Sarah BAY-CHENG, is the Dean of the School of the Arts, Media, Performance and Design at York University in Toronto, Canada. She was formerly Chair and Professor of Theatre and Dance at Bowdoin College, teaching theatre history and theory, dramatic literature, and intermedia performance. Her research focuses on the intersections among theatre performance, and media including histories of cinema, social media, and digital technologies in performance.
Her recent publications include Performance and Media: Taxonomies for a Changing Field (2015) and Mapping Intermediality in Performance (2010) as well as essays in Theater, Contemporary Theatre Review, and Theatre Journal, among others. She is a co-host for On TAP: A Theatre and Performance Studies podcast. Bay-Cheng frequently lectures internationally and in 2015 was a Fulbright Visiting Scholar at Utrecht University in the Netherlands. She has served on the boards of Performance Studies international and the Association for Theatre in Higher Education, and is currently a member of the Executive Committee for the American Society for Theatre Research (ASTR). Bay-Cheng has also worked as a director and dramaturg with particular interest in intermedial collaborations and a fondness for puppetry.
Gabriella GIANACCHI, FRSA, MAE, is Professor in Performance and New Media, and Director of the Centre for Intermedia and Creative Technologies at the University of Exeter, which promotes advanced interdisciplinary research in creative technologies by facilitating collaborations between academics from a range of disciplines with cultural and creative organisations.
Her publications include: On Directing, ed. with Mary Luckhurst (Methuen 1999); Staging the Post-avantgarde, co-authored with Nick Kaye (Peter Lang 2002); Virtual Theatres: an Introduction (Routledge 2004); Performing Nature: Explorations in Ecology and the Arts, ed. with Nigel Stewart (Peter Lang 2005); The Politics of New Media Theatre (Routledge 2007); Performing Presence: Between the Live and the Simulated, coauthored with Nick Kaye (MUP 2011), nominated in Theatre Library Association 44th Annual Book Awards (2012); Performing Mixed Reality, coauthored with Steve Benford (MIT Press 2011); Archaeologies of Presence, co-edited with Nick Kaye and Michael Shanks (Routledge 2012); Archive Everything: Mapping the Everyday (MIT Press 2016) and Histories of Performance Documentation: Museum, Artistic and Scholarly Practices, co-edited with Jonah Westerman (Routledge 2017). She is currently working on a monograph researching technologies for selfportraiture for Routeldge and, in collaboration with Annet Dekker, she is working on an edited collection in the field of digital art documentation.
Gareth WHITE, BA, PhD, FHEA, is teacher, researcher and a theatre director specialising in participatory practice and known in particular for research on so called Immersive Theatre. His teaching and research overlaps in focus on collaborative creative processes and participatory practices. Audience Participation in Theatre: Aesthetics of the Invitation, a monograph theorising how spectators are transformed into performers, was published by Palgrave Macmillan in 2013. Applied Theatre: Aesthetics, a short monograph with accompanying essays from other researchers, was published by Bloomsbury Methuen in 2014: it explores the idea of the aesthetic in performance practice with social aims. Currently he is writing a new monograph, to be published by Routledge, provisionally titled Dialectics of Participation: Meaning in the Midst of Performance. He has a chapter awaiting publication in Colette Conroy and Nic Fryer’s Rancière and Performance, discussing the application of Jacques Rancière’s theory to game-based performance practices.
His other publications include: The Audience in Intermedial Theatre’, in Intermedial Theatre, Principles and Practice, Edited by Mark Crossley (Red Globe Press 2019); ‘The Promise of Participation Revisited’ in Staging Spectators in Immersive Performances: Commit Yourself!, Edited by Doris Kolesch, Theresa Schutz and Sophie Nikoleit (Routledge 2019); ‘Theatre in the “Forest of Things and Signs”’, The Journal of Contemporary Drama in English, 4:1 (2016); Applied Theatre: Aesthetics (Bloomsbury Methuen 2015); Audience Participation in Theatre: Aesthetics of the Invitation (Palgrave Macmillan 2013); ‘On Immersive Theatre’, Theatre Research International 37:3, pp. 221-235 (2012); ‘Noise, Conceptual Noise, and the Potential of Audience Participation’ in Theatre Noise, Edited by Lynne Kendrick, L. and David Roesner (London: Cambridge Scholars’ Press 2011).