Andronicus Aden is an Assistant Professor of English at Jogesh Chandra Chaudhuri College, University of Calcutta, India, and a PhD candidate at the Department of English, Jadavpur University, Kolkata, India. His MPhil research from Jadavpur University was on Shakespearean adaptations located in Nepal and North Bengal, India. His areas of interest include postcolonial Shakespearean studies, Lepcha folklore, mad studies, and Nepali literature. He has contributed/co-contributed chapters to Queering Nutrition and Dietetics: LGBTQ+ Reflections on Food through Art (Routledge, 2022), Asian Interventions in Global Shakespeare: “All the World’s His Stage” (Routledge, 2021) and Jadavpur University Essays and Studies XXXVI: Death, Dying and Diseases: Critical Reflections (Jadavpur University, 2021).
Kakali Adhikary is a scholar of Comparative Culture and Information Studies, holding a PhD from Nara Women’s University, Japan, where her research focused on Shakespeare’s influence in Indian film and culture. She is the founder and director of Boitalic Centre for Cultural Arts and
Nrittayan Centre for Performing Arts in Lund, Sweden, and has extensive experience as an educator, editor, and researcher. Her work examines Shakespeare across text, stage, and screen, with particular attention to Indian adaptations by Vishal Bhardwaj. Dr. Adhikary is also a classically trained Kathak dancer and multilingual, with publications and presentations on Shakespearean adaptation, postcolonial performance, and cultural mediation.
Diana Ansarey is a PhD candidate in English Studies at the International Islamic University Malaysia and is affiliated with the Department of English, ASA University Bangladesh. Her doctoral research, “Intercultural Shakespeare in Bangladesh (1972–2020),” examines cultural transfer, power relations, and strategies of adaptation and appropriation in localised Shakespeare performances. Her current work focuses on Bengali stage adaptations, especially Hamlet, analysed through Islamic and postcolonial lenses in the South Asian context. She has published research articles on literature and English language teaching in SCOPUS- and Web of Science (WoS) indexed journals and continues to study Shakespearean performance traditions in Bangladesh.
Joachim Emilio B. Antonio has spent almost two decades teaching Shakespeare in UA&P. In that span of time, he has facilitated the abridging of Shakespearean plays to ten minutes without replacing any of the original text. This project has grown into www.compactshakespeare.com, a website that’s freely accessible online and is utilized every year by teachers worldwide. In 2022, Dr. Antonio focused on ludology and game design, and has since applied his knowledge in theater and scriptwriting to designing print and play board games, participating in analog game design contests as designer, playtester, and developer.
Dr. Rebekah Bale is an Assistant Professor in the Department of English Language and Literature at Hong Kong Shue Yan University. Her research interests focus on Shakespearean adaptations, particularly in the Francophone African world. She has recently contributed to a collection on global Romeo and Juliet to be published this year by Palgrave-Macmillan. Her work on Mark Haddon’s novel based on Pericles was published in the journal Comparative Drama in 2023. She has also published on the Congolese novelist and playwright, Sony Labou Tansi and Asian Shakespeare tourism.
Andrew Barker has taught at Hong Kong University, Lingnan University, Baptist University, and Chinese University and is the author of four books of poetry, three of which, Joyce is Not Here: 101 Modern Shakespearean Sonnets. Book 1, Orange Peel: Modern Shakespearean Sonnets. Book 2. Sonnets 102-203 and Social Room: Modern Shakespearean Sonnets. Book 3. Sonnets 204-30 are couched in Shakespearean Sonnet. He is the operator of the poetry lectures website youtube-mycroftlectures.
Jaime Benitez is an instructor of Literature and Humanities at the University of Asia and the Pacific (UA&P). A Cum Laude MA graduate (2022), his research explores narratological conventions in superhero cinema. Merging his background as a theatre practitioner with pedagogy, he revived the “10-Minute Shakespeare Festival” to bridge the gap between text and performance for Filipino students. He continues to direct for student theatre and lectures on the convergence of film and the stage, advocating for the healing power of storytelling.
Kay Malte Bischof is an Azrieli Foundation Fellow at the University of Jerusalem and earned his PhD in philosophy from the University of Notre Dame. Prior to Notre Dame, he earned an MSt in theology from the University of Oxford and an MLitt in philosophy from the University of St Andrews. Before that, he studied English literature, rhetoric, and Protestant theology at King’s College London, Yale University, and the University of Tübingen. Originally from Cologne, Germany, he now lives in Jerusalem. He’s a passionate teacher and volunteers in prisons for both kids and adults.
Nayoung Bishoff is a PhD candidate in English at The George Washington University, where she is a Columbian Distinguished Fellow. Her research focuses on comparative literature between East and West, particularly Shakespearean adaptations and Romanticism. Bishoff’s work engages with gender studies, cultural globalization, and film and theater studies. Her publications have appeared in Literature/Film Quarterly, The Palgrave Encyclopedia of Global Shakespeare, and Borrowers and Lenders: The Journal of Shakespeare and Appropriation, among others. In addition to her scholarly work, her short story “The Land of Canaan,” which portrays the plight of North Korean refugees, received the Korean Literary Society of Washington’s award in 2023. Her writing on this topic was also featured by Radio Free Asia. Bishoff currently serves as Editor-in-Chief of Korean Literature of Washington. This year, she was selected as a recipient of the Korean Honor Scholarship, awarded by the Embassy of the Republic of Korea in the United States.
David Booth is an Architect, a theatre designer, a lecturer in Architecture at Hong Kong Chu Hai College, and has taught architectural studies in the University of Hong Kong. He is a graduate of the School of Architecture of the University of Newcastle upon Tyne (1962 – 1969) and specializes in the acoustics of performance spaces. He was an architect/designer for the HK Cultural Centre auditoria, the Concert Hall, Opera House and Studio Theatre (1982 – 1989), and of the auditoria of the Kwai Tsing and Yuen Long Civic Centers (1990 – 1993). He has also been involved in the production, design and performance of Shakespeare since the 1960s. He directed and performed in Hamlet, Macbeth, and A Midsummer Night’s Dream in Hong Kong 1988-1993.
Mark Thornton Burnett is Professor of Renaissance Studies at Queen’s University Belfast, UK. He is the author of Masters and Servants in English Renaissance Drama and Culture: Authority and Obedience (Basingstoke: Macmillan, 1997), Constructing “Monsters” in Shakespearean Drama and Early Modern Culture (Basingstoke: Palgrave, 2002), Filming Shakespeare in the Global Marketplace (Basingstoke: Palgrave, 2007; 2nd ed. 2012), Shakespeare and World Cinema (Cambridge: Cambridge University Press, 2013) and “Hamlet” and World Cinema (Cambridge: Cambridge University Press, 2019). He is series editor of the Arden Shakespeare series, “Shakespeare and Adaptation.”
Irene Chan is a PhD candidate in the English Department, National Chengchi University. Her major research interest is Shakespeare, nineteenth century English and European literature and the multi-theatrical adaptations of Shakespeare. Her research field also covers theatrical adaptations of literature and history. Currently Irene is working on her doctoral dissertation about nineteenth-century women writers’ rewritings of Shakespeare, which includes Mary Cowden Clarke, George Eliot, George Sand, Emily Dickinson and Kaiserin Elisabeth of Austria. She has presented several conference papers pertinent to her research interests listed above in the past few years. Irene has been the chair of the student organising committee for the 2025 Wenshan International Conference in cooperation with Emily Dickinson International Society, she is now also serving as the financial secretary of Taiwan Shakespeare Association.
Sumie is currently teaching in The Chinese University of Hong Kong. She has 12-year teaching experience full-time in The University of Hong Kong, The Hong Kong University of Science and Technology and City University of Hong Kong for different English and Literature courses, including English for Academic Purposes, English for Science, English for Social Science, English for Arts, Literary Studies, Visual Culture, English for Engineering, University English, Shakespeare, Hollywood Cinema. Her research areas are in Shakespeare, Performing Arts and Comparative Literature.
Chen Lin holds a Ph.D. (Dr. phil., magna cum laude) from Freie Universität Berlin under the supervision of Prof. Dr. Dr. h.c. Erika Fischer-Lichte. She is Tenured Associate Professor at the Institute of Humanities and Arts, Shandong University, and Deputy Director of the Laboratory for Cognitive Science and Philosophy at the International Leibniz Research Center within the same institute. Her research lies at the intersection of theatre and performance studies, intercultural theatre, and ecological virtues studies. She focuses on the aesthetics of performativity, German Regietheater, and theatre semiotics, and has developed the theoretical framework of interweaving aesthetics through her work on experimental xiqu. Her recent research further extends to theatre-based therapeutic practices. She is the author of Experimental Xiqu Performances Endure: A Soft Touch of the Wounds with Interweaving Aesthetics (Routledge, 2025), and has published in journals including New Theatre Quarterly (A&HCI). Her forthcoming article investigates how modern theatre stages the body as a site where philosophical, political, and cultural genealogies intersect.
Chen Shuangting is a PhD Candidate in Theatre and Performance Studies at the University of Warwick and a theatre teacher based in the UK. Her research centres on contemporary directing and performance, intercultural theatre, and Shakespeare studies, with her doctoral thesis examining the gendered body of Hamlet in contemporary performance. She is a co-author of the theatre textbook Beauty of Dramatic Art. Alongside her academic work, she is also a director and creative practitioner, leading intercultural performance projects across the UK and China.
Chen Shuying is an assistant professor in the College of Liberal Arts at Shanghai University. She received her doctoral degree in Comparative Literature from the University of South Carolina. She completed a master’s degree in Studies in Literature at the University of Texas, Dallas. Her research interests include transcultural theater, theatrical adaptations, and performance studies. Her dissertation, “Eugene O’Neill Returns: Theatrical Modernization and O’Neill Adaptations in 1980s China,” explores Chinese adaptations of O’Neill’s works in the 1980s. She has published research articles in such journals as Eugene O’Neill Review, Xiju yishu (Theatre Arts), Xiju (Drama), and Xiqu yishu (Chinese Theatre Arts).
Jessica CHIBA is an Assistant Professor at the Shakespeare Institute of the University of Birmingham. Her research focuses on the intersection between Shakespeare and Philosophy, especially where questions about language and poetry intersect with issues surrounding human existence and knowledge. Her further research looks beyond English to consider how the translation of Shakespeare plays a part in intercultural communication in our world today.
Ian Harvey Claros teaches Philippine literature, rhetoric, and theory at the Ateneo de Manila University. He finished his AB/BSE Literature at the Philippine Normal University, and MA in Literary and Cultural Studies in Ateneo. In 2022, he was awarded with the Manuel B. Dy Best Thesis Award in the Humanities for his work on memory studies in the Philippines. Currently, he is a member of Young Critics Circle- Film Desk. His research work deals with vernacular interventions in memory and trauma that both resist and engage with their western construction.
Dai Danni, Ph.D. in drama, is an associate professor of the Department of English, College of Foreign Languages and Literature, Wuhan University. Her research field covers intercultural studies, Shakespeare and the related translation theories and practices. She is also good at acting and directing and has won a lot of awards. She wrote articles and books on Shakespeare, among those, “To Achieve the Largest Artistic Effect through Multi-Sympathies”, “Two Magical Failures and Two Failing Magicians: Comparative Analysis of the Representation of Magic in Doctor Faustus & The Tempest,” “Shakespeare’s Puns in Stage Performance,” Shakespeare Plays and Western Society, Shakespeare Plays and Festive Study, etc. Her works are published in important journals and presses like Shakespeare Review.
Dr. Ankita Das is an Assistant Professor of Language, Literature, and Communication at Bennett University, Greater Noida. She earned her Ph.D. in English from IIT (ISM) Dhanbad, where she examined captivity narratives as a genre evolving from colonial discourse to contemporary representations of criminality. Her research interests include Captivity and Slave Narratives, Indian Writing in English, Contemporary Indian cinema, Feminist Studies, and Popular Culture.
Monalisa Das taught at two B.Ed. colleges prior to 2008 and has been teaching at Kazi Nazrul University, Asansol, West Bengal since 2014. She obtained her Ph.D. degree from Visva-Bharati, Santiniketan on the topic “The Role of Children’s Education in Bengali Children’s Drama : A Survey and Analysis (1990–2010).” Earlier, while teaching at a B.Ed. college, she completed her M.Ed. under deputation vacancy. Her research work there was titled “The Role of Theatre in the Education of Street Children.” With financial support and approval from the University Grants Commission of Bangladesh, she completed a project titled “Nazrul Studies in the Two Bengals.” Subsequently, with financial support and approval from the Nazrul Centre for Social and Cultural Studies, Kazi Nazrul University, Asansol, she completed another project titled “Nazrul charcha in Prisons.” She has delivered lectures as an invited speaker at several National and International seminars in India and abroad. She has published research papers in many reputed journals and has edited books. She is the author of the books Atpoure Rabindranath and Nazrul in the Light of Enlightenment: Reflections of the Twenty-First Century. In addition, she has written textbooks suitable for the B.Ed. curriculum. At present, her areas of interest include Nazrul Studies, Shakespearean Theatre Studies in Bengal, and Bangladesh Studies.
Sagnika Das is currently a second-year post-graduate student at St. Xavier’s University, Kolkata. She earned her graduation degree in English Literature from University of Calcutta. She has considerable expertise in Psychoanalysis, Deconstruction, Postcolonial and Posthuman as well as Eco-critical theory. Apart from having profound interest in Elizabethan literature and 18th and 19th novels, she has also earned specialization in Partition Literature and Speculative Fiction. At present, she is exploring Dystopian narratives, and Folklore and Mythology texts from CFSR. Her master’s thesis is largely focusing on Shakespeare in The Age of A.I. She worked with Tritiyo Parisar as copy editor and published her paper in three eminent national journals . Beside academia, she has been an eminent member of Robin Hood Army, Goonj, Furrfolks.
Dr. Santanu Das, a theatre practitioner and professor, has designed and directed several theatre productions. He has jointly directed a production with Aude Marehsal, France. He has presented papers in Rhodes University, South Africa, Elsinore Conference, Denmark, PQ Design Conference, Czech Republic, Shoreline Shakespeare Conference, Iloilo Philippine and many more. His production Macbeth Mirror has been invited to Vietnam, Israel, Czech Republic, Poland and Nepal. He was awarded the Silver Medal for Direction in Vietnam. He has acted in the Bollywood movie PANGA and T3EN. His essays have been published in different International journals. His edited books are A Forgotten Thespian: Satu Sen and Macbeth as Macbeth Mirror.
Laura Iseppi De Filippis is an Associate Professor in the European Studies Department and the School of English Studies at Xi’an International Studies University. She is the recipient of a Fulbright Fellowship. Her publications include essays, translations, and the editing of Inventing a Path: Studies in Medieval Rhetoric in Honour of Mary Carruthers (Brepols, 2012). Her latest essay, “Mnemotechnics, Vision, and Apocrypha. Sources of imagines agentes in Middle English Drama,” appeared in Mental Libraries. The Reception of the Arts of Memory in Literature and Culture (Routledge, 2025). She is a Senior Research Fellow of the Centre for Italian Studies at Beihang University, Beijing, and a Fellow of the Society for Mnemonic Studies.
Sreyasi Dey is a postgraduate student at St. Xavier’s University, Kolkata, with research interests in posthumanism and the cultural idea of materiality. Her co-authored paper, “The Visible Invisibility of Presence Explored by Postcolonial Adventurers in Ray’s Brown Sāhēbēr Bāri and Conway Castle-ēr Prētātmā”, is due to be published this October under IRJH. Besides, she volunteers at her local art school on the weekends, engaging in creative endeavours with students and has had her work exhibited across India.
Ananya Dutta Gupta, Professor of English, has taught at Visva-Bharati for over two decades. She secured an MPhil degree in early modern English literature as a post-graduate Felix Scholar at Oxford University in 2001. She successfully completed her doctoral work on the early modern representation of war in 2014 under the supervision of Sukanta Chaudhuri, now Professor Emeritus, Jadavpur University. She was Charles Wallace India Trust Visiting Fellow at the Centre for Research in the Arts, Humanities and Social Sciences, Cambridge, in 2015. She has presented at the World Shakespeare Congress, Singapore, 2021 (online), the 2021 Oxford University ERC-TIDE Conference (online), the 2022 Asian Shakespeare Association conference (online) and the 2024 ASA conference in Iloilo in person. She is one of the seminar leaders at the World Shakespeare Congress to be held in Verona in summer 2026.
Mika Eglington is Professor of English Theatre and Cultural Studies at Kobe University of Foreign Studies. Her research focuses on early modern and contemporary British drama, with particular emphasis on productions of Shakespeare in both European and Asian contexts. She is also actively involved in theatre-making as a dramaturg, translator, and critic. Her recent dramaturgy and translation work has been commissioned by Umeda Arts Theatre, Kyoto Experiment, and SPAC. She is a regular contributor to English- and Japanese-language media, including The Japan Times, and her book on Satoshi Miyagi is forthcoming in the Arden Shakespeare series from Bloomsbury.
Feng Wei is a professor in the School of Foreign Languages and Literature at Shandong University, China. He holds a PhD in drama and theatre studies from Trinity College Dublin. His research interests include intercultural theatre and traditional Chinese theatre. His monograph Intercultural Aesthetics in Traditional Chinese Theatre: From 1978 to the Present was published by Palgrave Macmillan in 2020.
Rosa García-Periago completed her doctoral studies on Shakespeare, Bollywood and beyond at the University of Murcia, where she is a Senior Lecturer. She was formerly an EU Marie Curie Individual Fellow (”Shakespeare and Indian Cinematic Traditions”) at Queen’s University Belfast. She is co-editor of Jane Austen and William Shakespeare: A Love Affair in Literature, Film and Performance (Palgrave, 2019), Women and Indian Shakespeares (Bloomsbury, 2022) and the special issue “Adapting Shakespearean Romance in Indian Cinema” for Shakespeare (Taylor and Francis, 2025). She has published extensively on Indian Shakespeares in Adaptation, Atlantis, Borrowers and Lenders, Cahiers Élisabéthains, Indian Theatre Journal and Shakespeare.
Neal Amandus Gellaco is a Teaching Associate and graduate student pursuing an MA degree in English Studies: Anglo-American Literature at the University of the Philippines Diliman. His critical work includes studies of Philippine Anglophone fiction (those of Nick Joaquin, Kerima Polotan, and Aida Rivera-Ford). His creative work appears in various publications, including Likhaan, Kritika Kultura (forthcoming), and Diliman Review (forthcoming). His novel, Touch Me Now, was shortlisted for the Novel Prize 2024 presented by Fitzcarraldo Editions, Giramondo Publishing, and New Directions, and will be published by the University of the Philippines Press.
Jason Gleckman taught and researched in the English Department at The Chinese University of Hong Kong for thirty years. He is now semi-retired. He has published essays in numerous scholarly journals and his book, Shakespeare and Protestant Poetics, was published in 2019 by Palgrave Press.
Alice Gong is a second-year PhD candidate in English Literature at the University of Edinburgh. Her research focuses on trauma, memory and the body in Shakespeare’s plays, with particular attention to war, political authority and the representation of collective suffering in the early modern period. Her doctoral project examines how violence, psychological rupture and contested legitimacy shape Shakespeare’s tragedies and histories, drawing on trauma theory, early modern medical discourse and cultural memory studies. She is also interested in gender, supernatural agency and cross-cultural approaches to Shakespeare in contemporary contexts.
Tom Gorman is an academic and theatre director based at Coventry University. He studied English Literature and Language at Queen’s University Belfast and earned a PhD in Theatre from the University of Ulster, focusing on the history of non-naturalistic dramaturgy and the “play within a play” in early modern drama. In 1990 he co-founded Sightlines Theatre Company in Belfast and served as Artistic Director for six years, working extensively as an actor, writer, and director across Northern Ireland and as a writer for Radio Ulster. He later became Strand Leader in Drama at the University of Birmingham and Course Director of the BA Drama Studies degree at Bath Spa University. Since 2007 he has been Senior Lecturer on the BA Theatre and Professional Practice at Coventry. His decade-long international research project with partners in Finland and Spain has won multiple Reimagine Education, Times Higher Education, Guardian Universities, and PIEoneer awards. He also contributes to major international arts and digital performance networks.
He Hsu Heng Louie is a double-major student in Western Medicine and Chinese Medicine at China Medical University (B.A., 2021–present). With prior studies in Electrical Engineering, English Literature, and Philosophy, his research interests examine the intersection of science and the humanities, particularly sensory perception, embodiment, and Bergsonian theories of duration and intuition as frameworks for understanding perceptual instability in literary and cultural texts.
He Pei-rong Haley is a graduate student in the five-year B.A.-M.A. program in Foreign Languages and Literature at National Sun Yat-sen University. As a teaching and research assistant in English Renaissance literature, she investigates sensory perception, affect, and the interplay between corporeality and perceptual ambiguity on the Renaissance stage.
Katherine Hennessey is Associate Professor of Shakespeare and Global Literature at Wenzhou-Kean University in Wenzhou, China. She researches literature, theatre, and film in Ireland and on the Arabian Peninsula, with a particular focus on global adaptations of Shakespeare. She is the author of Shakespeare on the Arabian Peninsula, co-editor of Shakespeare in the Arab World, and director of the short film Shakespeare in Yemen. Her articles have been published in Multicultural Shakespeare, Shakespeare Bulletin, Arabian Humanities and Middle East Report, and her research has been supported by grants from the Fulbright and Mellon Foundations and the National Endowment for the Humanities.
Hirono Masaki received his B.A. in Literature from Kindai University and subsequently earned his M.A. and Ph.D. in Literature at the Graduate School of Humanities, Kwansei Gakuin University. He is currently an Assistant Professor in the Faculty of Business Administration at Aichi University. He has been focusing on representations of animals in Shakespeare’s plays, examining the shifting boundaries between humans and nonhumans. His research is inspired by posthumanist theories that ask what human beings are in their relationship with nonhumans, including animals, plants, and other organic and non-organic entities.
Huang Qingyi is a Ph.D. candidate in the Department of Philosophy, Zhejiang University, China. Her dissertation examines Nietzsche’s philosophy of Dionysian art, to which Shakespeare’s influence is undeniable. She holds a bachelor’s degree in philosophy from Nanjing University and an M.A. from China Academy of Art, where she wrote her master thesis on Russian Avant-garde Cinema. And she is currently a visiting researcher at the Department of German and Slavic Literature, University of Notre Dame, USA. Her research interests reside in the theoretical reflection of cultural phenomena across historical and geographical areas, as well as the interaction between philosophy and practice.
Jonathan Hui is an Assistant Professor in the Department of English and the Department of Chinese and History at City University of Hong Kong. His research focuses on literary transmission, and he has published on folkloristics, medieval European literature and modern Sino-European comparative literature. He previously taught in Singapore and conducted postdoctoral research at the University of Hong Kong.
HWANG Ha Young is Professor of Theatre for Young Audiences at Korea National University of Arts. Her research focuses on embodiment and the interactive and intercultural dimensions of contemporary Theatre for Young Audiences. She published articles in Youth and Performance, Theatre Forum, Drama, Play and Education, etc. (in English or Korean) and was a Guest Editor for the Special issue on “Touch in Training” of Theatre, Dance and Performance Training. She is the Lead Editor of Young Asian Shakespeares as part of A|S|I|A (Asian Shakespeare Intercultural Archive) and a Vice-Chair of ITYARN (International Theatre for Young Audiences Research Network).
Judy Celine Ick is professor and chairperson of the Department of English and Comparative Literature, University of the Philippines Diliman. She was a Fulbright scholar at the University of Massachusetts Amherst and an Asia Fellow and Visiting Research scholar at the University of Malaya. She is a founding member and vice-chairperson of the Asian Shakespeare Association. She is the author of Unsex Me Here: Female Power and Shakespearean Tragedy, and several articles on Shakespeare, performance, and colonial education in the Philippines. As actor and dramaturg, she has worked with several academic and professional theater companies in the Philippines and Asia.
Hanita Hanim Ismail (PhD) is a Malaysian academic researcher specializing in English literature with her current research focuses on the Teaching of English as a Second Language (TESL). She serves as a senior lecturer at the Centre for Innovative Studies in Teaching and Learning, Faculty of Education, Universiti Kebangsaan Malaysia. Dr. Hanita’s research ranges from issues and pedagogical approaches in the teaching of literature in education, literacy, gender studies, to those related to identity, which reflect her commitment to both theoretical and applied aspects of English language education.
Sujata Iyengar, Distinguished Research Professor of English at the University of Georgia, specializes in Shakespearean adaptation and appropriation, early modern literature, and the global afterlives of Shakespearean texts. Her books include Shades of Difference (2004), Shakespeare’s Medical Language (2011), Shakespeare and Global Appropriation (2020, with Miriam Jacobson and the late Christy Desmet) and Shakespeare and Adaptation Theory (2023) alongside extensive editorial leadership as co-founder and co-general editor (with Christy Desmet) of Borrowers and Lenders: The Journal of Shakespeare and Appropriation. A long-time advocate of cross-cultural and intermedial approaches to Shakespeare, she has collaborated internationally through major grants and partnerships, including multi-year projects linking scholars across continents. She is currently working on a monograph about Shakespeare and artists’ books and editing Much Ado About Nothing for the Arden Shakespeare, fourth series.
Rochana Jayasinghe holds a BA (Hons) from the University of Peradeniya and a Master’s in World Literatures from the University of Oxford. She serves as the Sri Lankan English Consultant to the Oxford English Dictionary, and is currently an Assistant Lecturer in the Department of English at the University of Peradeniya, where she teaches Early Modern and Restoration Theatre, and Contemporary Theatre. Rochana has an active background in amateur theatre, having performed in both Sri Lanka and the UK. Her Shakespeare research focuses on modern and non-Western iterations of Shakespearean performance, exploring intercultural adaptations and linguistic creativity.
Jorlin Jose is a doctoral researcher at the Indian Institute of Space Science and Technology (IIST), Thiruvananthapuram, India. Specializing in Digital Humanities and Shakespeare Studies, his research investigates the intersections of algorithmic culture and literary performance in the Global South. His recent work on digital identities and ludic cultures has appeared in Digital Crossroads (2025), and his scholarship on subverting the Shakespearean canon has been published in multiple journals. He is particularly interested in the role of internet memes and digital paratexts as sites of vernacular resistance and cultural world-making.
Jun Eunsun is a graduate student in English Literature at Ewha Womans University, focusing on Shakespeare, capitalism, and affect theory. Her current research explores how early modern drama constructs the intersection between economic morality and subject formation in global contexts.
Mafarhanatul Akmal Ahmad Kamal is a lecturer at the Academy of Language Studies at Universiti Teknologi MARA (UiTM) Shah Alam, Malaysia. She received her Master of Arts in Applied Linguistics with TESOL from The University of Sheffield. She is currently pursuing her doctorate in English Language Studies specialising in Applied Linguistics and her research interests include Applied linguistics, English Language Studies, Psycholinguistics, Bilingualism, and Eye Tracking in Literary works.
Tanya Kempston is a Principal Lecturer and Programme Director of the PGDE (the largest Teacher Education programme) in the Faculty of Education at the University of Hong Kong. She has received awards for Teaching Excellence and Teaching Innovation at both Faculty and University level at HKU and is a Fellow of Advance Higher Education, UK. Her main research area (and love!) is drama-in-education and she has an MA with Distinction in Drama and Theatre Education from the University of Warwick, UK. Before working at HKU, she was a Curriculum Development Officer in the Hong Kong Education Bureau and also a front-line teacher in a Hong Kong government secondary school.
Mohd Fadhli Shah Khaidzir is a Senior Lecturer at CITRA UKM, Universiti Kebangsaan Malaysia. He holds a PhD in Postcolonial Literature and Psychogeography. His expertise includes psychogeography, travel literature, and sense of place, with current projects on augmented reality, heritage, visual communication, and new media. A former flight attendant and a published poet, he hopes to bring forth psychogeography and literature to the centre of the world to be shared and understood as a mean of appreciating the values of literature and life.
Kim Hee-Young is a MA student studying English literature at Seoul National University. Her research interests include adaptation studies, global Shakespeare, critical race studies, and performance studies. She is currently writing her MA thesis on Korean Shakespeare, (mis)translation, and identity construction.
Kim Kang is Professor of English at Honam University and served as Vice President of the Shakespeare Association of Korea. He has been an Executive Committee Member of the ASA since its inception. He received his Ph.D. from SUNY Buffalo and was a research scholar at UC Berkeley. He has extensively presented and published on Renaissance literature, Shakespeare, Korean and popular culture, film and literature, and cultural theory in countries around the world, including the U.S., the U.K., France, Japan, Taiwan, Philippines, China, and Armenia. His publications include a Korean translation of Macbeth (Penguin), Master Plots: English Renaissance Drama, Close Reading of American Plays, Prometheus Unbound: Critical Essays on Korean Society and Politics, and My Father’s May 18: A Collection of Prison Notes. He previously contributed a book chapter on Hamlet as political drama in Korea to Shakespeare’s Asian Journeys: Critical Encounters, Cultural Geographies, and the Politics of Travel, edited by Bi-qi Beatrice Lei for the Routledge Studies in Shakespeare series. His recent article, “Comic Book Adaptations of Shakespeare in Korea: History and Context,” was published online in the journal Studies on Humanities and Social Science.
Ko Yu Jin is Professor of English at Wellesley College. He is the author of the books Shakespeare’s Original Stage Conditions and their Afterlives: From the Wooden O to the Yards of Seoul (2024) and Mutability and Division on Shakespeare’s Stage (2004); he has also co-edited Shakespeare’s Sense of Character: On the Page and From the Stage (2012), a collection of essays by scholars and theatre practitioners. He has also written numerous articles on Shakespeare in performance across the globe, especially in East Asia.
Koizumi Yuto is an associate professor in the Institute of Liberal Arts at the Institute of Science Tokyo. His research focuses on Shakespeare, adaptation, and film. His selected publications include work on misogyny amplified through twenty-first-century media in Cymbeline (2014), nostalgia and queer longing in My Own Private Idaho (1991), and masculinity in Skyfall (2012). Recent conference activities include the paper “As Branagh Likes It?: Japonism Retrospective and Microaggression” and the roundtable “Shakespeare from Shore to Shore” at the 2024 Asian Shakespeare Association conference, as well as a presentation on noir-film adaptations of Othello at the 2025 Japanese Shakespeare Society conference.
Kok Su Mei is a Senior Lecturer at the Department of English, Faculty of Arts and Social Sciences, Universiti Malaya, where she teaches courses on early modern theatre and on Global Shakespeares to both undergraduate and postgraduate students. She is interested in the many ways theatre intersects with local contexts and has published articles on Shakespeare in contemporary Malaysia and on Thomas Middleton in sixteenth-century England. Her most recent explorations are in interdisciplinary pedagogy, including the usage of immersive games to teach Shakespeare, and of Shakespeare to teach medicine.
Julian Lamb is author of Rules of Use: Language and Instruction in Early Modern England (Bloomsbury), and has published on Shakespeare, Donne, Erasmus, and early modern linguistics. His articles have appeared in such journals as English Literary Renaissance, Shakespeare Quarterly, and Philosophy and Literature. He is currently working on a monograph on infelicitous performative utterances in Shakespeare. He teaches in the School of Liberal Arts at the University of Wollongong.
Lee Hyon-u is Professor of British and American Studies at Soon Chun Hyang University, South Korea, specializing in Shakespeare with a focus on performance. He is the author of several books, including Shakespeare: Audience, Stage, and Text (2004) and Korean Shakespeare Renaissance (2016). In addition to extensive scholarly publications and translations, he is a theatre director, having recently directed Coriolanus, as well as King Lear and Hamlet Q1. He is former President of the Shakespeare Association of Korea and currently serves on the Executive Committee of the International Shakespeare Association and the Asian Shakespeare Association, and the Advisory Board of the International Shakespeare Conference.
Jason Eng Hun Lee is a Senior Lecturer in English and Comparative Literature at Hong Kong Baptist University. A creative writer, scholar, performer and community advocate, his research and practice fields encompass postcolonial and diasporic Asian writing, global Shakespeares, cosmopolitan literature and theory, performance studies, and creative pedagogy. His articles have been published in Textual Practice, The Journal of Postcolonial Writing, Wasafiri, and Shakespeare. His current monograph and research project locates the “techno-cultural mobility” of text, performance, film, games and other digital artifacts across Asian Shakespeares. As a creative writer/performer, he has featured internationally in festivals across the UK, Singapore and Hong Kong. His poetry collection Beds in the East (London: Eyewear, 2019) was a finalist for the Hong Kong University Prize (2010) and runner-up for the Melita Hume Prize (2012) and he is co-editor of Where Else: An International Hong Kong Poetry Anthology (Brmingham: Verve Press, 2023). He serves as literary editor for Postcolonial Text and is chief organizer of OutLoud HK, Hong Kong’s longest-running poetry collective.
Bi-qi Beatrice Lei is the founding Chair of the Asian Shakespeare Association. She received her PhD from New York University and has held teaching appointments at National Tsing Hua University and National Taiwan University. She is the creator of the Taiwan Shakespeare Database, hosted by NTU’s Research Center for Digital Humanities, and has published widely on Sidney, Shakespeare, intercultural performance, early modern culture, and cultural studies. She is co-editor of the Arden series Global Shakespeare Inverted. Her most recent publication is a co-edited special issue of Shakespeare, “Shakespeare in Asian Currents” (with Judy Celine Ick), bringing together work from two ASA conferences. Lei currently serves as Vice-Chair of the International Shakespeare Association and Assistant Director of the Shakespeare Association of America.
Daphne P. Lei is Professor of Drama, University of California, Irvine. She is the author of Operatic China: Staging Chinese Identity across the Pacific (Palgrave, 2006); Alternative Chinese Opera in the Age of Globalization: Performing Zero (Palgrave, 2011), Uncrossing the Borders: Performing Chinese in Gendered (Trans)Nationalism (Michigan, 2019); a coauthor of Theatre Histories: An Introduction, Fourth Edition (Routledge, 2024); coeditor of The Methuen Drama Handbook of Interculturalism and Performance (Bloomsbury, 2020). She is the former president of American Society for Theatre Research (2015-2018) and received ASTR’s Distinguished Scholar Award for “outstanding achievement in scholarship in the field of Theatre Studies” (2022).
Li Weifang is a Professor at the Center for Shakespeare and Cross-Cultural Studies, Henan University, China. His major fields of inquiry include comparative literature and English and American literature.
Alvin Eng Hui Lim is Assistant Professor at the National University of Singapore. His key research interests are performance histories, popular religious practices, spirit mediums and rituals, with emphasis on new media and digital technology. He is also Deputy Director and Technology and Online Editor (Mandarin) of the Asian Shakespeare Intercultural Archive (A|S|I|A). He has published on Singapore theatre, religious practices, and digital archiving.
Liu Meilin is an MA graduate student in the Department of English Language and Literature at Hong Kong Baptist University. Her research interests include Shakespeare, environmental humanities, Twin Peaks studies, and body studies. Her current project explores the interpretation of nonhuman beings, especially plants, in film and literary works through an ecogothic lens.
Liu Qingru is a master’s student in the School of English Studies at Shanghai International Studies University. She holds a Bachelor of Arts from the School of Languages and Literature, Shandong University. Her research interests include English drama and intercultural theatre.
Yuval Lubin is a Bachelor of English at the Hebrew University of Jerusalem and Masters student. His interests include philosophical negativity and modernist literature. His research focuses on comical representation of negative knowledge in modernist fiction, specifically Herman Melville’s Moby Dick and Flann O’Brien’s The Third Policeman. Yuval has presented many papers, including recently at the 2023 Annual Eliot Meeting at Harvard, the 2024 International Association for Irish Literature in Tokyo, and the 2025 International Society for Humour Studies conference in Krakow. Yuval currently works as the Historical Archivist for the JNF.
Nicholas Luke’s work focuses on early modern literature, how we receive it, and why it still matters. His authored Shakespearean Arrivals: The Birth of Character (Cambridge University Press, 2018) and Shakespeare’s Political Sprit: Negative Theology and the Disruption of Power (Cambridge UP, 2024). His work has also been published in journals such as Modern Philology, Shakespeare Survey, and Law & Literature. Nick is currently working on a third monograph, “Resurrection Events in Late Shakespeare,” which has been funded by the Hong Kong University Grants Committee. Nick was previously a Research Fellow at the University of Queensland Node of the Australian Research Council Centre of Excellence for the History of Emotions (Europe 1100-1800) and earned his DPhil and MSt from the University of Oxford, funded by a Rhodes Scholarship. He holds degrees in Law and Arts from the University of Queensland and is the Deputy Director of HKU’s BA&LLB programme. Nick’s research focuses on Shakespeare and early modern literature, but also branches out into intellectual history, literary theory, politics, law and literature, and the intersection of theology and poetics.
Jolie Lum is a Masters of Philosophy in Music (Ethnomusicology) student at the Chinese University of Hong Kong. She graduated with a B.A. in Music (First Honours) and a minor degree in English from the Chinese University of Hong Kong in 2025. Jolie’s research interest is in the field of ballet music, adaptations and localisation. She studies under the supervision of Professor Mak Su Yin. She was awarded the Michael E. McClellan Music Essay Prize 2025 for her research on Hong Kong Ballet’s The Butterfly Lovers (2024). Her research was also awarded in the 2025 CUHK Capstone Presentation Competition.
Ma Yujing is a lecturer in the Faculty of Letters at Soka University in Japan. Her research explores Shakespeare and his adaptations in Chinese and Japanese cultural contexts. She has published on Mandarin film and manga adaptations, as well as Japanese manga versions of Shakespeare. Her recent work, “Shakespeare’s Spirit, Chinese Characteristics: Transplanting Romeo and Juliet on the Chinese Stage”, appears in Shakespeare and the Political: Elizabethan Politics and Asian Exigencies (Bloomsbury, 2024). She is currently investigating comparative approaches to teaching Shakespeare in higher education in China and Japan.
Utsav Malani is currently pursuing a doctoral degree on Shakespearean sonnets and negative capability. He’s based in Bhuj, and has completed his graduation and post graduation from Kachchh University.
Arpita Mitra is an Assistant Professor in the Department of English in S.M. College, Bhagalpur under Tilka Manjhi Bhagalpur University. She has her doctoral thesis on the Diaspora Studies and M.Phil dissertation on the Theory of Carnival by Mikhail Bakhtin. Her special papers were American Literature during masters and Postcolonial Literature and Theory during M. Phil. She has a few research papers to her credit which have been published in some literary journals.
research focuses on Japanese translations of Shakespeare. She obtained her MA in 2025 with a rhetorical comparison of The Comedy of Errors and its 2001 adaptation, The Kyōgen of Errors, and is now looking at the treatment of wordplay in translations of Love’s Labour’s Lost. In October 2025, she presented on the poetics of Kurosawa’s Throne of Blood for a workshop at the conference of the Shakespeare Society of Japan, and on Love’s Labour’s Lost translations at a roundtable on non-
Anglophone Shakespeare at Waseda University.
Miyamoto Maira is a graduate student in Japan. She earned a master’s degree of American literature at Tsuda University in 2024. She is currently a doctoral student in the University of Tsukuba’s Degree Programs in Humanities and Social Sciences. She majors in American literature and culture. She researches about American cross-dressing actress Charlotte Cushman. She wrote her master’s thesis about Cushman and her female fans in the nineteenth century.
Mori Yukiko is a Professor Emeritus at Tokyo University of Agriculture and Technology, Division of Language and Culture Studies. She is the author of Eiga de Yomu Sheikusupia (Reading Shakespeare on Screen) (1996), Ima wo Ikiru Sheikusupia (Living Shakespeare) (a joint work, 2011) as well as numerous articles, essays, and reviews. She is also the translator of Shakespeare criticism and several novels including Juliet Dusinberre’s Shakespeare and the Nature of Women, J. M. Coetzee’s Lives of Animals, and Rebecca Reisert’s The Third Witch, a novel adapted from Macbeth.
Ted Motohashi, Ph.D., is Professor Emeritus of Cultural Studies at the Tokyo University of Economics. He is the incumbent president of the Japan Section of the International Association of Theatre Critics. He has published widely on drama, cultural, and postcolonial studies. His forthcoming publications include “Between Technology and Ecology: Reflecting on the Trans-Human in Shakespeare’s A Midsummer Night’s Dream (Shakespeare Studies, March 2026) and two books co-written with Tsukamoto Tomoka, The Theatre of Miyagi Satoshi: From Western Tragedies to Eastern Mythologies (Bloomsbury, 2026); Japanese Shakespeares in the Anthropocene: From Colonial Modernity to Postcolonial Afterlife (Palgrave Macmillan, 2026).
John Mucciolo is an independent scholar whose abiding interest is Shakespeare’s late(r) plays, mainly Cymbeline, The Winter’s Tale, and The Tempest. His publications have explored these plays from various perspectives, chiefly their ethical, political and theatrical backgrounds. His larger projects are with W.R. Elton, co-founding The Shakespearean International Yearbook, and editing vols. 1 and 2, Scolar Press and Ashgate, 1999, 2000; with John Mahon, editing Shakespeare’s The Tempest, Focus, 2019; and with Sophie Chiari, editing Performances at Court in the Age of Shakespeare, Cambridge, 2019; “Imported from Italy: Early modern English Ethics and Shakespeare’s Misordered Cymbeline (1.4),” Shakespeare and Italy, ed. John Cameron, Routledge, forthcoming. His current work views the late plays from a philosophical-ethical standpoint, with a special emphasis on their relevance to today’s audiences.
Dr. Kristen Murray—an interdisciplinary scholar and theatre practitioner—holds a PhD from both the School of the Arts & Media and the School of Social Sciences at UNSW in Sydney, in addition to Master of Creative Arts in Theatre (Directing) and Master of Science in Psychology (Counselling) degrees. Dr. Murray’s teaching focuses on Shakespeare, as well as American, Australian, British and Irish dramatists of the twentieth century. Dr. Murray also teaches Women’s Writing, focussing on the early nineteenth through the early twenty-first centuries. In addition, Dr. Murray has directed or acted in more than twenty stage productions, with a particular focus on Shakespeare. Dr. Murray is the Co-Director of the HKU Guild and the leader of the Creative Component of the Capstone for the MAES programme.
Kibria Nasir is a PhD researcher at the Shakespeare Institute, University of Birmingham, specializing in performative adaptations of Shakespeare in Indian theatre. Her research integrates postcolonial theory, disability studies, and performance analysis, focusing on sacred, intercultural, and regional Shakespeares. She publishes performance and book reviews, contributes to print journalism, and holds a Birmingham Transformative Humanities Lab Fellowship. As Production Manager for the Journal of Embodied Research, she bridges research, performance, and editorial practice.
David Nee is assistant professor of Early Modern/Renaissance literature at Louisiana State University. He received his BA from Columbia University and his PhD in English from Harvard University. His current book project turns to early twentieth-century ideas about the “morphology” of culture to refresh our understanding of how Shakespeare relates to his sources and afterlives. He is also interested in media theory and the history of literary studies, and has co-edited a special issue of Modern Language Quarterly on interactions between humanities scholarship and new technological media during the early twentieth century.
Emily Rose Nicholls is a final-year PhD candidate at King’s College London and the University of Hong Kong. Her thesis develops neurocosmopolitanism—an ethical stance toward neurological difference and encounters with other minds—as a methodology for re-reading “Hamlet” across character, dramaturgy, and textual transmission. She is co-author of the forthcoming book Early Modern Neurodiversity Studies (with Bradley J. Irish and Melinda Marks, Edinburgh University Press, 2026) and Shakespeare Survey article “Knowing the Minds of Others: Hamlet and Neurodiversity” (with Irish, 2026). Emily teaches Global Shakespeare and Literary Theory, enjoys collaborative work and presents regularly at international conferences.
Niu Shuo is a PhD candidate at the University of York, specialising in Shakespeare in China, adaptation, translation, and cross-cultural studies. She graduated from the University of North Carolina and North Carolina State University. She is an active member of SAA and BSA. Her research explores how Shakespeare’s works have been reinterpreted and appropriated in eighteenth-century Britain and early Nineteenth-century China, with a particular focus on adaptation, translation and paratexts.
Ng Su Fang is Cutchins Professor of English at Virginia Tech. She published Literature and the Politics of Family in Seventeenth-Century England (Cambridge UP, 2007); Alexander the Great from Britain to Southeast Asia: Peripheral Empires in the Global Renaissance (Oxford UP, 2019), which won the Renaissance Society of America’s Gordan prize for best book; and Writing About Discovery in the Early Modern East Indies (Cambridge UP, 2022). She co-edited an essay collection, England’s Asian Renaissance (Delaware, 2022) and is currently co-editing The Cambridge Companion to Global Literary Cultures in Early Modern England. She grew up in Malaysia.
Juliana Maria Odoño is a full-time instructor from the History Department, Literature Department, and the Humanities Program of the University of Asia and the Pacific. She studied Nick Joaquin’s Pop Stories for her Masters Thesis in 2023, and intends to delve into these tales further for her doctoral studies. Her field of interest is children’s literature, and championing its relevance to children (and children-at-heart) continues to be one of her main advocacies. She is also a writer, dabbling mostly in poetry and creative nonfiction, but is not completely averse to trying her hand at theater (like the Bard) as well.
Okuyama Atsuko is a postdoctoral researcher at Nagoya University and a part-time lecturer at Meijo University. She has also taught at Nagoya University of Foreign Studies and Nagoya Women’s University.
Alice Osinska is a Research Assistant at the School of Art, Design and Media, Nanyang Technological University (NTU), Singapore, where she provides academic and project-based support across interdisciplinary initiatives. She holds a master’s degree in fine arts design from East China Normal University and is currently pursuing a PhD in Design at Shanghai Academy of Fine Arts. Her research lies at the intersection of cultural heritage, visual design, and emerging technologies; human–AI collaboration in artistic and design practices.
Xelestine Gabriel Payte, LPT, is an educator in English and interdisciplinary studies at the University of Asia and the Pacific (UA&P), where he teaches Personal and Career Development, and Advanced Integrated Studies to Junior College/Senior High School students. He previously served as a Senior High School instructor in 21st Century Literature at St. Scholastica’s Academy, Marikina. Mr. Payte holds a Bachelor of Secondary Education major in English from the National Teachers College and is a Licensed Professional Teacher. His academic interests encompass Shakespearean studies, comparative literature, and integrative pedagogical approaches. He currently resides in Marikina City, Philippines.
Gino Pinga is a copywriter-turned-teacher. He earned his Master of Arts in Humanities from the University of Asia and the Pacific (UA&P) in Manila in 2022, with a thesis titled The Path of Forgiveness: Scruton’s Idea of Redemption and Dostoevsky’s Brothers Karamazov. Though he claims no expertise in Shakespeare, he’s been quoting Banquo and Polonius since adolescence—a habit that has since become part of his teaching. He currently lectures on Shakespeare and Dante at UA&P, guiding students through the classics with humor, wonder, and wisdom.
Utsav Rajgor is currently pursuing his phd on Shakespearean sonnets and Negative Capability. He is willing to contribute to this discipline, especially Shakespearean criticism. Rajgor is living in Bhuj, and has completed his graduation and post graduation from Kachchh University.
Hannes Rall is President’s Chair Professor in Animation Studies and Chair of the School of Art, Design and Media at Nanyang Technological University Singapore. He is also a successful director of animated short films. They have been shown at over 900 film festivals worldwide and have received 95 international awards. 16,000 of his film drawings and illustrations have been added to the Filmmuseum Düsseldorf’s collection. His conference presentations include FMX, ACM SIGGRAPH, ARS Electronica, the Annual Conferences of the Society for Animation Studies (SAS) and Keynotes at IEEE VR (Osaka 2019) and CONFIA (Esposende 2018).
Dr Anandi Rao is Lecturer (Assistant Professor) in South Asian Studies, at SOAS, University of London. Her work has been published in journals like Shakespeare Bulletin and South Asian Review as well as in edited collections. She is working on a short monograph on Hindi Shakespeare in colonial India which is under contract with Cambridge University Press. She is currently book reviews editor for Borrowers and Lenders: The Journal of Shakespeare and Appropriation.
Joan Mary Flordeliz L. Rayos is a graduate student of the University of the Philippines Diliman under the MA English Studies: Language program. She also works as a teaching associate for the university’s Department of English and Comparative Literature within the College of Arts and Letters. Prior to these, she graduated as magna cum laude from the university’s BA Creative Writing program. Her research interests are concerned with queer literature, translanguaging, and linguistic cultural projects. Meanwhile, her creative works, leaning towards horror and surrealist fiction, have been published in PanitikanPH and Philippine Genre Stories.
Mala Renganathan, Professor in English at North-Eastern Hill University, Shillong (Meghalaya), India, is a Fulbright Fellow, IIAS (Shimla) Fellow, and ASIA Fellow awardee. She authored Understanding Maria Irene Fornes’ Theatre (Common Ground, 2011) and Gendering Terrorism in South Asian Narratives of the Post-9/11 Era (Cambridge Scholars Publishing, 2025). She edited Violence and Terror: Narratives from North East India (DVS Pub., 2020) and co-edited (with Arnab Bhattacharya) two volumes of Tagore’s drama, The Politics and Reception of Rabindranath Tagore’s Drama: The Bard on the Stage (Routledge, 2015), and Rabindranath Tagore’s Drama in the Perspective of Indian Theatre (Anthem Press, 2020).
Sanjana Santra is a Doctoral Researcher, currently pursuing her Ph.D. from Bennett University, India. Her areas of interest include Cultural Studies, Gender Issues, and Sustainability. In her work, she examines how pre-existing social inequalities and power relations work across various intersections within society.
Sakamoto Kohei received a Bachelor of Arts and a Master of Arts in Literature from Kyoto University in 2019 and 2021, and is currently in the doctoral program at the Graduate School of Letters, Kyoto University. His previous research has explored Shakespeare’s comedies and the sonnet sequences of the English Renaissance from the perspectives of feminist criticism, gender studies, and queer theory. He now has an interest in posthumanist queer literary criticism, which highlights human entanglement with other entities.
Majid Sarnayzadeh is an independent artist-researcher from Iran, Bandar Abbas, based in Dubai, participated in many artistic conferences including; the Sweden Symposium on Artistic Research 2024, the APARN Conferences 2023-2025, the 3th and 5th Biennial Conference of the Asian Shakespeare Association, the performance studies international conferences, the international experimental theater symposium of Shanghai theater academy and the Symposium of the Fadjr International Theater Festival, and directed one of the twelve national selected project of Tehran’s Qashqai performance studies center. His academic background is on applied mathematics, philosophy of science, social studies and management; therefore, he has interdisciplinary approach in his artistic projects based on research results.
Akhya Shankar is a PhD Scholar in Shakespearean Studies at the Department of English, University of Delhi. She earned her M.A. in English from Daulat Ram College, University of Delhi (2023), and her B.A. (Hons.) in English from Banaras Hindu University (2021). Her academic interests include Violence and Trauma Studies, Folklore, Film, Masculinity and Gender Studies. She employs an interdisciplinary lens to engage with literary and cultural narratives. She has presented papers at academic forums, recognized for her clarity and critical insight. Her work bridges scholarship and creativity, exploring the intersections of literature, identity, and society.
Bruce G. Shapiro (BFA, MFA, PhD) began his study of All’s Well That Ends Well while staging the play in 1987. His continuing scholarship will form the basis of his chapter, “Cure and Conception: The Symmetry of Malady and Remedy in the Plot of All’s Well That Ends Well,” in the forthcoming volume, All’s Well That Ends Well and Its Afterlives (Palgrave Macmillan). He has written and directed plays in the USA, Australia, and Taiwan, and has coached actors in dozens of major international film productions. His other books include Divine Madness and the Absurd Paradox: Ibsen’s Peer Gynt and the Philosophy of Kierkegaard (1990), Reinventing Drama (2000), and Speaking American: The Australian Actor’s Guide to an American Dialect with CD (2000; 2007). Previous conference topics have included Shakespeare and gender in performance.
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Scott Shepherd is Assistant Professor of English in the Hokma Liberal Arts Center at Chongshin University in Seoul, as well as a columnist for the Korea Times. As well as Shakespeare in Korea, his research interests include early Shakespeare texts and how directors edit Shakespeare for performance; he also studies representations of Koreanness and foreignness in K-Drama. His recent and forthcoming work includes studies of Biblical allusion in Othello, nationalism in a Korean Shakespeare performance, and foreignness in Korean Drama. He is co-editor of a forthcoming volume on Korean Shakespeare for Arden’s Global Shakespeare Inverted series.
With a master of laws degree in human rights (with distinction) and bachelor degrees of arts in English studies (with first class honours) and education in English language education (with first class honours), Anson M.C. Sinn has a myriad of interests in the humanities such as literature, culture, history, education, law, divinity, and music. He is an independent scholar and he likes to conduct interdisciplinary research through narrative inquiry.
Matthew C. Stephenson is the Henry L. Shattuck Professor of Law at Harvard Law School. He is the co-author of the leading U.S. casebook on Legislation & Regulation. In addition to his research and teaching in public and administrative law, he writes on legal themes in Shakespeare’s plays and teaches a Harvard Law School seminar on Shakespeare and Law. He is also a regular visitor at the Peking University School of Transnational Law in Shenzhen and at the Chulalongkorn University Law Faculty in Bangkok.
Danica Stojanovic-Schaffrath is a postdoctoral researcher at the University of Graz, Austria. She completed her PhD on staging contemporary fantasy in British theatres, and is currently conducting research on early modern women’s prose. Her research interests include early modern literature and culture, English and East Asian literary intersections, Shakespeare studies, as well as modernism, postmodernism, and postcolonial studies. Her recent publications include “Queering the Colony: Examining Non-Heteronormative Colonisation of Taiwan,” “When We Make It–Nuyorican Constriction and Dreams of Freedom,” as well as an upcoming monograph Contemporary Fantasy on Stage–From His Dark Materials to The Lion, the Witch and the Wardrobe.
Su Tsu-Chung, Ph.D. in Comparative Literature from the University of Washington, is a Distinguished Professor of English at National Taiwan Normal University (NTNU). He served as President of the Taiwan Shakespeare Association (TSA) from 2017 to 2019, and President of the R.O.C. English and American Literature Association (EALA) from 2016 to 2017. He is a five-time recipient of the NTNU Award for Distinguished Research & Distinguished Professor (2016-2027), and a 16-time recipient of the NSTC Award for Excellence in Research (2010-2025). His research interests span: Nietzsche and his French legacy, Theories of hysteria and melancholia, Shakespeare studies, Performance studies, Religious studies, Dramatic theory and criticism, Theories of consciousness and mindfulness.
Tang Bin Brittany received her PhD degree from the English Department at the Chinese University of Hong Kong. Her doctoral research focuses on stage adaptations of Shakespeare’s Macbeth since the 1980s across Mainland China, Hong Kong, and Taiwan, with a particular interest in the contemporary presence of traditional Chinese theatre (Xiqu), and other Asian performance forms.
Tang Jinli is an MA candidate in Drama and Film Studies at Guangzhou University, holding a BA in Film and Television Playwriting from Communication University of China, Nanjing. With award-winning screenwriting experience, his research interests concentrate on intercultural narratives, the exploration of socio-cultural issues in East Asian cinema and television, and character construction in contemporary filmic works.
Born in Hong Kong, Tang is a theatre director, actor and educator, having worked in professional theatre for 30 years. He has done more than 60 works, including spoken drama, non-verbal theatre, dance drama and opera. Tang is hailed by the media as “one of the most important theatre directors in Hong Kong”. Minimalist aesthetics and physical theatre that Tang advocated have become a brand of contemporary theatre in Hong Kong. To acknowledge his achievement in past decades, Tang was awarded a Medal of Honour by the Government of the HKSAR in 2020, the Award for Outstanding Contribution in Arts by the Hong Kong Arts Development Council in 2021, an Honorary Doctorate by HKAPA in 2022.
Tang studied laws in Hong Kong in early years; then he studied Theatre Studies in the Université de la Sorbonne Nouvelle in Paris. Tang founded No Man’s Land in 1997. Between 2004 and 2011, Tang worked in the Hong Kong Academy for Performing Arts and got promoted from Lecturer, to Senior Lecturer, Head of Directing and Playwriting and Dean of the School of Drama within 5 years.
In 2009, Tang founded Tang Shu-wing Theatre Studio, which aims to create cross-disciplinary and cross-cultural works, further promoting Hong Kong’s theatre to international stages. In 2011, he left the Academy and started to put great effort in training the next generation and cares for the public good through arts. In 2014, he established “PTI Professional Physical Theatre Youth Training Programme” and served as the Course Director/Curriculum Designer and Tutor.
He has served in a number of public bodies such as Leisure and Cultural Services Department, Consultation Panel of the West Kowloon Cultural District Authority, the Hong Kong Arts Development Council, Arts Programme Committee of Hong Kong Arts Centre and Hong Kong-Taiwan Cultural Co-operation Committee. He is currently an Artistic Advisor of Hong Kong Dance Company.
Alan Thompson has a PhD from the University of Toronto and teaches at the Faculty of Humanities at Gifu Shotoku Gakuen University in central Japan. His main research interests are in language contact and change, in translation, and in the uses of literature and theatre in English-medium instruction.
Poonam Trivedi taught English at Indraprastha College, University of Delhi. She has specialised in Shakespeare Studies with a Ph.D from the Shakespeare Institute, University of Birmingham. She has published articles and books in this area, especially on women in Shakespeare, on stage and film performance of Shakespeare in India, including India’s Shakespeare: Translation, Interpretation and Performance (2005), Re-playing Shakespeare in Asia (2010), Shakespeare and Indian Cinemas: “Local habitations” (2019) and Asian Interventions in Global Shakespeare: “All the World’s His Stage” (2021). Her larger interests extend to Indian theatre and women in the performing arts. She has been the recipient of Fellowships at Queen Mary College, University of London, University of Hyderabad, Jadavpur University and has lectured at Rhodes College, Memphis, University of San Francisco among others. She has led seminars and panels at World Shakespeare Congresses, and has been invited to deliver many plenary lectures, including at Australian National University, Canberra {2004), The Globe, London (2016), at Paul Valery University, Montpellier (Sept. 2019), Queen’s University, Belfast (Oct. 2019) and the latest, at the annual conference of the British Shakespeare Association at Liverpool University (2023). She has held positions of the Vice-chair of the Asian Shakespeare Association and the secretary of the Shakespeare Society of India 1993-1999. She directed Merry Wives of Windsor and Lear’s Daughters for Indraprastha College, University of Delhi.
Dr. Iris H. Tuan is a Professor at National Yang Ming Chiao Tung University, Taiwan. Tuan served as a Visiting Scholar in the Department of English at Harvard University and earned her Ph.D. in Theater from the University of California, Los Angeles (UCLA). Specializing in Western drama, theatre and performance studies, her research spans intercultural adaptation, Shakespearean reception, film studies, and contemporary media culture. Professor Tuan has published in leading academic journals, including Asian Theatre Journal (A&HCI) and Theatre Topics (Johns Hopkins University Press), among others. She is the author of 14 monographs—Shakespeare and More: Screen, Stage, and Streaming Media (Palgrave Macmillan, 2026 Forthcoming), Beyond Shakespeare: Film Studies, Performance Studies, and Netflix (Palgrave Macmillan, 2023), Pop with Gods, Shakespeare, and AI: Popular Film, (Musical) Theatre, and TV Drama (Palgrave Macmillan, 2020), and Translocal Performance in Asian Theatre and Film (Palgrave Macmillan, 2018). Her books also include Western Canon in Taiwan Theatre: Adaptation and Transformation, Intercultural Theatre: Adaptation and Representation, Alternative Theatre in Taiwan, and Literature’s Translocal Viewing via New Technology and New Media: Theater, Film, and Netflix. She co-edited Transnational Performance, Identity and Mobility in Asia. Four of her monographs received Scholarly Monograph Awards. Tuan served as Supervisor of Taiwan Shakespearean Association and Director of Chinese Theater Association. She is a multiple-time recipient of NYCU’s Outstanding Research Awards. Tuan’s scholarship engages critically with culture and representation across theatre, film, literature, musicals, television drama, and Shakespearean studies.
Wang Rui is a Professor of Translation Studies at the School of Foreign Studies, Northwestern Polytechnical University. Her doctoral studies were completed at the National Research Center for Foreign Language Education, Beijing Foreign Studies University. She was a Visiting Scholar at Concordia University, Montreal, Canada from Oct. 2011 to Jan. 2012. Her research interests include Shakespeare’s language and translation, literary translation studies, and the cultural history of translation. She is currently leading a project to compile An Anthology of Literatures on Chinese Translations of Shakespeare’s Plays (1903-1949).
Nahum N. Welang is an Associate Professor of English Literature/Culture and Didactics at Nord University, Norway. He has authored a monograph, edited a special Issue and contributed to several edited volumes. His research has also been published in The Journal of Popular Culture, Canadian Review of American Studies, The Journal of Transnational American Studies, The Journal of American Culture, Open Cultural Studies and others.
Reto Thomas Edgar Winckler is Assistant Professor at the Department of English at City University of Hong Kong. He received his PhD from the Chinese University of Hong Kong. His research focuses on Shakespeare, adaptation studies (particularly in television series, digital media and AI) and contemporary popular culture. His articles have been published in Shakespeare, Adaptation, Texas Studies in Literature and Language, Cahiers Élisabéthains, The Journal of Popular Culture, and The Journal of Adaptation in Film and Performance, among others. His most recent article publications are “Computational Shakespeare: Ambiguity, Abstraction and Adaptation in the Shakespeare Programming Language” (Shakespeare, 2026) and “AI Seinfeld, AI sitcom, AI television: Nothing, Forever, or adaptation in the age of AI” (Adaptation, 2026). He is the co-editor of Television Series as Literature (Palgrave, 2022), the forthcoming “This America, Man:” The Literary and Cultural Origins of 21st-Century American Television Series (Brill, 2026), and the editor of the forthcoming special issue of Adaptation, “Adaptation Machines/Machine Adaptation: Adaptation Studies and Generative AI” (2026). He is a member of the editorial boards of Shakespeare and Adaptation.
Wu Yarong (Ph.D., Zhejiang University) is a Lecturer at School of Foreign Studies, Anhui University (Hefei 230601, China). Her academic research focuses on early modern English literature, especially on Shakespearean studies. Her scholarship explores Shakespeare’s engagement with classical traditions, his representation of the Mediterranean world, and the poetics of geographical space in early modern drama. Currently, she is conducting a research project titled “Mediterranean Writing in Early Modern English Drama,” which investigates how the Mediterranean imagination shaped national consciousness.
Xiao Yifu is a Master’s candidate (class of 2025) in Drama and Film Studies at the School of Humanities, Guangzhou University. His primary research interests lie in the conceptions of drama and mechanisms of cultural expression within internet pop culture, with a particular focus on the translation, dissemination, and reinvention of classical theatrical elements in contemporary digital contexts.
Xu Caifang is a PhD candidate in Theatre and Performance Studies at the National University of Singapore. Her research focuses on the aesthetics of contemporary xiqu and Asian Shakespeare. She is a Chinese assistant editor at the Asian Shakespeare Intercultural Archive (A|S|I|A). She has contributed to the forthcoming anthology Embodied Dramaturgy: Liminal Movement in Dance and Theatre (edited by Telory D. Arendell and Jessica Friedman). She is also the recipient of the 2026 Helsinki Prize awarded by the International Federation for Theatre Research (IFTR) .
Nancy Yadav is Assistant Professor at Galgotias University, Noida. Presently, she is collaborating with Ramji Yadav on “Calendrical Hamlet: Tragedy of Errors for Jesus’ Sake.”
Ramji Yadav, Professor of English (Retd.), B.M.University, Rohtak, Haryana, (India) presented papers in conferences organized by ESRA (Porto), ASA (New Delhi) and SSI (Delhi), and WSC (Singapore). Presently, he is collaborating with Nancy Yadav on “Calendrical Hamlet: Tragedy of Errors for Jesus’ Sake.”
Yan Yuhong is a first-year PhD student at the Shakespeare Institute with a B.A. degree in English from Fudan University and a M.A. degree in English from Wake Forest University. She studies the emotional turbulence aroused by the certainties, rather than the uncertainties of life. She strives to enrich the application of modern affect theory on early modern texts by investigating how time can both become the embodied body and the mystifying environment. She presented her paper “‘It is nipping, and an eager air’: Anxiety and Temporality in Hamlet” during the 2024 British Graduate Shakespeare Conference.
I am Yang Tiantong, an M.A. student in English Language and Literature at the School of Foreign Languages, Shandong University, supervised by Prof. Feng Wei. My master’s thesis examines the BBC’s English KS2: Shakespeare Retold, a series of audio stories created for children. I am currently preparing for Ph.D. study, and I plan to pursue a cross-media project on adaptations of Shakespeare for children. Moreover, I have participated in a National Social Science Fund of China (Arts) Youth Project, The Influence of Chinese Opera Performance Aesthetics on Euro-American Dramatic Concepts since the Mid-Nineteenth Century, which deepened my interest in intercultural exchange across theatre traditions. I am also the author of an article that analyzes Phillip Zarrilli’s psychophysical acting philosophy from an intercultural perspective, bringing together acting theory, cultural translation, and embodied practice. I have presented papers at multiple academic conferences in mainland China, and I value the opportunity to learn from and communicate with scholars in Shakespeare studies.
Yi Jung-Jin is a full-time researcher in Hallym Academy of Sciences of Hallym University in the city of Chun-Cheon, Korea. His most recent publication on Shakespeare is “From Problem Play to Comedy: The Political Significance of Let’s Do as the Law Says, Madang-geuk Adaptation of Measure for Measure and Koreanized Shakespeare.”
Yin Yuanwei is a fully funded PhD candidate in the school of English at Queen’s University Belfast. She holds a BA and an MA in Drama Studies from the School of Liberal Arts at Nanjing University. She actively participated in conferences such as the Asian Shakespeare Association and served as a chair at the Unsettled Shakespeare conference. Her research interests include Chinese Opera and Shakespeare, Shakespearean adaptation, and intercultural performance studies.
Roweena YIP is Lecturer of Theatre and Performance Studies at the National University of Singapore (NUS). Her research focuses on the performativity of gender in Asian Shakespeares. Her first monograph is titled Towards Intercultural Feminism: Gender in Asian Shakespeare (Palgrave Macmillan, 2025). She has also published in Asian Theatre Journal, The Palgrave Handbook of Shakespearean Biofiction and Gender Forum. She is the Assistant Director of the Asian Shakespeare Intercultural Archive (A|S|I|A) and Assistant Editor of the forthcoming A|S|I|A Gender and Shakespeare in Asian Theatres collection (edited by Dympna Callaghan).
Yong Li Lan teaches in Theatre Studies at the National University of Singapore. Her research focusses on Shakespeare and intercultural performativity in theatre, cinema and digital archiving, which has been published in international journals and book collections. Her recent essays have appeared in The Oxford Handbook of Shakespeare and Performance, The Arden Research Handbook to Shakespeare and Adaptation and RiDE: The Journal of Applied Theatre and Performance. Yong co-edited Shakespeare in Asia: Contemporary Performance (CUP) with Dennis Kennedy. In 2021, she chaired the first online World Shakespeare Congress, held from Singapore. She has led the Asian Shakespeare Intercultural Archive (A|S|I|A) as director since it began in 2008, in close collaboration with a multinational, multilingual team located in Asia, the UK and the US. A|S|I|A is accessible through a parallel-language interface in English, Chinese, Japanese and Korean, and currently contains 62 East / Southeast Asian Shakespeare productions in 17 languages.
Yoshihara Yukari works on the politics of global Shakespeare adaptations. Her publication includes “Japanese Novelizations of Shakespeare’s Hamlet and Macbeth: The Culture of hon’an as Adaptational Practice,” “Bardolators and Bardoclasts: Shakespeare in Manga/Anime and Cosplay” and “Toward ‘Reciprocal Legitimation’ between Shakespeare’s Works and Manga.”
Natalia Zelezinskaya, PhD is an associate professor at Belarusian State University, Department of World Literature. She is the author of To Be Or Not To Be: the Motif of Suicide in the Works of William Shakespeare (Minsk, 2020) and The Latest Motifs of Young Adult Literature (Minsk, 2022) on the theory of motif. She co-authored the encyclopedia Shakespeare (2016, 2022), and contributed articles on Shakespeare in Belarusian translations and performances to The Palgrave Encyclopedia of Global Shakespeare (2023) and an essay collection Shakespeare and Renaissance Culture (2024). Natalia Zelezinskaya is a registered member of Shakespeare Association of America and European Shakespeare Research Association and a foreign member of The Shakespearean Committee of the Russian Academy of Sciences. Her academic interest rests upon early modern drama, time and temporalities, ars moriendi, soteriology, thanatology, demonology, hagiography, and visual studies. At present, she is writing on the strategies of demonization in early modern plays.
Zhang Yuanni is a postgraduate student at Guangzhou University, majoring in Drama and Film. Zhang’s research focuses on performance, adaptation, and media theory, with a particular interest in how digital technologies and artificial intelligence reshape dramaturgy and cultural interpretation. Zhang has experience in playwriting, directing, and performance, and has also received multiple awards for original scripts and interdisciplinary artistic projects.
Zhu Ning is Associate professor in the Department of Dramatic Literature, China Central Academy of Drama, Beijing. Her studies include: The History of Western theatre, the Contemporary western theatre practice and theories. She is also an active theatre critic in China. As an experienced playwright, she has participated in the productions as The Peach Blossom Fan as dramaturg, Romance of Western Chamber (musical) as dramaturg & lyrics, Dandelion as script planning, I Love Fables as the playwright, etc. She has also published numerous articles.
Zhu Tianqi, born in 2001 and residing in Beijing, is a graduate student of Communication University of China, majoring in drama theories and focusing on comparative drama. Zhu has published article “Theatrical Catharsis: A Review of the Farce Noises Off” in Oriental Art in Oct.2025, and 2024 “Summer Box Office: Stability for Victory in Electricity & Culture Today” in Sept. 2024. Currently, Zhu is working on her master’s thesis about Der Besuch der alten Dame (Friedrich Dürrenmatt, 1956), studying the reception of the work in China. Dedicated and curious, Zhu continues to pursue opportunities that expand her horizons and contribute to literary research.
Zhu Ying (Julia), Associate Professor at Macao Polytechnic University, earned her PhD in English Literary Studies from The Chinese University of Hong Kong. She was a Research Fellow at Freie Universität Berlin in 2007 and 2012 respectively. Dr. Zhu was an awardee of the prestigious Study of the U.S. Institute (SUSI) scholarship in 2025. With the publication of her academic monograph Fiction and the Incompleteness of History (Library of Congress Classification PN50.Y56 2006), Dr. Zhu has written SCOPUS-indexed articles on British and American Literature, Literary Translation, Trauma and Memory.