Directors and Associates
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 Oxford Handbook of Shakespeare and Dance (2019).
Linda McJannet, Emeritus Professor of English and Media Studies at Bentley University in Waltham, MA, graduated from Wellesley College and received her doctorate from Harvard University. She has published essays in journals such as Shakespeare Quarterly, Theatre Research International, The Journal of Theatre and Drama, The Huntington Library Quarterly, English Literary Renaissance, Dance Chronicle, and Borrowers and Lenders. Chapters on dance theatre and physical theatre versions of Shakespeare appear in The Oxford Handbook of Shakespeare and Dance (2019) and in Shakespeare On Stage and Off (2019). She is also the author of two monographs, The Voice of Elizabethan Stage Directions: The Evolution of a Theatrical Code (1999) and The Sultan Speaks: Dialogue in English Plays and Histories about the Ottoman Turks (2006). She is a lifelong dancer as well as a student of Shakespeare in performance.
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 the monograph A Monster with a Thousand Hands: The Discursive Spectator in Early Modern England (2018), and essays in The English Renaissance in Popular Culture: An Age for All Time, edited by Greg Colòn Semenza (2009); The Oxford History of Popular Print Culture, Vol. 6, edited by Christine Bold ( 2012); Shakespearean Echoes, edited by Adam Hansen and Kevin Wetmore (2015); and Renaissance Drama. 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 holds a PhD in History from the University of Toronto. Her research focuses on the practices and politics of dance in 16th- and 17th-century Europe, and her publications include chapters in The Oxford Handbook of Shakespeare and Dance (2019), The Oxford Handbook of Dance and Competition (2018), Playthings in Early Modernity (2017), The Sacralization of Space and Behavior in the Early Modern World (2015), and Worth and Repute: Valuing Gender in Late Medieval and Early Modern Europe (2011), 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 co-chair of the Early Dance Working Group of the Dance Studies Association, as well as the founder and moderator of the Dance Historians Network on LinkedIn. A scholar-practitioner based in Pittsburgh, PA, she also teaches Renaissance dance workshops and choreographs for theatrical productions.
Emma Atwood is an Assistant Professor of English at the University of Montevallo, Alabama’s only public liberal arts college. She teaches courses on Shakespeare, Early Modern Drama, Early Modern Poetry, and Renaissance Women and Gender. Her research interests include spatial dramaturgy, performance theory, and women, gender, and sexuality. She has published on Shakespeare and dance in Borrowers and Lenders, and her current book manuscript examines the staging of domestic space in Early Modern drama. She earned her Ph.D. from Boston College and her B.A. from Kalamazoo College.
Fabio Ciambella is a Researcher of English Language at the University of Viterbo, Italy, specializing in the relationships between dance and early modern and Victorian literature and language. In 2013 he published a book about dance in nineteenth-century England, in 2016 his PhD thesis received an award from the Italian Association of English Studies (AIA), and in 2017 he published a study of dance and the Copernican Revolution in Shakespeare’s canon. He has also written about dance in Shakespeare’s Twelfth Night (2017, 2020) and the influence of Italian dance treatises on early modern English terpsichorean manuals (2020). Most recently he has published Dance Lexicon in Shakespeare and His Contemporary: A Corpus-based Approach with Routledge (2021).
Anne Daye is the Director of Education and Research for the Historical Dance Society and has lectured in dance history since 1991, most recently at Trinity Laban Conservatoire of Music and Dance in London. Dr. Daye has articles in Historical Dance and Dance Research, and she has contributed essays to several edited collections, including The Oxford Handbook for Shakespeare and Dance. Her doctoral thesis, “The Jacobean Antimasque within the Masque Context: A Dance Perspective” (Roehampton University, 2008) presented new thinking on the dance and theatre practice of the masque. Dr. Daye is also a freelance researcher, teacher, and reconstructor of dances from original sources.
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.
Ilana Gilovich-Wave is a PhD Candidate in Theatre and Performance at Columbia University, and (until the COVID-19 shutdown) a performer in Punchdrunk’s off-Broadway Macbeth adaptation, Sleep No More. She earned her B.A. in English at Cornell University, and her M.A. in Literary Studies at Queen’s University Belfast. She has volunteered with the Cornell Prison Education Program to teach Shakespeare Studies at Auburn Maximum Security Prison and has worked on Shakespeare education programs for youth with Epic Theatre Ensemble and the Belfast Ulster Museum.
Andrew Hiscock is Professor of Early Modern Literature at Bangor University, Wales, and Research Fellow at the Institut de Recherche pour la Renaissance, l’Âge Classique et les Lumières at université Paul-Valéry, Montpellier III. His interests in dance are linked directly to the early modern period and to Shakespearean dance adaptation in recent centuries. He has published widely on English and French Renaissance literature. He is a Fellow of the English Association, English literature editor of MLR and series co-editor for the Arden Early Modern Drama Guides. His most recent dance-focused publication is: “Moving Shakespeare: La danse narrative and adapting to the Bard” in Cahiers Élisabéthains 102, no. 1 (2020): 18-37.
Melissa Hudler holds a PhD in Renaissance literature from Anglia Ruskin University. She is an Assistant Professor in the Department of English and Modern Languages at Lamar University in Beaumont, Texas, where she teaches courses in composition and rhetoric, pre-1800 British literature, ethics and literature, and health humanities. Her research interests include corporeal rhetoric (stasis, gesture, dance) in Renaissance literature, medical/health humanities, and illness and trauma narratives.
Nancy Isenberg, Professor 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. 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. In 2017, she was a resident fellow at the NYU Center for Ballet and the Arts (http://balletcenter.nyu.edu/fellows/nancy-isenberg/).
G. Yvonne Kendall is a Stanford University-trained musicologist with a specialty in historical dance. She studied with Julia Sutton at the New England Conservatory of Music. Her publications include The Music of Arbeau’s Orchésographie (Pendragon, 2013); essays in collections and in journals including Early Music, Dance Research, and Renaissance Quarterly; entries in Grove Music Online (“Arbeau,”and forthcoming “Cesare Negri” and “Fabritsio Caroso”); and “Dance” in the Encyclopedia of the Renaissance (Scribners & Sons, 1999). Dr. Kendall has held two summer fellowships from the National Endowment for the Humanities. She is currently translating a newly discovered dance manuscript from seventeenth-century Catalonia.
Elizabeth Klett is 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 Choreographing Shakespeare: Dance Adaptations of the Plays and Poems (Routledge, 2019), Cross-Gender Shakespeare and English National Identity (Palgrave, 2009) and chapters in The Oxford Handbook of Shakespeare and Dance (Oxford UP, 2019), Shakespeare’s Hamlet in an Era of Textual Exhaustion (Routledge, 2018), Shakespeare Re-dressed, ed. James C. Bulman (Fairleigh Dickinson UP, 2008), and Retrovisions, ed. Deborah Cartmell (Pluto, 2001). She has also published essays in Shakespeare, Borrowers and Lenders, Textshop Experiments, Theatre Journal, Shakespeare Bulletin, Literature/Film Quarterly, and Early Modern Studies Journal.
Erika T. Lin is Associate Professor in Theatre at the Graduate Center, CUNY. She is currently writing on seasonal festivities and early modern commercial theatre, supported by a Mellon Long-Term Fellowship at the Folger Shakespeare Library, and she is editing a volume of essays on early modern games and theatre with Gina Bloom and Tom Bishop. Her articles have appeared in Theatre Journal, New Theatre Quarterly, and various edited collections. “A Witch in the Morris: Hobbyhorse Tricks and Early Modern Erotic Transformations” in The Oxford Handbook of Dance and Theater received an Honorable Mention for the Society for the Study of Early Modern Women’s 2016 Award for Best Article on Women and Gender, and Shakespeare and the Materiality of Performance won the 2013 David Bevington Award for Best New Book in Early Drama Studies. Dr. Lin serves on the Board of Trustees for the Shakespeare Association of America and as the Book Review Editor for Theatre Survey.
Nona Monahin teaches Renaissance and Baroque dance in the Five College Early Music Program at Mount Holyoke College. She holds a Ph.D. in musicology (with a focus on choreography and music in sixteenth-century dance instruction manuals) from Monash University, Australia. A scholar-practitioner with a diverse dance background, she has choreographed for many Shakespeare productions and conducted numerous workshops on Renaissance dance and dance music.
Elinor Parsons is Senior Lecturer in Drama at De Montfort University, Leicester. Her research examines productions of Renaissance plays with a focus on danced, musical, and operatic adaptations. She has written articles analyzing the Shakespearean ballets of Bintley, Helpmann, MacMillan, and Vasiliev, and she focused on narrative choices in her chapter for The Oxford Handbook of Shakespeare and Dance (2019). Dr. Parsons has produced book and performance reviews for several journals and currently writes the “Shakespeare on screen” entry for the Year’s Work in English Studies.
Brandon Calleja Shaw is an educator and performing artist. His interest is in body culture in early modern England, especially relations between dance and martial arts. Dr. Calleja Shaw is co-editor of the The Oxford Handbook for Shakespeare and Dance (2019), and his articles and reviews have appeared in Theatre Journal, TDR/The Drama Review, and The Bryn Mawr Classical Review, with articles forthcoming in Dance Research Journal and About Performance. He held positions as Mellon Postdoctoral Fellow in Dance Studies at Brown University, Lecture and Postgraduate Studies Director in Dance Studies at the University of Malta, and a Scholar-in-Residence at Jacob’s Pillow.
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 Associate 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.
Updated July 29, 2021.