Directors and Associates
Linda McJannet is Emeritus Professor of English and Media Studies at Bentley University in Waltham, MA. She has published essays in journals such as Shakespeare Quarterly, Theatre Research International, The Journal of Theatre and Drama, The Huntington Library Quarterly, and English Literary Renaissance. She is also the author of two monographs, The Voice of Elizabethan Stage Directions: The Evolution of a Theatrical Code (Delaware, 1999) and The Sultan Speaks: Dialogue in English Plays and Histories about the Ottoman Turks (Palgrave, 2006). A lifelong dancer as well as a student of Shakespeare in performance, she is currently combining her avocation and vocation in a long-term project on Shakespeare and dance.
Amy Rodgers is Assistant Professor of English at Mount Holyoke College. She received her Ph.D. in English Language and Literature and a Graduate Certificate in Screen Arts and Cultures from the University of Michigan. Her publications include essays in The English Renaissance in Popular Culture: An Age for All Time, edited by Greg Colòn Semenza (Palgrave, 2009); The Oxford History of Popular Print Culture, Vol. 6, edited by Christine Bold (Oxford UP, 2012); Shakespearean Echoes, edited by Adam Hansen and Kevin Wetmore (Palgrave, 2015); and Renaissance Drama. Her first monograph, A Monster with a Thousand Hands: The Discursive Spectator in Early Modern England, is forthcoming with University of Pennsylvania Press. A former member of the Washington, Joffrey, and Atlanta ballet companies, Amy attributes her longstanding interest in performance and reception theory to her dance career.
Emily Winerock is an historian whose research focuses on the practices and politics of dance in 16th- and 17th-century Europe. She is Visiting Assistant Professor of History at the University of Pittsburgh. Her publications include essays in Playthings in Early Modernity, edited by Allison Levy (MIP) Worth and Repute: Valuing Gender in Late Medieval and Early Modern Europe, edited by Kim Kippen and Lori Woods (CRRS, 2011) and The Sacralization of Space and Behavior in the Early Modern World, edited by Jennifer Mara DeSilva (Ashgate, 2015), as well as reviews in Renaissance Quarterly, Early Theatre, and Dance Chronicle. Her website, winerock.com, served as inspiration for this project, and she is the founder and moderator of the Dance Historians Network on LinkedIn. A scholar-practitioner, she also teaches Renaissance dance workshops and choreographs for theatrical productions.
Sidia Fiorato is Researcher of English Literature at the University of Verona, Italy. Her fields of research include the relationships among dance, literature, and culture, which she approaches from interdisciplinary and performance perspectives. She has written on ballet adaptations of Shakespeare, including Romeo and Juliet (MacMillan), The Dream (Ashton), The Tempest (Mannes). With John Drakakis, she edited Performing the Renaissance Body. Essays on Drama, Law and Representations (Boston and Berlin: Degruyter, 2017), a collection analyzing articulations of the concept of performance in the Renaissance.
Elizabeth Klett is Associate Professor of Literature at the University of Houston – Clear Lake and a scholar of Shakespeare and adaptation in theatre, film, television, and dance. She is the author of Cross-Gender Shakespeare and English National Identity (Palgrave, 2009) and chapters in Shakespeare Re-dressed, ed. James C. Bulman (Fairleigh Dickinson UP, 2008) and Retrovisions, ed. Deborah Cartmell (Pluto, 2001). She has also published essays in Theatre Journal, Shakespeare Bulletin, Literature/Film Quarterly, and Early Modern Studies Journal. Drawing on her years of training in ballet and modern dance, she is now working on a book-length study of Shakespeare and dance adaptation.
Nancy Isenberg, Prof. of English Literature at the University of Rome Three (retired), has worked extensively on Shakespeare focusing mainly but not exclusively on his dramatic works in relation to dance. Most recently, she wrote the chapter on ballet in the Cambridge Guide to the Worlds of Shakespeare (2016), and she has contributed studies on Shakespeare ballets and dance in Shakespeare to numerous collective thematic volumes listed on the bibliography page of this site. She co-edited Questioning Bodies in Shakespeare’s Rome (Göttingen: Vandenhoeck & Ruprecht Unipress, 2010) and La posa eroica di Ofelia. Saggi sul personaggio femminile nel teatro elisabettiano (Roma: Storia e letteratura, 2003). Her work on literary ballets outside the Shakespeare canon includes ballet appropriations of Bram Stoker’s Dracula and Virginia Woolf’s Orlando.
Erika T. Lin is an Associate Professor in the Ph.D. Program in Theatre at the Graduate Center, CUNY. She is the author of Shakespeare and the Materiality of Performance, which won the 2013 David Bevington Award for Best New Book in Early Drama Studies. Her articles have appeared in Theatre Journal, New Theatre Quarterly, and various edited collections. She is currently writing a book on seasonal festivities and early modern commercial theatre, a project supported by an Andrew W. Mellon Long-Term Fellowship at the Folger Shakespeare Library. In addition, with Gina Bloom and Tom Bishop, she is editing a volume of essays on early modern games and theatre. Her essay “A Witch in the Morris: Hobbyhorse Tricks and Early Modern Erotic Transformations,” in The Oxford Handbook of Dance and Theater, recently received Honorable Mention for the Society for the Study of Early Modern Women’s 2016 Award for Best Article on Women and Gender. She currently serves on the Board of Trustees for the Shakespeare Association of America and as the Book Review Editor for Theatre Survey.
Lynsey McCulloch is Senior Lecturer in English Literature at Coventry University in Coventry, England. Dr. McCulloch’s research interests include the reception and adaptation of Shakespeare’s plays, and the relationship between dance, music and literature. She is co-editor of Reinventing the Renaissance: Shakespeare and his Contemporaries in Adaptation and Performance (Palgrave Macmillan, 2013) with Sarah A. Brown and Robert Lublin. She is currently developing a monograph on statues that come to life within literary and dance works and is co-editor of the forthcoming Oxford Handbook of Shakespeare and Dance.
Brandon Shaw, a scholar-practitioner, joined the Dance Studies Department of the University of Malta in Msida, Malta, following his position as inaugural Mellon Postdoctoral Fellow in Dance Studies at Brown University. He is the Coordinator of the postgraduate programs in Dance Studies and Co-Head of the Centre for Performing Arts Histories and Historiographies. His research interests include literature and dance, early modern European body culture (especially dance and fencing) phenomenology, dance historiography, and representations of the invisible in dance. Brandon was recently keynote speaker at the Dance and Literature Symposium and was a Scholar in Residence at Jacob’s Pillow. His articles and reviews have appeared in Theatre Journal, TDR/The Drama Review, and The Bryn Mawr Classical Review, and articles are forthcoming in Dance Research Journal and About Performance. Brandon is co-editor of and contributor to the forthcoming Oxford Handbook of Shakespeare and Dance. Through a band of dancers gathered under Cleave [dance-theatre], Brandon choreographs confrontations with social issues through partnering that is both rugged and tender.
Leigh Witchel is the editor of dancelog.nyc. Based in New York City, his involvement in dance over three-and-a-half decades led him from dancing to choreography to writing. Previously, he was the dance writer for The New York Post and Associated Editor for DanceviewTimes.com. He writes regularly for many dance publications including Ballet Review, Dancing Times, Dance Now, Dance View, and Pointe Magazine and has seen and written about almost every major ballet company in the United States and Europe. Mr. Witchel’s publications include “40 Years of Agon” in Reading Dance, edited by Robert Gottlieb (Pantheon, 2008), and “Robert Schumann’s Davidsbündlertänze” in Balanchine: Celebrating a Life in Dance, by Costas (Tide-Mark, 2003), and he assisted in writing The Ballet Companion: A Dancer’s Guide to the Technique, Traditions, and Joys of Ballet, by Eliza Gaynor-Minden (Fireside, 2005). Mr. Witchel was also the founder of the Manhattan-based chamber ballet company Dance as Ever and the creator of more than fifty ballets, including commissions for the Louisville Ballet, Central Pennsylvania Youth Ballet, Ballet Pacifica, and Virginia Ballet Theatre. He was a 2001 Guggenheim fellow in choreography.
Megan L. Clement, University of Pittsburgh, 2016
Maxim Fortuny, Bentley University, 2014-2015
Kirsten Holzer, Bentley University, 2014-2015
Danielle Petrunich, Bentley University, 2015-2016
We gratefully acknowledge the support of Bentley University, Mount Holyoke College, and the University of Pittsburgh, as well as the International Shakespeare Association and the Shakespeare Association of America for supporting our conference presentations.