Jean Graham-Jones, Professor
(Graduate Center / Hunter College) Ph.D. in Hispanic Languages and Literatures, University of California, Los Angeles. Professor of Theatre, Hispanic and Luso-Brazilian Literatures and Languages, and Comparative Literature. Executive Officer of the Program in Theatre at the Graduate Center. Major publications include Exorcising History: Argentine Theater under Dictatorship (2000), Reason Obscured: Nine Plays by Ricardo Monti (ed. and trans., 2004), BAiT: Buenos Aires in Translation (ed. and trans., 2008), and Timbre 4: 2 Plays by Claudio Tolcachir (ed. and trans., 2010).  She has published articles in such journals as Theatre Journal, Theatre Survey, Theatre Research International, Latin American Theatre Review, Tramoya, and Gestos; is a former editor of Theatre Journal; and currently serves on the editorial boards of Theatre Journal, Latin American Theatre Review, Theatre Research International, Chasqui, and Contemporary Theatre Review. Her research and teaching specializations include contemporary and colonial Latin American (especially Argentine) theatre and performance in addition to theatre, performance, and cultural theories.  Her current research focuses on the national performances of such Argentinean "femiconic" figures as Camila O'Gorman, Eva Perón, and the Virgin of Luján. Her translations of Argentinean plays were presented at Performance Space 122 (New York) during the November 2006 Buenos Aires in Translation (BAiT) festival and served as the basis for supertitles at Teatro StageFest (New York, 2007 and 2009).  She is currently a fellow at the Freie Universität's International Research Center for "Interweaving Performance Cultures" (Berlin).

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Marvin A. Carlson, Distinguished Professor
(Graduate Center) Ph.D.in Drama and Theatre, Cornell University. The Sidney E. Cohn Distinguished Professor of Theatre, Comparative Literature and Middle Eastern Studies. His research and teaching interests include dramatic theory and Western European theatre history and dramatic literature, especially of the 18th, 19th, and 20th centuries. He has been awarded the ATHE Career Achievement Award, the George Jean Nathan Prize, the Bernard Hewitt prize, the George Freedley Award, and a Guggenheim Fellowship. He has been a Walker-Ames Professor at the University of Washington, a Fellow of the Institute for Advanced Studies at Indiana University, a Visiting Professor at the Freie Universitat of Berlin, and a Fellow of the American Theatre. In 2005 he was awarded an honorary doctorate by the University of Athens. His best-known book, Theories of the Theatre (Cornell University Press, 1993), has been translated into seven languages.  His 2001 book, The Haunted Stage won the Calloway Prize.  His newest book, Speaking in Tongues, was published by the University of Michigan Press in 2006.

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Daniel Gerould, Distinguished Professor
(Graduate Center) Ph.D. in Comparative Literature, University of Chicago. Major publications include: Theatre/Theory: Theory/Theatre (ed. Applause, 1999); Guillotine: Its Legend and Lore (Blast Books, 1992); The Witkiewicz Reader (ed. and trans. Northwestern University Press, 1992); Doubles, Demons, and Dreamers: An International Collection of Symbolist Drama (editor. Performing Arts Journal Publications, 1983); and American Melodrama (editor. Performing Arts Journal Publications, 1982). He is also the series editor of "Polish and Eastern European Archives" (Harwood) and editor of Slavic and East European Performance. Specializations: Modern European Drama and Theatre (Polish and Russian); Genre Studies; Theatre Theory.

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Judith Milhous, Distinguished Professor
(Graduate Center) Ph.D. in Drama and Theatre, Cornell University, 1974. Major publications include: Italian Opera in Late Eighteenth-Century London (Clarendon Press, 1995, 2001) vol. 1 with Robert D. Hume and Curtis Price, vol. 2 with Gabriella Dideriksen and Hume; A Register of English Theatrical Documents, 1660-1737 (with Hume, Southern Illinois University Press, 1991); Producible Interpretation: Eight English Plays, 1675-1707 (with Hume, Southern Illinois University Press, 1985); and Thomas Betterton and the Management of Lincoln's Inn Fields, 1695-1708 (Southern Illinois University Press, 1979). Specializations: British Drama and Theatre, especially 17th-18th century; Theatre History and Historiography.

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David Savran,  Distinguished Professor
(Graduate Center), Vera Mowry Roberts Chair in American Theatre, Ph.D. in Theatre Arts, Cornell University. Major publications include: Breaking the Rules: The Wooster Group (1988); In Their Own Words: Contemporary American Playwrights (1988); Communists, Cowboys and Queers: The Politics of Masculinity in the Work of Arthur Miller and Tennessee Williams (1992); Taking it Like a Man: White Masculinity, Masochism, and Contemporary American Culture (1998); The Playwright's Voice: American Dramatists on Memory, Writing, and the Politics of Culture (1999); and A Queer Sort of Materialism: Recontextualizing American Theater (2003). He is the co-editor of the Journal of American Drama and Theatre and has served as the Vice President of the American Society for Theatre Research. He was a judge for the Village Voice Obie Awards for two years, a member of the nominating committee for the Lucille Lortel Awards from 2005 until 2010, and a juror for the 2011 Pulitzer Prize in Drama. His most recent book, Highbrow/Lowdown: Theater, Jazz, and the Making of the New Middle Class (University of Michigan Press), is the winner of the Joe A. Callaway Prize for the Best Book in Theatre or Drama, 2008-09.  In 2009, he co-wrote an essay with eleven students from his Sociology of Theatre class, "'Let Our Freak Flags Fly': Shrek the Musical and the Branding of Diversity," which was published in Theatre Journal (May 2010).  His new book project theorizes branding as a cultural performance and studies its use in U.S. theatre since the 1960s, arguing that relations of distribution (which include marketing, advertising, and branding) have become the primary economic engine in the cultural arena.  His intent is to use his theory of branding to analyze the exportation of U.S. theatre and so rethink the position of U.S. plays and musicals on the world stage.

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William Boddy(Baruch College)
Ph.D, Cinema Studies, New York University. Major publications include Fifties Television: The Industry and Its Critics (University of Illinois Press, 1990) and New Media and Popular Imagination: Launching Radio, Television, and Digital Media in the United States (Oxford University Press, 2004), as well as scores of articles and book chapters on media history, digital media, and film studies. Associate editor of Cinema Journal, Boddy also serves on the editorial advisory boards of Screen, Television and New Media, The Velvet Light Trap and the International Journal of Cultural Studies. His teaching interests include film theory, avant-garde film and video, new media, and the cultural history of electronic media.

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Jane Bowers (Hunter College)
Professor Bowers was educated at Harvard University and at U.C. Berkeley, where she received her Ph.D. in English in 1981. She has written two books on Gertrude Stein: They Watch Me as They Watch This: Gertrude Stein's Metadrama (University of Pennsylvania Press, 1991), which was selected as a Choice Outstanding Academic Book of 1991-1992, and Gertrude Stein, a general introduction to Stein's life and work published by MacMillan/St. Martin's in 1993 as a volume in their series on women writers. From 1995-2003 she was the co-editor of the Journal of American Drama and Theatre. As a fellow of the Bunting Institute at Harvard during the 1996-97 academic year, she began her current project, a book about American performance poetry. She has served as the Director of Academic Affairs for the City University of New York Honors College since 2001. Her fields of interest are twentieth-century American drama and performance.

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Jonathan Buchsbaum (Queens College)
Ph.D. in Cinema Studies, New York University. Publications include Cinema Engagé: Film and the Popular Front (University of Illinois Press, 1988); Cinema and the Sandinistas: Film in Revolutionary Nicaragua, 1979-1990 (University of California Press, forthcoming). Professor Buchsbaum was a participant in the First Festival of Central American Film and Video, Granada, Nicaragua, 1999. Teaching specializations include: Film and the Vietnam War; African Americans in American Film; history and theory of Third Cinema. Research interests include political filmmaking, French cinema, Latin American Cinema, revolutionary cinema in Nicaragua, film theory, film history, GATT and the audiovisual battle between Europe and the U.S.  

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Morris Dickstein Distinguished Professor (The Graduate Center)
Ph.D. Yale University. Major publications include Dancing in the Dark: A Cultural History of the Great Depression (W.W. Norton, 2009; paper back, 2010). The book received the 2010 Ambassador Book Award in American Studies from the English--Speaking Union, and it was nominated for the National Book Critics Circle Award in Criticism. A Mirror in the Roadway: Literature and the Real World, Princeton University Press, 2005; Leopards in the Temple: The Transformation of American Fiction, 1945-1970, Harvard University Press, 2002, Double Agent: The Critic and Society (Oxford University Press, 1992, and Gates of Eden: American Culture in the Sixties, New York: Basic Books, 1977; Rpt. (revised) Penguin Books, 1989, nominated for National Book Critics Circle Award in Criticism, 1977, in paperback by Penguin (1989), Harvard (1997), and Norton (2011).  Specializations: American Cinema; Film Theory; and Criticism.

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Mira Felner(Hunter College)
Ph.D. in Drama, New York University. Major publications include: The World of Theatre:  Tradition and Innovation, Allyn and Bacon, 2006; Apostles of Silence: The Modern French Mimes, Fairleigh Dickenson University Press, 1985; Free to Act: An Integrated Approach to Acting Allyn & Bacon, 2004, 2ed.; and "Circus Techniques and the Actor's Craft" in The Drama Review, March 1972. She is the American Consultant Editor of the Bloomsbury Theatre Guide. Specializations: Modern European Drama and Theatre; Theories and Techniques of Acting.

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David Gerstner(College of Staten Island)
David A. Gerstner received his Ph. D in the Department of Film and Television at UCLA and is Professor of Cinema Studies. David A. Gerstner is the author of Queer Pollen: White Seduction, Black-Male Homosexuality, and the Cinematic (New Black Studies Series at the University of Illinois Press, 2011). His other books include, Manly Arts: Masculinity and Nation in Early American Cinema (Duke University Press, 2006); The Routledge International Encyclopedia of Queer Culture (editor, Routledge, 2006: selected as “Best of Reference 2007” by the New York Public Library); and co-editor with Janet Staiger of Authorship and Film (Routledge, 2003). His writing appears in Film Quarterly, The Stanford Humanities Review, Cine-Action, The Velvet Light Trap, Cultural Critique, and Wide Angle. His work may also be read in the following anthologies: The Sound of Musicals, The Spike Lee Reader; City that Never Sleeps; Marcel Duchamp and Eroticism; New Zealand Filmmakers; Vincente Minnelli: The Art of Entertainment; and Hetero. http://davidagerstner.blogspot.com

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Alison Griffiths (Baruch College)
Ph.D New York University. Professor Griffiths is the author of Wondrous Difference: Cinema, Anthropology, and Turn of the Century Visual Culture (Columbia University Press, 2002), which won the Sixteenth Annual Society for Cinema and Media Studies Dissertation Award in 1999; the Katherine S. Kovacs Award for the best published book in film and media studies in 2003; and honorable mention for the Krazna Krausz Moving Image Book Award in 2004. Professor Griffiths has been the recipient of several fellowships and research awards: Distinguished Scholarship at Baruch College (2003); NEH Summer Stipend (2003); two Eugene Lang Junior Faculty Fellowship at Baruch College (1999 and 2002); the Felix Gross Award for outstanding research by a CUNY junior faculty member (2002); and a Woodrow Wilson Fellowship (1998). Her research on pre- and early cinema has appeared in such journals as Cinema Journal, Screen, Film History, Wide Angle, Continuum, Visual Anthropology Review, Early Popular Visual Culture, Journal of Popular Film and Television and in numerous anthologies on early cinema and media audiences. Her second book on the history of spectacle in old and new media contexts entitled Shivers Down Your Spine: Cinema and the History of the Immersive View is forthcoming from Columbia University Press. Her research includes visual studies, documentary film and television, early cinema, new media, television audiences, and a new book project on the ethics of image making entitled Their Lives Through Our Eyes: The Ethics of Images on the Edge.

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Heather Hendershot (Queens College)
Ph.D University of Rochester.  Professor Hendershot is the author of Saturday Morning Censors: Television Regulation before the V-Chip (Duke University Press, 1998) and Shaking the World for Jesus: Media and Conservative Evangelical Culture (University of Chicago Press, 2004); she is the editor of Nickelodeon Nation: The History, Politics and Economics of America's Only TV Channel for Kids (New York University Press, 2004).  She is currently writing a book on right-wing broadcasting of the 1950s and 60s.  She is on the editorial board of Cinema Journal, Television and New Media, and The Velvet Light Trap, and the advisory board of Film Quarterly. Professor Hendershot's classes include Silent Film, Animation History and Aesthetics, Children’s Television, The Horror Film, and The American Film Industry.

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Amy Herzog (Queens College)
Ph.D., University of Rochester.  Amy Herzog is Associate Professor of Media Studies and Coordinator of the Film Studies Program at Queens College. She is the author of Dreams of Difference, Songs of the Same: The Musical Moment in Film (University of Minnesota Press, 2010). She is the co-General Editor of Women's Studies Quarterly, and serves on the editorial board of American Music.  Before coming to Queens, she worked at several film, media, and arts institutions in New York, most recently assisting with the Andy Warhol Film Project at the Whitney Museum of American Art. Her research interests include film, philosophy, popular music, and gender studies. She is currently co-editing an anthology on sound and image in digital media for Oxford University Press. Her most recent research project centers on "small screen" film and video technologies and their impact on urban space.   

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Frank Hentschker (The Graduate Center)
Dr. Frank Hentschker holds a Ph.D. in Theatre from the Theatre Institute in Giessen, Germany and joined the Faculty of the Ph.D. Program in Theatre at The Graduate Center, City University of New York, in 2009. Dr. Hentschker currently serves as Executive Director and Director of Programs at the Martin E. Segal Theatre Center (MESTC), an institute for theatre based at the CUNY Graduate Center. In this capacity, since 2001 Dr. Hentschker has transformed the MESTC into a premier forum for public programming in international and U.S. theatre and theatre studies. He founded the acclaimed annual festival PRELUDE--AT THE FOREFRONT OF CONTEMPORARY NYC THEATRE, which features twenty New York-based theatre companies and playwrights at the Center each fall. He also started the PEN World Voices Playwrights Series, in partnership with the PEN America Center's PEN World Voices Festival of International Literature, and led 19 CUNY performing arts centers in the formation of the CUNY C-PAC Performing Arts Consortium, producing its first joint festival in 2009. Each year, Dr. Hentschker curates and produces approximately 40 events for the Segal Center, featuring lecture-demonstrations, symposia, works-in-progress and conversations with theatre scholars, theatrical luminaries and emerging voices in the international and local theatre scene. Before coming to the Segal Center, Dr. Hentschker served as a producer, consultant and actor in the U.S. and Europe. He founded and was Artistic Director and Financial Administrator of DISCURS, the largest European student theater festival existing today; served as Robert Wilson's personal assistant and tour manager for his production of Dr. Faustus Lights the Lights at Berlin's Hebbel Theatre, and appeared as Hamlet in Heiner Müller's own production of his play Hamletmaschine, among many other roles. Dr. Hentschker served as President of the Board of PAJ: A Journal of Performance and Art from 2005-2009, and edited the book Jan Fabre: I Am A Mistake, Seven Works for the Theatre (MESTC Publications, 2009).

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Jonathan Kalb (Hunter College)
D.F.A. Yale University. Professor Kalb is Chair of the Theatre Department at Hunter College and editor of HotReview.org, the Hunter On-Line Theater Review.  Major publications include: Beckett in Performance (Cambridge University Press, 1989); Free Admissions: Collected Theatre Writings (Limelight Editions, 1993); The Theatre of Heiner Müller (Cambridge University Press, 1998); and Play by Play: Theater Essays and Reviews, 1993-2002 (Limelight Editions, 2003). He has also written numerous articles in The New York Times, Salmagundi, Modern Drama, Performing Arts Journal, New German Critique, The Threepenny Review, The Michigan Quarterly, Theatre heute, Theatre Three, Theater, Theatre Forum and many other journals and books. A winner of the George Jean Nathan Award for Dramatic Criticism, he was the theatre critic for New York Press from 1997-2001 and a theatre critic for the Village Voice from 1987-1997. Research and teaching specializations: Modern Drama and Theatre; Avant-Garde Theatre; German Theatre and Drama; Samuel Beckett; Heiner Müller; critical writing; dramaturgy; translation.

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Ivone Margulies(Hunter College)
Ph.D. In Cinema Studies, New York University. She is the author of Nothing Happens: Chantal Akerman’s Hyperrealist Everyday (Duke U. Press, 1996) and editor of Rites of Realism: Essays on Corporeal Cinema (Duke U. Press, 2003), an anthology which includes her essay “Exemplary Bodies: Reenactment in Love in the City, Sons and Close up.” Her essays on Akerman and theatrical cinema have been translated in various international catalogues and books. She has published chapters on John Cassavetes, Jean Rouch and videomaker Steve Fagin. Recent publications include: “Le monologue sériel: formes d’engagement dans le cinema moderne” in La fiction éclatée. Petits et grands écrans français et francophones. (forthcoming in 2006); “Sacha Guitry, National Portraiture and the Artist’s Hand” French Cultural Studies 16: 3 (October 2005.) “Chronicle of a Summer (1960) as Autocritique (1959): A Transition in the French Left” QRFV 21.3 (July 2004). Her research and teaching interests include: aspects of theatricality in modern postwar cinema and contemporary visual media; cinema verité; French modernist cinema; women’s cinema; experimental film and video; questions of realism and the representation of the everyday in cinema.

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Paula Massood (Brooklyn College)
Ph.D. in Cinema Studies from New York University. Professor Massood is a Professor of Film Studies at Brooklyn College. She is the author of Black City Cinema: African American Urban Experiences in Film (Temple Univ. Press, 2003) and the editor of The Spike Lee Anthology (Temple Univ. Press, forthcoming 2008). Her articles on African American Cinema, the City and Film, and other topics have appeared in Cinema JournalAfrican American Review, Literature/Film Review, Cineaste, and a number of collections on African American Film, the City and Film, film adaptation, and Hollywood violence. She is also the Theater/Film subject editor for African American National Biography (Oxford Univ. Press, forthcoming 2008), and is currently working on a visual history (photography, film) of Harlem.

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Joe McElhaney (Hunter College)
Ph.D. in Cinema Studies, New York University.  Joe McElhaney is the author of The Death of Classical Cinema: Hitchcock, Lang, Minnelli (SUNY Press, 2006), Albert Maysles (University of Illinois Press, 2009) and the editor of Vincente Minnelli: The Art of Entertainment (Wayne State University Press, 2009).  He is the author of numerous essays in periodicals, including “Howard Hawks: American Gesture” (Journal of Film and Video) and Chris Marker: Primitive Projections (Millennium Film Journal), and in edited volumes, including “Rosemary’s Baby: Polanski, New York and the Urban Irrational” (The City That Never Sleeps/Rutgers University Press), “Preston Sturges and the Speed of Language” (Cinema and Modernity/Rutgers University Press), Fritz Lang and the Cinema of Tactility (I cinque sensi del cinema/XI Convengon Internazionale sul Cinema), “Hollywood, años cuarenta y cincuenta: transformación del modelo clásico Americano o de cómo Europa toma Hollywood por la fuerza,” for  En Tránsito:  De Berlin a Hollywood y Alrededors (Las Palmas), “Little Soldiers of the  New Frontier: American Movies in 1963” (The 1960s: Themes and Variations/Rutgers University Press) and “Walking a Straight Line: Fassbinder and Martha” (A Companion to Rainer Werner Fassbinder/Blackwell).  His essays on Hitchcock and Minnelli include “The Object and the Face: Notorious, Bergman and the Close-Up” (Hitchcock: Past and Future/Routledge), “Hitchcock: Metteur-en-Scène” (A Companion to Alfred Hitchcock/Blackwell), “Laughter and Agony in The Long, Long Trailer or: ‘Isn’t This Fun, Honey?’” (Blackwell’s History of American Film/Blackwell) and “Medium-Shot Gestures: Vincente Minnelli and Some Came Running,” originally published in 16:9 and reprinted in Vincente Minnell: The Art of Entertainment.  He is on the advisory editorial committee of The Velvet Light Trap.  McElhaney is currently working on a book on the human figure in cinema.

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Claudia Orenstein(Hunter College)
Ph.D. in Directing and Critical Theory, Stanford University, 1993. Major publications include: The World of Theatre: Tradition and Innovation (Allyn and Bacon, 2005) co-author with Mira Felner; Festive Revolutions: The Politics of Popular Theater and San Francisco Mime Troupe. Series in Performance Studies (Jacksonville: University Press of Mississippi, 1999) . Specializations/description of Interest Areas: Asian Theatre with an interest in intercultural performance; Political Theatre, focusing on strategies used by political activists; puppetry and performing objects, their use historically and in relation to new technological media.

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Joyce Rheuban(La Guardia College)
Ph.D. in Cinema Studies, New York University. Joyce Rheuban has taught graduate and undergraduate courses in film history, theory, and criticism at CUNY, Tisch School of the Arts of New York University, and the Germanic Languages Department of Columbia University. She has also lectured on American experimental film throughout the German Republic. Her publications include translations of the screenplays of two R.W. Fassbinder films, a book on silent film comedian Harry Langdon, and articles on German and American cinema. She is a co-editor of Persistence of Vision: The Journal of the Film Faculty of the City University of New York, and an analyst-in-training at the National Psychological Association for Psychoanalysis. She is the recipient of a NEH Fellowship for College Teachers, a Mellon Foundation award, and a number of PSC-CUNY Research Foundation awards.

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Annette J. Saddik (NYC College of Technology)
Ph.D. in English Literature, Rutgers University. Major publications include: The Politics of Reputation: The Critical Reception of Tennessee Williams’ Later Plays (London: Associated University Presses, 1999), which was the first full-length study of Williams’ late (post-1961) plays, and examined the critical reaction to Williams’ work throughout his career in conjunction with the critical reception of his contemporaries in Europe and the U.S.; Contemporary American Drama (Edinburgh: University of Edinburgh Press [in the U.K.] and New York: Columbia University Press [in the U.S.], 2007), an exploration of the development of contemporary theater in the United States in its social, political, and theoretical dimensions, focusing particularly on the postmodern performance of American identity on the stage since WW II; and Tennessee Williams: The Traveling Companion and Other Plays (New York: New Directions Publishing, 2008), a collection of twelve late, previously unpublished plays of Tennessee Williams that were selected, edited, and introduced for this definitive volume. Other publications include several essays in journals such as Modern Drama, The Drama Review (TDR), North Carolina Literary Review, Études Théâtrales, South Atlantic Review, Tennessee Williams Annual Review, and Valley Voices, as well as essays in critical anthologies and encyclopedias of theater history. Dr. Saddik also serves on the editorial boards of the journals Theatre Topics and The Tennessee Williams Annual Review, and is working on a new book on Williams, The Strange, The Crazed, The Queer: Tennessee Williams' Late Plays and the Theater of Excess.   In addition to the work of Tennessee Williams, Samuel Beckett, Sam Shepard, David Mamet, and twentieth-/twenty-first-century drama and performance in general, her more recent research interests include women’s performance art, burlesque/neo-burlesque performance, and European Cabaret, particularly the Cabaret/Kabarett of Weimar Germany.

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James Saslow (Queens College)
Ph.D. in Art History, Columbia University. He is a professor of Art History at Queens College, CUNY, and has also taught at Vassar, Columbia, and the Art History Program at the CUNY Graduate Center. His recent book on art and performance, The Medici Wedding of 1589: Florentine Festival as "Theatrum Mundi" (Yale, 1996), received the Phyllis Gordon Prize from the Renaissance Society of America. His previous publications include The Poetry of Michelangelo: An Annotated Translation (1991) and Ganymede in the Renaissance: Homosexuality in Art and Society (1986). Specializations: Renaissance Art and Theatre.

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Elisabeth Weis (Brooklyn College)
Ph.D. in Film, Columbia University. Professor Weis specializes in film sound aesthetics, American narrative film, and comedy. Her most recent book is Film Sound: Theory and Practice (co-editor, John Belton, Columbia University Press). Her earlier books are The Silent Scream: Alfred Hitchcock's Sound Track; Movie Comedy; and The National Society of Film Critics on the Movie Star. She was a founding editor of Persistence Vision: the Film Journal of the City University of New York, for which she guest-edited an issue on Humor in the Visual Arts. Professor Weis has served as the Executive Director of The National Society of Film Critics since 1974. In 2002 she was named an Honorable Professor by Peking University.

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Maurya Wickstrom (College of Staten Island)
Ph.D. in Theatre, Graduate Center/CUNY, M.F.A. in Directing, Tulane University. Her book, Performing Consumers: Global Capital and its Theatrical Seductions, was published by Routledge in 2006. Her second book, Performance in the Blockades of Neoliberalism: Thinking the Political Anew is forthcoming in 2011 from Palgrave Macmillan’s Studies in International Performance Series, edited by Janelle Reinelt and Brian Singleton. She has contributed essays in Rethinking Disney: Private Control, Public Dimensions, and Changing the Subject: Marvin Carlson and Theatre Studies, 1959-2009, edited by Joseph Roach. Her articles have been published in The Drama Review, Theatre Journal, Modern Drama, Theatre Survey, Theatre Annual, Journal of Dramatic Theory and Criticism, and PAJ: A Journal of Performance and Art.  Her research and teaching interests include; transnational issues for performance and politics; neoliberalism and performance in and through human rights, international law, and development discourses; global political theatre; history of theatrical theory; cultural, political, and performance theory; contemporary philosophy.

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David Willinger (City College)
Ph.D. in Theatre, City University of New York, The Graduate Center. Major publications include: Three Fin-de-Siècle Farces (Peter Lang, 1996); Ghelderode (Host, 1990); "Four Works for the Theatre by Hugo Claus" (CASTA, 1990); "Theatrical Gestures: Works from the Belgian Avant-Garde" (New York Literary Forum, 1986); and An Anthology of Contemporary Belgian Plays (edited and translated, Whitston Publishing Company, 1984). He received The Jerome Foundation Award in 1997. Specialization: Belgian Theatre.

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James Wilson (La Guardia Community College)
Ph.D. in Theatre, Graduate Center/CUNY. His book Bulldaggers, Pansies, and Chocolate Babies: Performance, Race, and Sexuality in the Harlem Renaissance is under contract with University of Michigan Press and will be published in Spring 2010. His articles have appeared in Urban Education, Teaching English in the Two-Year College, and Theatre History Studies. He has also published articles in a number of anthologies including, Staging Desire: Queer Readings of American Theater History; “We Will Be Citizens”: New Essays on Gay and Lesbian Theatre; andReclaiming the Public University: Conversations on General & Liberal Education. Research interests and specializations include African American, queer, and political theatre and performance; US theatre history; and academic professionalization/pedagogy.

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