Jonathan Kalb is Professor and Chair of the Theater Department at Hunter College of the City University of New York and a member of the Theater Ph.D. faculty at the CUNY Graduate Center. In 1991, he won the George Jean Nathan Award for Dramatic Criticism, the country's richest and most prestigious prize for a theater critic, for his first book, Beckett in Performance (Cambridge University Press) and his articles and reviews in The Village Voice. Kalb was a regular theater critic for The Village Voice from 1987-1997 and the chief theater critic for New York Press from 1997-2001. He has published dozens of essays, articles, interviews, and other writings in such journals as The New York Times Book Review, The New York Times Arts & Leisure, Modern Drama, Theater Journal, Theater, Performing Arts Journal, Theater Heute, The Threepenny Review, Salmagundi, The Michigan Quarterly Review, New German Critique, TheatreForum, American Theatre, as well as in numerous books. A book collection of Kalb's work entitled Free Admissions: Collected Theater Writings was published by Limelight Editions in 1993. In the late 1980s, Kalb was awarded a Fulbright Grant to Germany and lived in West Berlin for two years, where he began to write about German theater. His book The Theater of Heiner Müller--the first general study in English about the most important German playwright since Brecht--was published by Cambridge University Press in 1998 and reissued as a revised and enlarged paperback by Limelight Editions in Fall 2001. Kalb’s new criticism collection, Play By Play: Theater Essays and Reviews, 1993-2002, was published by Limelight in May 2003.

Karin Badt is Associate Professor of Theater at University of Paris VIII. She has written about film for Tikkun, Boston Globe, Cineaste, Film Criticism, etc. She is also the author of a series of children's books.

Balwant Bhaneja co-authored as translator with Vijay Tendulkar, Two Plays by Vijay Tendulkar– The Cyclist and His Fifth Woman, Oxford University Press (India), 2006. Currently playwright-in-residence at the Odyssey Theatre, Ottawa, he is working on a stage adaptation of Mark Frutkin’s Trillium Award-winning novel, Fabrizio’s Return. His English translation of Vijay Tendulkar’s The Cyclist/ Safar was broadcast by BBC World Service in December 1998, and published in HotReview.org. His radio adaptation of Ajit Dalvi’s Mahatma versus Gandhi was produced on BBC World Service in November 2001.

Neil Blackadder is Professor of Theatre at Knox College, and the author of Performing Opposition: Modern Theater and the Scandalized Audience. His translations of contemporary German-language drama include Lukas Bärfuss' The Sexual Neuroses of Our Parents--produced in London and New York--and Igor Bauersima and Réjane Desvignes' Tattoo--published in TheatreForum.

Henning Bochert lives and works in Berlin as theatrical producer, translator, and playwright. He is involved in theater-related organizations like raum4 (www.raum4.org) and Drama Panorama (www.drama-panorama.com). His web page is www.henningbochert.de.

Robert Brustein is the Founding Director of the Yale Repertory and American Repertory Theaters and longtime drama critic for The New Republic. He is also a member of Theater Hall of Fame.

Marla Carlson is an independent scholar in New York with a Ph.D. in Theater from the CUNY Graduate Center. Her current book project asks what cultural work performances of physical pain do in post-9/11 America and how similar performances in the late Middle Ages might help us understand present configurations of suffering.

Marvin Carlson is the Sidney E. Cohn Distinguished Professor of Theater and Comparative Literature at the CUNY Graduate Center. He is the author of many books and articles on theater history and theory and dramatic literature. In 1994 he received the George Jean Nathan Award for dramatic reviewing, in 1995 the ATHE Career Achievement Award, in 2000 the ASTR Distinguished Scholarship Award, and his most recent book, The Haunted Stage, received the Joseph A. Calloway prize for 2002.

Gordon Carver is a graduate student in the Yale School of Drama's Department of Dramaturgy and Dramatic Criticism. He is also the founder and director of Spankin' Yanks, a company which promotes new American writing abroad, which won a Fringe First award at the Edinburgh Fringe Festival 2004.

Jennifer Cayer is a Visiting Assistant Professor in the English Department at Amherst College where she teaches courses on dramatic literature, performance studies, and cultural theory. She received her PhD in comparative literature from New York University in September 2008. Her work has been published in Theater Journal, Brújula, and TDR: The Drama Review. She is currently revising her book manuscript, Embodied Ethnographies: Women’s Work Between Art and the Field.

Adam Casdin teaches in and is in-coming Head of the Department of English at Horace Mann School in Riverdale, New York. He received his B.A. in English from Columbia University and his Ph.D. in English from Stanford University. Trained as a scholar in British eighteenth-century and Romantic literature, his other interests include memoirs and autobiographies, modern literary experiments in prose and poetry, and film studies. In his dissertation, Before Imagination: Literary Reverie's Opening to the Present (2004), he demonstrates that attention to proto-Romantic and Romantic literary reverie should radically revise our longstanding accounts of the romantic-modern imagination. During his years at Stanford, he helped found the literary journal Mantis and organized a university-wide poetry reading series that included the late Nobel Prize-winning poet Czeslaw Milosz, Nathaniel Mackey, Bei Dao, and former U.S. Poet Laureate Robert Hass.

Claudia Wilsch Case is an Assistant Professor of Theatre at Lehman College/CUNY. Her articles have appeared in Theater magazine, the Tennessee Williams Annual Review, Theatre Symposium and TheatreForum. She is currently working on a book about the Theatre Guild.

Joseph P. Cermatori is a dramaturg and MFA candidate at the Yale University School of Drama. He is also a translator, a director, a teaching fellow in the Yale College Department of Theater Studies, and a managing editor of Theater magazine.

Una Chaudhuri is Professor of English and Drama at New York University. She is the author of numerous essays and articles and two books: Staging Place: The Geography of Modern Drama (Univ. of Michigan Press, 1995) and No Man's Stage: A Semiotic Study of Jean Genet's Major Plays (UMI Research Press, 1986). She also co-edited (with Elinor Fuchs) the essay collection Land/Scape/Theater (Univ. of Michigan Press, 2002).

Royd Climenhaga teaches at Eugene Lang College/The New School University in New York City. His essays on intersections between dance and theater have appeared in several journals and magazines and he has published a book on Pina Bausch through the Routledge Performance Practitioner series. He also develops and produces new physical performance as Co-Artistic Director of Human Company. www.humancompany.org

Kathleen Dimmick lives in New York City and works as a director, dramaturg, and teacher. She currrently teaches theater at Bennington College in Vermont.

Gwynn Dujardin is completing her doctorate at Northwestern University in
Evanston, IL, where she specializes in the history of English and early
English education and has taught courses in Shakespeare, early modern
English drama, and theater history. A "Preamble Scholar" at the Chicago
Shakespeare Theater, she delivers lectures to theater audiences on the
Shakespeare plays in production.

Babak A. Ebrahimian is a theater and film director and scholar. He holds a Ph.D. in Theatre Studies and a Masters in Directing from Stanford University. He was the director of The Experimental Theatre Laboratory (ETL) at Stanford University with which he explored and staged productions for the cinematic theater, integrating film aesthetics into the theater. His book, The Cinematic Theater, was published in 2004 by Scarecrow Press. He has taught at Stanford and is currently a lecturer at Columbia University where he teaches Middle Eastern cinema. He also serves as the Artistic Director of La Strada Theatre Company, which is dedicated to staging productions through the cinematic theater and with a focus on social and political issues. He has directed over twenty productions since 1989. Recent New York credits include Marivaux’s The Island of the Slaves and Ripples [The Night Before], an original cinematic theater piece reflecting on events in America and abroad since 9/11. Currently, he is working on a production of Bertolt Brecht’s In the Jungle of the Cities.

Loren Edelson is a teacher and writer based in New York City. Her book Danjuro's Girls: Women on the Kabuki Stage is forthcoming from Palgrave Macmillan.

Miriam Felton-Dansky is a former editor of New Voices, a national Jewish students' magazine, and her work has appeared in New Voices, Moment Magazine, The Brooklynite, and CurtainUp.com. She is also the associate artistic director of Polybe + Seats, a Brooklyn-based theater company.

David Finkle is the chief drama critic for Theatermania.com, the online theater magazine, and a regular contributor to The Village Voice and other publications that cover the arts.

Jason Fitzgerald is an MFA Candidate in Dramaturgy and Dramatic Criticism at the Yale School of Drama. He is also a teaching assistant at the Department of Theater Studies at Yale College and a managing editor of Theater magazine, where his review of David Román's book Performance in America will be published in an upcoming issue.

Richard Foreman has received a MacArthur Fellowship and been awarded the PEN Master Dramatist Award, plus nine Obies and many other prizes. He has designed and directed over seventy-five productions at major theaters around the world, including over forty of his own plays. His Ontological-Hysteric Theater performs annually in St. Marks Church in Manhattan. Six collections of his plays have been published, and many articles and books discuss his work.

J. Ellen Gainor is Professor of Theatre and Associate Dean of the Graduate School at Cornell University. She is the author of Susan Glaspell in Context: American Theater, Culture and Politics, 1915-48 and Shaw's Daughters: Dramatic and Narrative Constructions of Gender. She has written widely on British, American, and Feminist theatre, and is also an editor of the forthcoming Norton Anthology of Drama.

Shawn-Marie Garrett is an Assistant Professor in the Theatre Department at Barnard College, Columbia University, a dramaturg and critic, and a Contributing Editor of Theater. She has recently published articles on the controversy surrounding the play My Name Is Rachel Corrie, on Kafka adaptations for the New York stage, and on the uncanny revival of minstrelsy in contemporary American performance. She has also recently worked as a dramaturg with the director Andre Gregory on his play Bone Songs (published in 2006 by Theatre Communications Group). She is currently revising her monographSuzan-Lori Parks’ History Plays for publication.

Alexis Greene is an author, theater critic and teacher who lives in New York City. Her most recent book is The Story of 42nd Street, written with Mary C. Henderson, to be published in Fall 2008 by Watson-Guptill.

Martin Harries is Associate Professor of English at New York University. He is the author of Scare Quotes from Shakespeare: Marx, Keynes, and the Language of Reenchantment (Stanford University Press, 2000), and has published in New German Critique, The Yale Journal of Criticism, The Chronicle of Higher Education, and The Brooklyn Rail. He is at work on a second book, Lot's Wife: Looking Back at Disaster in the Twentieth Century.

Debra Hilborn is a graduate student in the Hunter College Theatre Department.

Gitta Honegger is the author of Thomas Bernhard: The Making of an Austrian. She is currently working on a book on Elfriede Jelinek and a biography of Helene Weigel, both to be published by Yale University Press. She is a Professor of Theater at Arizona State University. Her translations of Elfriede Jelinek's short plays Jackie, Snow White and Sleeping Beauty were published in Theater 36:2.

Stanley Kauffmann is internationally recognized as a film critic, theater critic, and writer. Among his many honors are the George Jean Nathan Award for Dramatic Criticism, the Edwin Booth Award, and the Telluride Film Festival Award for Criticism. He has taught at the Yale School of Drama, Adelphi University, and Hunter College. His numerous books include the theater collections Persons of the Drama and Theater Criticisms, as well as novels, plays, memoirs, and seven volumes of film criticism.

Tony Kushner is the Pulitzer Prize-winning author of Angels in America: A Gay Fantasia on National Themes, Homebody/Kabul, Caroline, or Change, A Bright Room Called Day, Slavs! and many other plays. His work has been produced in more than 30 countries.

Bill Marx reviews theater and books for WBUR, Boston's NPR News station.

Robert Marx is a New York foundation director, essayist and theatre producer who has collaborated with Anne Bogart, Robert Woodruff, Peter Hall and Richard Nelson. A past director of the Theatre Program at the National Endowment for the Arts in Washington, D.C., as well as executive director of Lincoln Center's New York Public Library for the Performing Arts, he is heard regularly on the intermission programs of the Metropolitan Opera's weekly live radio broadcasts.

Robert Simpson McLean, Professor Emeritus at Queensborough Community College, CUNY, has written on Charles Dickens, John Ruskin, and nineteenth-century theater. He has reviewed plays of Shaw, Ibsen, and other playwrights for academic journals, and is Theater Review Editor for The Eugene O'Neill Review.

NoPassport: The core members of this collective, founded by Caridad Svich, are Carolyn Baemler, Sheila Callaghan, Jorge Ignacio Cortiñas, Lisa D’Amour, Dan Dietz, Erik Ehn, Christine Evans, Hayley Finn, Kristen Gandrow, Michael Gladis, Gretchen Krich, Sophocles Papavasilopoulos, Sarah Ruhl, Colin Denby Swanson, Deb Stein, Debbie Saivetz, Katie Pearl, Svich, and Gary Winter. The collective exists as a virtual entity and as a real-live word-music band. It is dedicated to discovering new ways of listening to and writing language for performance, crossing artistic disciplines and making music. The members have presented their work at Tonic in New York City, and BRIC in Brooklyn, and their essay “Dirty Thoughts About Money” is published on HotReview.org.

Martin Puchner is an Assistant Professor of English and Comparative Literature at Columbia University and Co-chair of the Theater Ph.D. Program. He is author of Stage Fright: Modernism, Anti-Theatricality and Drama (Johns Hopkins University Press, 2002). He has published in or has work forthcoming in such journals as New Literary History, Theatre Journal, Modern Drama, Theatre Research International, and Criticism and has contributed chapters to edited collections. He recently published an introduction and notes to Six Plays of Ibsen (Barnes and Noble, 2003) as well as an introduction to Lionel Abel's Tragedy and Metatheatre (Holmes and Meier, 2003).

Gordon Rogoff is a professor dramaturgy and dramatic literature at the Yale School of Drama. A collection of his critical essays, Vanishing Acts: Theater Since the Sixties, was published in 2000 by Yale University Press.

Don Shewey is a journalist, editor, and critic in New York City. He has
published three books about theater: the biography Sam Shepard; Caught
in the Act: New York Actors Face to Face, a collection of his interviews
with actors and photographs by Susan Shacter; and Out Front, an anthology
of gay and lesbian plays published by Grove Press. His articles have
appeared in the Village Voice, Esquire, Rolling Stone, American Theater,
and other publications. He currently writes theater reviews for The
Advocate, and he has been a contributor to the Arts and Leisure section of
the New York Times since 1982. An archive of his writings is available
online at www.donshewey.com.

Alexis Soloski is a doctoral candidate at Columbia University, where she teaches literature and writing. Her dissertation discusses representations of illness in theater and performance art. Her theater criticism appears regularly in the Village Voice, as well as in the New York Times, Time Out New York, and Modern Painters.

Terry Stoller recently completed her doctorate at the CUNY Graduate Center. An actress, singer, performance artist, and teacher, she also does freelance writing about theater.

Lydia Stryk is a writer living somewhere between Berlin and New York. www.lydiastryk.com

Caridad Svich is a U.S. Latina playwright, translator, lyricist and editor whose works have been presented across the U.S. and abroad at diverse venues including The Women's Project, INTAR, 59East59, Theater for the New City, McCarren Park Pool, Walkerspace, 7 Stages, Salvage Vanguard Theatre, ARTheater-Cologne, and Edinburgh Fringe Festival/UK. Among her key works: 12 Ophelias, Any Place But Here, Alchemy of Desire/Dead-Man's Blues, Fugitive Pieces, Iphigenia...a rave fable, The Tropic of X and The Booth Variations. Upcoming spring 2009 premieres: her play Instructions for Breathing premieres at Passage Theatre in NJ under Daniella Topol's direction, Wreckage at Crowded Fire Theatre in San Francisco under Erin Gilley's direction, and her stage adaptation of Isabel Allende's The House of the Spirits at Repertorio Espanol/NY under Jose Zayas' direction. She has translated nearly all of Federico Garcia Lorca's plays as well as works by Lope de Vega, Calderon de la Barca, Julio Cortazar and new plays from Spain, Cuba and Mexico and has adapted works by Wedekind, Sophocles, Euripides and Shakespeare. She has edited several books on theatre and performance including Trans-Global Readings (Manchester University Press) and Divine Fire (BackStage Books). She is alumna playwright of New Dramatists, founder of theatre alliance & press NoPassport, associate editor of Routledge's Contemporary Theatre Review and contributing editor of TheatreForum. She is member of PEN American Center, The Dramatists Guild and is featured in the Oxford Encyclopedia of Latino History. She holds an MFA from UCSD. Website: www.caridadsvich.com

Jeff Turner teaches theater at Hamline University in St. Paul, Minnesota.

Robert Vorlicky is Associate Professor of Drama at Tisch School of the Arts, New York University. He is also Affiliate Faculty of the Department of English and the Department of Social and Cultural Analysis. He is the author of numerous essays and articles, of Act Like a Man: Challenging Masculinities in American Drama (Univ. of Michigan Press, 1995) and the editor of Tony Kushner in Conversation (Univ. of Michigan Press, 1998) and From Inner Lives to Outer Space: The Multimedia Performances of Dan Kwong (Univ. of Michigan Press, 2004). He is co-editor (with Una Chaudhuri) of the Critical Performances series (U of Michigan Press).

Rebecca Fried Weisberg is currently a communications consultant for arts and media projects, including the Downtown NYC River to River Festival and National Geographic Television and Film. Over the past several years, she has also worked with the New York Foundation for the Arts and the Cultural Services of the French Embassy.

Paul David Young is a graduate of Yale College and Columbia Law School and was a Fulbright Scholar in Germany.  His theater commentary includes “Advanced Forms of Emptiness: Handke and Jelinek in Berlin,” and “Performing the Novel: Elevator Repair Service Reads The Sound and the Fury by William Faulkner,” both in PAJ: A Journal of Performance and Art (MIT Press).  He was co-curator of “Perverted by Theater” at Apexart, Oct. 22 to Dec. 6, 2008.  His play Times and Places was performed in Icelandic in Reykjavik and in English in the La Mama E.T.C. “Experiments” series.  Primary Stages held a reading of his play No One But You in 2007, and his play Aporia was presented in a December 2008 reading at The Living Theatre.  Both Aporia and No One But You will be part of the Kennedy Center KCACTF Northeast regional festival in Philadelphia in January 2009.  On December 16 and 17, 2008, the New York Gallery LMAK Projects will stage his Balcony Scene.  His play David & Ira will be produced in New York in 2009.

Hersh Zeifman is Professor of English and Drama at York University, Toronto. Formerly a script reader for London's National Theatre, co-editor of Modern Drama and president of the Samuel Beckett Society, he has published widely on contemporary British and American drama.