Dr Vicky Angelaki is Professor in English Literature at Mid Sweden 威尼斯赌博游戏_威尼斯赌博app-【官网】, where her teaching focuses on Anglophone cultures, literature and drama, with an emphasis on social concerns, internationalism and ecocriticism. She was previously based in the United Kingdom for a number of years, where she held academic roles at the 威尼斯赌博游戏_威尼斯赌博app-【官网】 of Reading, the 威尼斯赌博游戏_威尼斯赌博app-【官网】 of Birmingham, and Birmingham City 威尼斯赌博游戏_威尼斯赌博app-【官网】. Major publications include the monographs Theatre & Environment (Macmillan/Red Globe Press, 2019); Social and Political Theatre in 21st-Century Britain: Staging Crisis (Bloomsbury, 2017); The Plays of Martin Crimp: Making Theatre Strange (Palgrave Macmillan, 2012) and the edited collection Contemporary British Theatre: Breaking New Ground (Palgrave Macmillan, 2013; 2016). She is currently co-editing The Cambridge Companion to British Playwriting since 1945 and is preparing the new monograph Martin Crimp's Power Plays: Intertextuality, Sexuality, Desire (Routledge). Angelaki also co-edits the Palgrave Macmillan series Adaptation in Theatre and Performance.?

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Martin Crimp is a British playwright. His plays include Three Attempted Acts (1985), No One Sees the Video (1991), The Treatment (1993, winner of the John Whiting Award), The Country (2000), Face to the Wall (2002), Cruel and Tender (2004), Play House (2012), In the Republic of Happiness (2012), The Rest Will Be Familiar to You from Cinema (2013) and When We Have Sufficiently Tortured Each Other: 12 Variations on Samuel Richardson’s Pamela (2019). Possibly his most highly regarded, and perhaps his boldest and most innovative play is Attempts on Her Life, first performed at the Royal Court in 1997 and subsequently translated into twenty languages. He has translated or adapted work by Ionesco (The Chairs, 1997), Genet (The Maids, 1999) and Molière (The Misanthrope, 1996). His work in the UK has been produced by the Orange Tree Theatre, the West Yorkshire Playhouse, the Stephen Joseph Theatre, the RSC, the Young Vic and the Royal Court, where he was writer-in-residence in 1997. In New York his work has been staged at the Public Theater and the Classic Stage Company, as well as on Broadway.

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Ella Hickson?FRSL is a British playwright. Her works include Eight?(2008), Hot Mess?(2010), Precious Little Talent?(2011), Boys?(2012), The Writer?(2018) and ANNA?(2019). In Oil?(2016, winner of The Catherine Johnson Award) she addresses the ways in which the exploitation of this natural resource intersects with human affairs across “the age of oil” that spans more than a century. Her most recent play Swive [Elizabeth]?premiered at the Sam Wanamaker Playhouse at Shakespeare’s Globe in autumn 2019. Her work has been widely produced in the UK and internationally, including at the Almeida Theatre, the RSC and the National Theatre.

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Carl Lavery teaches theatre and performance at the 威尼斯赌博游戏_威尼斯赌博app-【官网】 of Glasgow. He is currently writing a series of books on theatre and ecology, and he has published numerous books and articles in this field. His most recent collaboration is with the movement artist Simon Whitehead and explores what the notion of re-pair might mean.

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Theresa J. May is associate professor of theatre arts at the 威尼斯赌博游戏_威尼斯赌博app-【官网】 of Oregon, where she is co-founder and served as artistic director of the Earth Matters on Stage Ecodrama Festival and Symposium (EMOS). She is co-editor (with Wendy Arons) of Readings in Performance and Ecology (2012) and has published widely about the intersections of ecology, cultural studies, and performance studies, including “Grotowski’s Deep Ecology“ in Performing Nature and “Beyond Bambi: Towards a Dangerous Ecocriticism in Theatre Studies“ in Theatre Topics. She developed and directed Salmon is Everything, a play about the role of salmon in Native culture in the Klamath watershed, and her book on this project is forthcoming from Oregon State 威尼斯赌博游戏_威尼斯赌博app-【官网】 Press. She is also co-author of Greening Up Our Houses, the first book on sustainable theatre management, and was founding artistic director of Theatre in the Wild in Seattle.?

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Aleks Sierz FRSA is a British journalist, broadcaster and theatre critic. He teaches courses on postwar British theatre, playwriting and culture, literature?and the arts for the London Programme of Boston 威尼斯赌博游戏_威尼斯赌博app-【官网】. He is author of In-Yer-Face Theatre: British Drama Today (Faber, 2001), The Theatre of Martin Crimp (Methuen Drama, 2006), John Osborne’s Look Back in Anger (Continuum, 2008), Rewriting the Nation: British Theatre Today (Methuen Drama, 2011) and Modern British Playwriting: The 1990s (Methuen Drama, 2012). He has also written, co-authored with?Lia Ghilardi, The Time Traveller’s Guide to British Theatre: The First Four Hundred Years (Oberon Books, 2015). His latest book is Good Nights Out: A History of Popular British Theatre 1940–2015 (Methuen Drama, 2019). He is editor of The Methuen Drama Book of 21st Century British Plays (Methuen Drama, 2010) and Contemporary English Plays (Methuen Drama, 2015), and co-editor (with Martin Middeke and Peter Paul Schnierer) of The Methuen Drama Guide to Contemporary British Playwrights (Methuen Drama, 2011). He is a member of the UK Critics’ Circle and a Fellow of the Royal Society for the Arts. He is also a member of the four-year research project ‘British Theatre in the Twenty-First Century: Crisis, Affect, Community’?at Barcelona 威尼斯赌博游戏_威尼斯赌博app-【官网】.

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