Autorinnen und Autoren Christopher Balme holds the chair in theatre studies at LMU Munich. His publications include Decolonizing the Stage: Theatrical Syncretism and Postcolonial Drama (Oxford 1999); Pacific Performances: Theatricality and Cross-Cultural Encounter in the South Seas (New York 2007); Cambridge Introduction to Theatre Studies (Cambridge 2008); The Theatrical Public Sphere (Cambridge 2014); The Globalization of Theatre 1870 - 1930: The Theatrical Networks of Maurice E. Bandmann (Cambridge 2020). His current research interests focus on the globalization of the arts; theatre and the public sphere; institutional aesthetics. He is principal investigator of the ERC Advanced Grant “ Developing Theatre: Building Expert Networks for Theatre in Emerging Countries after 1945 ” and the DFG Research Unit “ Krisengefüge der Künste - Institutionelle Transformationsdynamiken in den darstellenden Künsten der Gegenwart ” (FOR 2734). Gabriele Brandstetter is Professor of Theatre and Dance Studies at Freie Universität Berlin, and since 2008 she has been co-director of the International Research Centre “ Interweaving Performance Cultures. ” Her research focus is on the history and aesthetics of dance from the 18 th century until today; theatre and dance of the avant-garde; contemporary theatre and dance, performance, theatricality and gender differences; and concepts of body, movement and image. Recent Publications (selection): The Movements of Interweaving. (ed. 2017, together with Gerko Egert and Holger Hartung); Moving (Across) Borders. Performing Translation, Intervention, Participation (ed. 2017, together with Holger Hartung); The Aging Body in Dance. A Cross-Cultural Perspective (ed. 2017, together with Nanako Nakajima); Poetics of Dance. Body, Image and Space in the Historical Avant-Gardes (2015). Claudia Daiber is a PhD candidate associated with the University of Groningen. Her research focuses on theatre from the German-speaking and Dutch-speaking world of the 14 th to the 17 th century. A specific focus is the reception of the passion play during the Reformation period as well as modern performances of the passion play. Publications (selection): “ Gehen als kommunikative Geste und performativer Akt im ‘ Nibelungenlied ’” , in: Daniela Hahn, Ansgar Mohnkern and Rolf Parr (eds.), Kulturelle Anatomien: Gehen. Heidelberg 2017, pp. 143 - 159, “ Polemics investigated in a late fifteenth-century Fastnachtspiel (Shrovetide play) ” , in: Walter Pohl and Andre Gingrich (eds.), Verging on the Polemical: Exploring the Boundaries of Medieval Religious Polemic and Genres and Research Cultures, in: medievalworlds 7 (2018), p. 114; “ Het Hertmense passiespel en zijn tradities. Nieuwe wijn in oude zakken? ” , in: MADOC 34 (2020). Tancredi Gusman, PhD, is a Research Associate at the Lucerne University of Applied Sciences and Arts. From 2017 to 2019, he was Marie Sk ł odowska-Curie Research Fellow at the Institute of Theatre Studies, Freie Universität Berlin, and conducted the project “ Between Evidence and Representation: History of Performance Art Documentation from 1970 to 1977 ” . His research focusses on history of theatre and performance practices, addressing in particular performance and documentation, German theatre and criticism, as well as aesthetics and theatre theories. He translated the Italian edition of Erika Fischer- Lichte ’ s The Transformative Power of Performance (2014) and published the menograph The Harp and the Sling: Kerr, Ihering, and the German Theatre Criticism from the End of Nineteenth Century to National Socialism (2016; orig. Italian). Elke Huwiler, PhD, is a senior researcher at the Amsterdam School of Historical Studies, University of Amsterdam, where she is the coordinator of the research group “ Historical Theatre Research: Text, Performance, and Production of Knowledge ” . Her research focusses on the history of German-speaking theatre and performance practices, addressing in particular Swiss theatre productions of the 16 th and 17 th centuries. Forum Modernes Theater, 32/ 2 (2021), 311 - 313. Gunter Narr Verlag Tübingen Publications (selection): Das Sarner Bruderklausenspiel von Johann Zurflüe (1601) (ed., Zürich 2017), Das Theater des Spätmittelalters und der Frühen Neuzeit. Kulturelle Verhandlungen in einer Zeit des Wandels (ed., Heidelberg 2015), “ Conversion in Early Modern Zürich, Berne and Lucerne: Identity Formation through Theatre ” (2020). Jan Lazardzig is Professor for Theater Studies at the Freie Universität Berlin. His areas of specialization are theatre and performance historiography; and knowledge, technology, and architecture of theatre. Publications (selection): Theaterhistoriographie. Eine Einführung (Tübingen 2012, together with Matthias Warstat and Viktoria Tkaczyk); Ruinierte Öffentlichkeit (Zürich 2012, ed. together with Claudia Blümle), a study on post-war German theatre architecture; Technologies of Theater (Frankfurt am Main 2016, ed. together with Hole Rößler); Images d ’ actions. Claude-François Ménestrier ’ s Writings on Festivals and Performing Arts. Translation and Commentary (Padeborn 2018, ed. together with Annette Kappeler and Nicola Gess); Wissenschaft aus Gefolgschaft. Der Fall Knudsen und die Anfänge der Theaterwissenschaft (Berlin 2021). François Lecercle is Professor of Comparative Literature at Université Paris-Sorbonne. His research area is Early Modern Culture in Europe (theory of painting; theology of images; demonology; use of narratives in theoretical discourse; theatrophobia). He heads, with Clotilde Thouret, an international research project on theatrophobia ( “ Haine du Théâtre ” , Labex OBVIL, Paris- Sorbonne). Publications (selection): Anecdotes Dramatiques, de la Renaissance aux Lumières (ed., Paris 2012), L ’ Oeil oblique. Essais sur l ’ image, la peinture et le théâtre (Geneva 2020), “ Dispute Dramatique et Théâtrophobie ” (article), “ Obscénité et Théâtrophobie en France et en Angleterre (1570 - 1715) ” (article). Christa-Maria Lerm Hayes is Professor of Modern and Contemporary Art History and academic director of the Amsterdam School for Heritage, Memory, and Material Culture, University of Amsterdam. Until 2014 she was Professor of Iconology in Belfast, where she led a Research Graduate School. She studied in Heidelberg, London, and Cologne. Her PhD was researched as a James Joyce Foundation Scholar in Zurich. She held an Irish Research Council Post-Doctoral Fellowship at UC Dublin. Her books include Brian O ’ Doherty/ Patrick Ireland: Word, Image and Institutional Critique (Amsterdam 2017); Post-War Germany and ‘ Objective Chance ’ : W. G. Sebald, Joseph Beuys and Tacita Dean (Göttingen 2011); James Joyce als Inspirationsquelle für Joseph Beuys (Hildesheim/ Zürich/ New York 2001); and Joyce in Art (Dublin 2004). She has curated exhibitions internationally. Peter W. Marx ist Direktor der Theaterwissenschaftlichen Sammlung der Universität zu Köln sowie Professor für Theater- und Medienwissenschaft am Institut für Medienkultur und Theater der Universität zu Köln. Publikationen in Auswahl: Theater und Kulturelle Erinnerung (Tübingen 2003); Max Reinhardt. Vom bürgerlichen Theater zur metropolitanen Kultur (Tübingen 2006); Ein theatralisches Zeitalter. Bürgerliche Selbstinszenierungen um 1900 (Tübingen 2009); Hamlets Reise nach Deutschland: Eine Kulturgeschichte (Berlin 2018); Macht/ Spiele. Politisches Theater seit 1919 (Berlin 2020). Hg. u. a. von Handbuch Drama (Stuttgart 2012); Handbuch Hamlet (Stuttgart 2012); A Cultural History of Theatre in the Age of Empire (London et al. 2017) sowie mit Tracy C. Davis The Routledge Companion to Theatre and Performance Historiography (London 2020). Maren Möhring wurde 2002 an der LMU München mit einer körpergeschichtlichen Studie über die deutsche Freikörperkultur 1890 - 1930 promoviert. 2011 erfolgte die Habilitation an der Universität zu Köln mit einer Untersuchung über die Geschichte der ausländischen Gastronomie in der Bundesrepublik Deutschland. Seit 2014 ist sie Professorin für Vergleichende Kultur- und Gesellschaftsgeschichte des modernen Europa an der Universität Leipzig. Steff Nellis is a PhD candidate and teaching assistant at the Department of Art History, Musicology, and Theatre Studies at Ghent University. His research interests mainly center around theatricality and performativity in the 312 Autorinnen und Autoren early modern world. However, he has also published on contemporary performing arts in several journals such as Lateral, Forum +, Documenta, and Etcetera. Sarah Pogoda ist Senior Lecturer in German Studies an der Universität Bangor (Wales). Sie forscht akademisch und künstlerisch zu Christoph Schlingensief, Institutionskritik und zeitgenössischem Theater. Seit 2020 Gründungsmitglied der Fluxusgruppe Neue Walisische Kunst. Kati Röttger is Professor of Theater and Performance Studies and chair of the Department of Theater Studies at the University of Amsterdam. Her research activities are affiliated with the Amsterdam Center of Globalisation Studies and the Amsterdam School of Cultural Analysis. She is co-founder of the Master of Arts of International Performance Research that ran in close cooperation with the Universities of Warwick, Helsinki and Belgrade from 2008 to 2013. In 2015, she established the Dual Master International Dramaturgy at the UvA. Since 2017, she has been Master's programme director in the Department of Arts and Culture Studies. Her current research topics are Technologies of Spectacle (in the 19 th century), Image Cultures, and International Dramaturgy with a special focus on concepts of the tragic. She has published extensively on a broad range of topics in the field of theatre and performance Studies, such as gender, postcolonial critique, and intermediality. Katja Schneider ist Professorin für Tanztheorie an der HfMDK Frankfurt am Main. Sie promovierte in NDL über den Aufklärungsdramatiker Johann Christian Krüger im Kontext von Emotionalisierungsstrategien und habilitierte sich 2013 in Theaterwissenschaft mit einer Schrift zu Tanz und Text. Figurationen von Sprache und Bewegung. Von 2004 bis 2019 lehrte sie u. a. als wissenschaftliche Mitarbeiterin am Institut für Theaterwissenschaft der Ludwig-Maximilians- Universität München. Clotilde Thouret is Professor of Comparative Literature at Lorraine University (Nancy, France). Her research focuses on early modern drama in England, Spain and France, with particular emphasis on the relationships between theatre and society, theatre and politics, and on the controversies on theatre. She is the author of Seul en scène. Le Monologue dans le théâtre européen de la première modernité (Angleterre, Espagne, France; 1580 - 1640) (Genève 2010) and Le Théâtre réinventé. La défense de la scène dans l ’ Europe de la première modernité (Rennes 2019). She is the co-editor of Corps et interprétation (XVI e -XVIII e siècles) (Amsterdam/ New York 2012, with Lise Wajeman) and the editor of Le Dramaturge sur un plateau. Quand l ’ auteur dramatique devient personnage (XVI e -XXI e ) (Paris 2018). She has also published numerous articles on Corneille, Jonson and Shakespeare, the early modern theatrical experience (especially emotions), theatre polemics and scandals. From 2013 to 2018, she co-directed with François Lecercle the project “ The hatred of theatre ” (Labex Obvil, Univ. Paris-Sorbonne), which explored the controversies on theatre in Europe and digitized the French corpus. Anna Volkland studierte Dramaturgie in Leipzig und Tanzwissenschaft in Berlin. Tätigkeiten als wissenschaftliche Mitarbeiterin am Lehrstuhl für Theorie und Geschichte des Theaters an der UdK Berlin und Dramaturgin. Sie forscht zur Institutionskritik im Stadttheater seit den späten 1960er Jahren in der DDR und BRD. Isa Wortelkamp, PhD, is a scholar in Dance and Theatre Studies at the Institute of Theatre Studies at University of Leipzig (Heisenberg-Programm, German Research Foundation), where she pursues her research on early 20 th -century dance photography. Publications (selection): Tanzfotografie. Historiografische Reflexionen der Moderne (Bielefeld 2015); Bewegung Lesen. Bewegung Schreiben (Berlin 2012). 313 Autorinnen und Autoren