Curator, dramaturg, writer, André Lepecki is Associate Professor in Performance Studies at New York University. He graduated in cultural anthropology at the New University of Lisbon and obtained his masters and doctoral degree in Performance Studies at New York University. In the 1980s he was dramaturg for choreographers Vera Mantero and João Fiadeiro, in the 1990s for Meg Stuart and Damaged Goods. He co-directed with Bruce Mau the video-installation STRESS (MAK, Wien,2000), and with Rachael Swain the video-installation proXy (Performance Space, Sydney, 2003). With Eleonora Fabião he co-created the performance series Wording (2004-06). He co-curated with Stephanie Rosenthal and directed the first authorized remaking of Allan Kaprow‘s 18 Happenings in 6 Acts, for Haus der Kunst, Munich, and PERFORMA 07, NY. He has curated events for Haus der Kulturen der Welt, and Tanz im August. Since 2008 he is a Permanent Fellow at Haus der Kulturen der Welt, Berlin.

Brian Singleton is Associate Professor and Head of Drama at Trinity College Dublin, former Editor of Theatre Research International (Cambridge University Press) and President of the International Federation for Theatre Research. His principal research interests lie in the fields of orientalism and interculturalism in performance, and he has published widely on numerous aspects of those genres in European theatre, from popular musical theatre in the monograph Oscar Asche, Orientalism and British Musical Comedy (Praeger, 2004) to a variety of publications on French intercultural performance from Antonin Artaud to Ariane Mnouchkine. Within that same generic compass, he is particularly interested in issues of gender and sexuality not only in performative representation but also in terms of the performative agency of social networking.

Professor emeritus of German at Silpakorn University, Thailand. A scholar of Comparative Literature, trained in Cambridge and Tübingen, he has had extensive experience in teaching, research, and university administration. His scholarly works address such areas as Western, Thai, and Comparative Literature and Interart Studies. With a grant from the Humboldt Foundation, he has been studying the rebirth of the discipline of Comparative Literature in Germany after WWII. He is a frequent visitor to Berlin, having been associated with the Institute for Comparative Literature of the Freie Universität Berlin and the Centre for Cultural and Literary Research.

Christel Weiler started her research on intercultural theatre already in the 1980s with a book on "Cultural Exchange in the theatre" about the work of Robert Wilson and Eugenio Barba. Her current interest goes to all sorts and appearances of postmigrant/postcolonial theatre, especially in Berlin. Most recently she organized a workshop with Jacqueline Lo on "Diversity in Berlin" to be accomplished at the Research Center. Christel Weiler is Associate Director and Program Manager of the Centre for Interweaving Performance Cultures.

Daryl Chin is an artist, critic and curator who has been part of the New York City art world for 40 years. As a curator, he held a residency at the Department of Film of The Museum of Modern Art (1978-80); he has served as a guest curator at The Whitney Museum of American Art among others. As a critic, he began his career as Managing Editor of Film Culture Magazine (1976-77); he was Associate Editor of PAJ (Performing Arts Journal) from 1989 to 2004. His essays are included in such anthologies as Asia in New York City: A Cultural Guide (2000), M/E/A/N/I/N/G: An Anthology of Artists' Writings, Theory, and Criticism, edited by Susan Bee and Mira Schor (2000), Tokens? The NYC Asian American Experience On Stage, edited by Alvin Eng (1999), Queer Looks, edited by Martha Gever, John Greyson and Pratibha Parmar, and Mediating History, edited by Barbara Abrash and Catherine Egan (1992). As a performance artist, he has created over 30 performance pieces from 1976 to 1985. His play The Dialectic of Enlightenment was published by Theatre Communications Group as part of their Plays-in-Process series in 1983. Currently, he maintains a cultural blog, Documents on Art & Cinema (www.d-a-c.blogspot.com).

David Moss is considered one of the most innovative singers and percussionists in contemporary music. He has performed his solo and theatre work all over the world, from New York (Lincoln Center) to Venezia (Theatro La Fenice) to Brisbane (Festival). In 1991 he received a Guggenheim Fellowship; in 1992 a DAAD Fellowship (Berlin). Moss is the co-founder and artistic director of the Institute for Living Voice. Moss has sung with the Berlin Philharmonic under Sir Simon Rattle, made his Carnegie Hall debut with the American Composers Orchestra, sings regularly with the Ensemble Modern. He was a featured soloist in Luciano Berio‘s “Cronaca del Luogo” at the Salzburg Festival and returned to Salzburg in 2001 as Prince Orlovsky in “Die Fledermaus”. Moss sings in Heiner Goebbels’ orchestra work “Surrogate Cities” and music-theatre work “Prometheus”.

Evelyn Schuler Zea started her formation as anthropologist, translator and video editor in São Paulo, where she grew up bilingual (Brazilian Portuguese and Swiss German). Since 1996 she is attached to the "Núcleo de História Indígena e do Indigenismo" (NHII-USP) and realizes ongoing fieldwork in northern Amazonia among Amerindians known as Waiwai. She graduated in Ethnology, Philosophy and German Literature at University of Basel in 1999 and received her PhD from the Institute for Social Anthropology of the University of Bern in 2006, where she also worked as scientific assistant teaching on Amerindian anthropologies during two semesters. In January 2007 she entered the Postdoctoral Program in Social Anthropology of University of São Paulo, which includes lessons as visiting professor in a postgraduate course on Amerindian translations and relations. Evelyn Schuler Zea received a Differenzstipendium from University of Basel, a PIBIC-CNPq-Scholarship from University of São Paulo, a pre-doctoral funding from the Janggen-Pöhn-Stiftung and doctoral and postdoctoral grants from SNF and MHV and from FAPESP, respectively. She is author of Zwischen Sein und Nicht-Sein: Fragmente eines kosmologischen Tupi-Guarani-Diskurses in der neueren brasilianischen Ethnologie (Curupira, 2000) and co-editor of the review Sexta Feira: Antropologias, Artes e Humanidades, writing articles on the interface between metaphor and translation, anthropology and cinema. Participating in international interdisciplinary research groups („Projeto Temático Redes Ameríndias", "Dynamiques des circulations migratoires et mobilités transfrontalières entre Guyane, Surinam, Brésil, Guyana et Haïti"), her current research concerns conceptions of "translation" and "relation" in Amerindian anthropologies, grounded in Waiwai conceptual images and social dynamics.

Erika Fischer-Lichte is director the International Research Centre "Interweaving Performance Cultures" and Professor of Theatre Studies at the Freie Universität Berlin. From 1995 to 1999 she was President of the International Federation for Theatre Research. She is a member of the Academia Europaea, the Academy of Sciences at Goettingen, and the Berlin-Brandenburg Academy of Sciences. She has published widely in the fields of aesthetics, theory of literature, art, and theatre, in particular on semiotics and performativity, theatre history, and contemporary theatre. Among her numerous publications are Global Ibsen. Performing Multiple Modernities (2010), The Transformative Power of Performance: A New Aesthetics (2008, German 2004), Theatre, Sacrifice, Ritual. Exploring Forms of Political Theatre (2005), History of European Drama and Theatre (2002, German 1990), The Show and the Gaze of Theatre: A European Perspective (1997), The Semiotics of Theatre (1992, German 1983), and The Dramatic Touch of Difference: Theatre, Own and Foreign (1990).

Director, writer and producer. After her studies with Jürgen Flimm, she worked as personal assistant to Armand Gatti und Roberto Ciulli. Her debut after Pasolini´s “Pig´s Stall” was followed by productions of both classical and contemporary authors. She has written plays about fine artists Eva Hesse and Alexej von Jawlensky and developed performances concerned with urban development and architecture. Her travels have frequently led her to the Middle East, initiating the first Syrian-German co-production after Sadallah Wannus “Tuqûs al-ishârât wa al-tahawwulât”. Her most recent productions include “Everyman” by Hofmannsthal, staged with actors from Germany and Senegal and “Antigone”, performed on the grounds of a former National Socialist training institution, that after WWII transformed from military training area to memorial site. Still on-going is “Government Poetry”, an artistic view on UNESCO´s Convention on the Protection and Promotion of the Diversity of Cultural Expressions. As a lecturer, she has focussed on psychoanalysis and film and the role of art in Human Rights Education.

Gabriele Brandstetter is co-director of the International Research Centre "Interweaving Performance Cultures" and Professor of Theatre and Dance Studies at Freie Universität Berlin since 2003. She is also vice-president of „Heinrich-von-Kleist-Society“, a member of „German National Academy of Sciences Leopoldina“ and a jury member for „art history, musicology, theatre-, film- and media-studies“ of the DFG. Her research focus is on: history and aesthetics of dance from the 18th century until today, theatre and dance of the avant-garde; performance, theatricality and gender differences; concepts of body, movement and image. In 2004 she was awarded the “Gottfried-Wilhelm-Leibniz-Prize” by the DFG, and in 2011 the Federal Cross of Merit of the Federal Republic of Germany. Among her numerous book publications: Tanz-Lektüren. Körperbilder und Raumfiguren der Avantgarde (1995); ReMembering the Body (2000, co-ed. H. Völckers; Bild-Sprung. TanzTheaterBewegung im Wechsel der Medien (2005); Methoden der Tanzwissenschaft. Modellanalysen zu Pina Bauschs ‚Sacre du Printemps‛ (2007, co-ed. G. Klein); Schwarm(E)Motion. Bewegung zwischen Affekt und Masse (2007, co-eds. B. Brandl-Risi, K. van Eikels), Tanz als Anthropologie (2007, co-ed. C. Wulf) , Prognosen über Bewegungen (2009, co-eds. S. Peters, K. van Eikels); Improvisieren. Paradoxien des Unvorhersehbaren. Kunst - Medien – Praxis (2010, co-eds. H.-F. Bormann, A. Matzke).

Gastón A. Alzate is Associate Professor of Theater and Literature at California State University, Los Angeles. He previously acted as Founding Director of Latin American, Latino, and Caribbean Studies (LALACS) at Gustavus Adolphus College, Minnesota (1997- 2006). Before coming to the United States, he worked as an art critic for the Sunday magazine of the Colombian daily El Espectador, and for the Revista Arte Internacional of the Bogotá Museum of Modern Art, Colombia. His publications include a study of Colombian poet Álvaro Mutis, which won the National Essay Prize in his native country, and a study of contemporary Mexican cabaret. He is co-editor of the peer-reviewed Journal of Theatricalities and Visual Culture KARPA (http://www.calstatela.edu/misc/karpa). Since 2005, he has been a member of the Editorial Board of Latin American Theatre Review. Since 2007, he has been part of the Irvine Hispanic Theater Research Group directed by Juan Villegas (editor of Gestos). He has published in the fields of Latin American theatre, film, popular culture, and literature in Colombia, Mexico, Spain, and the US.

Hasibe Kalkan Kocabay studied German Literature in Ankara and Theatre in Istanbul. She works as an assistant professor at Istanbul University, Theatre Department. She also writes theatre reviews on dailies, namely Cumhuriyet and Radikal. Over the past decade she has been researching on interculturalism on theatre. She published articles on the works of Eugenio Barba, Peter Brook, Robert Wilson and Pina Bausch and had her training in Theater an der Ruhr (Germany). She is a member of IATC (International Association of Theatre Critics) and GIG (Gesellschaft für Interkulturelle Germanistik).

Helen Gilbert is Professor of Theatre at Royal Holloway, University of London, where she directs the Centre for International Theatre and Performance Research and co-convenes the College’s interdisciplinary Postcolonial Research Group. Educated in Australia and Canada, she has published widely on theatre and performance in various parts of the world as well as teaching across a range of subjects in postcolonial fields. Her books include Performance and Cosmopolitics: Cross-Cultural Transactions in Australasia (co-written with Jacqueline Lo, Postcolonial Plays: An Anthology, Sightlines: Race, Gender and Nation in Contemporary Australian Theatre, and Postcolonial Drama: Theory, Practice, Politics (co-author Joanne Tompkins). She is currently finishing a collaborative book on the fascinating cultural history of orangutans and leading an interdisciplinary and multinational project on Indigeneity and performance, funded until 2014 by the European Research Council.

Jean Graham-Jones is Professor of Theatre at the City University of New York's Graduate Center, where she currently serves as head of the PhD Program in Theatre. A specialist in Argentinean theatre and performance as well as an experienced actor, director, and translator, she is the author of Exorcising History: Argentine Theater under Dictatorship, and her many articles have appeared in journals and essay collections in Europe and the Americas. Her English translations of plays by Argentinean dramatists like Lola Arias, Federico León, Ricardo Monti, Rafael Spregelburd, Claudio Tolcachir, and Daniel Veronese have been published, staged, and/or have served as supertitles for international tours. Her current research projects focus on national and transnational performances of such Argentinean "femiconic" figures as Camila O'Gorman, Eva Perón, and the Virgin of Luján; Buenos Aires' traveling theatres; and theatrical and other performed responses to Argentina's socioeconomic crisis. She is a former editor of Theatre Journal.

Kai Tuchmann is the executive head dramaturg of the Mainfranken Theater Würzburg. He studied theatre directing at the Hochschule für Schauspielkunst “Ernst Busch”. During his studies he directed among others at the Stadttheater Brandenburg and the Maxim Gorki Theatre in Berlin. In 2004, his production „Eumeniden“ (Aischylos) was awarded the Bensheimer Theaterpreis and in 2005 the same production was invited to the Ruhrfestspiele Recklinghausen. Together with his company “Iskra-Labor” he developed his diploma production “Woyzeck” and in 2006 they put on “The Book of Job” from the Old Testament, which was awarded the audience award at the “Berliner 100 Grad Festival” (HAU). Between 2006 and 2008, Kai Tuchmann worked as director at the Staatstheater Weimar. Since 2008, he has coordinated and curated several projects in the Middle East and Northern Africa for the Goethe-Institut. He worked and directed in Egypt, Iraq, Israel, Kenya, oPT, and Sudan. He has spoken and published on the relation between politics and aesthetics in Germany, the Netherlands, Sudan and the USA. In 2009, Kai Tuchmann held a fellowship of the State Berlin (NaFöG – Stipendium). Since 2010 he has been PHD student for Theatre Studies at the Freie Universität Berlin.

Kaite O’Reilly is a playwright, radio dramatist, writer, and dramaturg who works in disability arts and culture and mainstream culture. She has won various awards for her work, including the Peggy Ramsay Award for YARD (Bush Theatre, London) and Manchester Evening News Best Play of 2004 for Perfect (Contact Theatre, Manchester), while The Almond and the Seahorse (Sherman Cymru, Cardiff) was a finalist for the 2009 International Susan Smith Blackburn Award. Her acclaimed new version of Aeschylus’ Persians was directed in August 2010 by Mike Pearson as part of the inaugural year of National Theatre Wales. She has recently received an Unlimited Commission, part of the Cultural Olympiad for the 2012 London Olympics, to create The ‘d’ Monologues, a series of short dramatic monologues written specifically for Deaf and disabled performers, from a "crip" perspective. Her plays are published by Faber & Faber and Oberon.

Katherine Mezur is a scholar/artist whose research focuses on transnational dance/theatre performance, gender studies, and new media performance in the Asia Pacific region. She holds a Ph.D. in Theatre and Dance, emphasis on Asian Performance, from the University of Hawai'i, Manoa. She is author of Beautiful Boys/Outlaw Bodies: Devising Female-likeness on the Kabuki Stage (Palgrave Macmillan), a history of the kabuki female gender performance and its contemporary practices, aesthetics, and politics. She choreographs and directs musicals, and experimental performance/media works. Her current research/practice focuses on the migrations of corporeal cultures through performance and visual art, which includes contemporary butoh's "diaspora" and dance theatre/media works by North East Asian artists. She has taught at Georgetown University, the University of Washington, Seattle, and CAL Arts. Her articles appear in journals such as Discourses in Dance and Women and Performance. She is an advisor/director for the "New Dance" grant program at the Yerba Buena Center for the Arts, (San Francisco, CA).

Kazuo Fujino is Professor of Performing Arts, Cultural Policy and Arts Management at the Graduate School of Intercultural Studies, Kobe University. His area of specialization is the relationship between art and society mainly in the performing arts of Germany and Japan. He has published numerous books and articles on Richard Wagner. In addition to his research in the field, he has spent many years actively involved in working with chorus and opera. He applies his long-standing practical experience to his work and, in the last ten years, has been focusing increasingly on arts education and arts management. Six years ago he founded the Kobe International Music Festival with students and citizens of Kobe. He was the project leader for the university education reform program, The Education of Arts Management to Restore Urbiculture, run by the Ministry of Education, Culture, and Science in Japan from 2007 through 2010. He is a founding member of the Japan Association for Cultural Policy Research and has been involved in many cultural policy initiatives on a local level.

Senior Professor of Comparative Literature and Performance Studies, Faculty of Letters and Humanities at Abdelmalek Essaadi University, Tétouan, Morocco. Since 1998, coordinator of the Research Group for Performance Studies at AEU; 2003-2008, member of the Executive Committee of the Union of Professional Theatre in Morocco; since 2006, Founding President of the International Centre for Performance Studies (NGO), Tangier; since January 2007, member of the Editorial Committee of Contemporary Theatre Review; since July 2007, Founding Member of the Arabic Working Group, International Federation for Theatre Research (FIRT); since 2004, main convener of the international conference Performing Tangier; Director of Tangier’s Professional Theatre Festival (July 2006, July 2007 and July 2008). Khalid Amine is the Editor of ICPS Performance Studies Series and has published widely in international theatre journals such as TDR, Documenta, Journal of Middle Eastern and North African Intellectual and Cultural Studies or FIRT Journal.

Doctorate in social anthropology (ethnology) on millenarian and nativistic religious movements in modern Japan based on field research between 1966-1969. From 1969–1972, appointment to Associate Professorship in Fullerton, California; in 1972, Senior Lecturer and Reader at the University of Queensland, Brisbane, Australia; from 1984-1991, Foundation Chair (Baldwin Spencer Chair of Anthropology) at the University of Melbourne, Australia. In 1991, appointed professor at the Institute of Ethnology, University of Heidelberg, Germany (emeritus since 2005). Guest-Professorships in Japan at Sophia and Nagoya City Universities, ANU Research School of Pacific Studies, Canberra, Australia, and in the Philippines. Visiting Professor at Goldsmiths College, London, in charge of Post-Colonial Studies and Postgraduate Advisor at the Centre of Cultural Studies (2005-2007).

Margaret Werry is Associate Professor at the University of Minnesota, in the Department of Theatre Arts and Dance. She is an interdisciplinary scholar trained in Performance Studies (PhD Northwestern University, 2001), who works across the fields of Theatre, Anthropology, Cultural Studies, and Cultural History. Her forthcoming book, The Tourist State: Performing Leisure, Liberalism, and the Racial Imagination (University of Minnesota Press) examines the relationship between tourism, performance, indigenous politics, and liberal state-making, looking at cultural policy and tourism practice in the South Pacific at the turn of the twentieth century, and the turn of the twenty first. She has published on this topic and on others – critical and experimental pedagogy, spatial theory, intercultural performance, photographic criticism, multi-media performance, cinema, museology, and cultural policy – in a range of US and international journals. She is also an actor, dramaturge, and performance artist and has worked with Chicago companies Lookinglass Theatre and Naked Eye.

Growing up directly under the shadow of the iron curtain between the West (provided we agree that East Austria is western) and the Eastblock nations (Hungary) – the manned look-out tower stood at the bottom of the garden at the edge of the cornfield - Michael Gissenwehrer cultivated an early interest in East/West relations. Michael graduated from Vienna University with a phD in Theatre and studied in Taiwan and the Central Academy of Drama in Beijing completing theses on the training of Beijing Opera and Chinese propaganda theatre . He has taught at Bayreuth and Mainz Universities as well as Vienna and now Munich where he holds the position of Professor of Theatre Research with particular focus on performative traditions and events in different cultures in terms of theatre buildings and performance space in Greek, Roman, Renaissance theatre as well as Shakespeare. Alongside this historical approach, Michael is currently involved in research on contemporary German, English and Chinese drama.

Natascha Siouzouli studied theatre, philology and literature at the University of Athens and was awarded a Doctor of Philosophy from the Freie Universität Berlin in 2006 (dissertation title: Raum-Zeit-Spiele. Bondy inszeniert Strauß [Playing with space and time. Bondy stages Strauß]). Until 2009, she was a research assistant at the Institute for Theater Studies, Freie Universität Berlin. Since 2010, she has been co-directing the Institute for Live Arts Research |Π| in Athens, Greece. She also works as a translator. Her major research interests concern conceptions of presence and absence in performance, the shaping of identity and community in theatre, relationships between theatre and festival, and the political performance.

Nikhil Chopra has been working in the medium of live art since 2002, when he was studying at Ohio State University. He returned to India in 2005 and currently lives and works in Mumbai. His concepts and works operate at the threshold of theatre, performance, live art, painting, photography, and sculpture. In largely improvised performances, he inhabits fictional characters and spaces that draw on India’s colonial history as well as his own personal history. He was invited to the KHOJ International Performance Art Residency in Delhi and Kashmir in 2007, and to the Kunstenfestivaldesarts’ Residence & Reflection project in Brussels in 2009. He has performed at the Serpentine Gallery in London (2007), the Astrup Fearnley Museum in Oslo (2008), the Mori Art Museum in Tokyo (2008), the New Museum in New York (2009), and the Museum of Contemporary Art in Chicago (2010). He performed at the 53rd Venice Biennale and was part of the group show "Marina Abramovic presents..." during the Manchester International Festival 2009.

Peter Eckersall is Associate Professor of Theatre Studies in the School of Culture and Communication, University of Melbourne. He holds a PhD in Japanese Studies and an MA in Asian Studies, both from Monash University. His research interests include contemporary Japanese theatre and culture, experimental performance and dramaturgy. He is presently finishing a book on performative interactions in art, theatre, and politics in 1960s Japan. From 2006 to 2010, he was Chair of the International Committee of Performance Studies International. He is co-founder and co-editor of the journal Performance Paradigm. He is the dramaturg for the performance group Not Yet It’s Difficult (NYID), whose contemporary performance and media works are widely known in Australia, Asia, and Europe. He has been involved with theatre for over thirty years and has worked as an actor, director, dramaturg, research academic, and teacher.

Phillip Zarrilli works internationally as a director and trains actors/dancers using psychophysical processes through Asian martial/meditation arts. During his career he has created, directed, or performed in over 18 “intercultural” productions. Most recently he co-created and Told by the Wind with Kaite O’Reilly and Jo Shapland (THE LLANARTH GROUP 2010), and “sweet…dry…bitter…plaintive” with Stella Subbiah of SANKALPAM (2010). Zarrilli founded THE LLANARTH GROUP when he moved to the UK in 2000. Projects are international in scope and bring together a variety of artists for collaborative work. Between 1976 and 1993, Zarrilli lived in Kerala, India for a total of seven years—each trip devoted to undergoing intensive training in and researching kalarippayattu—Kerala’s traditional yoga-based martial art. He is author of numerous books including When the body becomes all eyes: paradigms, practices and discourses of power in kalarippayattu (Oxford University Press 1998), Kathakali Dance-Drama: Where Gods and Demons Come to Play (Routledge, 2000), and (ed.) Acting Reconsidered (Routledge, 2002), among many others.

Independent writer, director, dramaturg and cultural critic based in Kolkata, India. Combining intercultural theory and practice with social concerns, he is the author of several books on cultural exchange, globalization, secularism, oral history, and the question of faith. At an activist level, he has conducted workshops on land and memory, the politics of touch, and migration in India, the Philippines, South Africa and Brazil. A former advisor to the Prince Claus Fund for Culture and Development in The Netherlands, he has worked as a consultant for Ford Foundation and the Arts Council in Dublin on policies relating to cultural diversity and artistic practice. More recently, he has worked as Project Director of Arna-Jharna: The Desert Museum of Rajasthan on traditional knowledge and as Festival Director of the Inter-Asian Ramayana Festival in Adishakti, Pondicherry.

Chair of Japanese Studies at the University of Trier. She has taught in Munich, Berlin, and Oslo. Main fields of research: Japanese literature, comparative literature, and theatre, (especially nô, kyôgen, and contemporary avant-garde theatre). She has organized various conferences and symposia pertaining to Japanese theatre in international contexts.

W. B. Worthen is Alice Brady Pels Professor in the Arts, and Chair of the Department of Theatre at Barnard College, Columbia University. He took his Ph.D. in English Literature at Princeton University in 1981. Before coming to Barnard, he taught at the University of Texas at Austin, Northwestern University, the University of California at Davis, the University of California at Berkeley, and at the University of Michigan, as well as being a founding faculty member of the International Centre for Advanced Theatre Studies sponsored by the University of Helsinki, Finland. William B. Worthen teaches a wide range of courses in dramatic literature and performance theory, and is affiliated with the Theatre Division of the Columbia School of the Arts, and the Columbia Department of English and Comparative Literature. He is the author of several books, among them Shakespeare and the Authority of Performance (Cambridge, 1997), Shakespeare and the Force of Modern Performance (Cambridge, 2003), and Print and the Poetics of Modern Drama (Cambridge, 2006).

In 1990 Yu worked with an international theatre research project at the University of Bayreuth, from where he obtained his PhD. Since 2001, as Dean of the School of Performing Arts, he has been heading the Theatre Department at the Nanyang Academy of Fine Arts, Singapore, where he has set up a bilingual theatre faculty and distinguished performing arts school. As a theatre educationalist and specialist in training actors, Yu publishes and lectures widely in this field. His long-time research interest mainly covers the area of transcultural theatre productions, especially of the Mandarin reception and interpretation of Shakespeare‘s works, as well as the modern approaches to/adaptations of Western dramatic literature on the Chinese stage at large.