancaster Institute for Contemporary Arts. Her main research interests
are in multi-media performance, video art and installation, live art,
performance installation, site-specific and devised performance. Keywords written thesis, reflective
judgement, Kant, Eco,
schema/schemata › Reviews, International Journal of Performance Arts and Digital Media, 6.1,
123-133. › Practice-as-research in performance: A response to reflective judgement,
Studies in Theatre and Performance, 27.1, 73-84. Jennifer Oates The City University of New York,
Queens College and the Graduate
Center, 365 5th Avenue, New York,
NY, United States of America Keywords Loewe, Brigadoon,
Jennifer Oates is Associate Professor at Queens College and the
Graduate Center, CUNY, and is Head of the Music Library at Queens
College. Her research focuses on nineteenth and twentieth century
British music and women and music. She is writing The Musical Life of
Hamish MacCunn (1868–1916), a biography of the Scottish composer,
for Ashgate and has a critical edition of MacCunn’s concert overtures
forthcoming in Recent Researches in the Music of the Nineteenth and
Early Twentieth Centuries. She received the 2004 Ralph Vaughan
American music, Scotland, theatre,
music Williams Fellowship and the Music Library Association’s 2003 Walter
Gerboth for research. › Brigadoon: Lerner and Loewe's Scotland, Studies in Musical Theatre, 3.1,
91-99. Elizabeth Oehrle University of KwaZulu-Natal, South
Africa, Music School, Durban, 4041,
South Africa Keywords culture, race, African
music, music, education Elizabeth Oehrle is Senior Research Fellow at University of KwaZulu
– Natal (UKZN). She championed the promotion of intercultural
education through music in Southern Africa by organizing the first
multiracial conference for all music educators at tertiary institutions in
South Africa. In 1991 she started a network for the promotion of
intercultural education through music (NETIEM) and initiated The
Talking Drum. She founded ‘One of the first and most enduring
performing arts outreach programmemes in the country’ (UKZN
Development Brief-2006) called UKUSA, an NPO Community
Performing Arts Organization now in its 23rd year, and she remains the
facilitator. Her concern for the establishment of an African Music Post
led her to raise funds for the first such post established at UKZN in the
1990s. She is also a member of the International Education Board of
Music Education Research Journal. › Values infusing UKUSA: A developmental community arts programme in
South Africa, International Journal of Community Music, 3.3, 379-386. Carol J. Oja Harvard Department of Music, Music
Building, Cambridge, MA 02138,
United States of America Keywords propaganda, youth culture,
juvenile offenders Carol J. Oja is William Powell Mason Professor of Music at Harvard
and on the faculty of its program in the History of American
Civilization. She is at work on a book about Leonard Bernstein’s early
Broadway shows. Her previous publications include Making Music
Modern: New York in the 1920s, which won the Lowens Book Award
from the Society for American Music and an ASCAP-Deems Taylor
Award; and Copland and his World (co-edited with Judith Tick). She is
past-president of the Society for American Music. › West Side Story and The Music Man: whiteness, immigration, and race in
the US during the late 1950s, Studies in Musical Theatre, 3.1, 13-30. Chukwuma Okoye Department of Theatre Arts,
University of Ibadan, Oyo State Keywords African theatre,
postcolonialism, cultural identity,
self-writing Chukwuma Okoye is a Senior Lecturer at the Department of Theatre
Arts, University of Ibadan, Nigeria, where he teaches contemporary
African theatre and performance. His current research interest is in
critically marginalized forms of contemporary African theatre,
especially by young people, that are neither taught nor investigated in
conventional theatre scholarship. He has published critical essays on
indigenous Igbo masquerade theatre in Nigeria, and on the location of
African theatre in current debates in literary and cultural studies. › Deference and defiance: African theatre and Femi Osofisan's signifying
difference, Studies in Theatre and Performance, 31.3, 305-314. Mary Oliver University of Salford, School of
Media, Music and Performance,
Adelphi Building, Peru Street,
Salford, Greater Manchester, M3
6EN, United Kingdom Keywords digital arts, interface,
comedy, theatre, body Mary Oliver is Reader in Digital Performance and Associate Head of
Research in the School of Media, Music and Performance, Salford
University. She has been a professional performer, writer and video
maker for over twenty years, performing internationally across the
fields of contemporary music, theatre, and dance. She is currently
building a new full scale digital performance work Somewhere
Between Heaven and Earth and undertaking an AHRC research project
into the effects on performancemethodology of performing with
cartoons. In 2007, she was the convenor of the international
symposium New Performance Paradigms which explored some of the
future possible directions of performance practice. › The emancipating possibilities of performing with cartoons, International
Journal of Performance Arts and Digital Media, 4.1, 59-67. › Reviews, International Journal of Performance Arts and Digital Media, 7.1,
117-122. Rowan Oliver University of Hull, School of Arts and
New Media, Scarborough Campus,
Filey Road, Scarborough, North
Yorkshire, YO11 3AZ, United
Kingdom Keywords groove, Goldfrapp,
African American music Rowan Oliver is Subject Group Leader for the Music degrees at the
University of Hull’s School of Arts and New Media. His research
interests include African American popular music and the nature of
groove. As a professional musician he has worked internationally with
a number of artists, including six years as the drummer with
‘Goldfrapp’, and he continues to record and perform. In 2007, his score
for Mouth to Mouth won Best Film Music at the Annonay International
First Film Festival and he is currently composing for several feature
films in production. › Reviews, Journal of Music, Technology and Education, 1.2&3, 167-185. › Reviews, Journal of Music, Technology and Education, 2.2&3, 187-195. › Reviews, Journal of Music, Technology and Education, 3.1, 67-86. › BOOK REVIEW, Journal of Music, Technology and Education, 3.2-3, 201206. Hod Orkibi University of Haifa, Graduate School
of Creative Arts Therapies, 11/14
Hana Rovina St., Tel-Aviv, 69372,
Israel Keywords professional identity,
psychodrama and dramatherapy, arts
therapy, youth, gender, drama Hod Orkibi, Ph.D., is a creative arts therapist specializing in intermodal psychodrama, faculty member, and Head of the Field Training
Division at the Graduate School of Creative Art Therapies at Haifa
University, Israel. His practice involves inter-modal psychodrama,
teaching, and administration. Hod is a registered member of the
International Expressive Arts Therapy Association (IEATA); the Israeli
Association of Psychodrama (I.A.P.); and the Israeli Association of
Creative and Expressive Therapists (I.C.E.T.). He holds a BSc in
Psychology, a BEd in Theatre Education and Directing, an MA in
Expressive Arts Therapy, and an MA in Theatre Arts. His research
interests include professional identity development, supervision and
filed training; psychodrama and drama therapy; teach-treat boundaries
in experiential learning; aesthetics topics in the creative art therapies;
and drama-based assessment. › The experience of acting: A synthesis of concepts and a clinical vignette,
Journal of Applied Arts & Health, 1.2, 193-203. Deirdre Osborne Goldsmiths, University of London,
Lewisham Way, New Cross, London,
SE14 6NW, United Kingdom Keywords race, theatre, musicals, the
1990s Deirdre Osborne is a senior lecturer at Goldsmiths, University of
London. She has published widely on Black British literature and
performance - the result of having interviewed the writers and lobbied
for inclusion of their work as a matter of course in all curricula she
teaches, including poets, novelists and dramatists such as: Lemn
Sissay, Debbie Tucker Green, Andrea Levy, Kwame Kwei-Armah,
Roy Williams, SuAndi, Mojisola Adebayo, Valerie Mason-John and
Courttia Newland. Her edited anthology Hidden Gems (Oberon Books,
2008) showcases previously unpublished plays by Sissay, Adebayo,
Mason-John, Newland and Lennie James and Paul Anthony Morrison
together with critical essays by academics with a longstanding interest
in championing Black British culture. › Writing black back: an overview of black theatre and performance in Britain,
Studies in Theatre and Performance, 26.1, 13-32. Helen Ostovich McMaster University, English and
Cultural Studies, Chester New Hall
321, 1280 Main Street West,
Hamilton, Ontario, L8S 4L9, Canada Keywords Shakespeare,
hypermasculinity, anti-war, Peter
Cockett, multimedia performance Helen Ostovich is Professor of English at McMaster University,
Hamilton, Ontario, Canada, and editor of the journal Early Theatre.
She is series editor of Studies in Performance and Early Modern
Drama (Ashgate Publishing), and one of the general editors of The
Revels Plays. She is also general editor of Queen’s Men Editions, part
of the Internet Shakespeare Editions website. She has edited several of
Jonson’s plays, most recently The Magnetic Lady for the Cambridge
Works of Ben Jonson; and is finalizing Heywood and Brome’s The Late
Lancashire Witches (1634) and co-editing The Jovial Crew (1641) for
the Richard Brome Electronic Edition (HRI Sheffield, June 2009, with
paper version later from Oxford University Press). › Unsettling Henry V: a Canadian perspective, Studies in Theatre and
Performance, 29.3, 289-305. Hsin-yun Ou National University of Kaohsiung,
Western Languages and Literature,
10F-A2, No, 102, B0-AI 2nd Road,
Kaohsiung, 813, Taiwan Keywords Chinoiserie, Garrick,
neoclassicism, Francophobia, William
Chambers, American and British
theatre Hsin-yun Ou is Assistant Professor at the National University of
Kaohsiung, Taiwan. Hsin-yun Ou holds a Ph.D. in eighteenth century
literature, drama and theatre from the Department of Drama and
Theatre, Royal Holloway College, University of London and a MPhil.
in Shakespeare and Drama to 1640 from the English Faculty, Oxford
University. › David Garrick's reaction against French Chinoiserie in The Orphan of China,
Studies in Theatre and Performance, 27.1, 25-42. Katie Overy University of Edinburgh, The Institute
for Music in Human and Social
Development (IMHSD), Alison
House, 12 Nicolson Square,
Edinburgh, EH8 9DF, United
Kingdom Katie Overy is senior lecturer in Music and co-director of the Institute
for Music in Human and Social Development at the University of
Edinburgh. Her primary interest is the role of music in human learning.
She completed her postgraduate studies in Music Psychology at the
University of Sheffield, postgraduate studies in Music Pedagogy at the
Zoltán Kodály Pedagogical Institute of Music, Hungary, and
postdoctoral research in music neuroscience at Harvard Medical
School, USA. Keywords music, Scotland, prison,
education, self-esteem › Engaging Scottish young offenders in education through music and art,
International Journal of Community Music, 3.1, 47-64. Lucy O’Brien Goldsmiths College University of
London, 18 Ambleside Road,
London, NW10 3UJ, United Kingdom Keywords She Bop, women in rock,
Madonna, Annie Lennox, new
feminism Lucy O’Brien is a writer/broadcaster and author of She Bop: The
Definitive History of Women in Rock, Pop & Soul (1995), She Bop II
(2002) and the biographies Madonna: Like An Icon (2007), (1999) and
Annie Lennox (1993). Her work has appeared in anthologies including
Rock n’ Roll Is Here to Stay (2000) and Punk Rock, So What? (1999).
She co-produced Righteous Babes, the 1998 Channel 4 film on rock
and new feminism. She teaches Media & Communications at
Goldsmiths College, University of London, and Popular Music Studies
at Westminster and Solent Universities. › Can I Have A Taste of Your Ice Cream?, Punk & Post Punk, 1.1, 27-40. John T. O’Donnell The University of Glasgow,
Computing Science Department,
Glasgow, G12 8QQ, United Kingdom Keywords computer systems,
algorithms, computer architecture,
practical programming John O'Donnell is currently a lecturer in the Computing Science
Department at the University of Glasgow, specialising in computer
systems (software and hardware), functional programming, and formal
methods. His research is concerned with computer systems, algorithms,
and how to develop reliable applications and reason about their
behavior. He is actively involved in functional programming research,
and am a member of the IFIP Working Group 2.8 on, Functional
Programming, and the ENDS (computer systems) group at Glasgow. › Calibrating a bowing checkerfor violin students, Journal of Music,
Technology and Education, 3.2-3, 125-139. Jim O’Loughlin University of Northern Iowa, 1227
West 27th Street, Cedar Falls, IA
50614, United States of America Keywords Uncle Tom’s Cabin, Tom
plays, adaptation Jim O'Loughlin teaches American literature and creative writing at the
University of Northern Iowa, USA. He is the co-author (with Julie
Husband) of Daily Life in the Industrial United States, 1870-1900
(Greenwood Press) and the publisher of Final Thursday Press. Hailing
originally from Connecticut, he received his Ph.D. at the State
University of New York (Buffalo). At UNI, he offers courses in
American literature, fiction writing, and professional writing. › Uncle Tom’s Cabin as Dominant Culture, Journal of Adaptation in Film &
Performance, 1.1, 45-56. Rachel O’Riordan Rachel O’Riordan is a lecturer in Drama at Queens University, Belfast.
She is artistic director of the Belfast-based theatre company, Random
Queen's University, Drama
Department, 11 University Square,
Northern Ireland, BT7 1NN, United
Kingdom Productions. The company’s production of Hurricane opened at the
Soho Theatre (London) in 2003 and is scheduled for a West End
transfer prior to its off-Broadway engagement. Keywords body, Elizabeth I, Virgin
Mary, performance, religion, history › Religion, language and performance in Hamlet, Studies in Theatre and
Performance, 24.2, 77-94. Peter O’Rourke Keywords performance,
spectatorship, comedic functions Peter O’Rourke has a Ph.D. from the University of Leeds, where he
investigated the interrelations between performance and spectatorship
at the Venice Carnevale. He is teaching at the Universities of Leeds
and Hull. He was the first recipient of the Friel Scholarship at Queen’s
University Belfast to undertake his Masters in Irish Theatre and
Culture, during which he carried out the main part of his research on
Kilroy. › ‘It’s like a theatrical railwaystation round here’:The comedic functions
ofmetatheatre in ThomasKilroy’s Tea and Sex andShakespeare and Talbot’s
Box, Comedy Studies, 2.1, 73-82. Emer O’Toole Royal Holloway University of
London, Department of Drama and
Theatre, Sutherland House, Egham,
Surrey, TW20 0EX, United Kingdom Keywords postcolonial theory,
intercultural theatre, ethnocentricity,
cultural piracy Emer O' Toole is currently a researcher at Royal Holloway University
of London, where her research is situated in the rich academic
discourse surrounding intercultural theatre practice. She believes that
the intercultural debate has at its core a concern with rights of
representation and studies this through analyses of contemporary
intercultural case studies – including Tim Supple’s A Midsummer
Night’s Dream, Bisi Adigun and Roddy Doyle’s The Playboy of the
Western World and Peter Brook’s 11&12. › REVIEWS, Performing Ethos: An International Journal of Ethics in Theatre
& Performance, 1.2, 229-244. Nicholas Pagan Eastern Mediterranean University,
Faculty of Arts and Sciences, via
Mersin 10, Gazimagusa, T.R.N.C.,
Cyprus Nicholas O. Pagan, who received his Ph.D. in English from the
University of Florida, is currently a Professor of English Literature and
Humanities at Eastern Mediterranean University in Northern Cyprus
where he teaches courses in literature, literary theory, modern drama,
and semiotics. Most of his publications have been in American
literature and literary theory and criticism as well as theatre studies and
Keywords modern drama, semiotics,
dispossession film. Edited collections include Literary Studies: Beginnings and Ends
(2001) and Ethics and Subjectivity in Literary and Cultural Studies
(2002). Recent articles include 'Inside Fateh Azzam’s Baggage:
Monologue and Forced Migration' (Theatre Research International,
2006) and 'Arthur Miller and the Rhetoric of Ethnic Self-Expression'
(Journal of American Studies 2008). › Theatre and the experience of dispossession, Studies in Theatre and
Performance, 27.3, 275-288. › Theatre and the experience of dispossession, Studies in Theatre and
Performance, 27.2, 171-184. › Theatre and the experience of dispossession, Studies in Theatre and
Performance, 27.1, 59-72. Derek Paget The University of Reading,
Department of Film, Theatre and
Television, Whiteknights, PO Box
217, Reading, Berkshire, RG6 6UR,
United Kingdom Derek Paget is Honorary Research Fellow in the Department of Film,
Theatre and Television at the University of Reading. He led the AHRC
‘Acting with Facts’ research project (2007–10). Once a theatre worker
(notably for Theatre Workshop), he is the author of True Stories (1990)
and No Other Way to Tell It (1998 – 2nd edition 2011). A member of
Studies in Theatre and Performance's Editorial Board, he is also an
associate editor of Studies in Documentary Film. Keywords documentary, acting,
theatre, television, porosity › The new edition of Oh What A Lovely War – an intemperate Oedipal rant
thereon, Studies in Theatre and Performance, 21.1, 47-51. › ‘The war game is continuous’: productions and receptions of Theatre
Workshop’s Oh What A Lovely War, Studies in Theatre and Performance,
23.2, 71-86. › Editorial, Studies in Theatre and Performance, 31.2, 133-135. Meade Palidofsky Storycatchers Theatre, Artistic
Director, 920 N. Franklin, Ste. 302,
Chicago, Illinois, Cook, 60640,
United States of America Keywords theatre, singing, creativity,
empowerment, healing Meade Palidofsky is the founder and Artistic Director of Storycatchers
Theatre, a not-for-profit performing arts organization. The Chicago
Community Trust named Ms. Palidofsky as one of three 2010
Experienced Leader Fellows. As part of the fellowship, she studied
trauma theory with Dr. Bradley Stolbach, Director of the La Rabida
Children's Trauma Center. In 2009, Ms. Palidofsky was one of three
artists selected to be part of a Columbia College Chicago/Scotland Arts
Council artists’ exchange. Ms. Palidofsky’s work with the Fabulous
Females at the Illinois Youth Center in Warrenville is featured in the
documentary Girls on the Wall, awarded a midwest Emmy in
November, 2010. The documentary was presented nationally on PBS
and was awarded top documentary film at the Bermuda International
Film Festival. › If I Cry for You. … Turning unspoken trauma into song and musical theatre,
International Journal of Community Music, 3.1, 121-128. Scott Palmer University of Leeds, School of
Performance & Cultural Industries,
University of Leeds, Leeds, LS2 9JT,
United Kingdom Keywords creativity, dance,
performance, robotics design,
interactive media, installation Scott Palmer is a lecturer in Scenography in the School of Performance
& Cultural Industries at the University of Leeds. His research interests
focus on lighting design and the interaction between technology and
performance. Recent projects include the AHRC-funded Projecting
Performance: investigating the relationship between performer,
operator and digital ‘sprite’, undertaken in collaboration with Sita Popat
and KMA Creative Technology Ltd. An early aspect of this research
appears in 'A Place to Play' in Intellect's The Potentials of Spaces and is
also documented in detail in ‘Creating Common Ground: Dialogues
Between Performance and Digital Technologies’ (with Sita Popat) in
Intellect's International Journal of Performance Arts & Digital Media
vol 1. › Creating common ground: dialogues between performance and digital
technologies, International Journal of Performance Arts and Digital Media,
1.1, 47-66. › Dancing in the Streets: The sensuous manifold as a concept for designing
experience, International Journal of Performance Arts and Digital Media,
2.3, 297-314. Roger Palmer La Trobe University, 5 Bolden Street,
Heidelberg, Victoria, 3084, Australia Keywords music, choir, New
Zealand, recorder, aesthetics, music,
classical music, practice,
embodiment, audience Roger Palmer is a leader of recorder and early music enthusiasts in
New Zealand and has arranged and composed music for recorder
consorts and renaissance instruments. He completed his Master of
Music as a mature student. Roger describes himself as an amateur
musician – despite the ambiguity and status implications of the term –
and maintains a strong interest in social sciences, the arts in general
and the philosophy of music in particular. › Questions arising from the views of some members of four amateur classical
music organizations, International Journal of Community Music, 1.2, 203216. Claire Pamment Beaconhouse National University,
Department of Theatre, Film and
Television, 3-C Zafar Ali Road,
Gulberg V, Lahore, Pakistan Keywords South Asian performance,
comedy studies, Asian popular culture Claire Pamment, MPhil., is Foreign Faculty (Higher Education
Commission) in the Department of Theatre, Film and Television at
Beaconhouse National University, Lahore. Her research interests
include popular South Asian performance cultures. Her articles have
been published in the Asian Theatre Journal, the Journal of South
Asian Popular Culture, TDR (The Drama Review), (South Asian
Graduate Research Journal), and Sohbet. In 2008 she received the
International Federation of Theatre Research’s award for Best New
Scholar (second place), and she is a member of the Advisory Board of
Comedy Studies. › Ray and Michael Cooney’sTom, Dick and Harry inPakistan: The politics
ofmistaken identities, Comedy Studies, 2.1, 47-54. Vanio Papadelli Ph.D. candidate, Goldsmiths,
University of London Keywords movement teaching, dance
theatre, Ray Chung Vanio Papadelli is a performer, performance-maker and movement
teacher in Primary and Higher Education (visiting lecturer, Goldsmiths,
University of London, 2008–10). She has trained in acting (Drama
School of Athens Odeion) and dance (Dance Diploma, Birkbeck
College, London) and has gained her MA Performance Making
(Goldsmiths, University of London). Vanio is currently undertaking a
Ph.D. PAR at Goldsmiths into Post-Grotowskian practices
reconsidered through CI. She has performed in her own dance theatre
work (Hackney Empire, Shunt Vaults, Creative Forum for Independent
Artists, Alexandria, Egypt) as well as in other companies’ projects in
London (Etcetera Theatre, Athletes of the Heart: Rosemary BranchSuspense Festival) and Poland (The Crucible by Song of the Goat). › A conversation with Ray Chung, Journal of Dance & Somatic Practices, 2.2,
155-161. Clare Parfitt-Brown University of Chichester, Dance
Department, Bishop Otter Campus,
College Lane, Chichester, West
Sussex, PO19 6PE, United Kingdom Keywords cinema, Loïe Fuller,
cancan, interactivity, dance,
embodiment Clare Parfitt-Brown is a senior lecturer in dance at the University of
Chichester. She completed her Ph.D. entitled ‘Capturing the Cancan:
Body Politics from the Enlightenment to Postmodernity’ in 2008. Her
research focuses on the vehicles that carry popular dance practices
through history and across geographical space, such as memory and the
visual technologies of photography, film and digital media. She has
presented her research at conferences in the United Kingdom, United
States, France and South Korea. › ‘Like a butterfly under glass’: the cancan, Loïe Fuller and cinema,
International Journal of Performance Arts and Digital Media, 5.2&3, 107-
120. Clare Park Keywords power, dyskinesia, theatre,
movement, photography Clare Park MA (RCA) is a creative and fine art photographer who
specializes in portraiture. She explores photographic self image
through the use of symbol and metaphor, having begun developing this
work as a response to personal narratives of her own life journey and
her reflections upon being a dancer. Her strong personal style is evident
in posters for theatre and dance companies such as the RNT, RSC and
the ROH Covent Garden. The body, movement and collaboration are
keys to Clare's work whether it be for a commissioned portrait or for a
personal project. › Dance with time: Movement, when all is said and done, Journal of Applied
Arts & Health, 1.2, 205-213. Jennifer Parker-Starbuck Dr. Jennifer Parker-Starbuck is a senior lecturer in Drama, Theatre and
Performance Studies at Roehampton University, London. Her book,
Cyborg Theatre: Corporeal/Technological Intersections in Multimedia,
investigates multimedia performance and contemporary subjectivity
(Palgrave 2011). She is an associate editor of the International Journal
of Performance Arts and Digital Media, published by Intellect, as well
as an Assistant Editor for PAJ: A Journal of Art and Performance. Her
current research areas are multimedia performance, animality in
performance, and contemporary performance practices. Roehampton University, Drama,
Theatre and Performance Studies,
Roehampton Lane, London, SW15
5PH, United Kingdom Keywords multimedia, performance,
the Wooster Group, robotics, theatre › The play-within-the-film-within-the-play's the thing: re-transmitting
analogue bodies in the Wooster Group's Hamlet, International Journal of
Performance Arts and Digital Media, 5.1, 23-34. Rod Paton University of Chichester, Department
of Music, Chichester, West Sussex,
PO19 6PE, United Kingdom Rod Paton is is a jazz horn player, composer and community musician
with long experience of running workshops in the UK and beyond. He
is senior lecturer in music at the University of Chichester where he
teaches improvisation, composition, music therapy and community
music. Keywords community music, music
therapy, composition, improvisation › Lifemusic: Sounding out university community engagement, International
Journal of Community Music, 4.2, 105-120. Alan Peacock University of Hertfordshire, Mobile &
Locative Media Group, School of
Film, Music and Media, College
Lane, Hatfield, Hertfordshire, AL10
9AB, United Kingdom Alan Peacock is a practitioner, theoretician and teacher, based in the
School of Film, Music and Media at the University of Hertfordshire.
His work is concerned with interactivity, narrative and aesthetics, with
a particular concern for sound and the voice. He is a member of the
Mobile and Locative Media Enquiry Group at the University of
Hertfordshire, School of Film, Music and Media. Keywords interactivity, performance,
cybernetics, semiotics, mobile media › Being here: performative aspects of locative media, International Journal of
Performance Arts and Digital Media, 1.2, 127-146. Louise Peacock University of Hull, Department of
Drama and Music, University of Hull,
Department of Drama and Music,
University of Hull, Senior Lecturer in
Drama, Director of Undergraduate
Studies Louise Peacock is a Senior Lecturer in Drama at the University of Hull.
Her research interests are in the areas of clowning, commedia dell’arte,
slapstick and stand-up comedy. She is the author of Serious Play:
Modern Clown Performance (Intellect, 2009) and is currently writing a
book entitled Slapstick and Comic Performance for Palgrave
Macmillan. › Joan Rivers – Reading the meaning, Comedy Studies, 2.2, 125-137. Keywords clowning, slapstick, standup comedy › Analysing stand-up comedy, Comedy Studies, 2.2, 99-100. Mike Pearson University of Wales Aberystwyth,
Department of Theatre, Film and
Television, 67 Glamorgan Street,
Cardiff, CF5 1QT, United Kingdom Keywords performance, performance
studies, pedagogy, Wales Mike Pearson is Professor of Performance Studies in the Department of
Theatre, Film and Television, University of Wales Aberystwyth. He
makes performance with Pearson/Brookes. He is currently completing
work on a monograph Site-specific Performance (Palgrave), and a
substantial contribution to a volume on the history of the Mickery
Theatre, Amsterdam. His research involves performance and
landscape; performance and archaeology; biography, personal narrative
and memory in performance; folklore and traditional performance
practices; the archaeology of Antarctic exploration; and devising
performance. › Way out west!, Studies in Theatre and Performance, 25.3, 253-262. Ellen Marie Peck Keywords theatre history, dramatic
theory, musical theatre history Ellen Marie Peck earned her MA and Ph.D. in theatre from the
University of Illinois at Urbana-Champaign, and her BA in theatre
from Oakland University in Rochester, Michigan. She recently
published an article for Contemporary Theatre Review entitled ‘“Ah,
Sweet Mystery”: Rediscovering Three Female Lyricists of the Early
Twentieth-Century American Musical Theater’. She is a contributor to
the second edition of the Grove Dictionary of American Music and has
an essay forthcoming in Essays on the Influence of the Female Artist in
the Early 20th Century, edited by Paul Fryer. Ellen is Assistant
Professor of Drama at Jacksonville State University in Alabama, where
she teaches Theatre History, Dramatic Theory and Musical Theatre
History. › Artistic freedom through subsidy: The British model of reviving American
musicals, Studies in Musical Theatre, 5.1, 85-97. Russell Pensyl Northeastern University, Department
of Art + Design, 239 Ryder Hall,
Boston, MA, 2115, United States of
America Keywords augmented reality, virtual
reality, theatre masks, virtual masks,
Gopal Baratham Russell Pensyl is currently an Associate Professor and Director of the
Interaction and Entertainment Research Centre at NTU. He received
his MFA from Western Michigan University in 1988. Pensyl has more
than 23 years of experience in designing and creating interactive digital
media content for corporations such as IBM, Apple, Motorola, Disney,
and many others. Pensyl’s work has been exhibited internationally with
installations in SIGGRAPH 2002, the 2004 Shanghai Biennial and the
2006 Second Art and Science Exhibition in Beijing. › Digitally augmented reality characters in live theatre performances,
International Journal of Performance Arts and Digital Media, 5.1, 35-49. Xenia Pestova Keywords interactive arts, live arts,
piano Xenia Pestova is a pianist and researcher with a special interest in
contemporary repertoire and interdisciplinary approaches. She holds a
Doctor of Music degree in piano performance from the McGill
University Schulich School of Music. Following childhood music
education in piano and composition in Russia, Xenia moved to New
Zealand with her family. She continued her studies in the United
Kingdom, the Netherlands, France and Canada. Among her teachers
are Håkon Austbø, Louise Bessette, Judith Clark, Sara Laimon, Philip
Mead, Ian Pace and Yvonne Loriod-Messiaen in piano, and Ross
Harris and John Young in instrumental and electroacoustic
composition. Xenia's awards include an unanimous First Prize at the
2004 Xavier Montsalvatge International Piano Competition in Girona,
Spain, a Special Mention at the 2003 Messiaen International Piano
Competition in Paris, and Second Prize at the 2000 KeriKeri National
Piano Competition, New Zealand's oldest and most prestigious piano
competition. › Models of interaction: performance strategies in works for piano and live
electronics, Journal of Music, Technology and Education, 2.2&3, 113-126. Lloyd Peters University of Salford, University of
Salford, Adelphi House, Adelphi
Street, Salford, M3 6EN, United
Kingdom Keywords television comedy, racism,
Little Britain, Matt Lucas, David
Walliams Lloyd Peters has lectured at the University of Salford since 1992. In
that time he became a senior lecturer, Head of Performance and an
internationally published researcher in Political Performance. He is
currently Programme Leader of Fiction Film Production (MA). Peters
has been a professional actor, director and writer for 33 years and has
received many broadcast commissions. He has worked with a number
of the United Kingdom’s leading practitioners, including film director
Mike Leigh, Ken Russell, Alan Bleasedale and Michael Wearing. He
founded the ‘alternative comedy’ company 20th Century Coyote (with
Rik Mayall) whilst studying Drama at Manchester University (1975–
1978). › Racism in comedy reappraised: Back to Little England?, Comedy Studies,
1.2, 191-200. Helen Phelan University of Limerick, Irish World
Academy of Music and Dance,
National Technological Park,
Limerick, Co. Limerick, Ireland Keywords ritual, practice,
performance, Ireland, religion, culture Helen Phelan is Associate Director of the Irish World Academy of
Music and Dance, University of Limerick, Ireland. She is programme
director of the Arts Practice Ph.D. programme which commenced at the
Academy in 2009. From 2000-09 she was Course Director of the MA
Ritual Chant and Song programme at the Academy and Assistant Dean
of the College of Humanities from 2003–05. She is director of the
Sanctuary initiative, funded by the Higher Education Authority,
towards the development of cultural initiatives with new migrant
communities in Ireland. Her publications are primarily in the area of
ritual theory and performance studies. › Practice, ritual and community music: doing as identity, International
Journal of Community Music, 1.2, 143-158. › Editorial, International Journal of Community Music, 2.1, 5-8. › Religion, music and the site of ritual: Baptismal rites and the Irish citizenship
referendum, International Journal of Community Music, 2.1, 25-38. Alison Phipps The University of Glasgow,
University Avenue, Glasgow,
Lanarkshire, United Kingdom Keywords intercultural studies,
anthropology, cultural studies,
modern languages Alison Phipps is Professor of Languages and Intercultural Studies and
is Associate Dean (Graduate Studies). Her research interests focus on
languages and intercultural studies, with a particular critical concern
for the different ways in which people learn to live and communicate
together, by stepping outside comfortable or familiar contexts. Her
work is often interdisciplinary and draws on the resources of social and
cultural anthropology, theatre and cultural studies, theology,
law, modern languages and education. › Translating the strange, performing the peculiar: Marieluise Fleißer's
Fegefeuer/Purgatory in Ingolstadt, Studies in Theatre and Performance, 22.2,
69-81. Thy Phu University of W. Ontario, English
Department, 1393 Western Road, ON
N6G 1G9, Canada Thy Phu is Assistant Professor in the English Department at the
University of Western Ontario, where she teaches courses on cultural
studies and critical theory. Her research focuses on Asian American
citizenship and visual culture,with a focus on the representation of race
in photography. Keywords copyright, horror,
transnational adaptation,
representations of Japan › Horrifying adaptations: Ringu, The Ring, and the cultural contexts of
copying, Journal of Adaptation in Film & Performance, 3.1, 43-58. Angela Piccini University of Bristol, Department of
Drama, Cantocks Close, Woodland
Road, Bristol, BS8 1UP, United
Kingdom Keywords creativity, practice,
AHRB, metatheatre Angela Piccini is a senior lecturer in Screen in the Department of
Drama: Theatre, Film, Television at the University of Bristol. She is
also departmental Head of Education. Her work investigates place and
visual culture and the dialogue between fact and fiction produced by
the documentary impulse. Specifically, she continues to be interested in
the ways in which the materialized traces of the past circulate through
contemporary and historic screen practices. These span ethnographic
and archaeological film, factual television, experimental video and
social media. › Reviews, International Journal of Performance Arts and Digital Media, 2.3,
315-. › Notes and Queries, Studies in Theatre and Performance, 23.3, 191-. Mary E. Piercey Memorial University of
Newfoundland, Department of
Ethnomusicology, Mmap/Arts and
culture, St John's, Newfoundland,
A1C 5S7, Canada Keywords Arctic, Nunavut,
aboriginal, traditional indigenous
knowledge, music Mary Piercey, originally from Fortune, Newfoundland, is a Ph.D.
candidate in Ethnomusicology at Memorial University of
Newfoundland under the supervision of Dr. Beverley Diamond. Mary
has lived and taught music at Qitiqliq High School in Arviat, Nunavut
for four years. During this time she founded and directed the Arviat
Imngitingit Community Choir, a mixed-voice group specializing in
traditional and contemporary Inuit music originating from the Kivalliq
region of Nunavut. Mary studied choral conducting with Dr. Doreen
Rao, Dr. Lori-Anne Dolloff and John Tuttle and holds a MA in Music
Education (under the supervision of Dr. David Elliott) from the
University of Toronto. › The musical culture of an ‘Inuk’ teenager, International Journal of
Community Music, 1.2, 189-201. Michael Pinchbeck Nottingham Writer's Studio, Sutton
Place Business Centre, 49 Stony
Street, Nottingham, Nottinghamshire,
NG1 1LX, United Kingdom Keywords failure, problem,
dramaturgy, writing, Reckless
Sleepers Michael Pinchbeck is a writer, live artist, dramaturg and performance
maker based in Nottingham. He studied Theatre at Lancaster
University, has a MA in Performance and Live Art from Nottingham
Trent University and has lectured in performance at the University of
Chester. He has written numerous articles on dance and performance
for Studies in Theatre and Performance, Dance Theatre Journal and
Platform eJournal. He works as a dramaturg with Reckless Sleepers
and his research interests focus on the role of the 'outside eye' in
contemporary performance. He is currently a Ph.D. student at
Loughborough University. › Ten characters in search of a narrative, Studies in Theatre and Performance,
30.1, 51-58. Stacey Pitsillides Goldsmiths, University of London,
New Cross, London, SE14 6NW,
United Kingdom Stacey is currently a Ph.D. design student at Goldsmiths, University of
London where her research focuses on digital death, digital afterlife
and digital heritage. She has contributed reviews to the International
Journal of Performance Arts and Digital Media. › Reviews, International Journal of Performance Arts and Digital Media, 7.1,
117-122. Keywords design, digital death,
digital heritage David Plans University of Hull, School of Arts and
New Media, Scarborough Campus,
Filey Road, Scarborough, North
Yorkshire, YO11 3AZ, United
Kingdom Keywords computational
musicology, genetic co-evolution,
digital music David Plans Casal is a musician and researcher. His research focuses
on using new techniques in computational musicology as methods for
composition. His current focus uses evolutionary computation
techniques, in particular genetic co-evolution, as applied to the
frequency domain using MPEG7, in order to create reflexive music
systems. He usually drives these from a piano, although lately he has
built his own chordophonic contraptions. He has given papers and
performances at the International Computer Music Conference, the
European Conference on Artificial Life, the Darwin Symposium and
the Computer Arts Society in London. His teaching focuses on
software and hardware practices for digital music and he is a Lecturer
in the School of Arts and New Media, at the University of Hull. › REVIEWS, Journal of Music, Technology and Education, 4.1, 91-104. Daniël Ploeger De Montfort University, Faculty of
Humanities, Clephan Building, De
Montfort University, The Gateway,
Leicester, LE1 9BH, United Kingdom Keywords performance, installation,
human body, technology, cultural
roles of sound Daniël Ploeger is a Dutch performance and installation artist. He is also
a lecturer in the Department of Performance and Digital Arts at De
Montfort University in Leicester. His performance installations explore
interactions between the human body and technological commodities.
Originally trained as a musician, his work often engages with the
cultural roles of sound. He has previously taught on courses in
performance art and performance technology at Brunel University
West London, and the University of Sussex, where he is currently
completing his doctoral thesis. Daniël’s artwork has been featured in
museums and galleries in Europe, the United States and China and his
writing has been published in journals such as the Body, Space and
Technology Journal and Media–N Journal of the New Media Caucus. › Sonic prosthetics: Exploring posthuman personal space in digital
performance, International Journal of Performance Arts and Digital Media,
7.2, 155-169. Jo Pond Birmingham City University, School
of Jewellery, Birmingham Institute of
Art & Design, Vittoria Street,
Birmingham, B1 3PA, United
Kingdom Keywords mental health, narrative,
jewellery, Wabi-Sabi After working at Loughborough University as a Technical Instructor,
Jo Pond returned to education, graduating in 2005 with an MA
distinction in Jewellery, Silversmithing & Related Products, from the
School of Jewellery, Birmingham. She subsequently won the 2005 BDI
Industry & Genius Awards for ‘Products and Genius’. Alongside her
practice as a studio jeweller, Jo now works as a lecturer at the School
of Jewellery and is a member of Contemporary Applied Arts. › Narrative jewellery: The journey, Journal of Applied Arts & Health, 1.3,
309-319. Colin Poole Independent, United Kingdom Keywords audience, collaboration,
failure, Choreodrome Colin Poole was born in London and trained at the Laban Centre, Alvin
Ailey and the Central School of Ballet. He has worked with many of
England’s leading dance companies and choreographers, including
Phoenix and Images, Rambert Dance Company and numerous British
independent companies and choreographers. His works include
Symbiosis (1996), Mothertongue (1997), Bad Faith (2000), Nobodies
Perfect (2001), Cool Memories (2001), The box office (2004) and
Smoke (2005). Colin was commissioned for the Place Prize 2008. In
2009 he was commissioned to make 4s:Kin – an all male quintet for
State of Emergency. › My name is Colin, and this is Simon, Choreographic Practices, 1.1, 65-78. Benjamin Poore University of York, Department of
Theatre, Film and Television,
Heslington, York, YO10 5DD, United
Kingdom Keywords Victorian, farce, Sweeney
Todd, Dracula, Dickens, Gothic,
Shaw Benjamin Poore is a lecturer in Theatre in the Department of Theatre,
Film and Television at the University of York. He has published
articles on George Bernard Shaw, Sweeney Todd, and representations
of villainy in adaptations of Dickens and Wilkie Collins. His first book,
Heritage, Nostalgia and Modern British Theatre (Palgrave) is currently
in press, and focuses on changing representations of the Victorians
since the late 1960s. Ben has reviewed for the Journal of Adaptation in
Film and Performance and Performing Ethos, and his wider interests
include the Victorian Gothic and Victorian Drama, particularly farcical
comedy. › Reviews, Journal of Adaptation in Film & Performance, 1.2, 161-170. › I have been true to you, upon my guilty soul I have!: Negotiating Nancy,
hyperauthenticity and hyperfidelity in the 2007 BBC adaptation of Oliver
Twist, Journal of Adaptation in Film & Performance, 3.2, 157-170. › Reviews, Journal of Adaptation in Film & Performance, 3.2, 213-221. › REVIEWS, Performing Ethos: An International Journal of Ethics in Theatre
& Performance, 1.2, 229-244. Sita Popat Sita Popat is a senior lecturer in Dance and Head of the School of
Performance & Cultural Industries at the University of Leeds. Her
University of Leeds, School of
Performance & Cultural Industries,
Leeds, LS2 9JT, United Kingdom research interests centre on choreography and new technologies, and
her dancing partners include humans, robots and digital sprites. She is
the author of Invisible Connections: Dance, Choreography and
Internet Communities (Routledge 2006) and Associate Editor of the
International Journal of Performance Arts and Digital Media. Keywords creativity, dance,
performance, robotics design,
interactive media, collaboration › Creating common ground: dialogues between performance and digital
technologies, International Journal of Performance Arts and Digital Media,
1.1, 47-66. › ‘Ways of Thinking, Ways of Doing’: Review of the second international
conference for digital technologies and performance arts, International
Journal of Performance Arts and Digital Media, 2.2, 209-. › Emergent objects: Designing through performance, International Journal of
Performance Arts and Digital Media, 3.2&3, 269-280. › Introduction, International Journal of Performance Arts and Digital Media,
7.1, 3-4. › The online devising process: creating theatre through Internet collaboration,
Studies in Theatre and Performance, 23.2, 87-106. Stamatia Portanova Birkbeck, University of London,
Department of Media and Cultural
Studies, Malet Street, Bloomsbury,
London, WC1E 7HX, United
Kingdom Keywords dance, film, digital media,
movement, perception, pop music Stamatia Portanova is a lecturer in Media Studies at the Birkbeck
College, University of London. Her research focuses on digital culture
and aesthetics, particularly in relation to movement and dance. She is
currently working on a monograph on the relationship between
choreography, technology and philosophy. The book is under
consideration by MIT Press, for publication in the 'Technologies of
Lived Abstraction' series edited by Brian Massumi and Erin Manning.
Stamatia’s work has also been published in several books, and in
journals such as Space and Culture, Angelaki and Fibreculture. She is
also a member of the Sense Lab, ‘a laboratory for thought in motion’,
and an editor for Inflexions: A Journal for Research-Creation. › Thinking movement and the creation of dance through numbers,
International Journal of Performance Arts and Digital Media, 2.2, 139-152. Stuart Price De Montfort University, Clephan
Building, Bonners Lane, Leicester,
LE2 1WE, United Kingdom Dr. Stuart Price is a principal lecturer in Media and Cultural Production
at De Montfort University. His published work includes articles on
political authority, news discourses, the War on Terror and cultural
formations in antiquity. He is the author of Discourse Power Address
(2007). Keywords narrative, themes, PostTraumatic Stress Disorder › Displacing the Gods? Agency and Power in Adaptations of Ancient History
and Myth, Journal of Adaptation in Film & Performance, 1.2, 117-132. Roy Priest Birmingham City University, Faculty
of Technology, Engineering and the
Environment, School of Digital
Media Technology, Millennium
Point, Curzon Street, Birmingham, B4
7XG, United Kingdom Keywords music technology, student
placements, employability,
assessment, reflective practice,
experiential learning Roy Priest is a senior lecturer at Birmingham City University. Roy is
Course Director for BSc (Hons) Music Technology and MSc Sound
Engineering and Module Coordinator across a mix of modules in the
areas of design and graphics, music industry and media production
management. Roy is also Final Year Project Coordinator for all Digital
Media Technology courses. Roy’s current area of research is exploring
the value of placements to undergraduate students. › The value of placements to undergraduate BSc (Hons) Music Technology
students, Journal of Music, Technology and Education, 3.1, 47-65. Ross W. Prior University of Northampton, Avenue
Campus, St George's Avenue,
Northampton, NN2 6JD, United
Kingdom Ross Prior is a principal lecturer in Drama and Acting at the University
of Northampton. Educated in Australia, he took his first degree at
Deakin University, his MA at the University of Melbourne and his
Ph.D. at Griffith University. He has recently been involved in a
government survey of actor training in England. Keywords tacit knowledge,
community music, practice,
synnoetics › Understanding actor trainers' articulation of their practice, Studies in Theatre
and Performance, 27.3, 295-306. › Editorial, Journal of Applied Arts & Health, 1.3, 237-239. › EDITORIAL, Journal of Applied Arts & Health, 2.1, 3-5. Anton Pujol UNC Charlotte, Department of
Languages and Culture Studies, 9201
University City Boulevard, Charlotte,
NC, 28223, United States of America Keywords Gilles Deleuze, Catalan
cinema, Lluïsa Cunillé, Barcelona,
Spanish Civil War Anton Pujol graduated from the Universitat Autónoma in Barcelona.
He earned a Ph.D. at the University of Kansas in Spanish Literature
and an MBA from the University of Chicago, with a focus in
economics and international finance. Currently he is an associate
professor at the University of North Carolina at Charlotte where he is
the Graduate Program Director for Spanish. He has recently published
articles in Translation Review, Catalan Review, Arizona Journal of
Hispanic Cultural Studies and Studies in Hispanic Cinemas, among
others. › The cinema of Ventura Pons: Theatricality as a minoritarian device, Journal
of Adaptation in Film & Performance, 3.2, 171-184. André de Quadros Boston University, 1 Silber Way,
Boston, MA 02215, United States of
America Keywords Asian studies, African
studies, Muslim studies André de Quadros, conductor, scholar, community musician and
human rights activist is a professor of music at Boston University,
where he also holds faculty appointments in Asian studies, African
studies and Muslim studies. He has been professionally active in more
than 40 countries. He is a co-principal investigator in an arts and public
health project in Peru and is developing similar projects in India. › Community, communication, social change: Music in dispossessed Indian
communities, International Journal of Community Music, 4.1, 59-70. David Ian Rabey University of Aberystwyth,
Department of Theatre, Film and TV,
Penglais Campus, Aberystwyth,
Ceredigion, SY23 3AJ, United
Kingdom Keywords rehearsal strategies, sound
effects, choreography, voice, poetry,
theatre Professor David Ian Rabey is Professor of Drama and Theatre Studies
at Aberystwyth University. David was born in the English Black
Country, and lived in America and Dublin, and now lives in
Machynlleth. He was formerly lecturer in English & Drama, Trinity
College, Dublin (1982-84). and was educated at the Universities of
Birmingham and California, Berkeley. Artistic Director of Lurking
Truth Theatre Company/Cwmni Gwir Sy’n Llechu, which he cofounded in 1986, and for which he wrote and directed the plays The
Back of Beyond (written 1994-95, staged twice in 1996) and The Battle
of the Crows (written 1996, staged 1998), published as a single volume
The Wye Plays (2004). › Staging , Studies in Theatre and Performance, 23.1, 41-54. Duška Radosavljević University of Kent, School of Arts,
Drama and Theatre Studies
Department, Jarman Building,
Canterbury, Kent, CT2 7UG, United
Kingdom Keywords Wim Wenders, translation,
dramaturgy, city, culture Duška Radosavljević is a lecturer in Drama and Theatre Studies at the
University of Kent. She has previously worked as a dramaturg, theatre
practitioner and theatre critic, and she is editor of the reviews section of
the Journal of Adaptation in Film and Performance. Her publications
include essays on adaptation, dramaturgy and theatre in the Balkans
and her current research is on the topic of ensemble theatre.Contact:
Drama and Theatre Studies, University of Kent, Canterbury, CT2 7NZ,
Kent. › Translating the City: A Community Theatre Version of Wim Wenders’
Wings of Desire in Newcastle-upon-Tyne, Journal of Adaptation in Film &
Performance, 1.1, 57-70. › Emma Rice in interview with Duška Radosavljevi´, Journal of Adaptation in
Film & Performance, 3.1, 89-98. Richard Ralley Edge Hill University, Department of
Social and Psychological Sciences, St
Helens Road, Ormskirk, Lancashire,
L39 4QP, United Kingdom Richard Ralley is a senior lecturer in Psychology at the University of
Edge Hill. His research and teaching interests are in cognitive
psychology, especially the psychology of perception and action, and
the relationship of conscious to unconscious thought. › The Laws of Normal Organic Life or Stanislavski Explained: Towards a
scientific account of the subconscious in Stanislavski's system, Studies in
Theatre and Performance, 27.3, 237-260. Keywords psychology, emotion,
memory, cognition › Embodying interpretation, Studies in Theatre and Performance, 27.1, 43-58. › Brecht and the disembodied actor, Studies in Theatre and Performance, 28.2,
91-110. › Something real is needed: Constructing and dismantling presence, Studies in
Theatre and Performance, 30.2, 203-218. Ashlee Ramsey Arizona State University Keywords ayurveda, martial arts,
Sensorial Mediations Ashlee Ramsey is a graduate student in the School of Dance at Arizona
State University where she serves as a teaching assistant and has codirected two independent dance performances, Sensorial Mediations in
Fall 2010, and A Site-Specific Performance in Spring 2010. Ashlee is
currently in Bangalore, India where she is teaching dance and learning
the science of ayurveda while researching and training in South Indian
dance forms and martial arts at the Attakkalari Centre for Movement. › Somatic voyages: Exploring ego, self and possibilities through the
Laban/Bartenieff framework, Journal of Dance & Somatic Practices, 2.2,
233-250. Susanne Ravn University of Southern Denmark,
Institute of Sports Science and
Clinical Biomechanics, Campusvej
55, Odense M., 5230, Denmark Dr. Susanne Ravn is Associate Professor at the Institute of Sports
Science and Clinical Biomechanics at the University of Southern
Denmark. She combines praxis, ethnography and phenomenology in
her scholarly research into dance, and has published several books on
issues surrounding dance, movement and learning processes. Ravn is a
member of the Nordic Forum for Dance Research board. Keywords phenomenology, multisited fieldwork, weight, sensing › Sensing weight in movement, Journal of Dance & Somatic Practices, 2.1,
21-34. Laurence Raw Baskent University, Department of
English, Ankara, 6530, Turkey Keywords adaptation, Turkey, film
studies, pedagogy, cross-cultural
studies, Hollywood Laurence Raw teaches in the Department of English at Baskent
University, Ankara, Turkey. His recent publications include The Ridley
Scott Encyclopedia (Lanham: Scarecrow Press, 2009), Nights at the
Turkish Theatre (Istanbul: Mitos Boyut Yayınları, 2009), and a book on
Nathaniel Hawthorne adaptations (Lanham: Scarecrow Press, 2008).
More recently he published Exploring Turkish Cultures (Cambridge
Scholars Publishing, 2011). › Reviews, Journal of Adaptation in Film & Performance, 3.3, 329-338. › Reviews, Journal of Adaptation in Film & Performance, 3.2, 213-221. › REVIEWS, Journal of Adaptation in Film & Performance, 4.2, 201-215. Matthew Reason York St John University, School of
Arts, Lord Mayor's Walk, York,
North Yorkshire, YO31 7EX, United
Kingdom Keywords liveness, memory,
methodology, participation, young
people Matthew Reason is a senior lecturer in Theatre and Head of
MA Studies in Creative Practice at York St. John University. He has
written two books, Documentation, Disappearance and the
Representation of Live Performance (Palgrave 2006) and The Young
Audience: Exploring and Enhancing Children's Experiences of Theatre
(Trentham 2010) and is currently working on a collaborative AHRC
funded project on kinesthetic empathy. › Young audiences and live theatre, Part 1: Methods, participation and memory
in audience research, Studies in Theatre and Performance, 26.2, 129-146. › Young audiences and live theatre, Part 2: Perceptions of liveness in
performance, Studies in Theatre and Performance, 26.3, 221-242. Fred J. Rees Indiana University Purdue University
Indianapolis, Department of Music
and Arts Technology, Department of
Music and Arts Technology, Purdue
School of Engineering and
Dr. Fred J. Rees is Professor of Music, Chair, and Advisory Board
Chair of the Department of Music and Arts Technology at IUPUI. He
came to Indianapolis in 1999 from the University of Northern Iowa,
where he developed the first graduate music education degree
programme in the country to be broadcast at a distance over the state`s
interactive television network. He has contributed to adapting the
Technology, Indiana University
Purdue University Indianapolis, 535
W. Michigan Street, IT 391,
Indianapolis, Indiana, 46202, IN,
United States Master of Science in Music Technology as a live, video-streamed
degree programme with worldwide student enrollments. He has also
designed the Bachelor of Science in Music Technology degree
programme that integrates music technology throughout the
curriculum. Prior academic appointments included New York
University and the University of Queensland (Australia). His career
interests have included distance learning, string education, double bass
and piano performance, and music technology.Dr. Rees holds a Doctor
of Musical Arts from the University of Southern California and a
Bachelor Keywords › Redefining Music Technology in the United States, Journal of Music,
Technology and Education, 4.2-3, 149-155. Sandra Reeve University of Exeter, Westhay,
Charmouth, Dorset, DT6 6SD, United
Kingdom Keywords dance therapy, ecological
performance, movement art Dr. Sandra Reeve is a movement artist, facilitator and teacher who
lives in West Dorset. She teaches an annual programme of
autobiographical and environmental movement workshops called
'Move into Life' and creates small-scale ecological performances. She
is an Honorary Fellow at the University of Exeter, lecturing in
Performance and Ecology, and a Movement Psychotherapist, currently
offering therapy and supervision in private practice. She first studied
with Suryodarmo in Java in 1988 and subsequently worked with him
intensively for ten years, based in Java from 1995 to 1998. Their
practice together continues to evolve: the first ‘Ecological Body’
workshop collaboration in the United Kingdom took place in June
2009, in Java in January 2011. › Reading, Gardening and ‘Non-Self’: Joged Amerta and its emerging
influence on ecological somatic practice, Journal of Dance & Somatic
Practices, 2.2, 189-203. Doug Reside University of Maryland, Mitchell
Bldg., College Park, Maryland,
United States of America Keywords humanities computing,
electronic editions, Parade, Jason
Robert Brown, Alfred Uhry Doug Reside earned his Ph.D. from the University of Kentucky in
2006. He is now the Associate Director of the Maryland Institute of
Technology in the Humanities (MITH) at the University of Maryland
in College Park, Maryland. Reside has directed the technical
development work at MITH and has received four major grants from
the National Endowment for the Humanities for his tools AXE, CAMP,
and TILE and his web archive of musical theatre material, Music
Theater Online. His multimedia tagging tool, the AJAX XML Encoder
(AXE), released as a prototype in 2007, is now incorporated into
several major Digital Humanities projects including the popular
reference management tool, Zotero. › Byte by byte, putting it together:electronic editions and the study of musical
theatre, Studies in Musical Theatre, 1.1, 73-84. James Reynolds University of London, Kingston,
Department of Drama, Mile End
Road, London, E1 4NS, United
Kingdom Keywords adaptation, ideologem, V
For Vendetta, anarchism James Reynolds is a lecturer in Drama at Kingston University, London.
He is currently completing Ph.D. research investigating performance
practices in the theatre of Robert Lepage. His published work includes
a chapter on Howard Barker’s direction of his own plays in Theatre of
Catastrophe (Oberon, 2006), an article on Lepage’s work, ‘Acting with
Puppets and Objects,’ in Performance Research (2007), and an article
on comic-to-film adaptation, 'KILL ME SENTIMENT', in The Journal
of Adaptation in Film and Performance (2009). › ‘KILL ME SENTIMENT’: V For Vendetta and comic-to-film adaptation,
Journal of Adaptation in Film & Performance, 2.2, 121-136. › Ten years on the edge: Phil Fox reflects on a decade of recovery from
addiction through applied theatre, Journal of Applied Arts & Health, 2.2,
165-172. Bill Ribbans University of Northampton and The
County Clinic, School of Health, The
County Clinic, 57 Billing Road,
Northampton, United Kingdom Professor Bill Ribbans Ph.D., FRCSOrth, FFSEM (UK) is a Consultant
Orthopaedic Surgeon at Northampton General Hospital and Visiting
Professor at The University of Northampton. He is Honorary
Orthopaedic Surgeon to the English National Ballet and involved with
many professional sports organisations, particularly involving rugby
union, association football, cricket, athletics and badminton. Keywords dance, injuries, ballet,
orthopaedics, multi-disciplinary
healthcare › Best foot forward: An orthopaedic odyssey through the world of dance1,
Journal of Applied Arts & Health, 1.1, 53-61. Karen Richard Murray Royal Hospital, Department
of Forensic Psychiatry, Perth, PH2
7BH, Australia Keywords drama, creativity, mental
health, forensic psychiatry, mentally
disordered offenders Dr. Karen Richard, BSc, MBChB, FRCPsych, is a Consultant Forensic
Psychiatrist at the Murray Royal Hospital and has contributed to the
Journal of Applied Arts & Health. › A descriptive analysis of a pilot drama project in a forensic psychiatric
setting, Journal of Applied Arts & Health, 1.3, 267-280. Tony Richards University of Lincoln, Lincoln School
of Media, Brayford Pool, Lincoln,
LN6 7TS, United Kingdom Keywords media theory, computer
game theory, television theory Tony Richards is a senior lecturer in media theory and production
based in the Lincoln School of Media at the University of Lincoln. He
teaches both television and new media theory and specializes in
deconstructive approaches to various post-human spaces. He has
published on computer game theory, applying a deconstructive
approach to uncover its properly post-identitarian nature. › Embalmed/unembalmed: Territorial aporias within the performative field of
tele-presence, International Journal of Performance Arts and Digital Media,
7.1, 77-95. Frances Rifkin Keywords art education, Utopia Arts,
community theatre Frances Rifkin, artistic director of Utopia Arts is a cultural worker and
director in Political and Community theatre. In the 1970s she was
director of Recreation Ground Theatre Company and in the 1980s she
was director of Banner Theatre, Birmingham and participated as a
theatre activist in the anti-fascist movements, disputes and strikes of
the time. She trained extensively with Augusto Boal in the early 1990s
and worked as a workshop leader. Between 1992 and 1997, she was
lecturer in Community and workshop theatre in Theatre Studies at
Warwick and Lancaster Universities. Currently, she is working with a
diverse range of communities in East London in partnership with
Social Action for Health and Red Earth Consultancy. › The ethics of ParticipatoryTheatre in higher education, Performing Ethos: An
International Journal of Ethics in Theatre & Performance, 1.2, 197-220. Chris Ritchie Southampton solent University,
Southampton, Hampshire, United
Kingdom Keywords Hugh Grant, Disney,
Working Title Films, British arts,
comedy, Dick Van Dyke Chris Ritchie created the innovative Comedy: Writing & Performance
degree at Solent University in 2006. He has written about and
performed stand-up comedy since 1991. He is the author of The Idler
& The Dandy In Stage Comedy(Edward Mellen, 2007) and the
principal editor of Comedy Studies journal. › England? Whose England? Selling Albion in comic cinema, Comedy Studies,
1.1, 33-42. › REVIEWS-STATUE REVIEW #1: MAX MILLER: “THERE’LL NEVER
BE ANOTHER!”, Comedy Studies, 1.1, 125-127. › Against Comedy, Comedy Studies, 1.2, 159-168. › Editorial, Comedy Studies, 1.2, 139-140. › Reviews, Comedy Studies, 1.2, 219-223. › REVIEWS, Comedy Studies, 2.1, 89-94. › ‘Only Mugs Work’: The spivin British comedy, Comedy Studies, 2.1, 13-20. › EDITORIAL, Comedy Studies, 2.1, 3-. › Ed Aczel: Reluctant comedian, Comedy Studies, 2.2, 179-183. › REVIEWS, Comedy Studies, 2.2, 185-189. Sol B. River Keywords scriptwriting, directing,
film, documentary Sol completed an MA in Scriptwriting before taking up the position of
Writer-in-Residence at The West Yorkshire Playhouse (1993-95). Sol’s
work to date includes Moor Masterpieces 1994 (West Yorkshire
Playhouse), Ganga Psychosis 1995, The Rat 1995, Anaxos Gaspenster
Lydora 1995, and 'The White Witch of Rose Hall 1998, for The
University of The West Indies 50th anniversary celebration. Also, To
Rahtid 1996, The Young Vic Studio 1998, River Plays 1 published by
Oberon Books, 2004 and River Plays 2, published by Oberon Books. › Serious Business, Studies in Theatre and Performance, 26.1, 85-90. David Robb Queen’s University of Belfast, School
of Languages, Literatures and
Performing Arts, 10 University
Square, Belfast, BT7 1NN, United
Kingdom Keywords censorship, clowns,
carnival, comedy David Robb is a senior lecturer in German at Queen’s University of
Belfast. He came to Belfast in 1999 after doing post-doctoral research
at the University of Sheffield and the Humboldt University. His main
areas of research lie in German music and song and also in the figure of
the clown in literature, film and drama. He is also a singer/songwriter
who has performed extensively in Germany. His main publications to
date are: Zwei Clowns im Lande des verlorenen Lachens. Das
Liedertheater Wenzel & Mensching (Berlin: Ch. Links-Verlag, 1998);
Protest Song in East and West Germany since the 1960s
(Rochester/NY: Camden House, 2007) and Clowns, Fools and Picaros.
Popular Forms in Theatre, Fiction and Film (editor) (Amsterdam/New
York: Rodopi, 2007). › Court jesters of the GDR: the political clownstheatre of Wenzel &
Mensching, Comedy Studies, 1.1, 85-100. David Roberts David Roberts is Professor and Head of English at Birmingham City
University. His biography of Thomas Betterton is published by
Birmingham City University, School
of English, City North Campus,
Birmingham, B42 2SU, United
Kingdom Cambridge University Press in 2010, while his revised edition of
Defoe’s A Journal of the Plague Year is forthcoming from Oxford, also
in 2010. Keywords Henry Harris, Thomas
Betterton, seventeenth century, acting, › Social status and the actor: The case of Thomas Betterton, Studies in Theatre
and Performance, 30.2, 173-185. Alec Robertson United Kingdom Keywords emergence, collaboration,
transdisciplinary, art-technology,
cliques, applied choreography Alec Robertson of the Department of Imaging & Communication
Design at De Montfort University, Leicester is interested in
dissemination problems of design research, innovation modelling and
4D design. He is also an independant consultant. He has organized
numerous design research events. › Introduction Part 3: Complexity: The theory into the practice, International
Journal of Performance Arts and Digital Media, 3.2&3, 237-238. › Emergence and complexity: Some observations and reflections on
transdisciplinary research involving performative contexts and new media,
International Journal of Performance Arts and Digital Media, 3.2&3, 239252. › An approach to the design of interactive environments, with reference to
choreography, architecture, the science of complex systems and 4D design,
International Journal of Performance Arts and Digital Media, 3.2&3, 281-. George Rodosthenous University of Leeds, School of
Performance and Cultural Industries,
Woodhouse Lane, Leeds, LS2 9JT,
United Kingdom Keywords Billy Elliot, masculinity,
male dancers, dance, musical theatre,
representations of the male George Rodosthenous is lecturer in music theatre at the School of
Performance and Cultural Industries of the University of Leeds. He is
the artistic director of the theatre company Altitude North and also
works as a freelance composer/director for the theatre. His research
interests are the body in performance, refining improvisational
techniques and compositional practices for performance, devising
pieces with live musical soundscapes as interdisciplinary process,
updating Greek Tragedy and The British Musical. He is currently
working on the book Theatre as Voyeurism: The Pleasure(s) of
Watching. › Billy Elliot The Musical: visual representations of working-class masculinity
and the all-singing, all-dancing bo[d]y, Studies in Musical Theatre, 1.3, 275292. › In between stage and screen: The intermedial in Katie Mitchell's some trace
of her, International Journal of Performance Arts and Digital Media, 7.1,
43-59. Helena Rodrigues University of Lisbon, Faculty of
Social Sciences, Av. de Berna, 26 C,,
1069 061 Lisboa, Lisbon, Portugal Keywords prison, ‘BebéBabá’,
motherhood, early childhood, gender
studies Helena Rodrigues is Professor of Psychology of Music and Music
Pedagogy and in charge of Laboratory for Music and Communication
in Infancy at New University of Lisbon. She is also Artistic Director of
Companhia de Música Teatral, a music group that has been pioneering
educational, interdisciplinary and music community artistic projects in
Portugal. She has been presenting workshops and lectures in Portugal,
Spain, United States of America, Belgium, Canada, United Kingdom
and Poland. › Music for mothers and babies living in a prison: A report on a special
production of ‘BebéBabá’, International Journal of Community Music, 3.1,
77-90. David Roesner Exeter University, Department of
Drama, Thornlea, New North Road,
Exeter, Devon, EX4 4LA, United
Kingdom Keywords contemporary arts, music,
theatre, Dido and Aeneas,
performance, intermediality,
composed theatre, interarts, process
analysis, rehearsals, emergence,
Bakhtin, incidental music, typecasting David Roesner is a senior lecturer in Drama at Exeter University. In
2002 he finished his Ph.D. at the University of Hildesheim, Germany,
on ‘Theatre as Music’ analyzing principles and strategies of
musicalization in productions by Christoph Marthaler, Einar Schleef
and Robert Wilson. He taught at the Universities of Hildesheim, Bern
and Mainz. Recently, he won the Thurnau Award for Music Theatre
Studies (2007) for his article ‘The politics of the polyphony of
performance’, which was later published with Contemporary Theatre
Review (2008). In 2009 he conducted an AHRC funded project on
‘Composed Theatre’ together with Matthias Rebstock (Hildesheim).
David Roesner also works as a theatre musician and director. › Singing actors and dancing singers: Oscillations of genre, physical and vocal
codes in two contemporary adaptations of Purcell's Dido and Aeneas, Studies
in Musical Theatre, 1.2, 123-138. › Musicking as mise-en-scne, Studies in Musical Theatre, 4.1, 89-101. › Musicality as a paradigm for the theatre: a kind of manifesto, Studies in
Musical Theatre, 4.3, 293-306. › Bending gender and acting theory: Performing essays by Goethe and Cocteau
on the theatrical benefits of cross-dressing, Studies in Theatre and
Performance, 26.2, 111-128. Debbie Rohwer University of North Texas, 1155
Union Circle #311367, Denton,
76203-5017, United States of
America Debbie Rohwer is Professor of Music Education and serves as the
Chair of the Division of Music Education at the University of North
Texas. Dr. Rohwer received her bachelor’s degrees in flute
performance and music education at Northwestern University, her
master’s degree in Music Education at the Eastman School of Music,
and her Ph.D. degree in Music Education at the Ohio State University.
Keywords choir, community, music Dr. Rohwer teaches methods courses and supervises student teachers at
the undergraduate level, and teaches the research and statistics courses
at the graduate level. She currently serves as Chair of the Adult and
Community Music Education Special Research Interest Group for
MENC. › A content analysis of choral students' participation perceptions: implications
for lifelong learning, International Journal of Community Music, 2.2&3,
255-262. › Understanding adult interests and needs: the pitfalls in wanting to know,
International Journal of Community Music, 3.2, 203-212. › Community music as a part of higher education: Decisions from a
department chair/researcher, International Journal of Community Music, 4.2,
121-131. Mark Rohwer Keywords lifelong learning, choir,
community music Dr. Mark Rohwer is Chair of Music and Director of Choral Activities
at Flower Mound High School in Flower Mound, Texas. Dr. Rohwer
has taken his choirs to state, national and international performance
venues, and continues to receive the highest ratings at state contests
every year. › A content analysis of choral students' participation perceptions: implications
for lifelong learning, International Journal of Community Music, 2.2&3,
255-262. Tanya Ronder Keywords theatre, Peter Pan, young
people theatre Tanya Ronder moved from acting to writing for theatre in 2002 and her
adaptations include Lope de Vega’s Peribanez (Young Vic), Lorca’s
Blood Wedding (Almeida), Ionesco’s Macbett (RSC), Romeo and Juliet
(Vestuport), Saint-Exupéry’s Night Flight (Muztheater), DBC Pierre’s
Vernon God Little (nominated for an Olivier Award, Young Vic). Her
current work includes Peter Pan in a 1200-seater tent in Kensington
Gardens, De Filippo’s Filumena, Almeida, and a play for teenagers,
devised with them at the Almeida. Her short film, King Bastard, was
supported by BBC/UKFC, and she is currently writing her first feature,
Random, developed by UKFC. › Kind Regards, Leanne, Studies in Theatre and Performance, 30.1, 39-44. Douglas Rosenberg University of Wisconsin-Madison,
Art Dept, 6241 Humanities Building,
455 North Park Street, Madison,
Wisconsin, 53706, United States of
America Keywords film, dance, critical theory Douglas Rosenberg is an EMMY-nominated director and the recipient
of the prestigious Phelan Art Award in Video. He was awarded the
Director’s Prize at the International Jewish Video Festival for his film
My Grandfather Dances with choreographer Anna Halprin, and
received an IZZIE Award for his work on the intermedia project,
Singing Myself a Lullaby. He is well-known for his collaborations with
choreographers including Molissa Fenley, Sean Curran, Ellen
Bromberg, Joe Goode, Li Chiao-Ping, Eiko and Koma and others.
Rosenberg’s most recent film, Of the Heart, was a finalist for the Jury
Prize at the Dance on Camera Festival in New York and has been
screened at numerous festivals around the world. › Curating the practice/the practice of curating, International Journal of
Performance Arts and Digital Media, 5.2&3, 75-87. Lisa Rossetti › REVIEWS, Journal of Applied Arts & Health, 2.2, 187-198. Keywords Stephen Rothman California State University,
Department of Theatre, Arts and
Dance, 5151 State University Drive,
Los Angeles, CA 90032, United
States of America Keywords Los Angeles theatre,
choreography, directing Stephen Rothman is no stranger to Los Angeles theatre, where he
makes his home. He is best known by California audiences for his
work as Founder and Artistic Leader of the revitalized Pasadena
Playhouse. He also served as Artistic Director of the Sacramento
Theatre Company. His directing career has taken him across the
country and around the world, including for a 2008 production of
Harold Pinter’s Betrayal in Florence, Italy for the Florence
International Theatre Company. His American Resident/Regional
Theatrecredits include more than 100 plays in sixteen different states
for 40 different theatre companies. › ‘Isn’t It Ironic’: The films ofthe Coen Brothers, Comedy Studies, 2.1, 55-62. Sasha Roubicek Sasha trained at London Contemporary Dance School 1982–86. In
1987, she co-founded Reflex Dance Company with Paul Douglas, with
whom she toured internationally. She has performed with Motionhouse
Dance Theatre, Yolande Snaith Theatre Dance and Siobhan Davies
Dance Company. Sasha was a founding member of Small Bones Dance
Company, directed by Paul Douglas. Sasha has led master classes for
many dance companies including Siobhan Davies Dance Company,
DV8 and Shobana Jeyasingh Dance Company and has taught in
vocational dance schools and studios, in the United States, Russia,
Britain, Scandinavia and Europe. Sasha is artistic adviser to
Movingeast and an instructor of Aikido at Tetsushinkan Dojo – she is
graded third dan. In 2007 she was awarded the Lisa Ullman
Scholarship to study Aikido in Japan. Sasha is presently lecturing in
Release-based Dance Practice and the work of Siobhan Davies, at
London Contemporary Dance School and is a Postgraduate student. Keywords somatics, Aikido, hara,
dance, martial arts › Hara breathing applied to dance practice, Journal of Dance & Somatic
Practices, 1.2, 255-262. Nick Rowe York St John University, Lord
Mayor’s Walk, York, YO31 7EX,
United Kingdom Keywords stigma, pedagogy, social
inclusion, theatre, mental health Nick Rowe is a senior lecturer at York St John University where he
teaches in the Faculty of Health and Life Sciences and in the Faculty of
Arts. With a background in psychiatric nursing and dramatherapy,
Rowe is particularly interested in the relationships between theatre and
mental health. He is a performing member of Playback Theatre York
and is the author of Playing the Other: Dramatizing Personal
Narratives in Playback Theatre (2007). › Border crossings: Arts and health work in a university, Journal of Applied
Arts & Health, 1.3, 241-250. › REVIEWS, Journal of Applied Arts & Health, 2.1, 93-101. › Forgetting the machine: Patients experiences of engaging in artwork while
on renal dialysis, Journal of Applied Arts & Health, 2.1, 57-72. Duncan Rowland University of Lincoln, School of
Computer Science, Brayford Pool,
Lincoln, LN6 7TS, United Kingdom Keywords replay, metadata,
information architecture, archiving,
participation, interactivity Duncan Rowland is Senior Research Fellow in Social Computing at the
Mixed Reality Laboratory, in the Department of Computer Science at
the University of Nottingham. Originally gaining a Ph.D. from the
University of St Andrews' School of Psychology, his research interests
are now broad, but centre around the development of new technology
experiences and their real world deployment (with particular reference
to the entertainment industry). He has published over 40 scholarly
works, led commercial development teams on PS2/XBox AAA game
titles, and has had his work exhibited at a variety of conferences and
galleries (including CHI, SIGGRAPH UbiComp, Scottish National
Portrait Gallery, Exeter Phoenix and the London Institute for
Contemporary Art). › Riders Have Spoken: A practice-based approach to developing an
information architecture for the archiving and replay of a mixed reality
performance, International Journal of Performance Arts and Digital Media,
6.2, 209-223. Sarah Rubidge University of Chichester, Bognor
Regis Campus, Upper Bognor Road,
Bognor Regis, West Sussex, PO21
1HR, United Kingdom Keywords space, the diagram,
topology, geography, choreography,
performance Sarah Rubidge is Professor of Choreography and New Media at the
University of Chichester. A practitioner-scholar she specializes in
developing digital choreographic installations that use the haptic senses
as the primary medium of understanding. Sarah has also created works
which can accommodate improvisational choreographies of space that
become integral choreographic elements of the installation
environment. Sarah has published extensively: her writing addresses
the philosophical ideas that are embodied in her choreographic
practice. She also lectures and conducts dance and new media
workshops both nationally and internationally. › Nomadic diagrams: Choreographic topologies, Choreographic Practices,
1.1, 43-56. Kristen Rudisill Bowling Green State University,
Department of Popular Culture, 108
Popular Culture Building, Bowling
Green, Ohio, 43403-0190, United
States of America Kristen Rudisill is an Assistant Professor in the Department of Popular
Culture at Bowling Green State University in Ohio. She has a Ph.D. in
Asian Studies from the University of Texas, Austin and a MA from the
Divinity School at the University of Chicago. Her research interests are
primarily in South Asian performing arts and she is currently
completing a book manuscript on Chennai’s sabha theatre and working
on a new project about film dance competitions in India. Keywords Disney, India, Bollywood,
dance, competition, High School
Musical, popular culture › ‘My School Rocks!’ Dancing Disney's High School Musical in India, Studies
in Musical Theatre, 3.3, 253-271. Xu Ruisen The Open University of China,
Beijing, China, Department of
Continuing Education, The Open
Xu Ruisen is Director of the Research Center for Community
Education, at the Open University of China. She worked as Deputy
Secretary General of Continuing Education Association in China Open
Universities, and as Deputy Director for the Department of Continuing
Education in the Open University of China. University of China, No. 160
Fuxingmennei Street,, Beijing,
100031, China › The charm of community music, International Journal of Community Music,
4.1, 23-27. Keywords community music,
community education, Open
University Susan Russell Penn State University, 201 Shields
Building, University Park,
Pennsylvania, 16802, United States of
America Keywords corporate theatre, frozen
performance Susan Russell is an Assistant Professor in the School of Theatre at The
Pennsylvania State University in State College, PA, where she teaches
graduate and undergraduate literature/criticism, playwriting, and
Musical Theatre History. She received her Ph.D. in Theatre Studies
from Florida State University’s School of Theatre in 2007, her MA
degree from Florida State University in 2003, and her BA in Theatre
from St. Andrews Presbyterian College in Laurinburg, NC in 1979. She
was also a curriculum creator for New York City Opera, where she
created and developed arts based education programs designed to meet
the specific needs of selected elementary, middle, and high school
programs. Dr. Russell is the author of a new book called Body
Language: Cultural Conversations Reaching Out and Reaching In, and
a new journal called Cultural Conversations: Works in Progress and
Writers in the Making. › The performance of discipline on Broadway, Studies in Musical Theatre, 1.1,
97-108. › Reviews, Studies in Musical Theatre, 4.2, 227-235. ROGER SABIN Central St Martin’s College of Art &
Design, Central St Martin’s College
of Art & Design, Southampton Row,
London, WC1B 4AP, United
Kingdom Keywords punk, pop culture, comic
books Roger Sabin is Reader in Popular Culture at Central Saint Martins
College of Art and Design, University of the Arts London. He is editor
of Punk Rock: So What? (Routledge, 1999) and Consulting Editor
Punk and Post-Punk. His other work in the world of pop culture has
involved comic books: he is the author of Adult Comics: An
Introduction (Routledge), and Comics, Comix and Graphic Novels
(Phaidon). Literary adaptations include the co-authoring of The
Lasting of the Mohicans (University Press of Mississippi) and
American TV crime drama (co-authored book forthcoming from
McFarland Press). › Interview with Stephen Duncombe and Maxwell Tremblay, editors of White
Riot: Punk Rock and the Politics of Race, Punk & Post Punk, 1.1, 105-110. Olivia Sagan University of the Arts, London, The
Centre for Learning & Teaching in
Art & Design, 6th Floor, 272 High
Holborn, London, WC1V 7EY,
United Kingdom Dr. Olivia Sagan is Senior Research Fellow (Pedagogy) at the
University of the Arts, London. She is interested in the interface of
formal and community-based education and her research questions the
potential of each, individually or in partnership, to address issues of
social inequity. › Thou Art: The multiple gaze of audio-visual, community-based participatory
research, Journal of Applied Arts & Health, 2.2, 125-136. Keywords creativity, emotion,
identity, space, transitional Elizabeth Sakellaridou Aristotle University of Thessaloniki,
Department of English Literature, 540
06 Thessaloniki, Greece Keywords comparative drama,
gender studies, cultural studies Elizabeth Sakellaridou is Professor of Drama at the Department of
English, Aristotle University, Greece. She holds an MA in English
Literature (University of Leeds) and a Ph.D. in English Drama (RHC,
University of London). She teaches and researches in English and
comparative drama and gender and cultural studies. Her main
publications are Pinter’s Female Portraits (London: Macmillan, 1988)
and contributions to the volumes English Studies in Transition, ed. by
Robert Clark and Dimitris Tziovas (Lanham: Rowman & Littlefield,
1997) and Daughters of Restlessness, ed. by G. Reisner, H. Wallinger
and S. Coelsch-Foisner (forthcoming, 1997). She has also published
widely in Greek and international journals. › New Faces for British Political Theatre, Studies in Theatre and Performance,
20.1, 43-. Miikka Salavuo Sibelius Academy, P.O. Box 86,
Helsinki, 251, Finland Keywords social networking, online
culture, informal learning, Web 2.0,
music education Miikka Salavuo completed his Ph.D. at the University of Jyväskylä,
Finland, majoring in Music Education. He has worked the ongoing
decade in the field of music education technology, with emphasis on
online and blended learning. He now works at the Sibelius Academy as
a senior researcher, and is the chairman of the Finnish Society of Music
Education Technology. › Social media as an opportunity for pedagogical change in music education,
Journal of Music, Technology and Education, 1.2&3, 121-136. Roberto Sánchez-Camus › The art of dying: Aesthetics and palliative care, Journal of Applied Arts &
Health, 2.2, 155-164. Keywords Andrea Sangiorgio Centro Didattico Musicale, Via delle
Egadi, 42, Rome, 141, Italy Keywords well-being, inclusion,
music education, anthropological
approach, Orff-Schulwerk Andrea Sangiorgio graduated in Music and Movement Education at the
Orff-Institute, University ‘Mozarteum’, Salzburg, Austria. He also
holds a MA in Ethnomusicology. He currently teaches training courses
throughout Italy and abroad in such areas as elemental music and dance
education (Orff-Schulwerk approach), voice training for children,
ensemble music for percussion instruments, group improvisation
and cognitive aspects of music learning. He is currently director and
music teacher of the CDM Centro Didattico Musicale, Rome. › Bambini al Centro: Music as a means to promote wellbeing. Birth and
configuration of an experience, International Journal of Community Music,
1.3, 311-318. Toni Sant University of Hull, School of Arts and
New Media, Scarborough Campus,
Filey Rd, Scarborogh, YO11 3AZ,
United Kingdom Keywords internet, text-based chat,
MMORPGs, 3Dwiki Dr. Toni Sant is Director of Research at the University of Hull’s School
of Arts & New Media, on the Scarborough Campus, where he also
lectures on Performance and Creative Technologies. He is the author of
the book Franklin Furnace & the Spirit of the Avant-Garde: A History
of the Future (Intellect, 2010), which he worked on with support from
the AHRC. He is also the Book Reviews Editor of the International
Journal of Performance Arts & Digital Media. › A Second Life for online performance: Understanding present developments
through an historical context, International Journal of Performance Arts and
Digital Media, 4.1, 69-79. › Addressing the need for a collaborative multimedia database of Maltese
music, Journal of Music, Technology and Education, 2.2&3, 89-96. › Reviews, Journal of Adaptation in Film & Performance, 2.2, 185-194. Ivani Santana University of Bahia, Research Group
for Technological Poetics in Dance,
Rua Santa Rita de Cassia
Ivani Santana is a dancer and choreographer working in the field of
dance-technology since 1994. She holds a MA and a Ph.D. in
Communication and Semiotics from Pontifícia Univerisidade Católica
(Catholic University), São Paulo, Brazil. She is a professor at the
Department of Theory and Choreographic Creation of the School of
29/901/Graça, Salvador, Bahia,
40150-010, Brazil Dance and the Graduate Program in the Performing Arts (Theatre and
Dance), Universidade Federal da Bahia (Federal University of Bahia).
She has created and directed the Technological Poetics in Dance
Research Project since its inception in 2004 as well as the Laboratory
for Advanced Research on the Human Body since 2000. Keywords body, cognition,
movement, real time, immersion,
interactivity › Ambiguous zones: The intertwining of dance and world in the technological
era, International Journal of Performance Arts and Digital Media, 2.2, 153170. Graham Saunders University of Reading, Film Theatre
and Television, Bulmershe Court,
Reading, Berkshire, RG6 1HY,
United Kingdom Keywords Beckett, Edward Bond,
political theatre, theatre Graham Saunders is a lecturer in Theatre Studies at the University of
Reading. His main research and teaching interests focus on
contemporary British drama, with particular emphasis on the work of
writers from the 1990s. He specializes in the work of Sarah Kane,
Edward Bond and Howard Barker. He also works on the relationship
between Elizabethan/Jacobean theatre and contemporary British
dramatists, and Samuel Beckett, with particular emphasis on
adaptations of his stage work in other media. He is Principal
Investigator for the AHRC award, 'Giving Voice to the Nation': the
Arts Council of Great Britain and the development of theatre and
performance in Britain 1945-1995. This five-year project is an
investigation of the extensive archive of the Arts Council housed at the
Victoria & Albert Museum's Theatre Collection. › ‘A theatre of ruins’. Edward Bond and Samuel Beckett: theatrical antagonists,
Studies in Theatre and Performance, 25.1, 67-. Jonathan Savage MMU, Institute of Education,
Manchester Metropolitan University,
799 Wilmslow Road, Didsbury,
Manchester, M20 2RR, UK Keywords improvisation, internet,
music technology, new instrument
design, pedagogy Jonathan Savage is a Reader in Education at the Institute of Education,
Manchester Metropolitan University. He has a number of research
interests, including implementing new technologies in education, crosscurricular approaches to teaching and learning, creativity and
assessment. He is Managing Director of Ucan.tv (www.ucan.tv), a notfor-profit company that produces educational software and hardware
including Sound2Picture, Sound2Game and Hand2Hand. He is a
widely published author having written and edited for Routledge, Open
University Press, SAGE and Learning Matters. Jonathan runs an active
blog at www.jsavage.org.uk and can be followed on Twitter
@jpjsavage. › DubDubDub: Improvisation using the sounds of the World Wide Web,
Journal of Music, Technology and Education, 1.1, 83-. › Reviews, Journal of Music, Technology and Education, 1.2&3, 167-185. › Hand2Hand and Dot2Dot: developing instruments for the music classroom,
Journal of Music, Technology and Education, 2.2&3, 141-157. › Tom's story: Developing music education with technology, Journal of Music,
Technology and Education, 4.2-3, 217-226. Matthew Saxton United Kingdom Keywords adult-child interaction,
Child Directed Speech (CDS),
repetition, incongruity, nonsense Matthew Saxton is a senior lecturer in Psychology and Human
Development at the Institute of Education, London. His research
interests are in the field of child language acquisition and include the
role of input and interaction and their integration within theories of
grammar development. He is the author of ‘The inevitability of Child
Directed Speech’, in S. Foster-Cohen (ed.), (2009) Advances in
Language Acquisition, London: Palgrave Macmillan, and Child
Language: Acquisition and development, London: Sage; published in
2010. › The origins of comic performance in adultchild interaction, Comedy Studies,
1.1, 21-32. Kerrie Schaefer University of Exeter, School of Arts,
Languages and Literatures, Drama
Department, Thornlea, New North
Road, Exeter, EX4 4LA, United
Kingdom Keywords performance, Australia,
culture Kerrie Schaefer completed her Ph.D. in the Department of Performance
Studies, University of Sydney, and taught for eight years in the Drama
Department of the University of Newcastle, NSW. She was a member
of the Performance, Community Development and Social Change
research group (led by David Watt) and the Place and Performance
research group (led by Gay McAuley). In 2007, she relocated to the
United Kingdom to take up a position in the Drama Department at the
University of Exeter. › ‘This is my country! This is my country?’: Stalker Theatre Company’s
Incognita and the auto-ethnographic turn in postdramatic, site-based
Australian theatre, Studies in Theatre and Performance, 28.3, 197-211. › Reviews, Studies in Theatre and Performance, 30.3, 361-371. Veronika Schandl Pázmány Péter Catholic University,
Veronika Schandl graduated from Pázmány Péter Catholic University
in 1999, where she has been teaching ever since. She obtained her
Ph.D. at ELTE, in 2006. Her dissertation dealt with Socialist
English, Egyetem u. 1., Piliscsaba,
2087, Hungary productions of Shakespeare’s problem comedies. In 2007 she received
a research grant from Notre Dame University, Indiana and was the
Fulbright visiting professor at Rutgers, the State University of New
Jersey. Her recent book entitled Shakespeare’s Plays on the Stages of
Late Kádárist Hungary – Shakespeare Behind the Iron Curtain
(Lewinston: The Edwin Mellen Press, 2008) was published in 2009.
She is a member of most European Shakespeare research organisations
and is on the editorial board of the Brno Studies in English. Currently
she is working on two projects: on a Hungarian volume discussing the
Kádár-regime reception of Shakespeare in Hungary and on literary
censorship in Hungary of the 1980s. Keywords Shakespeare, problem
comedies, literary censorship › CROSSING TIME AND SPACE: SHAKESPEARE TRANSLATIONS IN
PRESENT-DAY EUROPE, CARLA DENTE AND SARA SONCINI (eds.)
(2008), Journal of Adaptation in Film & Performance, 3.1, 103-105. Greg Scheer Calvin Institute of Christian Worship,
Calvin College, 1855 Knollcrest
Circle SE, Grand Rapids, MI, 495464402, United States of America Keywords praise, worship,
evangelical, contemporary arts,
Christianity, music Greg Scheer is Minister of Worship at Church of the Servant in Grand
Rapids and Music Associate at the Calvin Institute of Christian
Worship. His writings include The Art of Worship: A Musician’s Guide
to Leading Modern Worship (Baker Books, 2006) and contributions to
Reformed Worship, The Hymn, Call to Worship, Worship Leader,
Perspectives, and the forthcoming New Songs of Celebration Render
(GIA, edited by C. Michael Hawn). › A musical ichthus: Praise & worship and Evangelical identity, International
Journal of Community Music, 2.1, 91-97. Gretchen Schiller Brunel University, School of Arts,
Kingston Lane, Uxbridge, Middlesex,
UB8 3PH, United Kingdom Keywords interactive art,
kinaesthesis, movement, interactivity,
embodiment Gretchen Schiller is a choreographer who works in the field of media
dance, videodance, participatory installations and movement
environments. She has produced various projects in residency at the
Banff Centre of the Arts (Camara ’96, Shifting Ground ’99, trajets ‘00
and the Raumspielpuzzle workshops ’03) and her works have toured in
North America and Europe. Gretchen Schiller received her BA from
the University of Calgary, Canada in Dance and French Canadian
studies followed by a MA from the UCLA, California, US in
Choreography, and Ph.D. from the University of Plymouth, UK in
Interactive Arts. She directed the Diplôme Création Audiovisuelle
Numérique for seven years at the Université Paul Valéry, Montpellier
III, France and has taught workshops in Canada, Germany, England
and France. She is the artistic director of Mo-vi-da, which supports the
creative research in mediadance and interactive arts. › Awakening the 'dynamic index of the body': linking movement awareness
methods with interactive art practice, International Journal of Performance
Arts and Digital Media, 1.3, 179-188. Thecla Schiphorst Simon Fraser University, School of
Interactive Arts and Technology, 250
- 13450 102nd Avenue, Surrey,
British Columbia, V3T 0A3, Canada Keywords wearable technologies,
digital media, human–computer
interaction, embodiment, contextual
performance practices, digital culture Thecla Schiphorst is Media Artist, and an Associate Professor in the
School of Interactive Arts and Technology at Simon Fraser University
in Vancouver, Canada. Her formal education and training in computing
and dance form the interdisciplinary basis of her work, which
integrates experiential physical practices and methodologies with
computational models of representation. She is a member of the
original design team that developed Life Forms, the computer
compositional tool for choreography and has worked with Merce
Cunningham since 1990 supporting his creation of new dance with the
computer. She is the recipient of the 1998 PetroCanada award in New
Media awarded biennially to a Canadian artist, by the Canada Council
for the Arts. › Breath, skin and clothing: Using wearable technologies as an interface into
ourselves, International Journal of Performance Arts and Digital Media, 2.2,
171-186. Jesse Schlotterbeck University of Iowa, Cinema and
Comparative Literature, 2nd Floor,
Adler Building, Iowa City, IA 52240,
United States of America Jesse Schlotterbeck, a film studies Ph.D. from the University of Iowa,
recently defended his dissertation on American musical biopics from
the 1960s to present. He has also published in Scope: An Online
Journal of Film and Television Studies, the Journal of Popular Film
and Television, the Encyclopedia of Documentary Film (Routledge,
2005), and M/C – A Journal of Media and Culture. Keywords radio drama, film,
adaptation, Robert Siodmak, The
Killers › Killing noir?: The adaptation of Robert Siodmak’s The Killers to radio,
Journal of Adaptation in Film & Performance, 3.1, 59-70. Roberta Freund Schwartz Roberta Freund Schwartz is an associate professor of historical
University of Kansas, 1450 Jayhawk
Boulevard, Lawrence, KS, 660454401, United States of America musicology at the University of Kansas, and advising director of the
University of Kansas Archive of Recorded Sound. Her areas of
specialization include the music of the Spanish Renaissance, patronage
studies, and African American popular music – jazz, blues, gospel, and
rock and roll. She has produced articles on: the Spanish melomane and
Keywords The Music Man, Meredith
Willson, musicals composer Saint Francis of Borja; the patronage of music by the
Spanish nobility in the Renaissance; sexual euphemism in the blues;
Meredith Willson’s The Music Man; and the role that British jazz
critics played in popularizing African American music in that country. › Iowa Stubborn: Meredith Willson's musical characterization of his fellow
Iowans, Studies in Musical Theatre, 3.1, 31-41. Judith A Sebesta University of Missouri, College of
Arts & Science, 317 Lowry Hall,
Columbia, Missouri, MO 652116080, United States of America Keywords reception, authenticity,
racism, The Capeman, Utopiarevue Judith Sebesta is Professor and Chair of the Department of Theatre and
Dance at Lamar University, and serves as Performance Review Editor
of Theatre Journal. Her articles on musical theatre have appeared in
such publications as the second edition of The Cambridge Companion
to the Musical, Studies in American Culture, Studies in Musical
Theatre, Contemporary Theatre Review, New England Theatre
Journal, Theatre Annual, and the Sondheim Review, and her co-edited
anthology Women in American Musical Theatre was published in 2008
by McFarland Press. › Just ‘another Puerto Rican with a knife’? Racism and reception on the 'Great
White Way', Studies in Musical Theatre, 1.2, 183-198. › Ziegfeld, Bagley, Sillman, and Cranko: The Revue in the 1956–57 Season
On and Off-Broadway, Studies in Musical Theatre, 3.1, 117-125. › Reviews, Studies in Musical Theatre, 3.2, 219-226. Judith Sebesta Lamar University, Department of
Theatre & Dance, P.O. Box 10110,
Beaumont, Texas, TX 77710, United
States of America Keywords Show Boat, identity,
Riverdance, authenticity, Bruce Kirle Judith Sebesta is Chair and Professor of Theatre at Lamar University.
Her articles on musical theatre have appeared in such publications as
the second edition of The Cambridge Companion to the Musical,
Studies in Musical Theatre, Studies in American Culture,
Contemporary Theatre Review, New England Theatre Journal, Theatre
Annual, and the Sondheim Review. Her essay ‘“I’ll Cover You”: An
Interdisciplinary Duet on Rent and Collaborative Musical Theatre
Historiography’, co-authored with Jessica Sternfeld, in Theater
Historiography: Critical Interventions, was published in November
2010 by the University of Michigan Press. Her co-authored, all-digital
textbook for Theatre Appreciation courses also came out in December
2010, and she is co-editor, with Bud Coleman, of Women in American
Musical Theatre. She is past performance review editor of Theatre
Journal and served as chairATHENews › Introduction to Bruce Kirle Memorial Panel debut papers in music-theatre-
dance, Studies in Musical Theatre, 4.3, 307-309. Lesley Seeger York Teaching Hospital NHS
Foundation Trust, The York Hospital,
Wigginton Road, York, YO31 8HE,
United Kingdom Lesley Seeger is a professional artist working on the renal unit at York
Hospital and has painted full time for the past 15 years. Lesley is a
qualified art therapist with experience of using the creative process in a
variety of therapeutic settings including the NHS and NSPCC. She
joined the Art and Design Team in 2006 as Art Development Worker
in the renal units of York, Easingwold and Harrogate hospitals. Keywords art therapy, art
development › Forgetting the machine: Patients experiences of engaging in artwork while
on renal dialysis, Journal of Applied Arts & Health, 2.1, 57-72. Laurence Senelick Tufts University, Department of
Drama and Dance, Aidekman 201,
Medford, Massachusetts, MA 02155,
United States of America Keywords family, property, estates,
Russian drama Laurence Senelick is Fletcher Professor of Drama at Tufts University
and a recipient of the St George medal of the Ministry of Culture of the
Russian Federation for services to Russian art and scholarship. He is
the author of Anton Chekhov (Macmillan Modern Dramatists) and The
Chekhov Theatre: A Century of the Plays in Performance (Cambridge
University Press), which won the Barnard Hewitt Award of the
American Society for Theatre Research. He edited and translated The
Complete Plays of Anton Chekhov (W.W. Norton). › Money in Chekhov's plays, Studies in Theatre and Performance, 29.3, 327337. Mark Cariston Seton The University of Sydney,
Department of Performance Studies,
Lobby H, Main Quadrangle A14,
Sydney, NSW 2006, Australia Dr. Seton is an Honorary Research Associate, Department of
Performance Studies, University of Sydney, Australia. He is also Chair
of the Health Promotion Subcommittee of the Australian Society for
Performing Arts Healthcare (ASPAH). He has been a member of the
Human Ethics Research Committee of the Australian College of
Theology for the past eight years. Keywords vulnerability, ethics,
embodiment, actor training, intercorporeality › The ethics of embodiment: actor training and habitual vulnerability,
Performing Ethos: An International Journal of Ethics in Theatre &
Performance, 1.1, 5-20. Ruth Shade The Roseries, Cwmbach Road,
Aberdare, Mid Glamorgan, CF44
0PA, United Kingdom Keywords female comedians, Welsh
arts, carnivale, gender studies,
comedy, ethics, performance Originally from south Wales, Ruth Shade was until 2010 the Head of
Department and principal lecturer in Drama at the University of
Wolverhampton. Her specialist teaching areas are storytelling theatre,
popular performance and comedy. Her research interests are women
and comedy, popular performance and English-language performance
practices in Wales. She is the author of Communication Breakdowns:
Theatre, Performance, Rock Music and Some Other Welsh Assemblies
(2004), published by the University of Wales Press. She has presented
academic papers and written about comedy and popular culture. In
2010, she returned to south Wales, where she is a freelance teacher,
lecturer and researcher/writer. › Take my mother-in-law: ‘old bags’, comedy and the sociocultural
construction of the older woman, Comedy Studies, 1.1, 71-83. Lee Shangping Keywords augmented reality, virtual
reality, theatre masks, virtual masks,
Gopal Baratham Shang Ping Lee obtained his BEng (Mechanical and Production
Engineering) and MSc (Mechatronics) at the Nanyang Technological
University in 1997, and the National University of Singapore in 2001,
respectively. He worked at IBM Singapore Pte. Ltd from 1997-99, and
then at SGP Global Technologies in 2000 before starting his research
career at the National University of Singapore as a research engineer in
2001. He then joined the Interaction and Entertainment Research
Centre at Nanyang Technological University in 2005 where he has
worked on several interactive digital media projects. › Digitally augmented reality characters in live theatre performances,
International Journal of Performance Arts and Digital Media, 5.1, 35-49. Robert Shaughnessy School of Arts, Jarman Building,
University of Kent, Canterbury, CT2
7UG, United Kingdom Keywords Le Hot Club du Cinq,
graduate studies Robert began his academic career at the University of the West of
England where he taught Drama and English, co-founded the Bristolbased music theatre ensemble Le Hot Club du Cinq, for whom he both
wrote and performed (Holiday, 1989 and Voltaire’s Brain, 1990). He is
currently on the editorial boards of Literature Compass and
Shakespeare, and regularly acts as a reader for Palgrave, Cambridge
University Press, Wiley-Blackwell, and Routledge. He also acts as
Director of Graduate Studies for the School of Arts, and has previously
been Director of Research for Drama and Theatre Studies, and Director
of Graduate Studies for the Faculty of Humanities. › Reviews, Journal of Adaptation in Film & Performance, 3.3, 329-338. Jennifer G. Sheridan BigDog Interactive, London, United
Kingdom Keywords playful arenas, poi, hyperphysical interfaces, senses, tangibles,
user experience design, physicality Dr. Jennifer G. Sheridan is a Senior User Experience Consultant and
Director of User Experience at BigDog Interactive with over twenty
years experience in functional prototyping and design for global clients
ranging from Nokia and the Technology Strategy Board to the Science
Museum London. She holds a Ph.D. in Computer Science, MSc in
Human-Computer Interaction, and BA in Rhetoric and Professional
Writing with a Computer Graphics specialization. She is passionate
about producing highly creative design solutions and in delivering
cutting-edge, easy to use interfaces that meet customer requirements.
Consultancy is run through her company BigDog Interactive. Jennifer's
research explores the intersection of Live Art. Computing and HumanComputer Interaction, or Digital Live Art. › New shapes on the dance floor: influencing ambient sound and vision with
computationally augmented poi, International Journal of Performance Arts
and Digital Media, 1.1, 67-. › Editorial, International Journal of Performance Arts and Digital Media, 2.3,
217-220. › The interior life of iPoi: Objects that entice witting transitions in
performative behaviour, International Journal of Performance Arts and
Digital Media, 3.1, 17-36. › Editorial, International Journal of Performance Arts and Digital Media, 4.1,
3-6. Eric Shieh Columbia University, Department of
Curriculum & Teaching, Teachers
College, 525 W. 120th St, New York,
NY 10027, United States of America Keywords correctional education,
music education, critical pedagogy,
punishment, soundscape Eric Shieh is completing an Ed.M. in Curriculum and Teaching at
Teachers College, Columbia University, where he also directs the
Global Initiative for Social Change through the Arts. A national
associate of the Prison Creative Arts Project, he has taught both music
and creative writing in Detroit and St Louis correctional facilities as
well as instrumental music in several St Louis City schools. His articles
have been published in the Music Educators Journal, Philosophy of
Music Education Review, Missouri Music Educators Magazine,
Soundpost and Lee Bartel’s Questioning the Music Education
Paradigm. › On punishment and music education: Towards a practice for prisons and
schools, International Journal of Community Music, 3.1, 19-32. Mari Shiobara Dr. Mari Shiobara is Professor of Music Education at Kunitachi
College of Music. Educated in both Japan and the United Kingdom,
Kunitachi College of Music, 5-5-1
Kashiwa-cho, Tachikawa, Tokyo,
Japan she studied piano performance at the Royal Academy of Music and
received both her MA and Ph.D. in music education from the
University of London, Institute of Education. While in London she also
earned a Dalcroze Licentiate from the London Dalcroze Society. She is
actively involved in community music activities as a practitioner as
well as researcher and is currently investigating the transmission
process of Japanese folk song traditions in community settings as well
as schools. Dr. Shiobara has also been involved in music therapy work
for children and adults with special needs organized by community
centres and parents' associations. She currently serves as a commission
member for ISME's Community Music Activity Commission. Keywords piano performance, music
education, Japanese folk song › Transferring community music into the classroom: Some issues concerning
the pedagogy of Japanese traditional music, International Journal of
Community Music, 4.1, 29-37. Jennifer Shryane Keywords Einstürzende Neubauten,
Artaud, experimental music,
performance Jennifer Shryane has taught Performance Studies since 1969 in a
variety of institutions and currently works with students with
disabilities at Chester University. Her Ph.D. (University of Liverpool)
was on Einstürzende Neubauten. She has an article on the group's
Supporter Initiative published in Popular Music Journal and is
finishing a book on Neubauten for Ashgate Publishing. › Sprich zu mir in Seuchensprache/Speak to me in plague language
(Vanadium-i-ching 1983): An analysis of Einstrzende Neubauten as
Artaudian artists, Studies in Theatre and Performance, 30.3, 323-340. Aleks Sierz Rose Bruford College, 29 Arlingford
Road, SW2 2SR, London, United
Kingdom Keywords contemporary arts, British
arts, new writing, theatre history,
postwar British drama Aleks Sierz FRSA is author of In-Yer-Face Theatre: British Drama
Today (Faber, 2001), The Theatre of Martin Crimp (Methuen, 2006),
John Osborne's Look Back in Anger (Continuum, 2008) and Rewriting
the Nation: British Theatre Today (Methuen, 2011). Currently coeditor of theatreVOICE website, he works as a journalist, broadcaster,
and is theatre critic of Tribune. He is also Visiting Professor at Rose
Bruford College, and teaches postwar British drama at the London
branch of Boston University. › Blasted Ethics, Performing Ethos: An International Journal of Ethics in
Theatre & Performance, 1.1, 111-112. Vagelis Siropoulos Goldsmiths, University of London
and Ghent University Keywords superstardom, pop
messianism, counterculture, the
culture of narcissism, megamusical Vagelis Siropoulos received his BA, MA and Ph.D. from the School of
English of Aristotle University, Greece. His Ph.D. thesis offers a
historical culturally informed analysis of megamusical aesthetics. He is
currently a visiting lecturer at Goldsmiths, University of London, and
Postdoctoral Research Fellow at Ghent University, Belgium. His
interest in musicals extends beyond the theoretical domain. He owns
his own production company in Greece that specializes in postmodern
forms of musical theatre and spectacle. › Andrew Lloyd Webber and the culture of narcissism, Studies in Musical
Theatre, 4.3, 273-291. › Megamusicals, spectacle and the postdramatic aesthetics of late capitalism,
Studies in Musical Theatre, 5.1, 13-34. Julia Sloth-Nielsen University of the Western Cape,
Faculty of Law, Modderdam Road,
Bellville, Cape Town, 7535, South
Africa Keywords juvenile offenders, music
education, law, mentors, Africa Julia Sloth-Nielsen is Professor at the Faculty of Law, University of the
Western Cape, South Africa specializing in children's rights, juvenile
justice and criminal justice policy. She has authored numerous
publications, most recently on the duties of the African child, on
children's socio-economic rights and on child friendly laws and policies
in Africa. She was part of the drafting team of the South African
Children's Act 38 of 2005 and of the Child Justice Bill, in Parliament in
2008. She has worked in child law reform regionally in several
countries, including Mozambique, Lesotho, Sudan, Kenya and
Somaliland. › South Africa, the arts and youth in conflict with the law, International
Journal of Community Music, 1.1, 69-88. Jackie Smart Kingston University, School of
Performance and Screen Studies,
Penrhyn Road, Kingston upon
Thames, Surrey, KT1 2EE, United
Kingdom Keywords devised theatre,
contemporary arts, dramaturgy, drama Jackie is a principal lecturer in Drama at Kingston University and coauthor, with Alex Mermikides, of Devising in Process (Palgrave
Macmillan, 2010). Devising, dramaturgy and directing are her key
areas of interest and she has also published articles on the theatre
companies Forced Entertainment and Optik, as well as a chapter on
Random Dance in New Visions in Performance (Carver and Beardon
(Eds), 2004). Her latest research project was a practice-based
collaboration with her colleagues Alex Mermikides, Croatian
Dramaturg, Marin Blazevic and students on the Kingston MAs in
Playwriting and Devising, which was based around Paula Rego's Dog
Women series of paintings. This is part of a longer-term project
exploring roles and functions within devising processes. › Reviews, Studies in Theatre and Performance, 28.3, 267-272. › Reviews, Studies in Theatre and Performance, 29.1, 107-114. Elizabeth Smears Liverpool John Moores University, 2
Rodney Street, Liverpool,
Merseyside, L1 2UA, United
Kingdom Keywords somatic awareness,
embodiment, professional
development, reflective learning Dr. Elizabeth Smears is a senior lecturer in Education within the Centre
for Postgraduate and Professional Development at Liverpool John
Moores University. She is also an honorary lecturer within the School
of Health Sciences at the University of Liverpool. The focus of her
academic work and professional practice is in physicality somatics and
wellbeing, creativity and inclusion. Lizzie has worked with many
different communities and uses the arts to support engagement in
learning. Lizzie has an MEd in the therapeutic and educational use of
the arts, and a Ph.D. that explores gender and physicality. Lizzie is
involved in research and evaluation projects with education
organizations, community programmes and health promotion agencies
that address inclusion. Her research interests include physicality,
somatics and well being, inclusion, creativity and learning. She is
involved in ESRC funded educational research that focuses on
creativity in education. › Breaking old habits: professional development through an embodied
approach to reflective practice, Journal of Dance & Somatic Practices, 1.1,
99-110. Rineke Smilde Prince Claus Conservatorie,
Veemarkstaat 76, 9724 GA
Gronningen, Netherlands Keywords biography, theatre,
lifelong learning, music Rineke Smilde is Professor of Lifelong Learning in Music & the Arts at
the Prince Claus Conservatoire in Groningen and the Royal
Conservatoire in The Hague. She holds a Ph.D. in Social Sciences
summa cum laude from the University in Goettingen in Germany, a
MA in Musicology (twentieth century music) from Amsterdam
University and she graduated as a performing musician with principal
study in Flute at the Groningen Conservatoire. For many years Rineke
had a career as a performing artist and as Professor of Flute at the
Alkmaar Conservatory, and she taught Music History at the Royal
Conservatoire in The Hague. From 1994 to 1998, she served as
Director of the Department of Classical Music at the Prince Claus
Conservatoire in Groningen and between 1998 and 2004 as Director of
the Conservatoire. › Lifelong learners in music; research into musicians' biographical learning,
International Journal of Community Music, 1.2, 243-252. › Lifelong and lifewide learning from a biographical perspective:
transformation and transition when coping with performance anxiety,
International Journal of Community Music, 3.2, 185-201. Phil Smith Keywords walking, mythogeography,
public ritual, popular theatre,
dramaturgy Phil is a visiting lecturer and postgraduate researcher at the University
of Plymouth, and also teaches at the University of Exeter. Phil comes
from a background in performance and music theatre, working as a
writer and dramaturg with companies including TNT (Munich), St
Petersburg State Comedy Theatre, Opera North and Perpetual Motion.
He writes on walking, performance and mythogeography. › 'O, are you not being Phil?': notes towards a materialist aesthetics of neosymbolist performance, Studies in Theatre and Performance, 22.1, 40-53. › Street performance and public ritual in Exeter, 1830s to 1930s: crucial
moments and theoretical sketches, Studies in Theatre and Performance, 24.2,
95-112. › Reviews, Studies in Theatre and Performance, 28.1, 83-. › Theatrical-political possibilities in contemporary procession, Studies in
Theatre and Performance, 29.1, 15-31. Kathy Smith Keywords Beckett, body,
contemporary arts, feminism, liminal,
Munro, performance, psychoanalysis Kathy Smith is a senior lecturer in Theatre Studies. Her research
interests include theories of identity, spectatorship and representation,
with particular reference to psychoanalysis, feminism, contemporary
theatre/performance practices, and the theatres of Samuel Beckett and
Rona Munro. › The body in pain: Beckett, Orlan and the politics of performance, Studies in
Theatre and Performance, 25.1, 33-46. › Burning alive: Memory, disturbance and the theatre of Rona Munro, Studies
in Theatre and Performance, 26.3, 243-262. › Beyond the black box, Studies in Theatre and Performance, 27.2, 185-194. › The things that scorch us: fantasies of origin, the transcultural spectator and
the theatre of Rona Munro, Studies in Theatre and Performance, 29.3, 253274. › Reviews, Studies in Theatre and Performance, 30.2, 233-243. Matt Smith Matt currently leads the undergraduate Community Drama programme
at the Liverpool Institute for Performing Arts. Matt is also the artistic
Liverpool Institute for Performing
Arts, Community Drama programme,
Mount Street, Liverpool, L1 9HF,
United Kingdom director for PickleHerring Theatre Company. Matt has been a freelance
artist for sixteen years, working in diverse settings such as schools,
prisons, hospitals, environmental agencies and working with the
homeless. Matt’s work is always eclectic, working across disciplines
such as drama, puppetry, masks, and music. Matt completed his MA in
Contemporary Arts at Manchester Metropolitan University. Keywords puppetry, participation,
environment › PickleHerring and Marlsite projects: an interdisciplinary approach to junk
music-making, International Journal of Community Music, 1.2, 159-168. David S. Smith Western Michigan University, USA,
1903 West Michigan Avenue,
Kalamazoo, MI 49008, United States
of America Keywords schools, music,
community, history David Smith has been actively involved in community music-making
for most of his professional life. During doctoral studies, he developed
an interest in older adults and music-making, particularly in the
contexts of education, therapy and wellness. That naturally led to him
to begin a multifaceted music programme at the Tallahassee Senior
Center, with the choir and recorder ensemble frequently performing at
community events. He has held faculty positions at the University of
Georgia and Western Michigan University, where he is currently
Professor of Music Education and Coordinator of Graduate Studies in
the School of Music. › Community music in the United States: An overview of origins and
evolution, International Journal of Community Music, 3.3, 343-353. Rob Smith University of Glamorgan, Cardiff
School of Creative and Cultural
Industries, Adam Street, Cardiff,
CF24 2FN, United Kingdom Rob Smith is a senior lecturer in Popular Music at the University of
Glamorgan and was musical director of King Oedipus. He has written
an article about the process of adapting this for performance. › Audience journeys through multiple stories: Adapting King Oedipus for
performance, Journal of Adaptation in Film & Performance, 4.1, 69-92. Keywords popular music, directing,
King Oedipus Yuji Sone Macquarie University, Department of
Media, Music, Communication, &
Dr. Yuji Sone is a lecturer in the Department of Media, Music, and
Cultural Studies at Macquarie University. He is a Sydney-based artist
who has produced numerous media-based performances and
installations. His academic research focuses on mediated performance
Cultural Studies, Building Y3A,
North Ryde, NSW 2109, Australia and performance of the body in conjunction with objects, space and
technology, especially from cross-cultural perspectives, such as
Japanese culture and performance. Dr. Sone has published in
performance studies and cultural studies journals. Keywords theatre, comedy,
competition, Japan, robotics › More than objects: Robot performance in Japan's Bacarobo Theatre, Studies
in Theatre and Performance, 30.3, 341-353. Stella Sorby Hong Kong Baptist University,
Kowloon Tong, Hong Kong, 852,
China Keywords audience, music,
adaptation, translation, musicals,
song, interculturalism Stella Lanxing Sorby was formerly senior lecturer and member of the
Centre for European and International Studies Research at the
University of Portsmouth. She has been awarded a Hong Kong
Government Ph.D. Fellowship, which she is taking at Hong Kong
Baptist University. Her publications include ‘Translating News from
English to Chinese – Complimentary and Derogatory Language Usage’
in Babel. › Translating western musicals into Chinese: Adapting to the reception,
Journal of Adaptation in Film & Performance, 3.2, 185-199. Jane E. Southcott Monash University (Clayton
Campus), Faculty of Education,
Victoria 3800, Australia Keywords active aging, engagement,
education, personal growth Dr. Jane Southcott is a senior lecturer in the Faculty of Education,
Monash University. Her main research focus is the history of the music
curriculum in Australia, America and Europe. She is a narrative
historian and much of her research is biographical. Dr. Southcott also
researches music and positive aging, cultural identity and performance
anxiety. She oversees the Master of Education, teaches in postgraduate
and pre-service programmes and supervises many postgraduate
research students. Dr. Southcott is National President of the Australian
and New Zealand Association for Research in Music Education and a
member of the editorial boards of international and national refereed
journals. › ‘And as I go, I love to sing’: the Happy Wanderers, music and positive aging,
International Journal of Community Music, 2.2&3, 143-156. John Staniunas University of Kansas, Department of
John Staniunas is the Chair of the Department of Theatre and Film at
the University of Kansas and an Associate Professor of Directing,
Acting, Movement and Musical Theatre. He is a professional director
Theatre, 1530 Naismith Drive Room
356, Lawrence, Kansas, 66045,
United States of America and choreographer with a long list of credits from regional and
university theatres. He has staged over 100 musicals and plays from
original works to classics. Credits include directing/choreography at
Milwaukee Repertory Theatre and Madison Repertory Theatre in
Wisconsin, The Willows Theatre and the Sacramento Theatre
Company and Contra Costa Music Theatre in California, The
Hippodrome State Theatre in Florida and the Gaslight Theatre in
Tucson, AZ. John is also a professional actor and a twenty year
member of A.E.A., the Actor’s Equity Association. Keywords haunted stage, song,
Meredith Willson, music, psychology.
Robert Preston › Haunted characters: Harold and Marian: directing The Music Man, Studies in
Musical Theatre, 3.1, 43-51. Adam Stansbie Leeds Metropolitan University, Room
C126, Caedmon Hall, Headingley
Campus, Innovation North, LS6 3QS,
United Kingdom Keywords plasticity,
phenomenology, ontology,
performance, computer music Adam Stansbie is a sound artist involved in the creation and
performance of electro-acoustic music. He has presented works at
festivals and concerts throughout Europe, Asia, North and South
America and Australasia and has won awards at the Bourges
International Competition, France (2006), the International Acousmatic
Competition ‘Metamorphosis’, Belgium (2006) and, most recently, first
prize in the Destellos Competition, Argentina (2010). Adam has
worked in various prestigious European studios (including the IMEB,
France (2007, 2008); Musique et Recherché, Belgium (2009), VICC,
Sweden (2010) and USSS, UK (2010)), has taught at several HE
institutions and is currently senior lecturer in Music, Sound and
Performance at Leeds Metropolitan University. › Sounds, agents, works and listeners; A model of computer music
performance, Journal of Music, Technology and Education, 3.1, 17-30. Tim Stephenson University of Leeds, School of
Performance and Cultural Industries,
Woodhouse Lane, Leeds, LS2 9JT,
United Kingdom Tim Stephenson trained as a musician before moving into lecturing and
management in various universities. He is currently working in the
areas of arts management, cultural analysis and research
methodologies. Primary research interests are in the socio-political
analysis of the performing arts: the interface between structural and
cultural analytical models. Keywords Varèse, Poème,
électronique, authenticity,
reproduction, liveness, mediatization › Poème électronique by Edgard Varèse: Authenticity, reproduction and
mediatization, International Journal of Performance Arts and Digital Media,
2.1, 55-68. Jenn Stephenson Queen's University, Drama
Department, Kingston, Ontario, K7L
3N6, Canada Jenn Stephenson is an Assistant Professor of Drama at Queen’s
University, Kingston, Ontario. Recent publications include articles in
Theatre Journal and Journal of Dramatic Theory and Criticism. She is
at work on a book tentatively titled Metatheatricality and Shakespeare:
The Creation and Collapse of Fictional Worlds. Keywords metatheatre,
phenomenology, audience, celebrity,
theatre › Singular impressions: Meta-theatre on Renaissance celebrities and corpses,
Studies in Theatre and Performance, 27.2, 137-154. Jessica Sternfeld Keywords 1950s, masculinity, postwar suburbs, baseball, gender studies Jessica Sternfeld (Ph.D., Princeton) is a musicologist with specialties in
American musical theatre, popular genres, and opera. Her book The
Megamusical examines the cultural and musical workings of the
blockbuster hits of the 1980s. She has published articles and chapters
on many aspects of musical theatre on stage, screen, and television. She
teaches at Chapman University. › Damn Yankees and the 1950s man: you gotta have (loyalty, an escape clause,
and) heart, Studies in Musical Theatre, 3.1, 77-83. › Musical theatre and the almighty dollar: What a tangled web they weave,
Studies in Musical Theatre, 5.1, 3-12. Don Stewart Griffith University, School of Public
Health, Logan campus,
Meadowbrook, QLD 4131, Australia Keywords choral singing,
psychological, well-being, crossnational survey, resilience Donald Stewart is Professor of Health Promotion, School of Public
Health, Griffith University, Brisbane, Australia. His research expertise
lies with health promotion, mental health, health and ageing and public
health services. He teaches on a wide range or subjects including:
health promotion, health and ageing, health research methodology,
music (singing and dance), management culture and change and the
prevention of HIV/AIDS using multi-strategy interventions. › Choral singing and psychological wellbeing: Quantitative and qualitative
findings from English choirs in a cross-national survey, Journal of Applied
Arts & Health, 1.1, 19-34. Theodore Stickley University of Nottingham, School of
Nursing, Midwifery & Physiotherapy,
Theodore Stickley is Associate Professor in the Faculty of Medicine
and Health Sciences at the University of Nottingham. He is also a
Director of City Arts, Nottingham. Duncan Macmillan House, Porchester
Road, Nottingham, NG3 6AA, United
Kingdom › Reviews, Journal of Applied Arts & Health, 1.3, 341-344. › A philosophy for community-based, participatory arts practice: A narrative
inquiry, Journal of Applied Arts & Health, 2.1, 73-83. Keywords community art, medicine,
health sciences Pamyla A. Stiehl University of Colorado at Boulder,
Theatre and Dance, 9980 Phillips
Road, Lafayette, CO, 80026, United
States of America Keywords Dafora, dance, musical
theatre, African diaspora,
choreography, Gesamtkunstwerk Pamyla obtained her Ph.D. in Theatre from University of
Colorado/Boulder where her dissertation titled ‘The Dansical’ garnered
the George K. Reynolds Fellowship. She currently serves as Adjunct
Faculty for CU/Boulder and University of Denver, teaching both
lecture and performance classes in musical theatre. She has published
articles in Journal of American Theatre and Drama, Texas Theatre
Journal, Journal of Religion and Theatre, and Quarto, as well as
performance reviews in Theatre Journal. She is currently working
with a co-author on the publication of a musical theatre textbook for
higher education. A long-time member of Actors Equity, Pamyla has
performed award-winning roles in Seattle, Toronto, and Denver
regional theatres, as well as having directed and choreographed over
twenty musical productions. › The Curious Case of Kykunkor: a ‘dansical’/musical exploration and
reclamation of Asadata Dafora's Kykunkor, or the Witch Woman (1934),
Studies in Musical Theatre, 3.2, 143-156. Axel Stockburger Academy of Fine Arts Vienna,
Institute of Visual Arts, Lehargasse 8,
Vienna, A-1060, Austria Keywords games, spatiality, media
studies, interactive art Axel Stockburger is an artist and theorist who lives and works in
London and Vienna. He studied at the University of Applied Arts in
Vienna with Peter Weibel and holds a Ph.D. from the University of the
Arts, London. His films and installations are shown internationally.
Among other projects he has initiated the independent art television
channel TIV in Vienna in 1998 and collaborated on international
projects with the London based media art group D-Fuse (2000–04). At
present he works as scientific staff member at the Department for
Visual Arts and Digital Media/Academy of Fine Arts in Vienna. › Playing the third place: Spatial modalities in contemporary game
environments, International Journal of Performance Arts and Digital Media,
3.2&3, 223-236. Jeremy Strong Writtle College, Chelmsford, Essex,
CM1 3RR, United Kingdom Keywords Jane Austen, adaptation,
genre, romantic comedy, class,
intertextuality Dr. Jeremy Strong is Head of Higher Education at Writtle College,
Essex. He has published on novel-to-film adaptation in Literature/Film
Quarterly and Adaptation and is editor, with Drs. Garin Dowd and
Lesley Stevenson, of Genre Matters: Essays in Theoryand Criticism
(Intellect: 2006). Currently editing Educated Tastes: Food, Drink, and
Connoisseur Culture for the University of Nebraska Press, he is also
Secretary of the Association of Literature on Screen Studies. › Sweetening Jane: Equivalence through Genre, and the Problem of Class in
Austen Adaptations, Journal of Adaptation in Film & Performance, 1.3, 205219. Robyn Stuart al’Kamie Intermedia Theater, c/o Blue
Cottage, Lower Froyle, Alton,
Hampshire, GU34 4LL., United
Kingdom Keywords digital scenography,
dance, virtual environment,
complexity theory, emergence Robyn Stuart is a performance artist who has a strong scientific
background having a Ph.D. and worked as a research fellow in the
Department of Ecosystem Management at the University of New
England, Australia. She has just completed an MA in Collaborative
Arts from the University College Chichester, where she investigated
compositional techniques for live dance in ‘moving’ digital
scenography. She has worked as an independent dance
artist/choreographer in Sydney, Australia and the United Kingdom
since 1993, and formed al’Ka-mie together with Brian Curson in 2000
in order to perform, choreograph, and develop live theatre, which
incorporates digital scenography. › Exploring Living Room: The dancing body and live immersion in digital
scenography, International Journal of Performance Arts and Digital Media,
2.3, 259-274. Leila Ryland Swain Keywords Hammons family of West
Virginia, informal transmission,
poetry Leila Ryland Swain is a psychotherapist who has maintained a private
practice in Washington, DC, for over twenty years. She is theoretically
based in Jungian Analytical Psychology. She is also a musician who
has attended the Allegheny Echoes programme for several summers,
studying guitar, mandolin and bass. › Passing on a culture: West Virginia traditional musical heritage and the
Allegheny Echoes programme, International Journal of Community Music,
3.2, 255-276. Steve Swayne Dartmouth College, Department of
Music, HB 6187, 6187 Hopkins
Center, Hanover, NH, 3755, United
States of America Keywords Stephen Sondheim, A
Little Night Music, Waltz, Waltz
musical Steve Swayne is an associate professor of music at Dartmouth College
in Hanover, NH. He has published widely on the musical playwright
Stephen Sondheim, including the book, How Sondheim Found His
Sound (2005). His next major project is a biography on American
composer William Schuman. › Remembering and re-membering: Sondheim, the waltz, and A Little Night
Music, Studies in Musical Theatre, 1.3, 259-274. Lim Swee Hong Baylor University, School of Music,
One Bear Place #97408, Waco,
Texas, 76798, United States of
America Lim Swee Hong is a lecturer in Worship, Liturgy and Music at Trinity
Theological College, and Adjunct Professor for Worship at Asbury
Theological Seminary. At present, he chairs the Worship and Liturgy
committee of the World Methodist Council. › Ritual community and identity formation: A case study of the Thai Covenant
Church in Thailand, International Journal of Community Music, 2.1, 79-83. Keywords Asia, ritual, creativity,
religion, identity, contextualization,
choir, Christianity, Methodist Neal Swettenham Loughborough University,
Department of English and Drama,
Loughborough, Leicestershire, LE11
3TU, United Kingdom Keywords Richard Foreman,
narrative, performance, contemporary
Shakespeare, radical texts for
performance Neal Swettenham lectures in Drama at Loughborough University. His
primary research interests are in the areas of narrative in performance,
theatre and cognition, contemporary Shakespeare, radical texts for
performance, and the theatre of Richard Foreman. Neal curates the
Richard Foreman Research Archive, which is housed at Loughborough. › An Opportunity to get hit by a Car: Richard Foreman at Work, Studies in
Theatre and Performance, 22.1, 19-29. Elizabeth Swift University of Worcester, Institute of
Humanities & Creative Arts, Henwick
Grove, Worcester, WR2 6AJ, United
Kingdom Keywords interactivity, narrative,
Elizabeth Swift is a director of the performance group ‘Void’, which
has a twenty-year history of creating installation and performance
projects engaging with digital media. Her work with Void, which is
made in collaboration with Peter Ireland and other artists, has been
presented throughout the United Kingdom and in Europe and the
United States. A senior lecturer at Worcester University, Elizabeth's
research areas include hypertext and narrative structures in
contemporary performance, intermedial performance practice, site-
theatre, performance, virtual worlds specific performance, and the relationship between digital media and
contemporary performance practice. She is a researcher for the Centre
for Intermedia at Exeter University. › Losing the plot an exploration of narrative collaboration and control in
Second Life, International Journal of Performance Arts and Digital Media,
6.2, 171-192. Dominic Symonds University of Portsmouth, School of
Creative Arts, Film & Media,
Wiltshire Building, Hampshire
Terrace, Portsmouth, Hampshire, PO1
2ED, United Kingdom Keywords music theatre, theatre
research, musical stage Dominic Symonds holds a Ph.D. from London University. His research
focuses on post-structuralist approaches to the musical stage. He is
editor of Studies in Musical Theatre (Intellect) alongside colleague
George Burrows, and was founding organizer of the international
conference, 'Song, Stage and Screen', which has recently enjoyed its
fourth annual meeting in Washington DC. He is also co-convenor of
the music theatre working group of the International Federation for
Theatre Research. He co-edited Vol. 19.1 of Contemporary Theatre
Review (Jan 2009), and is co-editor of the proposed publication Music
theatre - performance, experience and context (Rodopi). › Editorial, Studies in Musical Theatre, 1.2, 121-122. › The corporeality of musical expression:'the grain of the voice' and the actormusician, Studies in Musical Theatre, 1.2, 167-182. › Editorial, Studies in Musical Theatre, 1.1, 3-6. › Editorial, Studies in Musical Theatre, 1.3, 225-226. › Book Reviews, Studies in Musical Theatre, 1.3, 309-324. › Editorial, Studies in Musical Theatre, 2.1, 3-4. › Editorial, Studies in Musical Theatre, 2.2, 125-126. › Editorial, Studies in Musical Theatre, 2.3, 221-222. › The Story of Oh: the aesthetics and rhetoric of a common vowel sound,
Studies in Musical Theatre, 2.3, 245-259. › Editorial, Studies in Musical Theatre, 3.2, 141-142. › Editorial, Studies in Musical Theatre, 3.3, 233-234. › Reviews, Studies in Musical Theatre, 3.3, 311-319. › Editorial, Studies in Musical Theatre, 4.2, 139-140. › Editorial, Studies in Musical Theatre, 4.3, 245-246. › EDITORIAL, Studies in Musical Theatre, 5.2, 131-132. Alex Symons Alex Symons is studying for his Ph.D. at the University of Nottingham.
University of Nottingham, American
and Canadian Studies, The Institute of
Film and Television Studies,
University Park, Nottingham, NG7
2RD, United Kingdom His thesis examines comedy and adaptation in popular entertainment,
focusing on the multimedia career of Mel Brooks. He also works as
editor of film reviews for Scope: An Online Journal of Film and TV
Studies. Keywords The Producers, comedy,
adaptation, Broadway, taste › Mass-Market Comedy: How Mel Brooks Adapted The Producers for
Broadway, and Made a Billion Dollars 2001– 2007, Journal of Adaptation in
Film & Performance, 1.2, 133-145. Kurt Taroff Queen’s University Belfast,
Department of Drama, University
Road, Belfast, BT7 1NN, United
Kingdom Keywords monodrama, music, avantgarde Kurt Taroff is a Lecturer in Drama at the Queen’s University of Belfast.
He received his Ph.D. in 2005 from the City University of New York
Graduate Centre. His primary work focuses on the history and analysis
of the form of monodrama from its birth in music in the eighteenth
century, to its development in theory and practice as an avant-garde
dramatic form in the twentieth century. Kurt is also the convenor of the
Translation, Adaptation, and Dramaturgy working group of the
International Federation for Theatre Research. His work has appeared
in Modern Mask, The Journal of the Pirandello Society of America and
Forum Modernes Theater. › ‘No dream is ever just a dream’: Stanley Kubrick’s Eyes Wide Shut as
monofilm, Journal of Adaptation in Film & Performance, 4.2, 145-157. Millie Taylor University of Winchester, Department
of Performing Arts Keywords musical theatre,
pantomime, entertainment, popular
performance Millie Taylor spent almost twenty years as a professional musical
director and has toured Britain and Europe with a variety of musicals
including West Side Story, Rocky Horror Show, Little Shop of Horrors
and Sweeney Todd. She is now Reader in Performing Arts at the
University of Winchester. Recent publications include British
Pantomime Performance (Intellect 2007) and Singing for Musicals: A
Practical Guide (Crowood Press 2008). She is currently working on a
book on musical theatre, Musical Theatre, Realism and Entertainment
to be published by Ashgate Press in their series 'Interdisciplinary
Studies in Opera'. › ‘Don’t dream it, be it’: exploring signification, empathy and mimesis in
relation to The Rocky Horror Show, Studies in Musical Theatre, 1.1, 57-72. › Drawing attention to the significant:exploring the functions of music in The
Overcoat (1998)1, Studies in Musical Theatre, 2.3, 261-281. › Notes and Queries, Studies in Theatre and Performance, 23.2, 117-124. › Exploring the grain: The sound of the voice in Bruce Nauman's Raw
Materials, Studies in Theatre and Performance, 26.3, 289-296. Floyd Scott Taylor Keywords language, linguistics,
disability, neuroscience A Communications Theorist, F. Scott Taylor resides in Toronto,
Canada. In late 2005, Taylor collaborated on a digital lecture
performance, NEWS, at Gasthuis Theater, Amsterdam. He is currently
President and Chair of Subtle Technologies Arts Projects. He has
worked as a Media Communications Consultant, lecturer, Media Arts
critic and Media Artist. He received his Ph.D. and MA from the
Department of English, University of Toronto. His thesis was tited
Automatic Stein [Gertrude]: The Literature of Dissociation. › Metaphors and mirrors in digital performance: Dress rehearsal for social
autism, International Journal of Performance Arts and Digital Media, 3.1,
59-82. Lib Taylor University of Reading, Whiteknights,
PO Box 217, Berkshire, RG6 6AH,
United Kingdom Keywords postmodernism,
fragmentation, defamiliarization,
displacement, dance, movement Lib Taylor is Professor of Theatre and Performance in the Department
of Film, Theatre & Television at the University of Reading. She has
published on the body in performance, women's theatre and
contemporary British theatre. She is a director and devisor of theatre
research performances that have recently included performances of
Marguerite Duras's later plays and a piece based on the theatre writings
of Gertrude Stein. She was a co-investigator on the AHRC-funded
Acting with Facts project. › The ‘Unhomely’ stage, Studies in Theatre and Performance, 26.3, 205-220. › The experience of immediacy: Emotion and enlistment in fact-based theatre,
Studies in Theatre and Performance, 31.2, 223-237. Timothy D. Taylor University of California, Departments
of Ethnomusicology and Musicology
at the University of California,
Departments of Ethnomusicology and
Musicology, University of California,
P.O. Box 951657, Los Angeles, CA
90095-1657, USA Timothy D. Taylor is a Professor in the Departments of
Ethnomusicology and Musicology at the University of California, Los
Angeles. In addition to numerous articles on various musics, he is the
author of Global Pop: World Music, World Markets (Routledge 1997),
Strange Sounds: Music, Technology and Culture (Routledge 2001), and
Beyond Exoticism: Western Music and the World (Duke University
Press 2007). Two new books appeared in the spring of 2012: Music,
Sound, and Technology in America: A Documentary History of Early
Phonograph, Cinema, and Radio, co-edited with Mark Katz and Tony
Keywords Grajeda, published by Duke University Press; and The Sounds of
Capitalism: Advertising, Music, and the Conquest of Culture,
published by the University of Chicago Press. He is currently writing a
book on music and capitalism for the Big Ideas in Music series for the
University of Chicago Press. › The seductions of technology, Journal of Music, Technology and Education,
4.2-3, 227-232. Mark Taylor-Batty University of Leeds, School of
English, The Workshop Theatre,
Leeds, LS2 9JT, United Kingdom Keywords Not I, Billie Whitelaw,
Beckett, acting, directing,
performance Mark Taylor-Batty is a senior lecturer in Theatre Studies at the
Workshop Theatre, School of English, University of Leeds. He is an
officer of the international Pinter Society and author of two books on
Harold Pinter's writings. He assisted that author in the construction of
his official website, haroldpinter.org, and authored two sections of that
site. He has published in the field of Twentieth-Century French and
British Theatre and is currently working on a monograph on Antonin
Artaud and research into modes of digital publication of critical works. › Editorial, Studies in Theatre and Performance, 25.1, 3-4. › ‘We’re not beginning to... to... mean something?’: teaching Beckett’s
theatricality in a university drama department, Studies in Theatre and
Performance, 25.1, 5-14. › Reviews, Studies in Theatre and Performance, 30.2, 233-243. › Artist and citizen: 50 Years of performing Pinter, at the workshop theatre,
Leeds, Studies in Theatre and Performance, 30.3, 249-256. Jesús Tejada Jesús Tejada is a faculty member at the University of Valencia where
he is writing a thesis on the topic of the effects of materials and
strategies in the learning of a music score editor by novice users. Keywords sound-based rhythm,
didactic design › Tactus: Didactic designand implementation ofa pedagogically soundbasedrhythm-training computerprogram, Journal of Music, Technology and
Education, 3.2-3, 155-165. Aaron C. Thomas › Engaging an icon: Caroline, or Change and the politics of representation,
Studies in Musical Theatre, 4.2, 199-210. Keywords mammy, Jeanine Tesori,
Tony Kushner, Caroline, stereotypes Sarah Thomas University of Wales Aberystwyth,
Wales, United Kingdom Keywords radio broadcasting in the
United States, old time radio, horror,
mystery, Hollywood Sarah Thomas is a Lecturer in Film Studies at Aberystwyth University.
Her current and ongoing research interests include stardom, supporting
actors and screen performance, film history and the historical film,
classical Hollywood cinema, contemporary Hollywood cinema,
transnational cinema and émigré performers, cinema during the 1940s
and the Second World War, American radio (1930-1950). › REVIEWS, Journal of Adaptation in Film & Performance, 4.2, 201-215. Michael Thompson University of Durham, School of
Modern Languages & Cultures,
Durham, DH1 3JT, United Kingdom Keywords theatre, Spain, censorship,
translation Dr. Michael Thompson is a senior lecturer in Hispanic Studies at the
University of Durham. He is co-author of A New History of Spanish
Writing, 1939 to the 1990s (OUP 2000), and has published articles and
essays on various aspects of modern Spanish theatre, including
censorship and the work of García Lorca, Alberti, Buero Vallejo,
Rodríguez Méndez, Martín Recuerda, Ruibal and Pedrero. In 2007
Intellect published his book Performing Spanishness: History, Cultural
Identity and Censorship in the Theatre of José María Rodríguez
Méndez. Between 2008 and 2011 he led an AHRC-funded research
project on Theatre Censorship in Spain, 1931-1985. He has also
published translations of plays by Buero Vallejo and Pedrero, and is
co-author of the revised edition of the widely used textbook Thinking
Spanish Translation (Routledge 2009). › Practice as Research, Studies in Theatre and Performance, 22.3, 159-180. Peter Thomson University of Exeter, United
Kingdom Keywords theatre, Shakespeare,
Brecht Having qualified as a Russian interpreter during his national service,
Peter Thomson read English at Jesus College, Cambridge (1958-61),
was a Canada Council scholar at the University of Toronto (1961-2), a
lecturer in Drama at the University of Manchester (1964-71) and at
University College, Swansea (1971-4). Thomson was Professor of
Drama at the University of Exeter since 1974, and having recently
retired, has become Emeritus Professor of Drama. › The Elizabethan Actor: a matter of temperament, Studies in Theatre and
Performance, 20.1, 4-13. › Stop Press, Studies in Theatre and Performance, 20.2, 114-. › Locating the Lost Playhouses of Shakespeare's London, Studies in Theatre
and Performance, 21.2, 118-120. › Book Reviews, Studies in Theatre and Performance, 21.3, 188-. › Dismantling the Gesamtkunstwerk: Weill, Neher and Brecht in
Collaboration, Studies in Theatre and Performance, 22.1, 30-39. › Notes and Queries, Studies in Theatre and Performance, 24.1, 63-. › Reviews, Studies in Theatre and Performance, 26.3, 297-. › Reviews, Studies in Theatre and Performance, 27.2, 201-. › Editorial, Studies in Theatre and Performance, 27.1, 3-4. › Editorial, Studies in Theatre and Performance, 28.1, 3-4. › Reviews, Studies in Theatre and Performance, 28.1, 83-. › Reviews, Studies in Theatre and Performance, 28.2, 185-194. › Reviews, Studies in Theatre and Performance, 28.3, 267-272. › Editorial, Studies in Theatre and Performance, 29.1, 3-3. › ‘He’s for a jig or a tale of bawdry—’: notes on the English dramatic jig,
Studies in Theatre and Performance, 29.1, 67-83. › Saluting Pickering & Chatto: a review article, Studies in Theatre and
Performance, 29.2, 199-211. › Reviews, Studies in Theatre and Performance, 29.2, 213-222. › Reviews, Studies in Theatre and Performance, 29.3, 339-346. › Reviews, Studies in Theatre and Performance, 30.2, 233-243. › Reviews, Studies in Theatre and Performance, 30.3, 361-371. › Reviews, Studies in Theatre and Performance, 31.1, 123-130. › What's in a name? Cricket in No Man's Land, Studies in Theatre and
Performance, 31.1, 5-15. › REVIEWS, Studies in Theatre and Performance, 31.3, 351-354. Linda J. Thomson University College London, Room
G2, UCL Wolfson House, 4
Stephenson Way, London, NW1 2HE,
United Kingdom Linda Thomson is Research Associate on the ‘Heritage in Hospitals’
programme at University College London, and a psychologist and
lecturer specializing in research methods, biopsychology, memory and
learning. Her research interests include the roles of vision and touch in
enhancing health and well-being. Keywords vision, health, well-being,
biopsychology, memory › Evaluating the therapeutic effects of museum object handling with hospital
patients: A review and initial trial of well-being measures, Journal of Applied
Arts & Health, 2.1, 37-56. Barbara Thornbury Temple University, Dept. of Critical
Languages, Anderson Hall 022-38,
Philadelphia, PA 19122, United States
of America Keywords Japanese literature and
film, Tokyo woman, America's Japan Barbara Thornbury is an associate professor of Japanese studies in the
Dept. of Critical Languages at Temple University (Philadelphia, PA,
US). She teaches courses on Japanese literature and film. Her recent
published work includes ‘Re-imagining Ozu: Hou Hsiao-Hsien’s Café
Lumière and the Contemporary Tokyo Woman’ (Proceedings of the
Assn. for Japanese Literary Studies, 11: Summer 2010). She is
currently working on a book titled America’s Japan and Japan’s
Performing Arts: Image, Myth, Cultural Mobility and Exchange. › History, adaptation, Japan: Haruki Murakami’s ‘Tony Takitani’ and Jun
Ichikawa’s Tony Takitani, Journal of Adaptation in Film & Performance,
4.2, 159-171. Ashley Thorpe University of Reading, Department of
Film, Theatre and Television,
Whiteknights, Reading, Berkshire,
RG6 6AH, United Kingdom Keywords theatre, disability, Asian
theatre, British Sign Language (BSL),
Chinese theatre Ashley Thorpe is Lecturer in Theatre in the Department of Film,
Theatre and Television at the University of Reading, where he teaches
theoretical and practical approaches to Theatre, including modules on
traditional and contemporary Chinese performance. He published the
monograph The Role of the Clown (Chou) in Traditional Chinese
Drama in 2007, and has also published articles in Theatre Research
International, Contemporary Theatre Review, and the Asian Theatre
Journal. He is a co-founding member of the Asian Performing Arts
Forum, an organization that arranges a series of public talks on Asian
performance forms in the United Kingdom. He is currently researching
British Chinese theatre and culture, and performs regularly with the
London Jing Kun Opera Association. › Editorial, Studies in Theatre and Performance, 29.2, 117-119. › The long and the short of it: negotiating the right space for Asian theatre in
the university drama curriculum, Studies in Theatre and Performance, 29.2,
133-147. › Style, experimentation and Jingju (Beijing Opera) as a decentred multiplicity,
Studies in Theatre and Performance, 31.3, 275-291. Julie Tiernan University of Limerick, Irish World
Academy of Music and Dance,,
Certificate in Music and Dance/The
Nomad Project, Limerick, Ireland Keywords youth, art, Ireland,
community music As community musician she has worked in Australia, United States,
United Kingdom and Ireland in a range of community settings. This
includes work with ethnic minorities, victims of violence, young
mothers, disabled, prisoners and young offenders. She has extensive
experience in working with the Traveller community and young
offenders. Much of Julie’s work in Ireland has been closely linked to
the Irish World Academy of Music and Dance at University of
Limerick and has been at the forefront of several long-term community
music projects with Nomad. Julie also lectures on the MA course in
Community Music and the BA course in Irish Music and Dance. Julie
is also Course Director for an Access-based Certificate in Music and
Dance. This course offers graduates the opportunity of further study on
a BA course. As a committed educator and community activist she
believes in ‘bridging the gap’ between traditional and non-traditional
learning. › Céim ar Chéim, Step by Step – Community music programme in an Irish
probation centre: A personal reflection, International Journal of Community
Music, 3.1, 133-142. Liz Tomlin University of Birmingham,
Department of Drama and Theatre
Arts, Edgbaston, Birmingham, B15
2TT, United Kingdom Keywords monographs,
contemporary performance,
performance theory Liz Tomlin is a lecturer at the University of Birmingham, where she is
currently working on a monograph on contemporary performance and
theory for publication with Manchester University Press in 2012. She
was associate director of Point Blank Theatre from 1999–09 and has
edited Point Blank (Intellect, 2007), a selection of Point Blank
Theatre’s performance texts and critical essays on the company’s work.
Previous professional productions haveincluded Roses & Morphine
(2005), Operation Wonderland (2004) and Nothing to Declare (2002)
and she is currently working on The Pool Game in collaboration with
artistic collective Geiger Counter. › A ‘Political Suspension of theEthical’: To Be Straight WithYou (2007) and
An Eveningwith Psychosis (2009), Performing Ethos: An International
Journal of Ethics in Theatre & Performance, 1.2, 167-180. Naphtaly Shem Tov Open University of Israel, Literature,
Arts and Linguistics Department, 1
University Road, POB 808, Raanana,
43537, Israel Naphtaly Shem Tov teaches in the Literature, Arts and Linguistics
Department of the Open University of Israel. His research interests
include community theatre, theatre festivals, educational theatre,
ethnicity and cultural identity. › Celebration and confrontation: Akko Festival of Israeli Alternative Theatre,
Studies in Theatre and Performance, 29.1, 93-105. Keywords theatre, festivals, Israeli
theatre, art, community, race, politics Katalin Trencsényi Katalin Trencsényi is a London-based dramaturg. She studied at the
London, United Kingdom Janus Pannonius University, Pécs, the Academy of Drama and Film,
Budapest, and the Guildhall School of Music and Drama, London. As a
freelance dramaturg she has worked for the National Theatre (Channels
project), read scripts for the Royal Court Theatre, and worked as a
production dramaturg or dance dramaturg for many other independent
companies. In addition to writing theatre reviews, she has one book on
theatre and two plays published. Currently she is pursuing a Ph.D. in
dramaturgy. Katalin is President of the Dramaturgs’ Network (UK). Keywords music, drama, theatre
reviews, dramaturgy › Labours of love: Interview with Penny Black on translation for the stage by
Katalin Trencsényi, Journal of Adaptation in Film & Performance, 4.2, 189200. Melissa Trimingham The University of Kent, Department
of Drama, School of Arts, Jarman
Building, Canterbury, CT2 7UG,
United Kingdom Keywords therapeutic, object,
embodiment, puppet, autism Melissa Trimingham worked extensively in UK community theatre
including many applied theatre projects with Horse and Bamboo
Theatre Company, Lancashire. She is a lecturer in Drama at the
University of Kent. She has previously published on Oskar Schlemmer,
the Bauhaus theatre and the methodology of practical research. She has
just completed a book on the theatre of the Bauhaus for Routledge
(2011). She is co-leader with Dr. Nicola Shaughnessy of the Centre for
Cognition, Kinesthetics and Performance at the University of Kent, and
engaged with Dr. Shaughnessy on joint practical research into media
interventions with autistic children. › A Methodology for Practice as Research, Studies in Theatre and
Performance, 22.1, 54-66. › Objects in transition: The puppet and the autistic child, Journal of Applied
Arts & Health, 1.3, 251-265. Darren Tunstall University of Central Lancashire,
ME127 Media Factory, Preston,
Lancashire, PR1 2HE, United
Kingdom Keywords Shakespeare, non-verbal
communication, Lecoq, modernism,
gesture Darren Tunstall read English Literature at St Catharine’s College,
Cambridge University, and trained as an actor at Bristol Old Vic
Theatre School and, later, with Philippe Gaulier, before working for
twenty years as a professional actor, writer and director. He taught at
Wimbledon School of Art, Central School of Speech and Drama and
Arts Educational Schools (London) before becoming a lecturer in BA
(Hons) Acting at the University of Central Lancashire. His research
interests are Shakespeare, gesture and the uses of motion capture in
human movement analysis. He has written a chapter for the Routledge
Companion to Actors' Shakespeare edited by Professor John Russell
Brown, published in 2011, and is preparing material for his first book,
Shakespeare in Practice: Gesture to be published in 2013 by Palgrave
Macmillan. › The Aesthetic Uncanny: staging Dorian Gray, Journal of Adaptation in Film
& Performance, 2.2, 153-165. Cathy Turner University of Winchester, Performing
Arts, West Hill, Winchester, SO22
4NR, United Kingdom Keywords performance, theatre,
dialogue, playwriting, dramaturgy Cathy Turner is a Reader in Performing Arts at the University of
Winchester and researches within the Centre for Research into
Expanded Dramaturgies. She is director of ‘Writing Space’, a research
project investigating the development of new writing and is joint
author, with Synne Behrndt, of Dramaturgy and Performance
(Palgrave Macmillan, 2008). She is a core member of Wrights & Sites,
a group of artists whose work is concerned with our relationship to
place and space. › Editorial Introduction, Studies in Theatre and Performance, 30.1, 5-10. › Small Planet, Studies in Theatre and Performance, 30.1, 19-24. › Remembering Writing Space: An interview with student participants, Studies
in Theatre and Performance, 30.1, 67-72. › Writing for the contemporary theatre: towards a radically inclusive
dramaturgy, Studies in Theatre and Performance, 30.1, 75-90. Helen Turner York St John University, Lord
Mayors Walk, York, North Yorkshire,
YO31 7EX, United Kingdom Keywords cross-art form, community
groups, mental health, public art Helen Turner is a senior lecturer in Community Art and Fine Art at
York St John University. Helen is a Visual Artist working across
Community Art and Public Art. She has worked on a variety of
projects ranging from; schools, mental health service users, community
groups, disadvantaged youth, care leavers and in healthcare. She has a
particular interest in collaborative and cross-art form work and project
management. She also delivers training courses for visual artists
aspiring to apply their practice. › Forgetting the machine: Patients experiences of engaging in artwork while
on renal dialysis, Journal of Applied Arts & Health, 2.1, 57-72. Victor I. Ukaegbu The University of Northampton,
School of The Arts, St George’s
Avenue, Northampton, NN2 6JD,
Dr. Victor I. Ukaegbu is a senior lecturer and course leader for Drama
at The University of Northampton. He has written on African and
intercultural theatres, postcolonial performances, gender, black British
theatre, applied theatre, including a book; The Use of Masks in Igbo
Theatre in Nigeria: the Aesthetic Flexibility of Performance Traditions.
United Kingdom He is Associate Editor of African Performance Review and a member
of the Editorial Board of World Scenography (Africa/Middle East). Keywords performance, interaction,
medicine sales, advertising,
shamanism, sales-performers › Performative encounters: Performance intervention in marketing health
products in Nigeria, Journal of Applied Arts & Health, 1.1, 35-51. Jeffrey Ullom Case Western Reserve University,
Department of Theatre, 10900 Euclid
Avenue, Cleveland, 44106, United
States of America Jeffrey Ullom teaches theatre history and dramaturgy at Case Western
Reserve University. His publications include his book The Humana
Festival: A History of New Plays at Actors Theatre of Louisville and
articles in Theatre Studies, Theatre Topics and the Journal of American
Drama and Theatre. He is currently at work on Pop Goes the Musical!,
an exploration of current trends in Broadway musicals. Keywords Elton John, The Capeman,
David Henry Hwang, jukebox
musicals, Broadway › There is an I in artist: dysfunctional collaborations and the doomed Pop
Musicals Come (1994) and The Capeman (1998), Studies in Musical
Theatre, 4.2, 211-225. Carole-Anne Upton University of Ulster, School of
Creative Arts, Northland Road, Derry,
Co. Londonderry, BT48 7JL, United
Kingdom Keywords theatre, contemporary arts,
ethics, translation, documentary,
Northern Ireland, francophone theatre Carole-Anne Upton is professor of drama in the School of Creative
Arts at the University of Ulster, where her main research interests are
in the areas of contemporary theatre practice, particularly in Northern
Ireland, theatre and social justice, translation for performance and
directing. She has recently written several pieces on documentary
theatre in Northern Ireland and a chapter on the translator as metteur en
scène in Staging and Performing Translation: Text and Theatre
Practice edited by Roger Baines, Cristina Marinetti and Manuela
Perteghella (2010). She has previously published on Irish drama, and
postcolonial anglophone and francophone theatre in Africa and the
Caribbean. She is currently principal editor of Performing Ethos: An
International Journal of Ethics in Theatre and Performance. She
published Moving Target: Theatre Translation and Cultural
Translation in 2000 with St. Jerome Press. › Real people as actors Actors as real people, Studies in Theatre and
Performance, 31.2, 209-222. › Editorial, Performing Ethos: An International Journal of Ethics in Theatre &
Performance, 1.1, 3-4. › EDITORIAL, Performing Ethos: An International Journal of Ethics in
Theatre & Performance, 1.2, 131-133. Bryan M. Vandevender Univeristy of Missouri, 3601 West
Broadway Keywords Spring Awakening, sex,
rock music, Lehman Engel, teenage
sexuality Bryan M. Vandevender holds a MA in Performance Studies from New
York University and is currently a doctoral student at the University of
Missouri. His research interests include American musical theatre
history, the notion of revival, the role of the theatre critic and the ethics
of theatre criticism. › A substitute for love: the performance of sex in Spring Awakening, Studies
in Musical Theatre, 3.3, 293-302. Ross Varney CeMAP at Coventry University,
Coventry School of Art and Design,
ICE building, Priory Street, Coventry,
CV1 5FB, United Kingdom Ross Varney is Research/Production Assistant for the AHRC-funded
Siobhan Davies Archive project (SDA) based at Coventry University’s
Centre for Media Arts and Performance (CeMAP). His interest and
expertise lies primarily in video production/post production and digital
media and includes research around distributed media networks and
digital archiving in the performing arts context. Keywords dance, digital media,
archiving, corporeality, collaboration,
interactivity › Born digital; dance in the digital age, International Journal of Performance
Arts and Digital Media, 5.1, 51-63. Kari Veblen University of Western Ontario, The
Don Wright Faculty of Music, Talbot
College, Rm 210, 1151 Richmond
Street, London, Ontario, N6A 3K7,
Canada Keywords music, cross-cultural
studies, typologies, community music,
Musical Futures project Kari K. Veblen is Associate Professor of Music Education at the Don
Wright Faculty of Music, University of Western Ontario, Canada. She
teaches elementary general music methods, foundations of music
education, multicultural music education and graduate research
courses. She has taught music education at both elementary and college
levels in Wisconsin. She also served as a research associate at the Irish
World Music Centre (University of Limerick), a visiting scholar at the
Center for Research in Music Education (University of Toronto) and as
a curriculum consultant to orchestras, schools and community groups.
Her interests bridge music, education, ethnomusicology and the arts.
She is currently investigating community music networks, structures
and individuals worldwide. Research and lectures have taken her to
Europe, Scandinavia, Africa, Asia, New Zealand and the Americas. › Editorial, International Journal of Community Music, 1.1, 3-4. › The many ways of community music, International Journal of Community
Music, 1.1, 5-22. › New initiatives in community music and music education: The UK Musical
Futures project, International Journal of Community Music, 1.1, 127-130. › Editorial, International Journal of Community Music, 1.2, 139-141. › New Initiatives, International Journal of Community Music, 1.2, 287-291. › The facilitraining rainbow: an interview with Phil Mullen, International
Journal of Community Music, 2.2&3, 263-265. › The medium is the message: cyberspace, community, and music learning in
the Irish traditional music virtual community, Journal of Music, Technology
and Education, 1.2&3, 99-111. Paul Vickers University of Northumbria, School of
Informatics, Pandon Building,
Camden Street, Newcastle-uponTyne, NE2 1XE, United Kingdom Keywords learning technology,
studio practice, music, problem
solving, contingent learning Paul Vickers holds a BSc degree in Computer Studies from Liverpool
Polytechnic and a Ph.D. in Human-Computer Interaction from
Loughborough University. He is currently Reader in Human-Computer
Interaction and head of the Creative Media Technologies group in
Northumbria University's School of Computing, Engineering, and
Information Sciences in the United Kingdom where he has worked
since 2001. He currently teaches computer programming, digital audio,
sound design, and research methods to undergraduate and postgraduate
students as well as supervising Ph.D. students. Between 1989 and 2001
Vickers taught at Liverpool John Moores University, and before that
worked in a software development team at Digital Equipment Co. Ltd.
Paul Vickers is a UK Chartered Engineer and a member of the
Institution of Engineering and Technology and is also a Fellow of the
UK's Higher Education Academy. › Problem solving with learning technology in the music studio, Journal of
Music, Technology and Education, 1.1, 57-68. Anna Vidali Keywords dance, improvisation,
body, somatics, Greece Anna Vidali is an associate professor in the Department of Early
Childhood Education of the University of Thessaly. She has a degree in
Education from the University of Thessaloniki; a MA in Sociology of
Education from the Institute of Education, University of London; a MA
in Psychoanalytic Studies from Brunel University, London; and a Ph.D.
from Goldsmith’s College, University of London. She is the author of
five books and numerous articles. Her work includes a book on the
Greek Civil War (1999) based on women’s narratives. She has also
published books on Education and Modernity (2000), Early Childhood
Education (2009), Freud and the Question of Femininity (2008) and
edited a book on Fantasy and Narrative (2001). › Towards an innovative model of teaching Greek traditional dances, Journal
of Dance & Somatic Practices, 1.2, 155-168. Adriane Vieira Universidade Federal do Rio Grande
do Sul, Av. Paulo Gama, 110, Bairro
Farroupilha, Porto Alegre, Rio
Grande do Sul, Brazil Keywords health, Foucault,
Feldenkrais Method, dance Adriane Vieira, Ph.D. in Human movement science is Professor at the
Universidade Federal do Rio Grande do Sul and is invited teacher at
Universidade do Vale dos Sinos. She works in Porto Alegre, Brazil.
Adriane is physiotherapist and known as an expert in back school and
somatic education. She is part of the Riograndense society of
psychosomatics medicine. She is member of the research group Body
posture and movement quality at Universidade Federal do Rio Grande
do Sul. › The experience of discourses in dance and somatics, Journal of Dance &
Somatic Practices, 1.1, 47-64. Nicolas Villar Computer-Mediated Living Microsoft
Research, 7 J J Thomson Ave,
Cambridge, CB3 0FB, United
Kingdom Keywords playful arenas, hyperphysical interfaces, sensing, tangibles,
club culture Nicolas Villar is a researcher in the Sensors and Devices Group, part of
the Computer Mediated Living Group of Microsoft Research in
Cambridge, UK. He is particularly interested in the use of embedded
systems - programmable microcontrollers, wireless communication
devices, sensors and actuators - as building blocks in the design of
physical interactive objects and user interface devices that are
engaging, useful and usable. Previously, Villar was a Research
Associate and part-time Ph.D. student in the Embedded Interactive
Systems Research Group at Lancaster University. › New shapes on the dance floor: influencing ambient sound and vision with
computationally augmented poi, International Journal of Performance Arts
and Digital Media, 1.1, 67-. Eckart Voigts-Virchow Siegen Universitaet, Anglistik
I/Literaturwissenschaft, AdolfReichwein-Strasse 2, Siegen, 57068,
Germany Dr. Eckart Voigts-Virchow is Professor of English and Comparative
Literatures at the University of Siegen, Germany. He has published
numerous books and articles on intermediality and adaptation, such as
Janespotting and Beyond: British Heritage Retrovisions since the Mid1990s (2005) and Adaptations – Performing Across Media (2009). Keywords metafiction, Michael
Winterbottom, A Cock and Bull
Story, Laurence Sterne, Tristram
Shandy › Metadaptation: Adaptation and Intermediality – Cock and Bull, Journal of
Adaptation in Film & Performance, 2.2, 137-152. › Reviews, Journal of Adaptation in Film & Performance, 2.3, 267-276. Mehmet Vurkaç Portland State University, 3201
Campus Drive, Purvine 2, Klamath
Falls, OR, 97601, United Kingdom Keywords music theory, music
education, intelligent accompaniment,
music information research, machine
listening, rhythm Mehmet Vurkaç is a Ph.D. candidate in Electrical and Computer
Engineering at Portland State University specializing in Computational
Ethnomusicology – a new field at the convergence of Music
Information Retrieval, Ethnomusicology and Computational
Intelligence (Tzanetakis et al. 2007: 1). He is developing an
information-theoretic design methodology for Neural Networks and
applying this to a complex and little-explored cultural problem: the
rhythmic syntax of traditional samba music. As a long-time student,
performer and teacher of samba percussion, he has been a member of
several Afro-Cuban and Afro-Brazilian ensembles since 1997. He has
also spent several years as co-director of the Lions of Batucada, a
leading North American samba bloco that has shared the stage with
Fundo de Quintal (Brazilian pagode pioneers), Sean Lennon,
Aerosmith, Fishbone and David Byrne. Vurkaç taught a beginners’
samba class for nine years, and has studied various styles of samba
with master Jorge Alabê. › Clave-direction analysis: A new arena for educational and creative
applications of music technology, Journal of Music, Technology and
Education, 4.1, 27-46. Janice Waldron The University of Windsor, School of
Music, 401 Sunset Avenue, The
University of Windsor, Windsor, ON,
Canada, N9B 3P4, Ontario Keywords Irish traditional music,
music, adult education, community,
Goderich Celtic College, internet Dr. Janice Waldron is an Associate Professor of Music Education at the
University of Windsor, where she teaches Music Education and World
Musics courses. While her research interests focus on informal music
learning and formal music teaching in convergent on and offline
communities of practice, her investigations also integrate issues of
cyber ethnography, technology, ethnography, narrative inquiry,
sociology, music education philosophy, vernacular music practices and
gender studies. Dr. Waldron's most recent work employs cyber
ethnographic method of interview and observation, narrative inquiry,
and case study conducted entirely through computer-mediated
communication in examination of online music communities as
"communities of practice," and includes the epistemological
implications of music learning and teaching in online music
communities. › Once the beat gets going it really grooves: Informal music learning as
experienced by two Irish traditional musicians, International Journal of
Community Music, 1.1, 89-104. › The medium is the message: cyberspace, community, and music learning in
the Irish traditional music virtual community, Journal of Music, Technology
and Education, 1.2&3, 99-111. › Exploring a virtual music community of practice: Informal music learning on
the Internet, Journal of Music, Technology and Education, 2.2&3, 97-112. › Conceptual frameworks, theoretical models and the role of YouTube:
Investigating informal music learning and teaching in online music
community, Journal of Music, Technology and Education, 4.2-3, 189-200. Mick Wallis University of Leeds, School of
Performance & Cultural Industries,
Leeds, West Yorkshire, LS2 9JT,
United Kingdom Keywords design process, play,
embodied knowing, responsiveness,
interdisciplinarity Mick Wallis is Professor of Performance and Culture and Director of
Research at the School of Performance and Cultural Industries. He is
Principal Investigator for ‘Emergent Objects’ and for the AHRC-funded
‘Village Theatre Survey’, investigating the use of amateur theatre in
inter-war England. Recent work includes Drama/Theatre/Performance
with Simon Shepherd (Routledge, 2004) and Performance Research
10: 4, ‘On techne–’ (2005) edited with Richard Gough. › Emergent objects: Designing through performance, International Journal of
Performance Arts and Digital Media, 3.2&3, 269-280. Richard Wallis Binghamton University, State
University of New York, 3 Park
Street, Plymouth, Devon, PL3 4BL,
United Kingdom Richard Wallis co-founded Streetlights Theatre Company in 1985, and
since that time has worked on a wide range of youth and children’s
theatre initiatives. He is currently co-director of M-ZONE, based at
Mutley Baptist Church in Plymouth, and is a senior producer for
Twofour Productions, an independent television company. › Notes and Queries, Studies in Theatre and Performance, 25.2, 145-152. Keywords cross-cultural studies,
Bulgaria, Roma, Varna, Plymouth Duane Warfield The University of Iowa, Music
Education Department, 205
Communications Center, Iowa City,
IA 52242, United States of America Keywords women, Alaska, art,
orchestra, prison A native of Belleville, Illinois, Duane Warfield is a candidate for the
Doctor of Philosophy degree in Music Education at The University of
Iowa. Warfield holds an undergraduate degree in Music Education
from Eastern Illinois University as well as a MA in Music Education
from The University of Iowa. He works as Teaching Assistant in the
Music Education department, where he teaches conducting courses and
supervises student teachers. › Bowing in the right direction: Hiland Mountain Correctional Center women's
string orchestra programme, International Journal of Community Music, 3.1,
103-110. Tracey Warr Universiti di Siena Keywords contemporary art, London
Fieldworks, art literature Dr. Tracey Warr is an art writer. She is the editor of The Artist’s Body
(Phaidon, 2000) and has published writings on a wide range of artists
including London Fieldworks, James Turrell, Marina Abramovic, Joan
Jonas, Heather Ackroyd and Dan Harvey. Her recent publications
include essays in Panic Attack!: Art in the Punk Years (Barbican, 2007)
and Half Life (NVA, 2007) and a film interview with Marcus Coates
for The Dawn Chorus (Bristol: Picture This DVD Publication Series,
2007). In the 1980s she held posts at the Institute of Contemporary Arts
in London, the Arts Council of Great Britain and Chatto & Windus
Publishers. › Reviews, International Journal of Performance Arts and Digital Media, 3.1,
83-. Steve Waters United Kingdom Keywords Ingmar Bergman, theatre,
cinema, autobiography, aesthetics Steve Waters is a playwright, who lives in Cambridge, and has written
for the stage and other media. His plays include World Music (2003/4
Sheffield Crucible and the Donmar Warehouse); Fast Labour (2008
West Yorkshire Playhouse/Hampstead Theatre); Out of Your
Knowledge (2007/8 Menagerie Theatre Company, National tour and
Edinburgh) and The Contingency Plan (2009 The Bush Theatre). He
runs the MPhil(B) in Playwriting at the University of Birmingham, has
written on Sarah Kane and Harold Pinter, and is currently writing a
book on playwriting for Nick Hern Books. › Bergman's Rigour, Studies in Theatre and Performance, 30.1, 25-32. › Winchester Fragments, Studies in Theatre and Performance, 30.1, 33-38. Ruth Way University of Plymouth Keywords performance, art, study,
pedagogy, teaching practice Ruth Way is Head of Theatre and Performance at the University of
Plymouth. Her practice-as-research explores collaborative practice and
is developing new insights in the making of dance for the camera in
collaboration with a visual/digital artist. She studied at the London
School of Contemporary Dance and also with Merce Cunningham in
New York. Ruth has taught and performed at the Laban Centre for
Movement and Dance, for Dublin Contemporary Dance Theatre and
with Earthfall Dance. › Pedagogies of Theatre (Arts) and Performance (Studies), Studies in Theatre
and Performance, 25.3, 201-214. Simon Weaver University of Leicester, Department
of Health Sciences, Social Science
Group, Adrian Building, Leicester,
LE1 7RH, United Kingdom Simon Weaver is a Research Associate in the Social Science Group of
Health Sciences at the University of Leicester and a Visting Fellow in
the Department of Social Science at Loughborough University. His
research interests include theories of rhetoric, humour (especially in
relation to racist and other forms of offensive humour), social and
cultural theory, and semiotics. Keywords culture, semiotics,
humour, race, offensive humour › The reverse discourse and resistance of Asian comedians in the West,
Comedy Studies, 1.2, 149-157. Rebecca Weber Somanaut Dance, 2167 E
Susquehanna Ave #2, Philadelphia,
PA, 19125, United States of America Keywords teaching practices,
somatics, contemporary arts, dance,
semi-structured framework, somatic
movement, dance education,
choreography, performance, theatre Rebecca Weber holds a MA in Dance and Somatic Well-Being:
Connections to the Living Body (UK) from the University of Central
Lancashire. She is an academic and artist who seeks to find the places
where dance and somatics intersect, incorporating them into both her
teaching and personal dance practices. She is currently dancing and
developing a somatic movement dance education practice in
Philadelphia, Pennsylvania (USA). › Integrating semi-structured somatic practices and contemporary dance
technique training, Journal of Dance & Somatic Practices, 1.2, 237-254. Peter R. Webster Northwestern University, Bienen
School of Music, Northwestern
University, Evanston, IL, USA. 711
Elgin Road, Evanston, IL 60208 Keywords Peter Webster is the John Beattie Professor of Music Education and
Technology. He is the author of Measures of Creative Thinking in
Music, an exploratory tool for assessing music thinking using quasiimprovisational tasks. He is also co-author of Experiencing Music
Technology, 3rd edition Update (Cengage/Schirmer, 2008) and is coeditor of the new two-volume MENC Oxford Research Handbook on
Music Learning (Oxford University Press, 2012). › Key research in music technology and music teaching and learning, Journal
of Music, Technology and Education, 4.2-3, 115-130. Hannele Weir City University London, Department
of Interdisciplinary Studies in
Professional Practice, School of
Hannele Weir is a Lecturer in Applied Sociology, in the Department of
Interdisciplinary Studies in Professional Practice, School of
Community and Health Sciences at City University London. She is
currently involved in a research project on Art, social inclusion and the
Community Programme at Tate Modern. Community and Health Sciences,
Northampton Square, London, EC1V
0HB, United Kingdom › You don’t have to like them: Art, Tate Modern and learning, Journal of
Applied Arts & Health, 1.1, 93-110. Keywords art, violence, learning,
practice, museum Rachel Weissbrod Bar Ilan University, Department of
Translation and Interpreting Studies,
Ramat Gan, 52900, Israel Keywords translation, adaptation,
intersemiotic, photography, Holocaust Dr. Rachel Weissbrod is a senior lecturer in the Department of
Translation and Interpreting Studies at Bar Ilan University, Israel. Her
areas of research include the theory of translation, literary translation
into Hebrew, translation for the media and intersemiotic translation.
(She has published in Multilingua, Target, The Translator, , Across
Languages and Cultures, Jostrans, Borderlands and more.) Her book
Not by Word Alone, Fundamental Issues in Translation (in Hebrew)
was published by The Open University of Israel in 2007. › Translating Words into Visual Signs:Face Photography in The Summer of
Aviya and The Island on Bird Street, Journal of Adaptation in Film &
Performance, 1.3, 221-235. Graham F. Welch University of London, Department of
Early Childhood and Primary
Education, Culture, Communication
and Media, Institute of Education
University of London, 20 Bedford
Way, London, WC1H 0AL Keywords Professor Graham Welch holds the Institute of Education, University of
London Established Chair of Music Education and is Head of the
Institute's Department of Early Childhood and Primary Education. He
is president of the International Society for Music Education (ISME),
elected chair of the internationally based Society for Education, Music
and Psychology Research (SEMPRE) and past co-chair of the Research
Commission of ISME. Current visiting professorships include the
Universities of Queensland (Australia), Limerick (Eire) and
Roehampton (UK). He is also a member of the UK Arts and
Humanities Research Council's (AHRC) Review College for Music and
has been a specialist consultant for government departments and
agencies in the UK, Italy, Sweden, USA, Ukraine, UAE, South Africa
and Argentina on aspects of music, education and teacher education.
Publications number over 270 and embrace musical development and
music education, teacher education, the psychology of music, singing
and voice science, as › The arts and humanities, technology and the 'English Baccalaureate':
STEAM not STEM, Journal of Music, Technology and Education, 4.2-3,
245-250. Susan West Australian National University,
School of Music, Canberra, ACT
0200, Australia Keywords music education, life-long
engagement, community Dr. Susan West trained in music performance at the Melbourne
University Conservatorium of Music and obtained a postgraduate
diploma in music education from the Kodaly Institute of Hungary. She
played with the West Australian Symphony Orchestra and was a
Principal Flute with the Sydney Symphony Orchestra before moving to
the ANU. She has a master’s degree in Gifted and Talented Education
and her Ph.D. developed a theoretical framework for the innovative
Music Education Program she established and developed at the ANU
School of Music. Her approach to music education based on a social
model of community outreach has resulted in several national awards
and is also the subject of a range of films produced and in production
by Ronin Films, Australia. › The Australian National University Music Education Programme: developing
a new approach to ongoing engagement in music making for all ages,
International Journal of Community Music, 2.2&3, 241-254. Sarah Whatley ICELAB at Coventry University,
Coventry School of Art and Design,
ICE building, Priory Street, Coventry,
CV1 5FB, United Kingdom Keywords dance, digital media,
archiving, corporeality, collaboration,
interactivity Sarah Whatley is Professor of Dance at Coventry University. She is a
writer and artist and her research specializes in dance analysis and the
interface between dance and digital technologies. She led the Siobhan
Davies archive project. Amongst her other research projects she is a
member of the AHRC-funded Screendance Network and is
international associate for a pan-European research cluster, Inside
Movement Knowledge. She edits the International Journal of Dance
and Somatic Practices and is on the Editorial Board of the
International Journal of Screendance. › Born digital; dance in the digital age, International Journal of Performance
Arts and Digital Media, 5.1, 51-63. › Editorial, Journal of Dance & Somatic Practices, 1.1, 3-4. › Editorial, Journal of Dance & Somatic Practices, 1.2, 141-142. › Editorial, Journal of Dance & Somatic Practices, 2.1, 3-4. Vincent White University of British Columbia,
Department of Language and Literacy
Education, 2329 West Mall,
Vancouver, BC, V6T 1Z4, Canada Keywords performance, research,
ethics, inner voices, ethnic studies Vincent White is an instructor in the Faculty of Education at the
University of British Columbia where he completed a doctorate in the
Department of Language and Literacy Education. Both his programme
of research and university teaching are interdisciplinary in nature as he
incorporates the fields of counselling psychology and educational
leadership in his scholarship. Vincent continues to work as a counsellor
and learning support teacher in the public education system. His
research interests include power and organizational dynamics,
individual and systemic change in educational settings, research-based
theatre, and narrative inquiry. Vincent has also published in the
International Journal of Qualitative Studies in Education and Arts
Praxis. › Whose story is it anyway? Exploring ethical dilemmas in performed
research, Performing Ethos: An International Journal of Ethics in Theatre &
Performance, 1.1, 85-95. Mike White St. Chad’s College, University of
Durham, 18 North Bailey, Durham,
DH1 3RH, United Kingdom Keywords consultation, practice,
participation, art, health Mike White is a Senior Research Fellow at the Centre for Medical
Humanities and St. Chad’s College, University of Durham, United
Kingdom. His work for the centre has included workforce development
programmes in arts-in-health, project-based evaluations, and audits and
literature reviews of arts-in-health for government agencies. In 2005 he
was awarded a fellowship of the UK’s National Endowment for
Science, Technology and the Arts to research community-based arts in
health and to build both national and international links in this field.
Radcliffe, Oxford, published the resulting book, Arts Development in
Community Health – ocial Tonic, in 2009. › Developing guidelines for good practice in participatory arts-in-health-care
contexts, Journal of Applied Arts & Health, 1.2, 139-155. Birgit Wiens LMU – Ludwig- MaximiliansUniversität München,
Theaterwissenschaft, Georgenstr. 11,
München, 80799, Germany Keywords shifts of visual perception,
scenic modules, modularity, material
movability, light, electric light Dr. Birgit Wiens is currently working on a Research Project
‘Intermediale Szenographie’ (Ludwig-Maximilians-Universität
München). Ph.D. in Theatre Studies (LMU Munich, 1998). As a
curator, dramaturg and project leader, she has worked for ZKM|Centre
for Art and Media, Karlsruhe, and other institutions. 2004–09 Professor
for Theatre Studies, Academy of Fine Arts, Dresden. She has been
Member of the FIRT/IFTR Research Group ’Intermediality’ since
2003. Her publications include numerous articles on acting and
performance theory, art in public space and scenography in the
twentieth/twenty-first century. Recent book project: G. Bandstetter/B.
Wiens (Eds.): Theater ohne Fluchtpunkt/Theatre without Vanishing
Points. The Heritage of Adolphe Appia: Scenography and
Choreography in Contemporary Theatre. Berlin (Alexander Verlag)
2010. › Modular settings and Creative Light: The legacy of Adolphe Appia in the
digital age, International Journal of Performance Arts and Digital Media,
6.1, 25-39. Stan Wijnans Cruquiuskade 267, 1018 AM,
Amsterdam, Netherlands Keywords ChoreoSonic, spatiality,
sound, robotics Stan Wijnans is an interactive sonic artist, researcher and
MAX/MSP/Jitter programmer whose latest work entails collaborations
with robotics artist Stelarc, her interactive dance and sound
performance ‘Frozen White’ at the ICA, London, and collaborations
with choreographers Sarah Rubidge, Sophia Lycouris, Isabel Rocamora
amongst others. She has been employed by the Nottingham Trent
University and the University of Chichester, UK as composer,
MAX/MSP programmer and BA/MA student advisor. She taught
workshops at several art institutions and Universities in the
Netherlands, UK and Taiwan. Recently she completed her Ph.D.
research that investigated the practical and theoretical potential of
mapping parameters from real time (spatial) body movement into
interactive 3D surround sound composition. She also holds an MA in
interactive robotics and sound performance. › Sound Skeleton’: Interactive transformation of improvised dance movements
into a spatial sonic disembodiment, International Journal of Performance
Arts and Digital Media, 4.1, 27-44. Danielle Wilde The University of Tokyo, Ishikawa
Komuro Laboratory Meta Perception
Group, Japan Keywords body, interactivity,
performance, embodiment Danielle Wilde is an artist and design researcher who currently shares
her time between the Ishikawa Komuro Laboratory at the University of
Tokyo, Japan and Monash University (Fine Art) and CSIRO (Materials
Sciences and Engineering) in Melbourne and Belmont, Australia. She
also operates as an independent artist. Her research is concerned with
how technology might be paired with the body to poeticise experience.
Her art is concerned with using this knowledge to shake things up and
feel more alive. Through her practice and writing she continually
questions and blurs boundaries between art, research and everyday life.
She has an MA in Interaction Design from the Royal College of Art in
London and is currently completing a Ph.D. in the Poetics of Embodied
Interaction, in relation to body-worn technologies. › hipDisk: Using sound to encourage physical extension, exploring humour in
interface design, International Journal of Performance Arts and Digital
Media, 4.1, 7-26. Ian Wilkie University of London, Institute of
Education, 20 Bedford Way, London,
WC1H 0AL, United Kingdom Ian Wilkie is a professional actor and a tutor in post-compulsory
education at the Institute of Education, London. He is currently
undertaking research into comic performance at the University of
Aberystwyth. Keywords adult-child interaction,
Child Directed Speech (CDS),
repetition, incongruity, nonsense › The origins of comic performance in adultchild interaction, Comedy Studies,
1.1, 21-32. David Brian Williams Illinois State University, Bloomington
IL, USA Keywords Dr. David Brian Williams is Professor Emeritus of Music and Arts
Technology at Illinois State University and is currently serving as
President of The College Music Society. His scholarly and music
activity embraces arts technology, music education and psychology,
and composition. Recent works include Experiencing Music
Technology (third edition updated) co-authored with Peter R. Webster
(Schirmer Cengage Learning, 2009); 'Psychomusicology: A program, a
journal, and divergent paths' with James Carlsen and Jack Taylor for
the journal Psychomusicology: Music, Mind, & Brain (issue 20, 2009);
and the multimedia composition, Grassroots 2012, co-composed with
Tayloe Harding, and performed in Richmond, Virginia, and
Bloomington, Illinois. › The non-traditional music student in secondary schools of the United States:
Engaging non-participant students in creative music activities through
technology, Journal of Music, Technology and Education, 4.2-3, 131-147. Amanda Williamson University of Central Lancashire,
School of Art, Design and
Performance, University of Central
Lancashire, Preston, PR1 2HE,
United Kingdom Keywords support, heart, relaxation,
community Amanda Williamson is the founder of the MA 'Dance and Somatic
Wellbeing: Connections to the Living Body', United Kingdom/United
States. She is a senior lecturer at the University of Central Lancashire,
School of Art, Design and Performance, and is the course leader for the
MA programme in New York. Amanda is currently editing a book
entitled Dance, Somatics and Spiritualities: Contemporary Sacred
Narratives – Leading Voices in the Field. Amanda sits on the editorial
board for the journal Dance and Somatic Practices, and is involved in
the development of new post-graduate MA programmes in dance and
spirituality internationally. Her area of expertise is contemporary
spirituality and dance/movement, and in addition research and
publishing in innovative areas. › Formative support and connection: somatic movement dance education in
community and client practice, Journal of Dance & Somatic Practices, 1.1,
29-45. › Reflections and theoretical approaches to the study of spiritualities within the
field of somatic movement dance education, Journal of Dance & Somatic
Practices, 2.1, 35-61. Robert Wilsmore York St John University, Lord
Mayor’s Walk, York, YO31 7EX,
United Kingdom Keywords collaboration, Goat Island,
performance Dr. Robert Wilsmore is Head of Creative Practice in the Faculty of
Arts at York St John University. His research engages with
performance, composition, musicology, collaboration and pedagogy.
Recent publications include articles on prog rock group 'Yes' for
Routledge journal Parallax (issue 56, 2010) and a chapter in
Kraftwerk: Music Non-Stop for Continuum Books (2011) joint
authored with Simon Piasecki. › The demonic and the divine: Unfixing replication in the phenomenology of
sampling, Journal of Music, Technology and Education, 3.1, 5-16. Michael Wilson University College Falmouth, 25
Woodlane, Falmouth, Cornwall, T11
4RH, United Kingdom Keywords Munich cabaret, Karl
Valentin, Liesl Karlstadt, politics,
storytelling, Brecht Michael Wilson started his career as a professional storyteller and is
now Dean of the School of Media and Performance at University
College Falmouth. Previously he was Head of Research at the Cardiff
School of Creative and Cultural Industries. He is the author of
Performance and Practice: Oral Narrative Traditions among
Teenagers in Britain and Ireland (1997), (with Richard Hand) GrandGuignol (2002), Storytelling and Theatre (2005) and (with Richard
Hand) London's Grand-Guignol (2007). › Revisiting Brecht: preparing Galileo for production, Studies in Theatre and
Performance, 22.3, 145-158. › Karl Valentin's ‘Father and Son Discuss the War’, Studies in Theatre and
Performance, 27.1, 5-12. › ‘I am a Poor, Skinny Man’: Persona and physicality in the work of Karl
Valentin, Studies in Theatre and Performance, 28.3, 213-221. Julie Wilson-Bokowiec University of Huddersfield, Centre for
Research in New Music, Queensgate,
Huddersfield, West Yorkshire, HD1
3DH, United Kingdom Keywords technology, body,
interactivity Julie is a theatre/performance artist and a Research Fellow (CeReNeM
– Centre for Research in New Music) at the University of Huddersfield.
She began developing interactive work with composer Mark Bokowiec
in 1995. Since then she has performed internationally and works with
the Bodycoder System. Major performances and commissions include
Spiral Fiction (2002) for Digital Summer; Cyborg Dreaming (2000/01)
commissioned by the Science Museum, London; Zeitgeist at the
KlangArt Festival; and Lifting Bodies (1999) at the Trafo, Budapest; as
featured artists at the Hungarian Computer Music Foundation Festival
NEW WAVES supported by the British Council; and the Vox Circuit
Trilogy (2007) at the Watermans in London. › Physicality: The techne of the physical in interactive digital performance,
International Journal of Performance Arts and Digital Media, 6.1, 61-75. Brenda Winter Queen’s University Belfast, 4 Lennox
Avenue, Newton Park, Saintfield
Road, Belfast, BT8 6LA, United
Kingdom Keywords research, archiving,
popular theatre, disability, Irish
theatre Brenda Winter is an actress, director and writer. She was a founder
member of Charabanc, the ground-breaking women’s theatre collective
in the 1980s, founder and first artistic director of Replay (1989–96),
and (1998–2004) creative director of the Mixed Peppers Theatre Arts
Training Programme for young people with motor disabilities. Since
2004, she has taught theatre at Queen’s University, Belfast, and wrote a
play called Just Shiels. › When Shiels met Liberace: a skirmish with the canon of Irish theatre, Studies
in Theatre and Performance, 29.3, 239-252. Julia Winterson University of Huddersfield, United
Kingdom, Department of Music,
Media and Humanities, Queensgate,
Huddersfield, HD1 3DH, United
Kingdom Keywords music, creativity,
outreach, orchestra Julia Winterson combines part-time lecturing at the University of
Huddersfield with freelance writing. She has also worked as the Music
Qualification Leader for Edexcel and as Head of New Music for Peters
Edition. Her Dr.Phil research at the University of York was in the
education work of orchestras and opera companies. Commissioned
research includes work for QCA, Opera North, London Sinfonietta and
the Arts Council. She is a member of the Music Publishers Association
Education and Training Committee and the International Society for
Contemporary Music British Section. Publications include six
anthologies of music for schools, Pop Music: The Text Book and
numerous articles for music magazines and journals, including the
British Journal of Music Education, Arts and Humanities in Higher
Education and Classroom Music. › So what's new? A survey of the educational policies of orchestras and opera
companies, International Journal of Community Music, 3.3, 355-363. Reba Wissner Brandeis University Music
Department, Slosberg Music Center,
MS 051, 415 South Street, Waltham,
Massachusetts, 2454, United States of
America Keywords early music, prologue,
Francesco Cavalli, seventeenthcentury opera, linguistics Reba Alaina Wissner is a Ph.D. candidate in Musicology at Brandeis
University. She holds Bachelor of Arts Degrees in Music and Italian
from Hunter College of the City University of New York and a Master
of Fine Arts Degree in Musicology from Brandeis University. Her
dissertation is entitled ‘Of Gods, Myths, and Mortals: Francesco
Cavalli’s L’Elena (1659)’. She is a recipient of numerous awards,
including an Andrew W. Mellon Foundation Dissertation Research
Grant. In addition to early opera, Wissner’s other research
interests include the relationship between music and politics, Jewish
music, and music and immigration. › To sleep perchance to sing: the suspension of disbelief in the prologue to
Francesco Cavalli's Gli Amori d'Apollo e di Dafne (1640), Studies in Musical
Theatre, 4.1, 5-13. Stacy Wolf Princeton University, Lewis Center
for the Arts, 185 Nassau Street,
Princeton, NJ, 8544, United States of
America Keywords Bruce Kirle, music,
theatre, dance Stacy Wolf is Associate Professor in Theater at Princeton University’s
Lewis Center for the Arts She holds a BA in English from Yale and an
MA in Drama from the University of Virginia. She received her Ph.D.
in Theatre from the University of Wisconsin-Madison. She has
published articles on theatre spectatorship, performance pedagogy, and
musical theatre in many journals, including Theatre Journal, Modern
Drama and Women and Performance. From 2001–2003 she was the
editor of Theatre Topics: A Journal of Pedagogy and Praxis. Her book,
A Problem Like Maria: Gender and Sexuality in the American Musical
was published by the University of Michigan Press in 2002. › Introduction to Bruce Kirle Memorial Panel debut papers in music-theatredance, Studies in Musical Theatre, 3.3, 273-276. Alain Wolf University of Norwich, School of
Language and Communication
Studies, Norwich, NR4 7TG, United
Kingdom Dr. Alain Wolf is a lecturer in Language and Translation Studies at the
University of East Anglia. He specializes in intercultural pragmatics
and translation studies. His most recent work has focused on the
recovery of inferences in translated literary texts, film adaptations and
religious discourse. › Reviews, Journal of Adaptation in Film & Performance, 2.1, 79-88. Keywords adaptation, ideology,
implied meaning, fidelity, translation,
symbolism › Mobilizing meaning?: religious symbolism in film adaptations of C. S.
Lewis's The Lion, the Witch and the Wardrobe, Journal of Adaptation in
Film & Performance, 2.3, 239-254. Elizabeth L. Wollman Baruch College, B7-235, 55
Lexington Avenue, New York, New
York, 10010, United States of
America Keywords feminism, homosexuality,
Elizabeth L. Wollman is Assistant Professor of music at Baruch
College, City University of New York. She is the author of the
book The Theater Will Rock: A History of the Rock Musical, from Hair
to Hedwig (2006), and the article ‘The Economic Development of the
“New” Times Square and Its Impact on the Broadway Musical’ (2002).
She is currently completing a manuscript tentatively titled Hard Times:
The Adult Musical in 1970s New York City, which will be published by
Oxford University Press. Her research interests include American
gender studies, Oh! Calcutta!, Let My
People Come, Mod Donna popular music, the musical theatre, gender studies, and the cultural
history of New York City. › Emancipation or exploitation? Gender liberation and adult musicals in 1970s
New York, Studies in Musical Theatre, 2.1, 5-32. › Musical theatre and the almighty dollar: What a tangled web they weave,
Studies in Musical Theatre, 5.1, 3-12. Malcolm Womack Malcolm Womack is a Ph.D. candidate in Drama from the University
of Washington, where he taught Play Analysis and American Theatre
History. He is currently completing his dissertation on performances at
Harlem’s Cotton Club in the 1920s and 1930s. Keywords adaptation, feminism,
Catherine Johnson, Mamma Mia!,
musicals › ‘Thank You For the Music’: Catherine Johnson's feminist revoicings in
Mamma Mia!, Studies in Musical Theatre, 3.2, 201-211. Graham Wood Coker College, 300 East College
Avenue, Hartsville, SC, 29550,
United States of America Keywords Richard Rodgers, Oscar
Hammerstein II, ‘Ten Minutes Ago’,
Disney, Cinderella Graham Wood is Associate Professor of Music at Coker College in
Hartsville, South Carolina, where he teaches courses in music history,
world music, film music, and the history of Broadway and Hollywood
musicals. A native of England, he has a BA in music from the
University of Newcastle-upon-Tyne, and an MA and Ph.D. in
musicology from the University of Minnesota in Minneapolis. He is
coordinator of the music and musical theatre programs at Coker
College, and regularly produces and conducts musical theatre
productions and showcases. Graham is currently a member of the
editorial board of Studies in Musical Theatre and his chapter entitled
‘Why do they start to sing and dance all of a sudden? Examining the
Film Musical’ appears in the second edition of The Cambridge
Companion to the Musical (2008). › Ten Minutes and Fifty (Two) Years Ago: the three TV versions of Rodgers
and Hammerstein's Cinderella, Studies in Musical Theatre, 3.1, 109-116. Bethany Wood University of Wisconsin–Madison, 41
Braeger Dr, Fitchburg, Wisconsin, WI
Bethany Wood is a Ph.D. candidate at the University of Wisconsin–
Madison, where she earned her MA in Theatre Research and a
Certificate in Gender and Women’s Studies. Her article ‘Incorporation
of the Incar(nation): Dorothy L. Sayers’s The Man Born to be King’
53713, United States of America appears in the Fall 2010 issue of Ecumenica. Keywords adaptation, gender studies,
female culture, Show Boat, Edna
Ferber › Ol' (wo)man river?: Broadway's gendering of Edna Ferber's Show Boat,
Studies in Musical Theatre, 4.3, 321-330. Sheila C. Woodward University of Southern California,
Thornton School of Music, 3407
Trousdale Parkway, Los Angeles,
California 90089-0851, United States
of America Sheila Woodward is Assistant Professor of Music Education at the
USC Thornton School. She is a native of and earned her Ph.D. in music
education from the University of Cape Town in 1993. She received a
Performers' Licentiate from the Royal School of Music (London) in
1981. An award-winning researcher, her work has been published and
presented internationally and includes a focus on the fields of prenatal
and neonatal response to music. Keywords juvenile offenders, music
education, law, mentors, Africa › South Africa, the arts and youth in conflict with the law, International
Journal of Community Music, 1.1, 69-88. Roger Wooster The University Of Wales, Newport,
Performing Arts, City Campus, Usk
Way, Newport, NP20 2BP, United
Kingdom Keywords TIE, health, education,
drama, theatre Roger Wooster worked in Theatre In Education as a founder member
of Open Cast Theatre and as part of Theatr Powys where he helped
develop the company’s participatory approach to TIE. Since 1990, he
has worked in Further and Higher Education, contributing to a number
of journals and publishing Contemporary Theatre in Education in
2007. He is currently at The University of Wales Newport where he is
Senior Lecturer in Performing Arts and Applied Drama. › Theatre in education: More than just a health message, Journal of Applied
Arts & Health, 1.3, 281-294. Andrew Wyllie University of the West of England,
School of English and Drama,
Coldharbour Lane, Bristol, BS16
1QY, United Kingdom Keywords gender, sexuality, queer
theory, race, class Andrew Wyllie is Senior Lecturer in Drama at the University of the
West of England. His Ph.D. thesis is titled 'Gender and Sexuality in
Post-War British Drama', which has now evolved into his book Sex on
Stage: Gender and Sexuality in Post-War British Drama, published by
Intellect Books in 2009. Most of his research work has been in the
socio-politics of modern drama, and especially in the area covered by
'queer theory' - the dynamics of presences and absences based on
gender, sexuality, race and class. He is also interested in the broader
relationship between dramatic literature and the self, and especially in
the question of the role of tragedy in the twenty-first century -
including the most basic question: 'does such a role actually exist?'. › Editorial, Studies in Theatre and Performance, 30.3, 247-247. Christine Young-Gerber Christine Young-Gerber holds a BFA in performance from Northern
Kentucky University, an MA in theatre from the University of
Kentucky, and an MFA in musical theatre from the University of
Central Florida. She works professionally as an actor in regional
theatres, performing from Florida to Alaska, and New Hampshire to
California in notable theatres including Flat Rock Playhouse and
Orlando Shakespeare Theatre. Other research interests include
incorporating and overcoming female stereotypes in performance. She
currently teaches humanities at Pacific University in Forest Grove,
Oregon in the Seminar Program. Pacific University, 4010 Robin Pl.
#11, West Linn, Oregon, 97068,
United States of America Keywords Assassins, Cats, A Chorus
Line, Company, concept musical › Attention must be paid, cried the balladeer: The concept musical defined,
Studies in Musical Theatre, 4.3, 331-342. Alberto Zambenedetti New York University, College of
Staten Island, 2800 Victory
Boulevard, New York, New York,
United States of America Keywords Italian cinema, Benetton,
Gianni Amelio, Ferzan Ozpetek,
Marco Ponti, short fiction film Alberto Zambenedetti was born and raised in Venice, Italy. He has a
Laurea in Foreign Languages and Literatures from Università degli
Studi di Venezia, Ca’ Foscari, a Master’s degree in Cinema Studies
from New York University, and he is currently pursuing a Ph.D. in
Italian Studies from the same institution. › Introducing Shakespeare: The incipit in Orson Welles’s adaptations, Journal
of Adaptation in Film & Performance, 4.1, 39-52. Yael Zarhy-Levo Tel-Aviv University, Department of
Literature, Ramat Aviv, Haim
Levanon St., Tel Aviv, 69978, Israel Keywords The Servant (novella and
film), The British New Wave, Joseph
Losey, Harold Pinter, choreography,
adaptation, theatre, dance, Matthew
Dr. Yael Zarhy-Levo is a Senior Lecturer in the Department of
Literature at Tel-Aviv University, Israel, where she teaches theatre
history, theatre criticism and modern British Theatre. Her publications
include The Theatrical Critic as Cultural Agent: Constructing Pinter,
Orton and Stoppard as Absurdist Playwrights (Peter Lang, 2001); The
Making of Theatrical Reputations: Studies from the Modern London
Theatre (Studies in Theatre History and Culture, Thomas Postlewait
(ed.), University of Iowa Press, 2008); articles in Poetics, Theatre
History Studies, Journal of Dramatic Theory and Criticism, Theatre
Survey and Theatre Research International; and chapters in he
Bourne Cambridge Companion to Harold Pinter (Cambridge, 2001, and 2nd
ed., 2009), and, with Freddie Rokem, in Writing & Rewriting National
Theatre Histories (University of Iowa Press, 2004). › Dramatists under a label: Martin Esslin’s The Theatre of the Absurd and
Aleks Sierz’ In-Yer-Face Theatre, Studies in Theatre and Performance, 31.3,
315-326. › How far can you go in telling a story without using words?, Journal of
Adaptation in Film & Performance, 4.2, 173-188. Phillip Zarrilli University of Exeter, Department of
Drama and Dance, Thornlea, New
North Road, Exeter, EX4 4LA,
United Kingdom Keywords director, Asian martial
arts, Samuel Beckett Phillip Zarrilli is a director and is internationally known for training
actors in psychophysical process through Asian martial/meditation arts.
He runs a private studio (Tyn-y-parc C.V.N. Kalari/Studio) in Wales,
and conducts workshops throughout the world. His productions of
Samuel Beckett's plays in Los Angeles (2000), Austria (2001), and
Ireland (2004) have won critical acclaim and awards for 'best actress'
and 'courageous production' in Los Angeles. In 2002 he collaborated
with UK-based award-winning playwright, Kaite O'Reilly and Theatre
ASOU (Austria) on a semi-devised performance, Speaking Stones, that
opened in Austria in September, 2002, received its English premiere in
Wroclaw, Poland in 2003, and was again performed in Aflenz, Austria
in 2004. In 2004 he also directed Ota Shogo's The Water Station for
TTRP at The Esplanade Theatres on the Bay in Singapore. › Negotiating Performance Epistemologies: knowledges 'about', 'in' and 'for',
Studies in Theatre and Performance, 21.1, 31-46. › Notes and queries 2, Studies in Theatre and Performance, 31.1, 121-122. Elizabeth Zauderer Sapir College, Israel, 14 Adam
HaCohen Street, TelAviv, 64585,
Israel Elizabeth Zauderer is a faculty member in the Departments of English
and Liberal Arts at Sapir Academic College. Her research interests are
adaptation theory, Shakespeare on film, film theory and cultural
studies. Keywords theatre, Shakespeare › Seeing double: Shakespeare’s polysemy in film. The case of Lady Anne in
Richard III, Journal of Adaptation in Film & Performance, 4.1, 53-67. Gong Zhifang Gong Zhifang has a Masters in Directing, and worked for the
Community Music Education Center (Music Education Branch). The Open University of China,
Department of Directing, National
Academy of Chinese Theatre Arts,
No. 400 Wanquansi, Fengtai District,
Beijing, 100073, China › Communication and responsibility: Open universities in China and
community music education, International Journal of Community Music, 4.1,
15-21. Keywords education,
communication, music 1950s
Anthony Bushard
Jessica Sternfeld
actor training
Alison Hodge
Mark Cariston Seton
aesthetics
Roger Palmer
Steve Waters
3Dwiki
Toni Sant
actors
Alistair D. N. Edwards
affect
Elise Morrison
4D design
Jeffrey Johnson
Sophia Lycouris
adaptation
Frances Babbage
Deborah Cartmell
Paul J. C. M Franssen
Yvonne Griggs
Steffen Hantke
Claire Hind
Claire Hind
Ceri Hovland
Bernhard Kuhn
Tiel Lundy
Jim O’Loughlin
Laurence Raw
James Reynolds
Jesse Schlotterbeck
Stella Sorby
Jeremy Strong
Alex Symons
Rachel Weissbrod
Alain Wolf
Malcolm Womack
Bethany Wood
Yael Zarhy-Levo
Africa
Jane Collins
David Francis
Vuyisile Mathiti
Julia Sloth-Nielsen
Sheila C. Woodward
A Chorus Line
Zachary Dunbar
Christine Young-Gerber
A Cock and Bull Story
Eckart Voigts-Virchow
A Little Night Music
Steve Swayne
A.E.W. Mason
Vincent L. Barnett
aboriginal
Mary E. Piercey
acousmatic composition
Matthew Barnard
adult education
Cathy Augustin
Cindy L. Bell
Don D. Coffman
Andrew Krikun
Nathan B. Kruse
Janice Waldron
acoustic ecology
Matthew Barnard
acting
Eric T. Hetzler
Kate Napier
Derek Paget
David Roberts
Mark Taylor-Batty
acting theory
Eric T. Hetzler
active aging
Jane E. Southcott
activity theory
Pamela Burnard
adult music making
Jeffrey E. Bush
African American music
Sheelagh Chadwick
Rowan Oliver
African diaspora
Pamyla A. Stiehl
African music
Elizabeth Oehrle
African studies
André de Quadros
African theatre
Chukwuma Okoye
ageing
Christopher J Alfano
Hilary Bungay
Peter De Vries
Paul G. Dempster
Chee-Hoo Lum
adult-child interaction
Matthew Saxton
Ian Wilkie
ageing female body
Sharon Lockyer
advertising
Victor I. Ukaegbu
Agnes DeMille
Kurt Jensen
Aeschylus
Anastasia Belina
AHRB
Roberta Mock
Angela Piccini
aesthetic journalism digital
formalism
Michael Takeo Magruder
Aida
Bernhard Kuhn
Aikido
Sasha Roubicek
analytical model
Elke Huwiler
Alaska
Duane Warfield
anarchism
James Reynolds
Alexander Technique
Jess Allen
androgyny
Pamela Karantonis
Alfred Uhry
Doug Reside
Anglophilia
James Harris
Algebra of Parapraxis
David Fenton
algorithms
John T. O’Donnell
anguage
Gerard Matte
animatuer
Lee Higgins
alternative music
Russ Bestley
Annie Lennox
Lucy O’Brien
Alvaro del Amo
Cristina Cano Vara
anthropological approach
Valentina Iadeluca
Andrea Sangiorgio
American and British theatre
Hsin-yun Ou
American culture
Tiel Lundy
American drama
Garrett Eisler
American literature
Dennis Cutchins
anthropology
Alison Phipps
anti-war
Helen Ostovich
applied choreography
Alec Robertson
applied drama
Hazel Barnes
Sarah Jane Dickenson
American music
David E. Myers
Jennifer Oates
American musicals
Hilary Baker
America's Japan
Barbara Thornbury
applied theatre
Teresa A Fisher
Katharine Low
architecture
Steve Benford
Jonathan Foster
Jeffrey Johnson
Stewart Kember
Sophia Lycouris
Dermott Mcmeel
archiving
Frances Babbage
Harmony Bench
Steve Benford
Tom Burvill
Jonathan Foster
Gabriella Giannachi
Graham Ley
Duncan Rowland
Ross Varney
Sarah Whatley
Brenda Winter
Arctic
Mary E. Piercey
Arnold Wesker
Paul J. C. M Franssen
art
Deborah Barkun
Vincent L. Barnett
Katye Coe
Scott deLahunta
Jools Gilson-Ellis
Paul Granjon
LaResse Harvey
David G. Hebert
Susan Kozel
Christopher McCullough
Phillip McIntyre
Nancy Menning
Joe Moran
Julie Tiernan
Naphtaly Shem Tov
Duane Warfield
Ruth Way
Hannele Weir
Mike White
art and design
Gill Greaves
art development
Lesley Seeger
art education
Michael I. Jackson
Albert Jewell
Frances Rifkin
art literature
Tracey Warr
art therapy
Gill Greaves
Albert Jewell
Anne Lanceley
Usha Menon
Lesley Seeger
Artaud
Jennifer Shryane
articulation
Vida. L. Midgelow
arts
Brian Crow
Katja Krebs
Jacquelyn Ford Morie
Sally Jane Norman
arts therapy
Hod Orkibi
assessment feedback
Steve Cooper
Judith Sebesta
Tim Stephenson
asylum seekers
Rand Hazou
autism
Melissa Trimingham
audience
Awo Mana Asiedu
Marie Louise Bourbeau
Elizabeth Boyce
Jane Collins
Patrick Duggan
Braínne Edge
Simon Ellis
Roger Palmer
Colin Poole
Stella Sorby
Jenn Stephenson
autobiography
Rea Dennis
Dee Heddon
Steve Waters
audience perceptions
Geoffrey Edwards
autoethnographic research
John Freeman
avant-garde
Gunter Berghaus
Kurt Taroff
Avenue Q
Hilary Baker
art-technology
Dave Everitt
Alec Robertson
audiences
Gerard Matte
Ian McFadyen
Nick Moran
Asia
Lim Swee Hong
audito
Jem Kelly
backward glance
Siân Adiseshiah
Asian martial arts
Phillip Zarrilli
auditory awareness
James Mooney
Bakhtin
Rob Conkie
David Roesner
Asian popular culture
Claire Pamment
augmented reality
Simon Biggs
Stephen Fernandez
George Gagneré
Christian Jacquemin
Daniel Jernigan
Russell Pensyl
Lee Shangping
Asian studies
André de Quadros
Asian theatre
Ashley Thorpe
Assassins
Christine Young-Gerber
Australia
Graeme Harper
Gillian Harrison
Rand Hazou
Kerrie Schaefer
assessment
Dita Judith Federman
Roy Priest
Australian Art Orchestra
Gillian Howell
authenticity
Jessica Hillman
Judith A Sebesta
ayurveda
Ashlee Ramsey
Balázs
Erin Brannigan
ballet
Henrietta Bannerman
Necla Çikigil
Bill Ribbans
Barcelona
Anton Pujol
Baroness Orczy
Vincent L. Barnett
Baroque
Jennifer Cable
baseball
Jessica Sternfeld
Billy Elliot
George Rodosthenous
body-mind centering
Jess Allen
Battery Opera
Daniel Mroz
Billy Rose
Geoffrey Block
Bollywood
Kristen Rudisill
Baz Luhrmann
Hilary Baker
binaural method
Matthew Barnard
Boucicault
Rob Dean
Bazin
Marco Grosoli
biography
Deborah Cartmell
Rineke Smilde
Bourdieu
Dimple Godiwala
BebéBabá
Helena Rodrigues
Beckett
Cristina Cano Vara
Graham Saunders
Kathy Smith
Mark Taylor-Batty
Beijing opera
Megan Evans
Bell Shakespeare Company
Rob Conkie
Benetton
Alberto Zambenedetti
Benjamin Franklin
Rick Mitchell
bereavement
Paul G. Dempster
Bernstein
William A. Everett
Bhodhidharma
Jerri Daboo
biculturalism
Nancy Menning
Billie Whitelaw
Mark Taylor-Batty
biopsychology
Linda J. Thomson
bipolar
Peter Amsel
Black British theatre
Claire Cochrane
Brazil
Frank Abrahams
Brazilian theatre
Pedro de Senna
Aleksandar Sasha Dundjerovic
Bleak House
Rachel Carroll
Brecht
David Allen
Oliver Double
Angelos Koutsourakis
Peter Thomson
Michael Wilson
Boal
Teresa A Fisher
Brigadoon
Jennifer Oates
body
Ann Cooper Albright
Vasso Barboussi
Jaime del Val
Denise Doyle
Martha Eddy
Mary Noonan
Mary Oliver
Rachel O’Riordan
Ivani Santana
Kathy Smith
Anna Vidali
Danielle Wilde
Julie Wilson-Bokowiec
Brighton
John Bennett
body image
Emma Meehan
body-based responses
Hilary Kneale
Britain
Dimple Godiwala
Karen Morden
British Acousmatics
Joseph Anderson
British arts
Victoria Lowe
Chris Ritchie
Aleks Sierz
British Asian theatre
Claire Cochrane
British popular culture
Russ Bestley
Candide
William A. Everett
British Sign Language (BSL)
Ashley Thorpe
Canetti
James Harris
British theatre
Vicky Angelaki
John Bennett
Claire Cochrane
Ben Francombe
capitalism
Ewa Mazierska
caricatures
James Harris
Broadway
Paul Christman
Paul R. Laird
Robert Meffe
Tracey Moore
Alex Symons
Jeffrey Ullom
carnival
Roger Clegg
Rob Conkie
Karen Morden
David Robb
Bruce Kirle
Judith Sebesta
Stacy Wolf
Buffy
Mary Jo Lodge
Bulgaria
Richard Wallis
business
Freda Chapple
Butoh
Paul Allain
Frances Barbe
California
Joe Fierro
Calixto Bieito
Kara McKechnie
Camel Xiangzi
Megan Evans
cancan
Clare Parfitt-Brown
celebrity
Jason Fitzgerald
Jenn Stephenson
censorship
David Robb
Michael Thompson
charity
Michael I. Jackson
Charles Dickens
Rachel Carroll
David Chandler
Charles Mingus
George Burrows
carnivale
Ruth Shade
Charlotte Selver
Rebecca Loukes
carnivalesque
Rachel Kirk
chatterbots
Kevin Brown
Carola Speads
Rebecca Loukes
Chekhov
David Allen
Caroline
Aaron C. Thomas
Chico Buarque
Pedro de Senna
Caryl Churchill
Mary Luckhurst
Child Directed Speech (CDS)
Matthew Saxton
Ian Wilkie
Cassandra
Anastasia Belina
childhood
Michael Carklin
Allan Hewitt
Catalan cinema
Anton Pujol
Catherine Johnson
Malcolm Womack
Cats
Christine Young-Gerber
CD
Joe Fierro
Chinese martial arts
Daniel Mroz
Chinese theatre
Megan Evans
Ashley Thorpe
Chinoiserie
Hsin-yun Ou
choir
Cindy L. Bell
Jane Bentley
Mary Copland Kennedy
Thomas Langston
Roger Palmer
Debbie Rohwer
Mark Rohwer
Lim Swee Hong
choral singing
Gunter Kreutz
Don Stewart
Grayson Cooke
George Gagneré
Marco Grosoli
Markos Hadjioannou
Christian Jacquemin
Clare Parfitt-Brown
Steve Waters
city
Duška Radosavljević
civil rights
Kathryn Edney
Choreodrome
Elizabeth Boyce
Simon Ellis
Colin Poole
Clare Davidson
Yuko Kurahashi
Christianity
C. Michael Hawn
Greg Scheer
Lim Swee Hong
Cinderella
Graham Wood
cinema
Michael Carklin
Colin Poole
Elizabeth Boyce
colonial
Jane Collins
Claudio Monteverdi
George Burrows
comedic functions
Peter O’Rourke
class
Jeremy Strong
Andrew Wyllie
chorus
Sheelagh Chadwick
Zachary Dunbar
Casey J. Hayes
Evangelos Himonides
David Haldane Lawrence
classical music
Roger Palmer
choreography
Helen Bailey
Harmony Bench
Melissa Blanco Borelli
Carol Brown
Sue Hawksley
Claudia Kappenberg
Susan Kozel
Petra Kuppers
Alys Longley
Ray Miller
David Ian Rabey
Stephen Rothman
Sarah Rubidge
Pamyla A. Stiehl
Rebecca Weber
Yael Zarhy-Levo
cognition
Dave Collins
Richard Ralley
Ivani Santana
classical guitar
Dave Collins
ChoreoSonic
Stan Wijnans
collaboration
Ludivine Allegue
Joel Luis Barbosa
Johannes Birringer
Elizabeth Boyce
Simon Ellis
Dave Everitt
Sean Gregory
Christopher Jones
Colin Poole
Sita Popat
Alec Robertson
Ross Varney
Sarah Whatley
Robert Wilsmore
code-breaking
Matthew C. Applegate
Clemente Fracassi
Bernhard Kuhn
cliques
Alec Robertson
clowning
Louise Peacock
clowns
David Robb
club culture
Alice Bayliss
Nicolas Villar
Clytemnestra
Anastasia Belina
comedy
Emma Bennett
Braínne Edge
David Haldane Lawrence
James MacDonald
Peter Marteinson
Gerard Matte
Ian McFadyen
Karen Morden
Mary Oliver
Chris Ritchie
David Robb
Ruth Shade
Yuji Sone
Alex Symons
comedy studies
Claire Pamment
comic books
ROGER SABIN
commedia dellarte
Rob Conkie
Commission for Community
Music Activity
Marie McCarthy
communication
Lee Higgins
Martha Ladly
Leigh Landy
Sudesh Mantillake
Gong Zhifang
community
Christopher J Alfano
Cindy L. Bell
Sheelagh Chadwick
Freda Chapple
Mary L. Cohen
Gillian Harrison
Lee Higgins
Eri Hirabayashi
Deborah Kapchan
Mary Copland Kennedy
Katja Krebs
Nathan B. Kruse
Martha Ladly
Thomas Langston
Mary A. Leglar
Mogomme Masoga
Derek Miller
Devora Neumark
Debbie Rohwer
David S. Smith
Naphtaly Shem Tov
Janice Waldron
Susan West
Amanda Williamson
community art
Theodore Stickley
community education
Xu Ruisen
community groups
Helen Turner
community music
Frank Abrahams
Cathy Augustin
Stephen Baranski
Brydie-Leigh Bartleet
Sarah J. Bartolome
Jane Bentley
Patricia Shehan Campbell
Sylvia Chong
Bruce Cole
William M Dabback
Kathryn Deane
John Drummond
David Elliott
Steve Garrett
Casey J. Hayes
Dawn Joseph
Tim Joss
Sidsel Karlsen
Andrew Krikun
Thomas Langston
Gica Loening
Chee-Hoo Lum
Sun Luyi
Marie McCarthy
Nikki Moran
Rod Paton
Ross W. Prior
Mark Rohwer
Xu Ruisen
Julie Tiernan
Kari Veblen
Richard J. Hand
Allan Hewitt
Martin Iddon
Rod Paton
computational aesthetics
Michael Takeo Magruder
computational musicology
David Plans
computer architecture
John T. O’Donnell
computer game theory
Tony Richards
community theatre
Frances Rifkin
computer graphics
George Gagneré
Christian Jacquemin
community-based theatre
Baz Kershaw
computer music
Adam Stansbie
Company
Christine Young-Gerber
computer programming
Dave Everitt
Dave Moore
comparative drama
Elizabeth Sakellaridou
competition
Kristen Rudisill
Yuji Sone
complex systems
Jeffrey Johnson
Sophia Lycouris
computer science
Cordelia V. Hall
computer speech
Alistair Edwards
Christopher Newell
computer systems
John T. O’Donnell
complexity theory
Karen Cham
Brian Curson
Robyn Stuart
computer-generated
Alistair D. N. Edwards
composed theatre
David Roesner
composition
Peter Amsel
Paul Carr
computing audience
Glorianna Davenport
Hugo Liu
concept musical
Natalie Draper
Christine Young-Gerber
concept of the self
Ian Lamond
contemporary Shakespeare
Neal Swettenham
costume design
Adele Keeley
conferences
Kathryn Deane
contemporary theatre
Claire Conceison
counterculture
Vagelis Siropoulos
conflict resolution
Alexandra Balandina
Keren Barzilay-Shechter
contemporary theory
Anthony Fothergill
counter-tenor
Jorge Balça
conformity
Anthony Bushard
contextual performance
practices
Thecla Schiphorst
craft
Deborah Barkun
Jools Gilson-Ellis
consciousness studies
Daniel Meyer-Dinkgräfe
contextualization
Lim Swee Hong
creative education
Gillian Howell
conservatoire
Sean Gregory
contingent learning
Andrew King
Paul Vickers
creative process
Phillip McIntyre
consultation
Mike White
contemporary art
Tracey Warr
contemporary arts
Paul J. C. M Franssen
Markos Hadjioannou
Martin Iddon
Daniel Mroz
David Roesner
Greg Scheer
Aleks Sierz
Jackie Smart
Kathy Smith
Carole-Anne Upton
Rebecca Weber
contemporary dance
Jennifer-Lynn Crawford
contemporary drama
Mary Luckhurst
contemporary performance
Liz Tomlin
contemporary readings
Broderick D. V. Chow
continuous improvement
David Francis
copyright
Thy Phu
Coranto
Necla Çikigil
corporate theatre
Susan Russell
corporeality
Ludivine Allegue
Sarah T. Ellis
Ross Varney
Sarah Whatley
correctional education
Eric Shieh
cosmic adventure
Sally Jane Norman
costume
Jane Collins
creative processes
John Freeman
creative writing
Matthew Bushell
Mary Luckhurst
creative writing therapeutic
writing
Kate Evans
creativity
Peter Amsel
Jane Bacon
David Elliott
Kate Evans
LaResse Harvey
Allan Hewitt
Hilda Ho
Meade Palidofsky
Scott Palmer
Angela Piccini
Sita Popat
Karen Richard
Olivia Sagan
Lim Swee Hong
Julia Winterson
creativity and compositional
processes of composers
Michael Dunn
critical pedagogy
Frank Abrahams
Eric Shieh
cross-cultural studies
Alexandra Kertz-Welzel
Laurence Raw
Kari Veblen
Richard Wallis
culture
Alexandra Balandina
J. Bryan Burton
Patricia Shehan Campbell
Sheelagh Chadwick
Glorianna Davenport
Zachary Dunbar
Dawn Joseph
Mary Copland Kennedy
Lone Koefoed Hansen
Hugo Liu
Sudesh Mantillake
Sally Jane Norman
Elizabeth Oehrle
Helen Phelan
Duška Radosavljević
Kerrie Schaefer
Simon Weaver
Clare Parfitt-Brown
Sita Popat
Stamatia Portanova
Bill Ribbans
George Rodosthenous
Douglas Rosenberg
Sasha Roubicek
Kristen Rudisill
Pamyla A. Stiehl
Robyn Stuart
Lib Taylor
Ross Varney
Anna Vidali
Adriane Vieira
Rebecca Weber
Sarah Whatley
Stacy Wolf
Yael Zarhy-Levo
cross-national survey
Gunter Kreutz
Don Stewart
curating
Erica E. Ander
Anne Lanceley
dance aesthetics
Ray Miller
cult
Brigid Cherry
curriculum
Giselle M. d. S Ferreira
cultural geography
BRETT LASHUA
cybernetics
Alan Peacock
dance pedagogy
Karryn Allen
Becky Dyer
cultural heritage management
Sudesh Mantillake
Cyprus
Dorinda Hulton
dance science
Kimberley Hutt
cultural history
Anthony Fothergill
Dafora
Pamyla A. Stiehl
dance theatre
Vanio Papadelli
cultural identity
Chukwuma Okoye
dance
Helen Bailey
Henrietta Bannerman
Vasso Barboussi
Glenna Batson
Harmony Bench
Johannes Birringer
Yvon Bonenfant
Erin Brannigan
Pauline Brooks
Roger Clegg
Katye Coe
Stefanie Cohen
Brian Curson
Scott deLahunta
Sylvie Fortin
Sue Hawksley
Suna Imre
Jamie Jewett
Katja Kolcio
Petra Kuppers
Ian Lamond
Sudesh Mantillake
Joe Moran
Scott Palmer
dance therapy
Nancy Beardall
Kimberley Hutt
Sandra Reeve
critical theory
Simon Biggs
Douglas Rosenberg
cross-art form
Helen Turner
cultural piracy
Emer O’Toole
cultural roles of sound
Daniël Ploeger
cultural studies
Alison Phipps
Elizabeth Sakellaridou
cultural translation
David G. Hebert
dance education
Rebecca Weber
dance training
Jess Allen
dance writing
Rosemary Lee
dark play
Claire Hind
David Henry Hwang
Hilary Baker
Jeffrey Ullom
David Leveaux
Jessica Hillman
David Walliams
Sue Becker
Lloyd Peters
death
Paul G. Dempster
deconstruction
Geraldine Harris
defamiliarization
Elise Morrison
Lib Taylor
definitions
Lee Higgins
Deleuze
Erin Brannigan
deliberation
Philipp Dorstewitz
Cathy Turner
Sarah Whatley
diaspora
Graham Ley
digital music
David Plans
Dick Van Dyke
Chris Ritchie
digital scenography
Brian Curson
George Gagneré
Robyn Stuart
Dickens
Benjamin Poore
didactic design
Jesús Tejada
Dido and Aeneas
David Roesner
digital arts
Helen Bailey
Camille Baker
Simon Biggs
Johannes Birringer
Steve Dixon
Markos Hadjioannou
Adele Keeley
Mary Oliver
depression
Kate Evans
digital culture
Simon Biggs
Jaime del Val
Esther MacCallum-Stewart
Jacquelyn Ford Morie
Thecla Schiphorst
Derrida
Jem Kelly
design
Stacey Pitsillides
design process
Joslin McKinney
Mick Wallis
devised theatre
John Bennett
Robert Jude Daniels
Daniel Mroz
Jackie Smart
dialogue
Fiona Bannon
Necla Çikigil
Devora Neumark
digital death
Stacey Pitsillides
digital heritage
Stacey Pitsillides
digital media
Helen Bailey
Camille Baker
Deborah Barkun
Marsha Berry
Tom Burvill
Karen Cham
Costas Constandinides
Aleksandar Sasha Dundjerovic
Jools Gilson-Ellis
Dermott Mcmeel
Stamatia Portanova
Thecla Schiphorst
Ross Varney
Dionysus
Zachary Dunbar
Dionysus in 69
Zachary Dunbar
directing
Aleksandar Sasha Dundjerovic
Helena Enright
Bryce Lease
Sol B. River
Stephen Rothman
Rob Smith
Mark Taylor-Batty
director
Phillip Zarrilli
disability
Andrew Head
James MacDonald
Floyd Scott Taylor
Ashley Thorpe
Brenda Winter
disability arts
Bruce Cole
disappointment
Ewa Mazierska
discourse analysis
Roger Mantie
disillusionment
Paul J. C. M Franssen
Disney
David Allen
Chris Ritchie
Kristen Rudisill
Graham Wood
disorientation
Steve Dixon
displacement
James MacDonald
Devora Neumark
Lib Taylor
dispossession
Nicholas Pagan
disrupted language
Geraldine Harris
distance education
Sun Luyi
distractive interventions
Sue Hacking
DMT
Dita Judith Federman
documentary
Camille Baker
Julia Lippert
Phillip McIntyre
Derek Paget
Sol B. River
Carole-Anne Upton
Rand Hazou
Hilda Ho
Jozefina Komporaly
Julia Lippert
Hod Orkibi
Karen Richard
Jackie Smart
Katalin Trencsényi
Roger Wooster
Drama studies
Márta Minier
dramatic theory
Ellen Marie Peck
dramaturg
Sarah Dickenson
Helen Freshwater
dramaturgy
Dorinda Hulton
David Lane
Bryce Lease
Michael Pinchbeck
Duška Radosavljević
Jackie Smart
Phil Smith
Katalin Trencsényi
Cathy Turner
dream
Gordon McDougall
Drury Lane
Helen Brooks
documentation
Tom Burvill
Graham Ley
dubbing
Olaf Jubin
doppelgänger
Costas Constandinides
Dracula
Benjamin Poore
drama
Jodie Allinson
Tom Cantrell
Brian Crow
Anne Fenech
Michael Fry
Sarah Goldingay
LaResse Harvey
dyskinesia
Debbie Green
Clare Park
early American theatre
John S. Bak
early childhood
Helena Rodrigues
early music
Reba Wissner
East European diaspora
James MacDonald
Eastern performance
techniques
Paul Allain
Frances Barbe
Eco
Sarah O'Brien
ecological performance
Sandra Reeve
ecology
Anna Harpin
economy of regard
John Keefe
Edna Ferber
Bethany Wood
education
Kirstin Anderson
Stephen Baranski
Joel Luis Barbosa
Brydie-Leigh Bartleet
Cindy L. Bell
Carola Boehm
Andy Brader
Helen J. Chatterjee
Sylvia Chong
Martha Eddy
David G. Hebert
Evangelos Himonides
Patrick M. Jones
Sidsel Karlsen
Jozefina Komporaly
Roc Lee
Maria Mendona
David E. Myers
Elizabeth Oehrle
Katie Overy
Jane E. Southcott
Roger Wooster
Gong Zhifang
educational technology
Eddy K. M. Chong
Edward Bond
David Allen
Kate Katafiasz
Graham Saunders
effective presentations
Necla Çikigil
effigy
Jason Fitzgerald
Einstürzende Neubauten
Jennifer Shryane
Elaine Summers
Rebecca Loukes
electric light
Birgit Wiens
electroacoustic music
Leigh Landy
Adrian Moore
electronic editions
Doug Reside
electronic literature
Simon Biggs
Elvera Voth
Mary L. Cohen
empowerment
Meade Palidofsky
embodied knowing
Joslin McKinney
Vida. L. Midgelow
Mick Wallis
engagement
Andrew Brown
Steve Dillon
Anne Fenech
Jane E. Southcott
embodiment
Kevin Brown
Roy Connolly
Jaime del Val
Rea Dennis
Peter Harrop
Katja Kolcio
Petra Kuppers
Graham Ley
Roger Palmer
Clare Parfitt-Brown
Gretchen Schiller
Thecla Schiphorst
Mark Cariston Seton
Elizabeth Smears
Melissa Trimingham
Danielle Wilde
emergence
Brian Curson
Dave Everitt
Alec Robertson
David Roesner
Robyn Stuart
électronique
Tim Stephenson
emotion
Yvon Bonenfant
Roy Connolly
Michael J. Lowis
Richard Ralley
Olivia Sagan
Elementary Musicianship
Orly Krasner
emotion in performance
Eric T. Hetzler
Elizabeth I
Rachel O’Riordan
empathy
Dita Judith Federman
John Keefe
Elizabethan apprenticeship
David Fallow
Elsa Gindler
Rebecca Loukes
Elton John
Jeffrey Ullom
empire
Dimple Godiwala
employability
Roy Priest
England
James Harris
English Restoration Theatre
Tim Keenan
ensemble
Andrew Brown
Steve Dillon
entertainment
Millie Taylor
environment
Matt Smith
epistemology
Peter Marteinson
equal rights
Casey J. Hayes
essay film
Mike Ingham
estates
Laurence Senelick
ethics
George Belliveau
Tom Burvill
Patrick Duggan
Mark Cariston Seton
Ruth Shade
Carole-Anne Upton
Vincent White
ethnic studies
George Belliveau
David G. Hebert
Jessica Hillman
Tiel Lundy
Vincent White
experimental music
Jennifer Shryane
felt sense
Jane Bacon
experimental performance
Yoshiko Fukushima
female comedians
Ruth Shade
expressive arts
Keren Barzilay-Shechter
female culture
Bethany Wood
ethnomusicology
Alexandra Balandina
expressive arts therapies
Mitchell Kossak
Femi Osofisan
Awo Mana Asiedu
Euripides
Sarah Jane Dickenson
extended presence
Stefanie Kuhn
European theatre
Bryce Lease
Szabolcs Musca
facilitation
Teresa A Fisher
David Francis
Sean Gregory
feminism
Melissa Blanco Borelli
Ana Gabriela Macedo
Kathy Smith
Elizabeth L. Wollman
Malcolm Womack
ethnocentricity
Emer O’Toole
ethnographic approaches to
music research
Sara Cohen
European Union
Laura Farrell-Wortman
evangelical
Greg Scheer
Evans Chan
Mike Ingham
Every Good Boy Deserves
Favour
Mary Jo Lodge
factory translation
John Milton
failure
Elizabeth Boyce
Michael Dunn
Simon Ellis
Michael Pinchbeck
Colin Poole
family
Laurence Senelick
evolution
Paul Granjon
fan culture
Brigid Cherry
exoticism
Paul Allain
Frances Barbe
fanzines
BRETT LASHUA
experience
Yvon Bonenfant
farce
Benjamin Poore
experiential learning
Roy Priest
Feldenkrais Method
Sylvie Fortin
Adriane Vieira
experiment
Michael J. Lowis
fellowship
Thomas Langston
Ferzan Ozpetek
Alberto Zambenedetti
Festen
Yvonne Griggs
festivals
Sidsel Karlsen
Naphtaly Shem Tov
Fiddler on the Roof
Jessica Hillman
fidelity
Alain Wolf
film
Melissa Blanco Borelli
Erin Brannigan
Andrew Head
Claudia Kappenberg
Bernhard Kuhn
Stamatia Portanova
Sol B. River
Douglas Rosenberg
Jesse Schlotterbeck
film adaptation
Thomas Leitch
film score
Anthony Bushard
film studies
Thomas Leitch
Tiel Lundy
Laurence Raw
Film Studies
Madhuja Mukherjee
film theory
Serena Gaurracino
Markos Hadjioannou
fin-de-siecle European theatre
Teresa Murjas
fine art
Hilary Kneale
first person
Glenna Batson
flash mob
Thea Brejzek
flow
Adam J. Ledger
Flower Drum Song
Kathryn Edney
fluxus
Carl Lavery
folklore
Anna Harpin
forensic psychiatry
Hilda Ho
Karen Richard
form
Angelos Koutsourakis
Foucault
Sylvie Fortin
Dimple Godiwala
Roger Mantie
Adriane Vieira
games
Claire Hind
Simon Lock
Esther MacCallum-Stewart
Axel Stockburger
fragmentation
Lib Taylor
Francesco Cavalli
Reba Wissner
Francophobia
Hsin-yun Ou
francophone theatre
Carole-Anne Upton
Frank Zappa
Paul Carr
Richard J. Hand
free writing
Kate Evans
freeze-frame
Steve Dixon
Friml
William A. Everett
frozen performance
Susan Russell
'Fun Fiddle'
Gica Loening
Gao Xingjian
Claire Conceison
Garrick
Hsin-yun Ou
Gary Mitchell
Tim Miles
gender
Sharon Lockyer
Hod Orkibi
Andrew Wyllie
gender and cultural studies
Serena Gaurracino
gender and identity
Lisa Colton
gender studies
Dimple Godiwala
Casey J. Hayes
Pamela Karantonis
David Haldane Lawrence
Esther MacCallum-Stewart
Helena Rodrigues
Elizabeth Sakellaridou
Ruth Shade
Jessica Sternfeld
Elizabeth L. Wollman
Bethany Wood
futurism
Gunter Berghaus
generative
Andrew Brown
Steve Dillon
Gadamer
Henrietta Bannerman
Galliard
Necla Çikigil
gamelan
Maria Mendona
genetic co-evolution
David Plans
genetic information
Jane Coad
genre
Deborah Cartmell
Yvonne Griggs
Jeremy Strong
Goderich Celtic College
Janice Waldron
groove
Rowan Oliver
geography
Lone Koefoed Hansen
Sarah Rubidge
Goldfrapp
Rowan Oliver
grotesque
James MacDonald
Gopal Baratham
Stephen Fernandez
Daniel Jernigan
Russell Pensyl
Lee Shangping
group
Dita Judith Federman
German Hörspiel
Elke Huwiler
German theatre
Meg Mumford
German-language musical
market
Olaf Jubin
Germany
Alexandra Kertz-Welzel
gerontology
Don D. Coffman
Peter De Vries
Gesamtkunstwerk
Pamyla A. Stiehl
gospel
Benjamin J. Harbert
Gothic
Benjamin Poore
Gothic aesthetic
Brigid Cherry
governance
Gbemisola Adeoti
graduate studies
Robert Shaughnessy
group psychotherapy
Keren Barzilay-Shechter
group singing
Hilary Bungay
Stephen Clift
Gumshoe
Tony Moon
gynaecology
Anne Lanceley
Usha Menon
habit
Sima Belmar
Graham-based technique
Henrietta Bannerman
Hammons family of West
Virginia
Leila Ryland Swain
Gianni Amelio
Alberto Zambenedetti
graph of desire
Kate Katafiasz
Hans Spialek
Paul Christman
Gilles Deleuze
Anton Pujol
graphic design research
methods
Russ Bestley
hara
Sasha Roubicek
gesture
Ludivine Allegue
Darren Tunstall
globalization
Laura Farrell-Wortman
David G. Hebert
Goat Island
Robert Wilsmore
Godber
John Bennett
Great Britain
Tim Joss
Greece
Vasso Barboussi
Anna Vidali
Gregor Mendel
David Allen
Hardy
Michael Fry
Harold Pinter
Yael Zarhy-Levo
haunted stage
John Staniunas
HCI
Nick Bryan-Kinns
Paul Granjon
healing
Mogomme Masoga
Meade Palidofsky
healing and development
Hazel Barnes
health
Erica E. Ander
Hilary Bungay
Stephen Clift
Jane Coad
Sylvie Fortin
Chee-Hoo Lum
Jacquelyn Ford Morie
Linda J. Thomson
Adriane Vieira
Mike White
Roger Wooster
health sciences
Theodore Stickley
heart
Amanda Williamson
hegemony
Franc Chamberlain
Hellman
William A. Everett
Henri Bergson
Tim Miles
Henry Carey
Jennifer Cable
Henry Harris
David Roberts
Henry James
Sarah Artt
Henry Purcell
Jennifer Cable
heritage
Erica E. Ander
Anna Harpin
BRETT LASHUA
heteroglossia
Richard Berger
High School Musical
Kristen Rudisill
Holocaust
Rachel Weissbrod
Holocaust representation
Teresa Murjas
homosexuality
John M. Clum
Casey J. Hayes
David Haldane Lawrence
Bryce Lease
Elizabeth L. Wollman
higher education
Carola Boehm
Hijikata
Petra Kuppers
Hirata Oriza
Tim Keenan
Hong Kong
Mike Ingham
horror
Brigid Cherry
Thy Phu
Sarah Thomas
historical dances
Necla Çikigil
horror studies
Steffen Hantke
historical harp
Chelcy Bowles
history
Vincent L. Barnett
Zachary Dunbar
Gillian Harrison
Lee Higgins
Alexandra Kertz-Welzel
Andrew Krikun
Roc Lee
Mary A. Leglar
Graham Ley
Julia Lippert
Rachel O’Riordan
David S. Smith
history of somatic practices
Rebecca Loukes
HIV/AIDS
Katharine Low
Hollywood
Melissa Blanco Borelli
Laurence Raw
Sarah Thomas
hospital
Erica E. Ander
Hotei
Jerri Daboo
Hotel Pro Porma
David Fenton
Howard Barker
Sarah Goldingay
Hugh Grant
Chris Ritchie
Hugh Martin
Paul Christman
human body
Daniël Ploeger
human intelligence
Katja Münker
human-computer interaction
Sama'a Al Hashimi
Paul Cairns
Alistair D. N. Edwards
Stefanie Kuhn
human–computer interaction
Adrian Moore
Thecla Schiphorst
humanities computing
Doug Reside
image schemata
Marie Louise Bourbeau
Geoffrey Edwards
imagination
Jane Bacon
imitation
Kennedy C. Chinyowa
immersion
Ivani Santana
humour
Tim Miles
Simon Weaver
impersonation
Pamela Karantonis
humour theory
Gerard Matte
Ian McFadyen
Brett Mills
hypermasculinity
Helen Ostovich
hyper-physical interfaces
Alice Bayliss
Jennifer G. Sheridan
Nicolas Villar
identity
William M Dabback
Glorianna Davenport
Jason Fitzgerald
Eri Hirabayashi
Dawn Joseph
Katja Kolcio
Ian Lamond
Hugo Liu
Karen Morden
Olivia Sagan
Judith Sebesta
Lim Swee Hong
informal learning
Miikka Salavuo
informal transmission
Leila Ryland Swain
information
Jonathan Foster
information design
Russ Bestley
improvisation
Ann Cooper Albright
Stephen Baranski
Vasso Barboussi
Rea Dennis
Braínne Edge
Frank Millward
Katja Münker
Rod Paton
Jonathan Savage
Anna Vidali
informed consent
Teresa A Fisher
incidental music
David Roesner
inhibition
Sima Belmar
inclusion
Valentina Iadeluca
Andrea Sangiorgio
injuries
Bill Ribbans
incongruity
Matthew Saxton
Ian Wilkie
illegitimacy
Rachel Carroll
improving practice
Steve Cooper
ideologem
James Reynolds
indoor playhouse
Mark Hutchings
information architecture
Gabriella Giannachi
Duncan Rowland
ideology
Alain Wolf
implied meaning
Alain Wolf
individuality
Ben Francombe
independent learning
Steve Cooper
India
Kristen Rudisill
Ingmar Bergman
Steve Waters
inhabitation
Andrew Filmer
inner voices
George Belliveau
Vincent White
installation
Ludivine Allegue
Philip Auslander
Sue Hawksley
Stewart Kember
Scott Palmer
Daniël Ploeger
instrumental music education
Joel Luis Barbosa
Don D. Coffman
integration
Sarah T. Ellis
Kate Napier
intelligent accompaniment
Mehmet Vurkaç
intention
Glenna Batson
interaction
Simon Lock
Victor I. Ukaegbu
Alan Peacock
Duncan Rowland
Ivani Santana
Gretchen Schiller
Elizabeth Swift
Ross Varney
Sarah Whatley
Danielle Wilde
Julie Wilson-Bokowiec
interarts
David Roesner
inter-corporeality
Mark Cariston Seton
intercultural exchange
Meg Mumford
interactive art
Steve Benford
Karen Cham
Jonathan Foster
Gretchen Schiller
Axel Stockburger
intercultural performance
Claire Conceison
interactive arts
Xenia Pestova
intercultural theatre
Emer O’Toole
interactive media
Simon Biggs
Scott Palmer
Sita Popat
interculturalism
Ming-yan Lai
Stella Sorby
interactive performance
Carol Brown
interactive works
Stephen Greer
intercultural studies
Alison Phipps
interdisciplinarity
Carola Boehm
Franc Chamberlain
Robert Jude Daniels
Aleksandar Sasha Dundjerovic
Joslin McKinney
Mick Wallis
interface
Mary Oliver
intermediality
David Fenton
Markos Hadjioannou
Bernhard Kuhn
David Roesner
internet
Hugh Brown
Dave Everitt
Martha Ladly
Leigh Landy
Esther MacCallum-Stewart
Toni Sant
Jonathan Savage
Janice Waldron
Internet
Philip Auslander
Denise Doyle
Jason Freeman
interpretation
Cristina Cano Vara
Kara McKechnie
intersemiotic
Rachel Weissbrod
intertextuality
Costas Constandinides
Yvonne Griggs
Geraldine Harris
Ana Gabriela Macedo
Jeremy Strong
interval
Mark Hutchings
interactivity
Sama'a Al Hashimi
Awo Mana Asiedu
Nick Bryan-Kinns
Jaime del Val
Scott deLahunta
Anna Fenemore
Jason Freeman
Gabriella Giannachi
Sue Hawksley
Jamie Jewett
Jeffrey Johnson
Jem Kelly
Sophia Lycouris
Clare Parfitt-Brown
interdisciplinary frameworks
Ben Macpherson
interview
Suna Imre
Interet
Harmony Bench
intimate musical
Melodie G Galloway
inter-ethnic relationships
Alexandra Balandina
involvement
Thomas Langston
iPod
Steve Cooper
Ireland
Laura Farrell-Wortman
Helen Phelan
Julie Tiernan
Irish criticism
Márta Minier
Irish dance
Laura Farrell-Wortman
Irish music
Chelcy Bowles
Japan
David G. Hebert
Eri Hirabayashi
Yuji Sone
Japanese comedy
Yoshiko Fukushima
Japanese folk song
Mari Shiobara
Japanese literature and film
Barbara Thornbury
Jason Robert Brown
Doug Reside
Joseph Conrad
Anthony Fothergill
Joseph Losey
Yael Zarhy-Levo
Juanita Hall
Kathryn Edney
jukebox musicals
Jeffrey Ullom
Jumbo
Geoffrey Block
juvenile offenders
Vuyisile Mathiti
Carol J. Oja
Julia Sloth-Nielsen
Sheila C. Woodward
Irish theatre
Brenda Winter
jazz
Benjamin J. Harbert
Irish traditional music
Janice Waldron
Jeanine Tesori
Aaron C. Thomas
ISME
Marie McCarthy
jewellery
Jo Pond
Kant
Sarah O'Brien
Israeli – Palestinian youth
Keren Barzilay-Shechter
Jewish studies
Garrett Eisler
Derek Miller
Karl Marx
Rick Mitchell
Israeli theatre
Naphtaly Shem Tov
ISTA
Adam J. Ledger
Italian cinema
Alberto Zambenedetti
Italian futurism
Gunter Berghaus
James Lacy
Helen Brooks
Jane Austen
Deborah Cartmell
Jeremy Strong
Kandyan dance
Sudesh Mantillake
jingju
Megan Evans
Karl Valentin
Michael Wilson
Joan Davis
Emma Meehan
Kathakali
Paul Allain
Frances Barbe
Joan Rivers
Sharon Lockyer
Gerard Matte
Ian McFadyen
Brett Mills
jo-ha-kyu
Yasutaka Maruki
Jonathan Larson
Elizabeth Titrington Craft
keyboard
Robert Meffe
kinaesthesis
Gretchen Schiller
kinesthetic ability
Dita Judith Federman
King Lear
Yvonne Griggs
King Oedipus
Jodie Allinson
Rob Smith
knitting
Deborah Barkun
Jools Gilson-Ellis
knowing complicity
John Keefe
knowledge transfer
Paul Draper
Koothu Madom
Sreedevi K. Nair
Krapps Last Tape
Andrew Head
la volta
Necla Çikigil
Lacan
Kate Katafiasz
language
Ian McFadyen
Floyd Scott Taylor
Lars von Trier
Angelos Koutsourakis
laughter
Peter Marteinson
Laura Harvey
Yuko Kurahashi
Laurence Sterne
Eckart Voigts-Virchow
law
Vuyisile Mathiti
Julia Sloth-Nielsen
Sheila C. Woodward
Le Hot Club du Cinq
Robert Shaughnessy
Le nozze di Figaro
Ben Curry
lifelong learning
Don D. Coffman
Patrick M. Jones
David E. Myers
Mark Rohwer
Rineke Smilde
lifelong music-making
Roger Mantie
learning
Mary Copland Kennedy
Hannele Weir
lifespan
Patrick M. Jones
learning dynamics
Brydie-Leigh Bartleet
light
Birgit Wiens
learning technology
Andrew King
Paul Vickers
liminal
Kathy Smith
leather industry
David Fallow
Lincoln's Inn Fields theatre
1661-1674
Tim Keenan
Lecoq
Darren Tunstall
linguistics
Floyd Scott Taylor
Reba Wissner
Lehman Engel
Bryan M. Vandevender
leisure
Anne Fenech
Leonard Bernstein
Paul R. Laird
Les Misérables
Robert Meffe
Let My People Come
Elizabeth L. Wollman
Liesl Karlstadt
Oliver Double
Michael Wilson
life-long engagement
Susan West
literary censorship
Veronika Schandl
literary study
David Chandler
literature
Ana Gabriela Macedo
Little Britain
Sue Becker
Lloyd Peters
liturgy
Deborah Kapchan
live art
Pauline Brooks
Grayson Cooke
Robert Jude Daniels
Sue Hawksley
live arts
Xenia Pestova
machine
Philip Auslander
lived geographies
Michael Carklin
machine listening
Mehmet Vurkaç
lived inquiry
Fiona Bannon
Madonna
Lucy O’Brien
liveness
Philip Auslander
Kevin Brown
Alistair D. N. Edwards
Christopher Newell
Matthew Reason
Tim Stephenson
make-believe
Kennedy C. Chinyowa
Liverpool
BRETT LASHUA
Mamma Mia!
Malcolm Womack
living body
Stefanie Cohen
mammy
Aaron C. Thomas
Lluïsa Cunillé
Anton Pujol
management
Brian Crow
locative media
Marsha Berry
Lone Koefoed Hansen
Dermott Mcmeel
Loewe
Jennifer Oates
Loïe Fuller
Clare Parfitt-Brown
London Fieldworks
Tracey Warr
Los Angeles theatre
Stephen Rothman
Louisiana
Benjamin J. Harbert
Lutuo Xiangzi
Megan Evans
male dancers
George Rodosthenous
Mantle of the Expert
David Allen
manuscript
Violetta Kostka
Maori
Nancy Menning
mapping
Lone Koefoed Hansen
Marco Ponti
Alberto Zambenedetti
Marisa Paredes
Cristina Cano Vara
marketing
Helen Ferrara
martial arts
Leon Hunt
Daniel Mroz
Ashlee Ramsey
Sasha Roubicek
Martin Crimp
Vicky Angelaki
Mary Fulkerson
Henrietta Bannerman
masculine discourses
Sharon Lockyer
masculinity
George Rodosthenous
Jessica Sternfeld
material culture
Tiel Lundy
material movability
Birgit Wiens
materiality
John Keefe
Matt Lucas
Sue Becker
Lloyd Peters
Matthew Bourne
Yael Zarhy-Levo
Matthias Langhoff
Yuko Kurahashi
Medea
Geraldine Harris
media
Jodie Allinson
media criticism
Michael Takeo Magruder
media literacy
Martin Barker
media studies
Andrew Head
Jamie Jewett
Susan Kozel
Julia Lippert
Axel Stockburger
media theory
Tony Richards
mediation
Sima Belmar
mediatization
Marsha Berry
David Fenton
Tim Stephenson
mediatized
Alistair D. N. Edwards
medicine
Theodore Stickley
medicine sales
Victor I. Ukaegbu
medieval music
Lisa Colton
megamusical
Vagelis Siropoulos
memetics
James Mooney
memory
Roy Connolly
Rea Dennis
Chee-Hoo Lum
Richard Ralley
Matthew Reason
Linda J. Thomson
Mitchell Kossak
Jo Pond
Karen Richard
Nick Rowe
Helen Turner
mental illness
Peter Amsel
mental well-being
Kate Evans
mentally disordered offenders
Hilda Ho
Karen Richard
mentors
Vuyisile Mathiti
Julia Sloth-Nielsen
Sheila C. Woodward
Meredith Willson
Roberta Freund Schwartz
John Staniunas
Merleau-Ponty
Jem Kelly
meta-audience
Glorianna Davenport
Hugo Liu
metacommunication
Kennedy C. Chinyowa
metadata
Steve Benford
Jonathan Foster
Gabriella Giannachi
Duncan Rowland
metaverse
Jacquelyn Ford Morie
methodical practice
Fiona Bannon
Methodism
Albert Jewell
Methodist
Lim Swee Hong
methodology
Jane Bacon
Keren Barzilay-Shechter
Matthew Reason
Michael Bennett
Zachary Dunbar
Michael Boyd
Yuko Kurahashi
Michael Chekhov
Jerri Daboo
Michael Winterbottom
Eckart Voigts-Virchow
microphones
Tracey Moore
Middletons politics
Mark Hutchings
mimesis
David Fenton
metadrama
Natalie Draper
ministry
Michael I. Jackson
Meng Jinghui
Claire Conceison
metafiction
Eckart Voigts-Virchow
mise-en-scene
Aleksandar Sasha Dundjerovic
mental health
Jane Bentley
Sue Hacking
Hilda Ho
metatheatre
Angela Piccini
Jenn Stephenson
mise-en-scène
Sarah Artt
mixed media
Marco Grosoli
monodrama
Kurt Taroff
multiculturalism
Dawn Joseph
mixed reality
Jonathan Foster
monographs
Liz Tomlin
multi-disciplinary healthcare
Bill Ribbans
mixed reality performance
Steve Benford
Gabriella Giannachi
moral controversies
Martin Barker
Morecambe
Stephen Baranski
multimedia
Johannes Birringer
Andy Brader
Grayson Cooke
Aleksandar Sasha Dundjerovic
Jennifer Parker-Starbuck
motherhood
Helena Rodrigues
multimedia art
Frank Millward
motion tracking
Stefanie Kuhn
multimedia performance
Helen Ostovich
movement
Melissa Blanco Borelli
Suna Imre
Clare Park
Stamatia Portanova
Ivani Santana
Gretchen Schiller
Lib Taylor
multimediality
Márta Minier
MMORPGs
Esther MacCallum-Stewart
Toni Sant
mobile media
Camille Baker
Alan Peacock
Mod Donna
Elizabeth L. Wollman
modern drama
Nicholas Pagan
Modern Japanese Theatre
Tim Keenan
modern languages
Alison Phipps
modern literature
Anthony Fothergill
modernism
James Mooney
Darren Tunstall
movement art
Sandra Reeve
movement teaching
Vanio Papadelli
movement therapist
Nancy Beardall
moving-image works
Polly Hudson
modernity
Rick Mitchell
modularity
Birgit Wiens
monitors
Tracey Moore
Mozart
Ben Curry
Mr. Saturday Night
Tony Moon
mulatta body
Melissa Blanco Borelli
multimodal interaction
Nick Bryan-Kinns
multi-modality
Geoffrey Edwards
multi-sited fieldwork
Susanne Ravn
Munich cabaret
Oliver Double
Michael Wilson
Munro
Kathy Smith
museum
Hannele Weir
music
Fadi Mohammad AlGhawanmeh
M. T Al-Ghawanmeh
Kirstin Anderson
Cathy Augustin
Joel Luis Barbosa
Cindy L. Bell
Johannes Birringer
Andy Brader
Larry Brewster
Nick Bryan-Kinns
Paul Carr
Paul Christman
Ben Curry
Jason Freeman
Rami Haddad
Richard J. Hand
Gillian Harrison
LaResse Harvey
C. Michael Hawn
Allan Hewitt
Lee Higgins
Evangelos Himonides
Eri Hirabayashi
Patrick M. Jones
Christopher Jones
Tim Joss
Sidsel Karlsen
Andrew King
Nathan B. Kruse
Roc Lee
Mary A. Leglar
Michael J. Lowis
Mogomme Masoga
Maria Mendona
David E. Myers
Jennifer Oates
Elizabeth Oehrle
Katie Overy
Roger Palmer
Roger Palmer
Mary E. Piercey
David Roesner
Debbie Rohwer
Greg Scheer
Rineke Smilde
David S. Smith
Stella Sorby
John Staniunas
Kurt Taroff
Katalin Trencsényi
Kari Veblen
Paul Vickers
Janice Waldron
Julia Winterson
Stacy Wolf
Gong Zhifang
music education
Stephen Baranski
music 2.0
Paul Draper
music education
Frank Abrahams
Sarah J. Bartolome
Chelcy Bowles
Pamela Burnard
J. Bryan Burton
Jeffrey E. Bush
Patricia Shehan Campbell
Eddy K. M. Chong
David Elliott
Cordelia V. Hall
Valentina Iadeluca
Phil R. Kirkman
Roger Mantie
Vuyisile Mathiti
Nikki Moran
Miikka Salavuo
Andrea Sangiorgio
Eric Shieh
Mari Shiobara
Julia Sloth-Nielsen
Mehmet Vurkaç
Susan West
Sheila C. Woodward
music festivals
Alexandra Balandina
music information research
Mehmet Vurkaç
music production
Matthew C. Applegate
music technology
Joseph Anderson
Carola Boehm
Paul Draper
Giselle M. d. S Ferreira
Adrian Moore
Dave Moore
Roy Priest
Jonathan Savage
music theatre
Dominic Symonds
music theory
Mehmet Vurkaç
music therapy
Rod Paton
musical comedy
John S. Bak
musical cultures
Phil R. Kirkman
Musical Futures project
Kari Veblen
musical stage
Dominic Symonds
musical theatre
Siân Adiseshiah
Anthony Bushard
Elizabeth Titrington Craft
Garrett Eisler
Jessica Hillman
Orly Krasner
Ray Miller
Tracey Moore
Madhuja Mukherjee
Kate Napier
George Rodosthenous
Pamyla A. Stiehl
Millie Taylor
musical theatre history
Ellen Marie Peck
musicals
Sarah T. Ellis
Paul R. Laird
Deirdre Osborne
Roberta Freund Schwartz
Stella Sorby
Malcolm Womack
musicals and opera
Pamela Karantonis
musicals of the 1930s
Geoffrey Block
musicology
Martin Iddon
Muslim studies
André de Quadros
Musowiki
Hugh Brown
mystery
Sarah Thomas
mythogeography
Phil Smith
narrative
Paul Carr
Richard J. Hand
Jo Pond
Stuart Price
Neal Swettenham
Elizabeth Swift
Steve Dillon
narratology
Elke Huwiler
National Curriculum
Phil R. Kirkman
national identity
Elizabeth Titrington Craft
nationalism
John S. Bak
Graeme Harper
Native American literature
Dennis Cutchins
Native Americans
J. Bryan Burton
natural environment
Paula Kramer
Nay
Fadi Mohammad AlGhawanmeh
M. T Al-Ghawanmeh
Rami Haddad
Nazism
Oliver Double
neoclassicism
Violetta Kostka
Hsin-yun Ou
neotonality
Violetta Kostka
neo-Victorian
Rachel Carroll
networking
Marsha Berry
Andrew Brown
neuroscience
Glenna Batson
Anne Fenech
Floyd Scott Taylor
New Deal
Andrew Krikun
Nigeria
Gbemisola Adeoti
non-diegetic
Rob Dean
nonlinear systems
Frank Millward
new feminism
Lucy O’Brien
nonsense
Matthew Saxton
Ian Wilkie
new instrument design
Jonathan Savage
non-verbal communication
Darren Tunstall
new media
Simon Biggs
Marie Louise Bourbeau
Hugh Brown
Grayson Cooke
Geoffrey Edwards
George Gagneré
Markos Hadjioannou
Christian Jacquemin
Martha Ladly
Simon Lock
Northern Ireland
Tim Miles
Carole-Anne Upton
new writing
David Lane
Aleks Sierz
nostalgia
Siân Adiseshiah
nostalgic theatre
Siân Adiseshiah
Not I
Mark Taylor-Batty
New Zealand
David G. Hebert
Nancy Menning
Roger Palmer
notional audience
Sreedevi K. Nair
Ngati Toa
John Drummond
Nick Philippou
Yuko Kurahashi
Nietzsche
Zachary Dunbar
Nietzschean ethics
Markos Hadjioannou
Nunavut
Mary E. Piercey
nursing
Anne Lanceley
object
Melissa Trimingham
object handling
Helen J. Chatterjee
offensive humour
Simon Weaver
off-stage performance
Glorianna Davenport
Hugo Liu
Open University
Xu Ruisen
outreach
Julia Winterson
painting
Ludivine Allegue
opera
Ben Curry
Violetta Kostka
Bernhard Kuhn
Oklahoma!
Kurt Jensen
Derek Miller
opera production
Jorge Balça
Oh! Calcutta!
Elizabeth L. Wollman
old time radio
Sarah Thomas
older adults
William M Dabback
older people
Hilary Bungay
Stephen Clift
Olimpias
Petra Kuppers
One Reed Theatre Ensemble
Daniel Mroz
opera training
Jorge Balça
operatic productions
John M. Clum
oral tradition
C. Michael Hawn
orality
Mary Noonan
orchestra
Duane Warfield
Julia Winterson
online culture
Hugh Brown
Jason Freeman
Esther MacCallum-Stewart
Miikka Salavuo
Oresteia
Anastasia Belina
online learning
Leigh Landy
ontology
Marco Grosoli
Markos Hadjioannou
Graeme Harper
Peter Marteinson
Adam Stansbie
Orff-Schulwerk
Valentina Iadeluca
Andrea Sangiorgio
original music
Gillian Howell
orthopaedics
Bill Ribbans
open education
Giselle M. d. S Ferreira
Oscar Hammerstein II
Kurt Jensen
Graham Wood
open form
Jason Freeman
outdoor arts
Robert Jude Daniels
pantomime
Millie Taylor
Parade
Doug Reside
paradox
Kennedy C. Chinyowa
Paratextuality
Cristina Cano Vara
participation
Sarah J. Bartolome
Patricia Shehan Campbell
Anna Fenemore
Jason Freeman
Gabriella Giannachi
Matthew Reason
Duncan Rowland
Matt Smith
Mike White
pastoral
Karen Morden
patriarchy
Dimple Godiwala
Patti LuPone
Jason Fitzgerald
Paulo Freire
Frank Abrahams
pauses
Alistair D. N. Edwards
pavane
Necla Çikigil
peak experiences
Michael J. Lowis
pedagogy
Ann Cooper Albright
Pamela Burnard
Sheelagh Chadwick
Manny Emslie
Peter Harrop
Lisa Lewis
Claire MacDonald
Ray Miller
Mike Pearson
Laurence Raw
Nick Rowe
Jonathan Savage
Ruth Way
peer learning
Christopher Jones
Andrew King
Peking opera
Megan Evans
perception
Stamatia Portanova
performance
Sama'a Al Hashimi
Jane Bacon
Camille Baker
Glenna Batson
George Belliveau
Johannes Birringer
Marie Louise Bourbeau
Thea Brejzek
Kevin Brown
Tom Burvill
Necla Çikigil
Jane Collins
Grayson Cooke
Peter De Vries
Jaime del Val
Rea Dennis
Patrick Duggan
Aleksandar Sasha Dundjerovic
Geoffrey Edwards
Anna Fenemore
Andrew Filmer
Jonathan Foster
Sarah Goldingay
Paul Granjon
Graeme Harper
Geraldine Harris
Peter Harrop
Dee Heddon
Claire Hind
Ceri Hovland
Karen Jurs-Munby
Claudia Kappenberg
Stewart Kember
Stefanie Kuhn
Lisa Lewis
Simon Lock
Claire MacDonald
Gerard Matte
Ian McFadyen
Devora Neumark
Rachel O’Riordan
Peter O’Rourke
Scott Palmer
Jennifer Parker-Starbuck
Alan Peacock
Mike Pearson
Helen Phelan
Daniël Ploeger
Sita Popat
David Roesner
Sarah Rubidge
Kerrie Schaefer
Ruth Shade
Jennifer Shryane
Kathy Smith
Adam Stansbie
Neal Swettenham
Elizabeth Swift
Mark Taylor-Batty
Cathy Turner
Victor I. Ukaegbu
Ruth Way
Rebecca Weber
Vincent White
Danielle Wilde
Robert Wilsmore
performance ecology
Baz Kershaw
performance education
Paul Allain
Frances Barbe
performance installations
Carol Brown
performance making
Nick Hunt
performance research
Alison Hodge
performance strategy
Ben Francombe
performance studies
Sima Belmar
Yoshiko Fukushima
Serena Gaurracino
Mike Pearson
Performance Studies
Franc Chamberlain
performance theory
Liz Tomlin
performances
Sudesh Mantillake
personal growth
Jane E. Southcott
Peter Cockett
Helen Ostovich
Peter Pan
Tanya Ronder
phenomenology
Ann Cooper Albright
Vicky Angelaki
Dave Collins
Robert Jude Daniels
Peter De Vries
Martha Ladly
Susanne Ravn
Adam Stansbie
Jenn Stephenson
philosophy
Patrick Duggan
David Elliott
photography
Jane Coad
Debbie Green
Ceri Hovland
Clare Park
Rachel Weissbrod
physical comedy
Garry Headland
physical theatre
Robert Jude Daniels
Helen Freshwater
John Keefe
physicality
Patrick Duggan
Jennifer G. Sheridan
physiotherapy
Katja Münker
piano
Violetta Kostka
Xenia Pestova
piano performance
Mari Shiobara
Pina Bausch
Meg Mumford
pixel aesthetics
Camille Baker
place
Katja Krebs
plainsong
Lisa Colton
plasticity
Adam Stansbie
Plautus
Rachel Kirk
play
Lizbeth Goodman
Joslin McKinney
Mick Wallis
playful arenas
Alice Bayliss
Jennifer G. Sheridan
Nicolas Villar
playing videogames
Paul Cairns
playwriting
David Lane
Mary Noonan
Cathy Turner
Ian McFadyen
pleasure
Brett Mills
political philosophy
Broderick D. V. Chow
Plymouth
Richard Wallis
political theatre
Piet Defraeye
Bryce Lease
Graham Saunders
PMLD
Ian Lamond
Pocahontas myth
John S. Bak
podcasting
Steve Cooper
Poème
Tim Stephenson
poetic methodology
Alys Longley
poetry
Glenna Batson
Emma Bennett
Claire MacDonald
Christopher McCullough
David Ian Rabey
Leila Ryland Swain
poi
Jennifer G. Sheridan
point of view
Ceri Hovland
Poland
Ewa Mazierska
politics
Larry Brewster
Oliver Double
Anna Harpin
Naphtaly Shem Tov
Michael Wilson
Polynesia
David G. Hebert
pop culture
ROGER SABIN
pop messianism
Vagelis Siropoulos
pop music
Stamatia Portanova
popular culture
John Bennett
Pamela Karantonis
Kristen Rudisill
popular music
Rob Smith
popular performance
Millie Taylor
Polish film
Teresa Murjas
popular theatre
Phil Smith
Brenda Winter
Polish theatre
Teresa Murjas
popular tradition
Rob Conkie
politeness strategies
Gerard Matte
porosity
Derek Paget
postwar British drama
Aleks Sierz
Practice-as-Research (PaR)
Vida. L. Midgelow
postcolonial literature
Serena Gaurracino
postwar Italian cinema (1945–
55)
Bernhard Kuhn
practice-based research
Jonathan Foster
Paula Kramer
post-war suburbs
Jessica Sternfeld
practitioner
Phillip McIntyre
post-Yugoslav era
Alexandra Balandina
practitioner knowledge
Rosemary Lee
power
Debbie Green
Clare Park
praise
Greg Scheer
postcolonial theatre
Pedro de Senna
postcolonial theory
Emer O’Toole
postcolonialism
Chukwuma Okoye
post-communism
Ewa Mazierska
post-dramatic theatre
Karen Jurs-Munby
post-impressionism
Christopher McCullough
postmodern body
Kevin Brown
postmodern dance
Becky Dyer
postmodernism
Steve Dixon
Lib Taylor
post-modernism
James Mooney
postolonial discourse
Ben Francombe
post-structuralism
Karen Cham
Post-Traumatic Stress
Disorder
Stuart Price
practical programming
John T. O’Donnell
practice
Patrick Duggan
Andrew Filmer
Sidsel Karlsen
Carl Lavery
Sally Jane Norman
Roger Palmer
Helen Phelan
Angela Piccini
Ross W. Prior
Hannele Weir
Mike White
practice and leadership
Kathryn Deane
practice as research
Robert Jude Daniels
Rosemary Lee
Practice as Research (PaR)
Jane Bacon
practice theory
Eri Hirabayashi
practice-as-research
Katja Krebs
Teresa Murjas
praxis intervention
Paul Draper
prayer
C. Michael Hawn
presence
Kevin Brown
Stefanie Kuhn
presentation
Lizbeth Goodman
Pride and Prejudice
Deborah Cartmell
prison
Kirstin Anderson
Mary L. Cohen
Joe Fierro
Roc Lee
Maria Mendona
Katie Overy
Helena Rodrigues
Duane Warfield
prison choir
Mary L. Cohen
prison choirs
Nancy Menning
prison education
Bruce Cole
prose narrative
Michael Fry
public space
Elise Morrison
problem
Michael Pinchbeck
protocol analysis
Dave Collins
publicity effects
Vincent L. Barnett
problem comedies
Veronika Schandl
psychoacoustics
Evangelos Himonides
publishing
Kate Napier
problem solving
Andrew King
Paul Vickers
psychoanalysis
Kathy Smith
Pulavar
Sreedevi K. Nair
psychodrama
Keren Barzilay-Shechter
pulsation
Yvon Bonenfant
process analysis
David Roesner
psychodrama and
dramatherapy
Hod Orkibi
punishment
Eric Shieh
processes
Suna Imre
psychogeography
Lone Koefoed Hansen
professional craft
Andrew Filmer
psychological
Gunter Kreutz
Don Stewart
professional development
Jeffrey E. Bush
Elizabeth Smears
psychological narrative
Natalie Draper
process
Claire MacDonald
professional identity
Hod Orkibi
programming
Matthew C. Applegate
projected image
Nick Moran
psychology
Roy Connolly
Kate Katafiasz
Richard Ralley
psychology. Robert Preston
John Staniunas
psychophysical
Jerri Daboo
prologue
Reba Wissner
propaganda
Vincent L. Barnett
Carol J. Oja
property
Laurence Senelick
public art
Helen Turner
public ritual
Phil Smith
punk
ROGER SABIN
puppet
Melissa Trimingham
puppetry
Matt Smith
Pura Desa
Adam J. Ledger
quality perception
Evangelos Himonides
queer performance
Stephen Greer
queer theory
Stephen Greer
Andrew Wyllie
R&B
Benjamin J. Harbert
race
Melissa Blanco Borelli
Larry Brewster
Sheelagh Chadwick
Kathryn Edney
Dimple Godiwala
Elizabeth Oehrle
Deirdre Osborne
Naphtaly Shem Tov
Simon Weaver
Andrew Wyllie
racialized hips
Melissa Blanco Borelli
racism
Sue Becker
Lloyd Peters
Judith A Sebesta
radical socialism
Paul J. C. M Franssen
radical texts for performance
Neal Swettenham
radio art
Matthew Barnard
radio broadcasting in the
United States
Sarah Thomas
radio drama
Jesse Schlotterbeck
Ramayana
Sreedevi K. Nair
Ray Chung
Vanio Papadelli
reading imagery
Dorinda Hulton
real
Leon Hunt
real time
Ivani Santana
realism
Costas Constandinides
reception
Judith A Sebesta
Reckless Sleepers
Michael Pinchbeck
recorder
Roger Palmer
recording
Christopher Jones
re-creation
John Milton
recusancy
David Fallow
recycling
John Keefe
reflective judgement
Sarah O'Brien
reflective learning
Elizabeth Smears
reflective practice
Roy Priest
reflective writing
Jess Allen
reflexive practice
Karen Cham
reflexivity
Glenna Batson
Glorianna Davenport
Hugo Liu
refugees
Rand Hazou
regional theatre
Claire Cochrane
rehabilitation
Joe Fierro
Maria Mendona
rehabilitation support
Matthew Bushell
rehearsal strategies
David Ian Rabey
rehearsals
David Roesner
relational development
Nancy Beardall
relaxation
Amanda Williamson
release-based technique
Jennifer-Lynn Crawford
religion
Jane Bentley
Sarah Goldingay
C. Michael Hawn
Deborah Kapchan
Rachel O’Riordan
Helen Phelan
Lim Swee Hong
remediation
Richard Berger
Elise Morrison
reminiscence therapy
Chee-Hoo Lum
Rent
Elizabeth Titrington Craft
repetition
Kennedy C. Chinyowa
Matthew Saxton
Ian Wilkie
replay
Steve Benford
Jonathan Foster
Lizbeth Goodman
Duncan Rowland
representation
John Milton
re-presentation
Lizbeth Goodman
representations of Japan
Thy Phu
representations of the male
George Rodosthenous
reproduction
Tim Stephenson
research
George Belliveau
Steve Benford
David G. Hebert
Susan Kozel
Roc Lee
Roberta Mock
Vincent White
Brenda Winter
research and theory
Kathryn Deane
resilience
Don Stewart
responsiveness
Joslin McKinney
Mick Wallis
rest
Glenna Batson
revision
Ana Gabriela Macedo
revue
Melodie G Galloway
rewiring
Richard Berger
rhythm
Mehmet Vurkaç
Richard Foreman
Neal Swettenham
Richard Hornby
Natalie Draper
Richard Rodgers
Kurt Jensen
Graham Wood
Richard Schechner
Zachary Dunbar
Richard Tarlton
Roger Clegg
ritual
Eri Hirabayashi
Mogomme Masoga
Helen Phelan
Lim Swee Hong
riverboat
Rick Mitchell
Sita Popat
rock music
Bryan M. Vandevender
Rodgers and Hammerstein
Derek Miller
Rodgers and Hart
Geoffrey Block
Paul Christman
Rohmer
Marco Grosoli
Roma
Richard Wallis
romantic comedy
Deborah Cartmell
Jeremy Strong
Romberg
William A. Everett
Rose's Turn
Jason Fitzgerald
Riverdance
Laura Farrell-Wortman
Judith Sebesta
Rouben Mamoulian
Kurt Jensen
Robert Lepage
Aleksandar Sasha Dundjerovic
Robert Siodmak
Jesse Schlotterbeck
Roberta Carreri
Adam J. Ledger
robotics
Aleksandar Sasha Dundjerovic
Dermott Mcmeel
Jennifer Parker-Starbuck
Yuji Sone
Stan Wijnans
robotics design
Scott Palmer
Russia
Vincent L. Barnett
Russian drama
Laurence Senelick
Ruy Guerra
Pedro de Senna
Salad Days
Siân Adiseshiah
sales-performers
Victor I. Ukaegbu
sample
Philip Auslander
Scottish education
Gica Loening
self-writing
Chukwuma Okoye
Samuel Beckett
Phillip Zarrilli
screen
Nick Moran
Samuel Foote
Roger Clegg
screen adaptation
Sarah Artt
Santa Ana
Joe Fierro
screendance
Claudia Kappenberg
semiotics
Ben Curry
Elke Huwiler
Bryce Lease
Sudesh Mantillake
Peter Marteinson
Kara McKechnie
Nicholas Pagan
Alan Peacock
Simon Weaver
satire
James Harris
Violetta Kostka
scriptwriting
Sarah Jane Dickenson
Sol B. River
scenic modules
Birgit Wiens
scenography
Thea Brejzek
Jane Collins
schema/schemata
Sarah O'Brien
schizophrenia
Dorinda Hulton
school music
Patrick M. Jones
Roger Mantie
school projects
Helena Enright
schools
Mary A. Leglar
David S. Smith
science fiction
Esther MacCallum-Stewart
Scotland
Kirstin Anderson
Jennifer Oates
Katie Overy
Scrubs
Mary Jo Lodge
SCUDD
Roberta Mock
sculpture
Emma Bennett
Second Life
Denise Doyle
Jacquelyn Ford Morie
secularism
Deborah Kapchan
Seinendan
Tim Keenan
self
Lizbeth Goodman
self-deprecation
Sharon Lockyer
self-esteem
Kirstin Anderson
Larry Brewster
Katie Overy
semi-structured framework
Rebecca Weber
senior citizens
Chee-Hoo Lum
sensation
Fiona Bannon
senses
Jennifer G. Sheridan
sensing
Alice Bayliss
Susanne Ravn
Nicolas Villar
Sensorial Mediations
Ashlee Ramsey
servitude
Ming-yan Lai
set piece
Garry Headland
seventeenth century
David Roberts
seventeenth-century opera
Reba Wissner
sex
Bryan M. Vandevender
sexual health
Katharine Low
sexuality
Melissa Blanco Borelli
Dimple Godiwala
Casey J. Hayes
David Haldane Lawrence
Sharon Lockyer
Andrew Wyllie
Shabbaba
Fadi Mohammad AlGhawanmeh
M. T Al-Ghawanmeh
Rami Haddad
Bethany Wood
Shyamalan
Rob Dean
Sigmund Freud
Tim Miles
signal processing
Adrian Moore
small-scale musical
Melodie G Galloway
social being
Peter Marteinson
social capital
Thomas Langston
social care
Jane Coad
Paul G. Dempster
signal-processing algorithms
Joseph Anderson
Shakespeare
David Chandler
Necla Çikigil
David Fallow
Paul J. C. M Franssen
Yvonne Griggs
Helen Ostovich
Veronika Schandl
Peter Thomson
Darren Tunstall
Elizabeth Zauderer
Sikhism
Brian Crow
Simon Ellis
Elizabeth Boyce
singing
Kate Napier
Meade Palidofsky
shamanism
Victor I. Ukaegbu
Shaw
Benjamin Poore
She Bop
Lucy O’Brien
Shenandoah Valley
William M Dabback
shifts of visual perception
Birgit Wiens
short fiction film
Alberto Zambenedetti
short film
Katja Krebs
Show Boat
Judith Sebesta
Sir Oswald Stoll
Vincent L. Barnett
site
Dorinda Hulton
site-specific performativity
Lone Koefoed Hansen
site-specificity
Claudia Kappenberg
situationism
Carl Lavery
Skinner Releasing Technique
Manny Emslie
Polly Hudson
slapstick
Louise Peacock
social change
Helen Ferrara
social choreography
Fiona Bannon
social identity
Christopher J Alfano
social inclusion
Nick Rowe
social interaction
William M Dabback
Nikki Moran
social justice
Mary L. Cohen
Casey J. Hayes
social narratives
Esther MacCallum-Stewart
social network
Thea Brejzek
social networking
Paul Draper
Miikka Salavuo
social planning
Philipp Dorstewitz
social reality
Meg Mumford
somatic(s) education
Glenna Batson
social science
Sue Hacking
somatics
Ann Cooper Albright
Henrietta Bannerman
Vasso Barboussi
Yvon Bonenfant
Stefanie Cohen
Martha Eddy
Sue Hawksley
Katja Kolcio
Sasha Roubicek
Anna Vidali
Rebecca Weber
sociology
David G. Hebert
Nathan B. Kruse
Sofia Coppola
Ceri Hovland
soft technology
David Francis
software
Allan Hewitt
song
Jane Bentley
Sheelagh Chadwick
C. Michael Hawn
Evangelos Himonides
Stella Sorby
John Staniunas
soundscape
Mary Noonan
Eric Shieh
South Africa
Michael Carklin
Katharine Low
South Asian performance
Claire Pamment
space
Andrew Filmer
Marco Grosoli
Sarah Rubidge
Olivia Sagan
space and place
Michael Carklin
Spain
Mark Hutchings
Michael Thompson
solo performance
Ben Francombe
John Freeman
sonic art
Frank Millward
somatic
Manny Emslie
sonic elements in multimedia
art
Michael Dunn
Spanish Civil War
Anton Pujol
somatic awareness
Elizabeth Smears
somatic epistemology
Becky Dyer
somatic movement
Karryn Allen
Becky Dyer
Rebecca Weber
somatic performance
Ben Macpherson
somatic practice
Ian Lamond
somatic practices
Jess Allen
Polly Hudson
Emma Meehan
sonic environment
James Mooney
spatial design
Marie Louise Bourbeau
Geoffrey Edwards
sound
Stan Wijnans
spatial zones
Pauline Brooks
sound art
Elke Huwiler
spatiality
Axel Stockburger
Stan Wijnans
sound diffusion
Dave Moore
sound effects
David Ian Rabey
sound-based rhythm
Jesús Tejada
sound-bridge
Rob Dean
spectatorial dramaturgy
John Keefe
spectatorship
Markos Hadjioannou
Peter O’Rourke
speech interfaces
Alistair Edwards
Christopher Newell
speech synthesis
Alistair Edwards
Christopher Newell
Spinoza
Denise Doyle
spiritual
Michael J. Lowis
spirituality
Sarah Goldingay
sports therapy
Kimberley Hutt
Spring Awakening
Bryan M. Vandevender
stage business
Garry Headland
stage design
Nick Moran
stage directions
Mark Hutchings
Stage plays
Cristina Cano Vara
stage translation
Jozefina Komporaly
stand-up comedy
Broderick D. V. Chow
Sharon Lockyer
Tim Miles
Brett Mills
Tony Moon
Louise Peacock
state of the nation
Anna Harpin
subtitling
Olaf Jubin
Steiner
Jerri Daboo
Sufism
Deborah Kapchan
Stephen Schwartz
Paul R. Laird
Summer Dancing
Katye Coe
Joe Moran
Stephen Sondheim
Natalie Draper
Melodie G Galloway
Steve Swayne
stereotypes
Aaron C. Thomas
stigma
Nick Rowe
storytelling
Michael Wilson
straddle tonal studies
Eddy K. M. Chong
student embodiment
Karryn Allen
student placements
Roy Priest
studio practice
Andrew King
Paul Vickers
study
Ruth Way
Stuttgart State Opera
Kara McKechnie
Stanislavski
David Allen
Tracey Moore
subalternity
Ming-yan Lai
stardom
Victoria Lowe
sublation
Sima Belmar
superstardom
Vagelis Siropoulos
support
Amanda Williamson
surveillance
Elise Morrison
Sweeney Todd
Benjamin Poore
symbolism
Alain Wolf
synaesthesia
Frank Millward
synnoetics
Ross W. Prior
synthesis
Glenna Batson
synthetic actors
Alistair Edwards
Christopher Newell
synthetic speech
Alistair D. N. Edwards
T. S. Eliot
Yasutaka Maruki
taboos
Gerard Matte
Ian McFadyen
tacit knowledge
Ross W. Prior
Taijiquan
Daniel Mroz
Taneyev
Anastasia Belina
tangibles
Alice Bayliss
Jennifer G. Sheridan
Nicolas Villar
taste
Alex Symons
teaching
Helen Ferrara
Mary Copland Kennedy
teaching film
Martin Barker
teaching practice
Ruth Way
teaching practices
Rebecca Weber
team teaching
Giselle M. d. S Ferreira
technical arts
Nick Hunt
technical support
Andy Brader
technology
Fadi Mohammad AlGhawanmeh
M. T Al-Ghawanmeh
Johannes Birringer
Kevin Brown
Pamela Burnard
Grayson Cooke
Jaime del Val
Scott deLahunta
Denise Doyle
Aleksandar Sasha Dundjerovic
Rami Haddad
Andrew Head
Allan Hewitt
Christian Jacquemin
Jamie Jewett
Susan Kozel
Simon Lock
Sally Jane Norman
Daniël Ploeger
Julie Wilson-Bokowiec
technology transfer
David Francis
teenage sexuality
Bryan M. Vandevender
telematic
Anna Fenemore
telematic performance
Pauline Brooks
television
Rachel Carroll
Braínne Edge
Julia Lippert
Derek Paget
Tennessee Williams
John M. Clum
terminology
David Lane
terrorists
Tom Cantrell
testimony
Ming-yan Lai
text
Glenna Batson
Debbie Green
Karen Jurs-Munby
text-based chat
Toni Sant
textual analysis
Brett Mills
textuality
Mary Noonan
television comedy
Sue Becker
Lloyd Peters
Thai cinema
Leon Hunt
television shows
Mary Jo Lodge
television studies
Daniel Meyer-Dinkgräfe
television theory
Tony Richards
temporality
Steve Dixon
Sarah T. Ellis
Ten Minutes Ago
Graham Wood
the 1990s
Deirdre Osborne
the actor's experience
Eric T. Hetzler
The British New Wave
Yael Zarhy-Levo
The Capeman
Judith A Sebesta
Jeffrey Ullom
The Changeling
Mark Hutchings
The Choreographic Lab
Vida. L. Midgelow
the city
Carl Lavery
The Confidence Man
Rick Mitchell
the culture of narcissism
Vagelis Siropoulos
the diagram
Sarah Rubidge
The Entertainer
Tony Moon
The Flying Dutchman
Kara McKechnie
The Indian Princess
John S. Bak
The International Society for
Music Education
Marie McCarthy
The Killers
Jesse Schlotterbeck
The King is Alive
Yvonne Griggs
The Lord of the Rings
Esther MacCallum-Stewart
The Medead
Geraldine Harris
The Merchant
Paul J. C. M Franssen
The Music Man
Roberta Freund Schwartz
The Producers
Alex Symons
The Revels
Sarah J. Bartolome
Patricia Shehan Campbell
The Servant (novella and film)
Yael Zarhy-Levo
The Troubles
Tim Miles
The Virgin Suicides
Ceri Hovland
the Wooster Group
Jennifer Parker-Starbuck
theatre
Gbemisola Adeoti
George Belliveau
Johannes Birringer
Tom Burvill
Anthony Bushard
Paul Carr
Franc Chamberlain
Freda Chapple
Paul Christman
Roger Clegg
John M. Clum
Brian Crow
Sarah Jane Dickenson
Steve Dixon
Patrick Duggan
Aleksandar Sasha Dundjerovic
Sarah T. Ellis
Andrew Filmer
Helen Freshwater
Sarah Goldingay
Debbie Green
Richard J. Hand
Peter Harrop
Rand Hazou
Dee Heddon
Hilda Ho
Alison Hodge
Kate Katafiasz
Paul R. Laird
David Haldane Lawrence
Victoria Lowe
Gordon McDougall
Daniel Meyer-Dinkgräfe
Roberta Mock
Jennifer Oates
Mary Oliver
Deirdre Osborne
Derek Paget
Meade Palidofsky
Clare Park
Jennifer Parker-Starbuck
David Ian Rabey
David Roesner
Tanya Ronder
Nick Rowe
Graham Saunders
Rineke Smilde
Yuji Sone
Jenn Stephenson
Elizabeth Swift
Michael Thompson
Peter Thomson
Ashley Thorpe
Naphtaly Shem Tov
Cathy Turner
Carole-Anne Upton
Steve Waters
Rebecca Weber
Stacy Wolf
Roger Wooster
Yael Zarhy-Levo
Elizabeth Zauderer
Theatre 503
Sarah Dickenson
theatre and performance
Tom Cantrell
Katharine Low
theatre anthropology
Adam J. Ledger
theatre history
Ellen Marie Peck
Aleks Sierz
Theatre in Education
David Allen
theatre lighting
Nick Hunt
theatre management
Helen Brooks
theatre masks
Stephen Fernandez
Daniel Jernigan
Russell Pensyl
Lee Shangping
Theatre of Provocation
Piet Defraeye
theatre research
Dominic Symonds
theatre reviews
Katalin Trencsényi
Three Tales
Jem Kelly
tragedy
Anna Harpin
theatre translation
Pedro de Senna
Tiananmen Square
Mike Ingham
training
John Drummond
Dita Judith Federman
Kate Napier
Theatre Workshop
Frances Babbage
TIE
Roger Wooster
theatrical systems
Szabolcs Musca
Tim Crouch
David Lane
theatricality
Elise Morrison
Tokyo woman
Barbara Thornbury
themes
Stuart Price
Tom Leabhart
Adam J. Ledger
Theophilus Cibber
Helen Brooks
Tom plays
Jim O’Loughlin
theory
Carl Lavery
Tonga
David G. Hebert
therapeutic
Melissa Trimingham
Tony Kushner
Aaron C. Thomas
therapeutic action
Keren Barzilay-Shechter
topology
Sarah Rubidge
therapeutic massage
Mitchell Kossak
touch
Helen J. Chatterjee
therapy
Erica E. Ander
Keren Barzilay-Shechter
Martha Eddy
Anne Fenech
Chee-Hoo Lum
tourism
Helen Ferrara
Tholpava Koothu
Sreedevi K. Nair
Thomas Betterton
David Roberts
trade unions
Ming-yan Lai
transcendence
Benjamin J. Harbert
transdisciplinary
Dave Everitt
Alec Robertson
transfer
John Milton
transference challenges
Michael Fry
transitional
Olivia Sagan
translating comedy
Rachel Kirk
translation
Ana Gabriela Macedo
Teresa Murjas
Duška Radosavljević
Stella Sorby
Michael Thompson
Carole-Anne Upton
Rachel Weissbrod
Alain Wolf
translation processes
Szabolcs Musca
transmedia
Richard Berger
traditional indigenous
knowledge
Mary E. Piercey
transmission
John Milton
traditional music
Sarah J. Bartolome
Patricia Shehan Campbell
Eddy K. M. Chong
transnational
Mike Ingham
transnational adaptation
Thy Phu
United States
J. Bryan Burton
verbal comedy
Garry Headland
trauma
Patrick Duggan
urban geography
Sara Cohen
Verfremdungseffekt
Dorinda Hulton
trauma theory
Kate Katafiasz
urban planning
Philipp Dorstewitz
vernacular concepts
Martin Barker
travel
Ewa Mazierska
urban space
Marsha Berry
Jeffrey Johnson
Sophia Lycouris
Victorian
Jane Collins
Benjamin Poore
travellers
Tim Joss
Tristram Shandy
Eckart Voigts-Virchow
US media corporations
Olaf Jubin
US movie musical
Olaf Jubin
Tufnell
Suna Imre
Turkey
Laurence Raw
twentieth-century
Dimple Godiwala
type-casting
David Roesner
typologies
Alexandra Kertz-Welzel
Kari Veblen
ubiquity
Thea Brejzek
Uncle Toms Cabin
Jim O’Loughlin
unconscious
Gordon McDougall
underscoring
Rob Dean
user experience design
Jennifer G. Sheridan
usury
David Fallow
video
Gbemisola Adeoti
Helen Bailey
Johannes Birringer
Jamie Jewett
videogame
Richard Berger
violence
Hannele Weir
violin students
Cordelia V. Hall
Utopia Arts
Frances Rifkin
utopianism utopian theatre
Siân Adiseshiah
Utopiarevue
Judith A Sebesta
Virgin Mary
Rachel O’Riordan
virtual
Andrew Brown
Steve Dillon
Anna Fenemore
V For Vendetta
James Reynolds
virtual environment
Brian Curson
Robyn Stuart
VAIN liveart
Hilary Kneale
Varèse
Tim Stephenson
Varna
Richard Wallis
virtual masks
Stephen Fernandez
Russell Pensyl
Lee Shangping
virtual reality
Stephen Fernandez
Daniel Jernigan
Russell Pensyl
Lee Shangping
virtual worlds
Esther MacCallum-Stewart
Jacquelyn Ford Morie
Elizabeth Swift
vision
Linda J. Thomson
visual comedy
Garry Headland
Vivian Stanshall
Karen Morden
voice
Sama'a Al Hashimi
Stephen Baranski
Freda Chapple
Debbie Green
Victoria Lowe
Claire MacDonald
David Ian Rabey
voice acting
Alistair Edwards
Christopher Newell
vulnerability
Mark Cariston Seton
Wabi-Sabi
Jo Pond
waki
Yasutaka Maruki
wearable technologies
Thecla Schiphorst
Wim Wenders
Duška Radosavljević
Web 2.0
Miikka Salavuo
women
Deborah Barkun
Jools Gilson-Ellis
Duane Warfield
weight
Susanne Ravn
well-being
Hilary Bungay
Valentina Iadeluca
Gunter Kreutz
Andrea Sangiorgio
Don Stewart
Linda J. Thomson
well-being measures
Usha Menon
Welsh arts
Steve Garrett
Ruth Shade
Welsh culture
Graeme Harper
Welsh-language drama
Lisa Lewis
Wesley Balk
Tracey Moore
whanau
John Drummond
Wales
Graeme Harper
Lisa Lewis
Mike Pearson
WHOQOL-BREF
Gunter Kreutz
walking
Fiona Bannon
Phil Smith
Waltz
Steve Swayne
Waltz musical
Steve Swayne
Will Kemp
Roger Clegg
Willem Van de Wall
Andrew Krikun
William Chambers
Hsin-yun Ou
women in rock
Lucy O’Brien
women's rights
Helen Brooks
work ethic
Larry Brewster
Working Title Films
Chris Ritchie
World of Warcraft
Esther MacCallum-Stewart
worship
Greg Scheer
worship music
Jane Bentley
writerly self
Kate Evans
writing
Peter Harrop
Claire Hind
Petra Kuppers
Michael Pinchbeck
written thesis
Sarah O'Brien
Xena
Mary Jo Lodge
yoga
Katja Münker
Yoruba
Gbemisola Adeoti
young people
Jane Coad
Matthew Reason
young people theatre
Tanya Ronder
youth
Andy Brader
Steve Garrett
David G. Hebert
Hod Orkibi
Julie Tiernan
youth culture
Carol J. Oja
Zeami
Yasutaka Maruki
Zen
Jerri Daboo
Zulu Time
Aleksandar Sasha Dundjerovic