Early modern drama, Shakespeare, performance studies, spatial theory, Restoration drama
Shakespeare, Shakespeare Performance, Creative Writing Poetry, Creative Writing Fantasy Romance Novel, Creative Writing YA Detective Fiction.
I teach in the English Department at the American University of Sharjah in the UAE. My research concerns the political dynamics of performance, especially but not only Shakespeare performance. I am currently writing about the philosophical concept of potentiality through The Method Gun by Kirk Lynn and the Austin, TX-based Rude Mechs.
Alexa teaches Shakespeare, performance, film, literary theory and globalization studies at George Washington University in Washington, D.C. Her teaching and publications are unified by a commitment to understanding the mobility of early modern and postmodern cultures in their literary, performative, and digital forms of expression.
Kathryn Vomero Santos specializes in early modern literature and culture, translation studies, and gender and sexuality studies. She is currently writing a book entitled “Babelian Performances: Early Modern Interpreters and the Theatricality of Translation,” which explores the intersections between early modern English theater and the performative practices of translating in real time between speakers of different languages in a wide range of social, cultural, economic, and political domains. She co-edited Arthur Golding’s A Moral Fabletalk and Other Renaissance Fable Translations with Liza Blake for the MHRA Tudor & Stuart Translations Series (2017) and has published in Philological Quarterly and in a collection entitled Shakespeare and Immigration. Her public-facing writing has appeared in Shakespeare Quarterly’s new digital space and in CNN Opinion. She is currently completing essays for several forthcoming collections, including The Routledge Handbook of Shakespeare and Animals (eds. Holly Dugan and Karen Raber), Lesser Living Creatures: Insect Life in the Renaissance (eds. Keith Botelho and Joseph Campana), and Latinx Shakespeare: Performance, Appropriation, and Pedagogy (eds. Trevor Boffone, Carla Della Gatta, and Katherine Gillen). Her research and teaching have been supported by grants and fellowships from the Folger Shakespeare Library, the Huntington Library, UCLA Special Collections, the Renaissance Society of America, and the National Endowment for the Humanities. She was recently elected to serve as the Translation Studies delegate for the Modern Language Association.
…“Epistolary Liveness: Wilkie Collins, Fanny Kemble, and the Victorian Actress in Letters.” Theatre Survey. Forthcoming, 2019.
“Audiences Writing Race in Shakespeare Performance.” Shakespeare Studies. Forthcoming, 2019.
“Keyword: Performance.” Victorian Literature & Culture 46.3/4 (Fall/Winter 2018): 795-99.
“‘Mere Lookers-on at Life’: Point of View and Spectator Narrative.” Nineteenth Century Theatre and Film 44.2 (2017): 154-72.
“Becoming Caliban: Monster Methods and Performance Theories.” In The Oxford Handbook of Shakespeare and Embodiment, ed. Valerie Traub. Oxford: Oxford University Press, 2016….
I am an interdisciplinary scholar of literature and performance, with research and teaching experience in literary approaches to drama and the novel, in performance studies and theatre history, and in feminist and critical race theories.
Sarah Werner is a book historian, Shakespearean, and digital media scholar based in Washington, DC. Her latest project, Studying Early Printed Books, 1450-1800: A Practical Guide, will be published by Wiley Blackwell in the spring of 2018; the book will be accompanied by a website showcasing images of hand-press books and pedagogical resources. Werner worked for nearly a decade at the Folger Shakespeare Library as the Undergraduate Program Director and as Digital Media Strategist; in those roles she taught a regular semester-length research seminar on book history, created their research blog (The Collation), and led the overhaul of their website. She has a PhD in English from the University of Pennsylvania and is the author of numerous works on Shakespeare and performance, including Shakespeare and Feminist Performance (Routledge 2001), as well as on bibliography, digital tools, and pedagogy.
I head the U.C.B. Shakespeare Program which develops audio-visual/digital materials for the teaching of Shakespeare such as the video documentaries “Shakespeare and the Globe” (distributed by Films for the Humanities),and “Shakespeare’s Globe Theatre Restored” and “Shakespeare and the Spanish Connection” (both distributed by TMW Media). In addition to the above-cited web site, “Shakespeare’s Staging,” we have also developed Milton material, such as the documentary “Milton by Himself” (Films for the Humanities) and a website: http://miltonrevealed.berkeley.edu
Drawing on book history methods, translation studies, and theater and performance studies, I research how bilingual and multilingual dictionaries, grammars, and conversation guides printed in early modern England shaped and were shaped by cosmopolitan dramatic works by William Shakespeare, Thomas Kyd, Ben Jonson, and other playwrights. I am also beginning a new project interested in the developing vocabularies of mixing, combination, and diversity as they manifest in tragicomedy and other dramatic subgenres. I also teach courses on Shakespeare, book history, critical thinking, and writing in English.
ECR based at UWA. Lover of all things Shakespearean. I work for the ARC Centre for Excellence for the History of Emotions (1100-1800) as its National Administrative Officer. I also work as the Executive Administrator for the Australian and New Zealand Association for Medieval and Early Modern Studies Inc., as the editorial assistant for the academic journal Parergon, and for the Centre for Medieval and Early Modern Studies at The University of Western Australia in both research and administrative roles. My current research project examines popular culture depictions of Richard III, and analyses how these works interpret and visually embody Richard and his disability. My research explores and analyses the clash between Early Modern performance texts and youth culture/popular culture, in particular the appropriation of Shakespeare by youth culture/popular culture and the expropriation of youth culture in the manufacture and marketing of Shakespeare. I have taught courses in Shakespeare, film adaptation, and Australian literature. My doctoral work concerned millennial Shakespearean cinematic adaptations, specifically the intersection of Shakespeare and popular culture, as well as the function of music within these films. As well as the analysis of film versions of Shakespeare, I am also interested in how Shakespeare is adapted in new media, such as music, advertising, television, graphic novels and children’s literature. In particular, I am interested at how Australian authors adapt Shakespeare for children via a variety of forms and genres.