JYANA S. BROWNE is Assistant Professor of Premodern Japanese Literary and Cultural Studies at the University of Maryland. Her areas of research include early modern Japanese popular performance; the interactions of new technology with traditional theatre; and the intersections of performance, sexuality, and embodiment on stage and in everyday life. Her current book project examines how Chikamatsu Monzaemon created a new kind of embodied spectatorship in his plays about recent events that shaped the practices, performances, and remembrances of love suicide.
XING FAN is Associate Professor in the Centre for Drama, Theatre, and Performance Studies at the University of Toronto. She is the author of Staging Revolution: Artistry and Aesthetics of Model Beijing Opera during the Cultural Revolution (Hong Kong University Press, 2018). She is an area editor (China) for Asian Theatre Journal and an editorial board member for Theatre, Dance and Performance Training.
MAN HE is Assistant Professor of Chinese at Williams College. Currently, she is working on her manuscript, Backstaging Modern Chinese Theatre: Cosmopolitan Intellectuals, Grassroots Amateurs, and Cultural Institutions, 1910s-1950s. Man He has written several journal articles and book chapters, including “Crossing the River and Ding County Experimental Theatre” in A New Literary History of Modern China (Harvard University Press, 2017) and “When S/he is not Nora” in Modern Chinese Literature and Culture in 2015.
DAVID JORTNER is Associate Professor of Theatre Arts and the Graduate Program Director in the Department of Theatre Arts at Baylor University. Dr. Jortner’s research interests are predominantly in the areas of twentieth century Japanese theatre and the intersection of Japanese and American culture. He is the co-editor of Modern Japanese Theatre and Performance and is a contributing editor for the History of Japanese Theatre from Cambridge University Press. He is currently the book review editor for Asian Theatre Journal. He has essays in numerous volumes and journals, including work in Theatre History Studies, Asian Theatre Journal, Tirai Panggung, and Text and Presentation. He is the translator of The Son, which is having a staged reading as part of the conference.
JIEUN LEE is Assistant Professor of Women’s, Gender, and Sexuality Studies at Wake Forest University, where she teaches about Asian women and feminisms within and beyond the United States. Her research examines the intersections of Korean diaspora with race, class, gender, sexuality, ethnicity, and nationality embodied in theater and performance. She is currently working on a book about Korean transnational adoption and adoptees represented in contemporary theater and performance in South Korea, the United States, Europe, and Scandinavia. Jieun is also a volunteer translator for the South Korean Feminist Journal ILDA.
SIYUAN LIU is Associate Professor of theatre at the University of British Columbia and editor of Asian Theatre Journal. He is the author of Performing Hybridity in Colonial-Modern China (Palgrave Macmillan 2013), Routledge Handbook of Asian Theatre (editor, 2016), Modern Asian Theatre and Performance 1900-2000 (co-author, Methuen 2014), and The Methuen Drama Anthology of Modern Asian Plays (co-editor, 2014). He has two books forthcoming from the University of Michigan Press: Transforming Tradition: The Reform of Chinese Theatre in the 1950s and Early 1960s and Rethinking Chinese Socialist Theatres of Reform: Performance Practice and Debate in the Mao Era (co-editor).
JESSICA NAKAMURA is Associate Professor in the Department of Theater and Dance at University of California, Santa Barbara. Her book, Transgenerational Remembrance: Performance and the Asia-Pacific War in Contemporary Japan was published by Northwestern University Press in January 2020. She is currently working on a project about representations of the domestic in twentieth-century Japanese theater, from the introduction of Western realism until the present.
M. CODY POULTON is Professor of Japanese literature and theatre at the University of Victoria, Canada. Translator of numerous works for the stage, from kabuki to contemporary, he is author of Spirits of Another Sort: The Plays of Izumi Kyōka (Michigan Monographs in Japanese Studies, 2001) and A Beggar's Art: Scripting Modernity in Japan, 1900-1930 (University of Hawaii Press, 2010). He is also a co-editor of The Columbia Anthology of Modern Japanese Drama (2014) and a contributing editor to The Cambridge History of Japanese Theatre (2016). His most recent work, as editor and co-translator, is Citizens of Tokyo: Six Plays by Oriza Hirata (2019). He is currently editing a volume of essays on the nonhuman in Japanese culture and society.
KATHERINE SALTZMAN-LI is Associate Professor of premodern Japanese performing arts and literature at UCSB. She has published on kabuki playwriting (Creating Kabuki Plays: Brill, 2010), early-modern professional texts and commercial materials related to kabuki, and commercial kabuki and noh woodblock prints, also co-curating two museum exhibitions of theatre prints. Most recently, she has written on 18th-century kabuki plays for a forthcoming volume she is co-editing for Cornell University Press. She is a director of JPARC (Japanese Performing Arts Research Consortium), an international group of scholars devoted to research and the development of online resources on Japanese performing arts.
CATHERINE SWATEK researches pre-modern Chinese drama and fiction, especially Kun Opera, the subject of Peony Pavilion Onstage: Four Hundred Years in the Career of a Chinese Drama (2002). Her research has since focused on the Suzhou playwright Li Yu (1602?–post 1676), whose plays circulated largely as manuscripts after the fall of the Ming and remained popular throughout the Qing dynasty. She is interested in what the manuscripts reveal about how Li’s plays were performed. A recent article explores a once-vibrant tradition, now extinct, of Kunqu performed in and around Suzhou by peasants.
GUOJUN WANG is Assistant Professor of Asian Studies at Vanderbilt University. He is the author of Staging Personhood: Costuming in Early Qing Drama (Columbia UP, 2020), which examines theatrical costuming in seventeenth-century Chinese drama when the Manchu rulers regulated hairstyle and dress based on gender and ethnicity. His second book project examines dead bodies in premodern Chinese forensic literature. His papers have appeared in journals such as Late Imperial China, Harvard Journal of Asiatic Studies, and CLEAR. His studies have been supported by ACLS, the Chiang Ching-Kuo Foundation, ASTR, and a Dean’s Faculty Fellowship at Vanderbilt University.
MISEONG WOO is Professor in the Department of English at Yonsei University. Her research interests include race, gender, modernity in modern drama, the literary and visual history of Asian diaspora, and cultural encounters between the East and West in theater. She published Representation of Asian Women in the West, which won the 2014 Korea Research Foundation Achievement Award. She received a Fulbright Scholar Award for 2011–2012, taught at Cornell University as a distinguished visiting professor in the East Asian Program in 2016, and served as the Fulbright Distinguished Chair in Korean studies at Emory University in 2020.
MIN-HYUNG YOO is a Ph. D candidate in Classical Korean Literature at Korea University. His research focuses on Pansori and Joseon Dynasty Korean novels. He teaches in the fields of Korean Folklore and Oral Tradition, and his interests also encompass Comparative Literature and Cross-cultural Studies.
SOO RYON YOON is Assistant Professor in performance and cultural studies at Lingnan University, Hong Kong. She is currently working on her monograph, Choreographing Affinities: Blackness, Koreanness, and Performing Race in South Korea, which investigates the circulation of African diasporic dance in South Korea in the global Afro-Asian context. Her other writings appear in Inter-Asia Cultural Studies, Performance Research, GPS: Global Performance Studies, the 2019 Venice Biennale catalogue for the Korean Pavilion, and positions: asia critique. She completed her PhD as a Fulbright Fellow in Performance Studies at Northwestern University and was a CEAS postdoctoral associate at Yale University.
JI HYON (KAYLA) YUH holds a PhD in Theatre from CUNY Graduate Center. She is the author of “Korean Musical Theatre’s Past: Yegrin and the Politics of 1960s Musical Theatre” in The Palgrave Handbook of Musical Theatre Producers and “Modern Theatre in North Korea” and “Modern Musicals in Asia (Korea)” in the Routledge Handbook of Asian Theatre. Her research concerns Koreans’ understanding of self and racial(ized) others through musical theater productions in South Korea. Currently, she is teaching theatre history and Asian theatre to undergraduate and graduate students at Montclair State University in New Jersey, US.