Ari J. ADIPURWAWIDJANA teaches and carries out studies on literatures in English, critical theory, and theater at Universitas Padjadjaran (Unpad). He had also taught academic writing, English literature, and American literature at the University of Louisiana at Lafayette as an adjunct instructor between 2007 and 2009. He has been formally trained in the field of literary at the University of Kentucky, Lexington; the University of Louisiana at Lafayette; and at Universitas Padjadjaran up to the doctoral level. He is interested in and focuses his academic attention on turn-of-the-century texts and their distribution through the publishing industry in the postcolonial framework, looking at how text production, technology, and global economy intertwine. Such studies direct his attention to raced, gendered, and classed bodies which has also caused his interest in the idea of practice-as-research in the context of theater and performance as alternative literacy and as a means to incite social participation. At present, he is exploring the potentials of literature, theater, visual art, and digital technology in opening up new avenues for learning, writing (creative and academic), and social change and participation. In addition to academic pieces, his ideas and work also take the form of performances and visual art. He is a member of the Asian Shakespeare Association (ASA) and the International Shakespeare Association (ISA), as well as the Postcolonial Studies Association (PSA). At present, he is the Chair of the Bandung Chapter of the Indonesian Literary Scholars Association (HISKI), Chair of the Unpad English Studies Program, and a member of the Unpad Prevention and Handling of Sexual Violence Task Force (Satgas PPKS Unpad) as well as a board member of the English Studies Association in Indonesia (ESAI).
Joachim Emilio B. ANTONIO, Ph.D., has spent almost two decades teaching Shakespeare in the University of Asia and the Pacific. 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.
Anne Nichole ARELLANO-ALEGRE is an assistant professor at the Department of English and Comparative Literature in the University of the Philippines – Diliman. Her research specialism includes Shakespeare, adaptation, digital humanities, drama, and poetry. She has been presenting her work with the Asian Shakespeare Association since its debut conference in Taiwan, 2014. Her critical essays on Shakespeare are published in Multicultural Shakespeare (University of the Lodz) and Shakespeare (Taylor & Francis, forthcoming). She has also written about literature and the Blue Humanities in the TRANS—Revue de littérature générale et comparée.
Victor Felipe S. BAUTISTA is an assistant professor from the Department of English and Comparative Literature, University of the Philippines-Diliman. He obtained his B.A. and M.A. degrees from Ateneo de Manila University. His current critical interest is religion and poetry. Zen practice influences his literary criticism in the way that he examines relationships to and ways of writing literature that transcend dualism and the intellect. Most recently, he has done research on the intuitive relationship of readers to Japanese short fiction, and nondual interdependence as practiced in A Tale for the Time Being by Ruth Ozeki. Vic also writes haiku.
Raitlyn BEDIA is a member of the Junior Theater Arts Club at UP High School in Iloilo,
University of the Philippines Visayas.
Dympna CALLAGHAN is University Professor and William L. Safire Professor of Modern Letters in the Department of English at Syracuse University, USA and is former president of the Shakespeare Association of America. A life member of Cambridge University, she has authored, edited, and co-edited a total of fifteen books and over fifty articles. She is editor of the series Arden Shakespeare Language and Writing, and the co-editor, with Michael Dobson of the Palgrave Shakespeare Studies series. She is the lead editor of the Asian Shakespeare Intercultural Archive (A/S/I/A) gender team.
Paromita CHAKRAVARTI (D.Phil, Oxon.) is Professor of English, and has been the Director of the School of Women’s Studies, Jadavpur University, Kolkata. She teaches Renaissance drama, women’s writing, sexuality and film studies and introduced the first Masters course in Queer Studies in India (2005). She has led national and international projects on gender in textbooks, sex education, women’s higher education, homeless women, HIV and women and single women. Her books include Women Contesting Culture (Stree, 2012), Shakespeare and Indian Cinemas (Routledge, 2018), Asian Interventions in Global Shakespeare (Routledge, 2020), Bengal and Italy: Transcultural Encounters from the Mid-Nineteenth Century to the Early 21st Century (Routledge, 2023) and Cultures of Ageing and Ageism in India (Routledge, 2024)
CHOI Ji Young is an actress, playwright and Visiting Professor at Seoul Institute of the Arts. She studied Acting at Columbia University in NY and has performed in Seoul, New York and London. Some of her performed plays include: The Tempest, Canterbury Tales, Big Love, Kitchen, Danton’s Death, Sound of Voice, Myeol in National Theater Company of Korea. In 2015, She founded Young Company and has been focused on perspectives of female roles and wanted to help female characters hidden and their untold stories to come out to the world and find their own voices telling important things in life. Her written and performed solo shows are While Ophelia’s Korean Drum Weep’s (2016) in The 20th New York International Fringe Festival and won Graphic Shakespeare Script Competition (2022), Love Deadline (Desdemona) in York International Shakespeare Festival (2019), Macbeth’s Lady Shaman won the Best International Show Award in The 14th Annual United Solo Theatre Festival-Spring 2023 in New York. She is the Chairman of ITI, the board of Monodrama. Her Thesis are Shakespeare and Voice (2011) and Studies of Hamlet’s Impulsive Action Effects on Stage (2020).
CHU Po-Cheng is an actor at the Contemporary Legend Theatre and Hsing Legend Youth Theatre. Chu has a master’s degree from the Graduate Institute of Transdisciplinary Performing Arts at National Taiwan University of the Arts. He specializes in wusheng and laosheng, and has studied with Wu Hsing-kuo, Guo Hongtian, Zhang Fuchun, Hsu Po-Ang, Tai Li-Wu, Zhao Yongwei (Beijing), and Wang Lijun (Shanghai). His repertoire includes The Crossroads, White Water Beach, Escape at Night, Scouting the Village, Resisting the Sliding Carts, Heroic Loyalty, Death at Baqiu, Revolt of the Fishing Folks, Qin Qiong’s Battle Formation, Leaving the Cave to Join the Army, and Slaying at Four Gates. He has performed in A Midsummer Night’s Dream, Faust, 108 Heroes, Medea, and Goddess Xiwangmu by the Contemporary Legend Theatre, Wu Song—The Tiger Warrior, The Youth Party, and Eternal Flower by Hsing Legend Youth Theatre, and The Back of Beyond and Heart Scenery by Tai Gu Tales Dance Theatre.
Vivian Ching-Mei CHU graduated from the Department of English Language and Literature, Fu-Jen Catholic University and later obtained her MFA in Acting in The City University of New York (CUNY). She pursued advanced education in the USA again on a Fulbright scholarship and received her Ph.D. degree in Theatre from Bowling Green State University and has been a full-time professor in the Department of Drama and Theatre, National Taiwan University (NTU). Prof. Chu specializes in directing, acting, and Shakespeare film and animations. She has been a director of Taiwan Shakespeare Association, visiting professor in Shanghai Jiao-Tong University (2015), visiting scholar in University College London (UCL, 2012) and University of Chicago (2003), member of the review committee of National Theatre, and reviewer of the National Culture and Arts Foundation.
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.
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 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 movies 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.
Roxanne DELA CRUZ
Irish Joy G. DEOCAMPO is an assistant professor with the Department of English and Comparative Literature in UP Diliman. She earned her Advanced Masters in Cultural Anthropology and Development Studies at KU Leuven, Belgium. She has written about discursive representations of gender-based violence, feminist crisis management, and collective care. She is one of the core members of Feminist Media Lab and has worked extensively as a consultant for UP Center for Women and Gender Studies, Bayi Inc, and Oxfam. Her research interests lie at the intersection of gender, sociolinguistics, and development studies.
Dulce Maria DERIADA, University of the Philippines Visayas.
Alfredo B. DIAZ Is a Faculty of Humanities and Communication at the University of the Philippines Visayas where he obtained his Master of Education (English) and Bachelor of Arts (Comparative Literature – Psychology) degrees. He studied doctoral courses in Creative Writing, Theatre, and Literature at the University of the Philippines Diliman and has a Master Class Certificate in Art Education. Prof. Diaz is a theatre director and actor. He has also presented papers on Theatre, Pedagogy, and Communication in a number in international conferences. He was bestowed the Outstanding Professional Award in Arts and Letters by the UP Alumni Association.
Eliodora L. DIMZON, University of the Philippines Visayas.
DONG Qingchen is a PhD candidate at Universiti Putra Malaysia, specializing in Asian Shakespeare and intercultural theatre. He has published articles on intercultural Shakespeare adaptations in academic journals and has presented his research on the digitization of Asian Shakespeare performances at several international conferences.
Ananya DUTTA GUPTA, Associate 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. Her revised Orient Blackswan Annotated edition of Edmund Spenser’s The Faerie Queene, Book I (2012), continues to be in worldwide circulation and she has several other scholarly articles, essays and book reviews published in national and international journals to her credit. She was Charles Wallace India Trust Visiting Fellow at the Centre for Research in the Arts, Humanities and Social Sciences, Cambridge, in 2015. Besides many invited lectures within the state, she has presented several academic papers in the past two years, notably at the World Shakespeare Congress, Singapore, 2021, the Oxford University ERC-TIDE Conference, 2021, and the Asian Shakespeare Association, 2022. Her most recent paper was on a Holocaust novel at an International Conference at the Institute of Memory Studies, IIT, Madras. Her 2023 publications include articles on Tagore’s Achalayatan in the Visva-Bharati Centenary Commemorative volume, Tagore Centre UK, women academics in India in the Journal of International Women’s Studies, archipelagic thinking in Amitav Ghosh’s Gun Island in Critical Imprints (Journal of the Department of English, Loreto College), a review of Kunal Basu’s Filmi Stories in Contemporary Literary Review India and a literary essay titled “Fiercely Tender: The Simple Complex World of Michael Ondaatje” in Bangalore Review.
Mika EGLINTON is a performing arts researcher, critic and journalist. She is professor of English theater and cultural studies at Kobe City University of Foreign Studies. Her areas of research are on early modern and contemporary British drama, with particular emphasis on productions of Shakespeare in both European and Asian contexts. Her academic publications include contributions to The Routledge Companion to Directors’ Shakespeare (Routledge, 2008), Shakespeare Studies 49 (2011), Shakespeare 7.3 (2011) and A History of Japanese Theatre (Cambridge University Press, 2016) and Shakespeare in Performance: Satoshi Miyagi (Bloomsbury, forthcoming). She is also actively involved in the creation of theatre as a dramaturge, translator and critic. Her recent translation works were commissioned by Kyoto Experiment, Shizuoka Performing Arts Center and the Umeda Arts Theater. She is a regular writer to English and Japanese language media including The Japan Times.
Emil Francis M. FLORES is a Professor at the Department of English and Comparative Literature in the University of the Philippines in Diliman where he teaches Creative Writing and Popular Literature. He has delivered papers and given lectures on creative writing, comics, and speculative fiction in the Philippines as well as in Singapore, Hong Kong, the United Kingdom, the United States, Japan, and Australia. His essays on comics and speculative fiction have been published in the Philippines and in the UK. He has delivered lectures on Shakespeare in comics and anime and is also a published fictionist and essayist.
Jemuel Barrera GARCIA, JR. is an Aklanon transdisciplinary storyteller and movement educator. He completed a Ph.D. in Critical Dance Studies from the University of California Riverside in 2023. He also finished a Designated Emphasis in Southeast Asian Studies under UCR’s Southeast Asia: Text, Ritual, and Performance (SEATRiP) program in 2019. While being a faculty of West Visayas State University in Iloilo City, Philippines for eight years, jem clinched a Fulbright fellowship (2017). With decolonial, transpacific, and Indigenous-centered research, jem focuses on the circulation of Indigenous expressive culture amongst Filipino/a/x dancers from the homeland and the diaspora and its passage from the community to the stage. His choreographic work, mainly inspired by quotidian movements, local stories, Filipino cuisine, and indigenous worldviews, has been performed in countries like USA, Thailand, Germany, Spain, and Japan. The locus of jem’s artistic and scholarly groundwork positions the body with food, space, gesture, affect, dance, performance, and the archive.
Neal Amandus D. GELLACO is a Teaching Associate at the Department of English and Comparative Literature, University of the Philippines Diliman. He holds a BA in Psychology (cum laude, 2021) and is pursuing an MA in English Studies: Anglo-American Literature at the same institution. His research bridges psychology and literature, focusing on the psychosocial dimensions of narrative. His latest publication examines sexuality and repression in short stories by female Filipino authors, Kerima Polotan and Aida Rivera-Ford. He also writes fiction, including short stories and longer works.
John Ray HONTANAR is a literary critic, scholar, visual artist, feminist, and LGBTQIA+ advocate. He holds a Master’s Degree in Comparative Literature and specializes in babaylanic studies, gay poetry, and women’s writing. He is currently teaching art and literature courses as an Assistant Professor in the Division of Humanities at the University of the Philippines Visayas.
HSU Yi-Hsin is an Associate Professor in the Department of Foreign Languages and Literatures at National Taiwan University. She is engaged in two fields: seventeenth- and eighteenth-century English literature and Shakespeare in East Asia. She has contributed chapters to The Oxford Encyclopedia of Literary Theory (OUP) and Shakespeare’s Hamlet in an Era of Textual Exhaustion (Routledge); her articles have appeared in Asian Theatre Journal, Popular Entertainment Studies, and Review of English and American Literature. She currently serves as the president of the Taiwan Shakespeare Association.
Judy Celine ICK is professor and chairperson of the Department of English and Comparative Literature, University of the Philippines. 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 Binti ISMAIL (PhD) is a university lecturer at the Faculty of Education, Universiti Kebangsaan Malaysia. She wrote a thesis on masculinities based on eighteenth-century novels. Her research interests range from the teaching of literature to eclectic issues on race, gender and sustainability concerns, having translated them under received grants and collaborations, inside and outside of Malaysia.
IWATA Miki is a professor of English literature at Rikkyo University, Japan. She received her PhD from Tohoku University in 2001, for her study of W. B. Yeats’s drama and Irish cultural nationalism. Her research interests cover a wide range of British and Irish plays, from Shakespeare to British contemporary playwrights. Her recent publications include a contribution of a chapter to The Palgrave Handbook of Theatre and Migration (Palgrave, 2023) and a monograph Caryl Churchill (Sanshusha, 2023, published in Japanese).
JANG Seon Young is a Professor in the Department of English Education at Kongju National University in South Korea, where she teaches courses on English literature. She received her Ph. D. from the State University of New York at Buffalo in 2008 and was a visiting scholar at the University of California, Irvine from 2016 to 2017. Her research interests focus on the intersections of Shakespeare, philosophy, performance, and English education. Her recent publications include “The Taming of the Shrew in the Context of Biopolitics by Hannah Arendt” (2024), “Teaching Shakespeare to Korean Students Aspiring to be English Teachers” (2024), “Bridging Performance and Philosophy: Romeo and Juliet in Korea” (2022), “Freud’s Reading of Macbeth: Childlessness, Guilt, and Gender” (2021), “Lady Macbeth of Mtsensk: From Nikolai Leskov’s Novella and Shostakovich’s Opera to William Oldroyd’s Film” (2021), and “Pansori Othello: Othello with Korean Hyangga, Cheoyong ga” (2020).
Julie B. JOLO is an assistant professor with the Department of English and Comparative Literature (DECL) at the University of the Philippines Diliman. She obtained her MA in Women’s and Gender Studies from University of York and Utrecht University under the GEMMA Erasmus Mundus program in 2021. She has done critical discourse research on metaphor, comics, and migration with a focus on gender and vulnerability. She has also done participatory and arts-based research on women’s local humanitarian leadership and gender-based violence. She is also a freelance storyteller with Adarna House, a local publishing house for children’s literature.
Anton JUAN is an internationally recognized playwright/director/filmmaker for work that challenges convention, stunning visual poetry and language in space. He is Tenured Professor/Theatre director at University of Notre Dame du Lac, Department of Film, Television, and Theatre: Ph.D. in Semiotics from the Kapodistrian and Panhellenic University of Athens, highest mark of Arista; post-doctoral studies in Butoh (Kazuo Ohno Institute), and NOH (Kita School). To honor his contributions to the arts, the French Republique knighted Juan Chevalier de l’Ordre des Arts et Lettres and Chevalier de l’Ordre National de Merit. Honors/Awards include: Alexander Onassis International Award for Theatre; Philippine Centennial Honors for the Arts, Cultural Centre of the Philippines, 100 Philippine Artists, 1898-1998, contributing significantly to and having impact on Philippine culture; Balagtas Award, National Writers’ Union of the Philippines for body of work; Carlos Palanca Literary Awards for Taong Grasa, Sakurahime, Death in the Form of a Rose; Senior Research Fellow, Rockefeller-Bellagio Foundation; Senior Research Fellow, Fulbright Foundation; Post-Graduate Fellow, Hitachi Foundation; Jack Lang Scholarship for Theatre, France; Research Fellow, Asian Cultural Council; Mission Speciale, Association of French Artists; Grantee, Ministry of Culture, France; Grantee, Ministry of Education, Greece; Grantee, Italian Ministry of Foreign Affairs; Grantee, British Council; John Ganey Award for social engagement, Theatre and Social Concerns project with Juvenile Prison Residents and migrant workers; View into Asian Cinema, Busan International Film Festival 2016; Best Director/Best Film, Canada International Diversity Film Festival 2017; Best Dramatic Feature/Best Actress, Chandler International Film Festival 2017 for Woven Wings of Our Children (Hinabing Pakpak ng Ating mga Anak); International Jury, Bangkok International Documentary Film Festival, 2021.
KIM Kang is Professor of English at Honam University and Vice President of Shakespeare Association of Korea. He has been working as an Executive Committee Member of ASA since its inception. He received his Ph.D. from SUNY-Buffalo and was a research scholar at the UC-Berkeley. He has widely presented and published on Renaissance, Shakespeare and Korea/Popular Culture, film and literature, and cultural theory. His publication includes a Korean translation of Macbeth (Penguin), Master Plots: English Renaissance Drama, Closed Reading of American Plays, Prometheus Unbound: Critical Essays on Korean Society and Politics, and My Father’s May 18: A Collection of Prison Notes. Previously he contributed a book chapter on Hamlet as a political drama in Korea to Shakespeare’s Asian Journeys: Critical Encounters, Cultural Geographies, and the Politics of Travel edited by Bi-qi Beatrice Lei as part of the Series “Routledge Studies in Shakespeare.” Another article on Shakespeare and Korea “Comic Book Adaptations of Shakespeare in Korea: History and Context” was recently published online in the journal Studies on Humanities and Social Science.
KOIZUMI Yuto is an associate professor in the Institute of Liberal Arts at Institute of Science Tokyo. After completing his doctoral dissertation, he has continued his research on literary adaptations. His publications on Shakespeare and adaptations include “Why Cymbeline in the Twenty-First Century?: Media Villainy, ‘Revenge Porn,’ and Social Media in Michael Almereyda’s Film Adaptation,” Polyphonia: FLS Studies in Language and Cultures no.11, Tokyo Institute of Technology (2018); “Adapting Shakespeare’s Henriad and Reconsidering Misogyny: Narcolepsy and Nostalgia in Gus Van Sant’s My Own Private Idaho,” English Literature no.105, Waseda University (2019). “‘Skyfall is where we start’: The anxiety of James Bond’s Masculinity and the Solidarity of Others,” Teaching English Through Multimedia Vol. 28, The Association for Teaching English Through Multimedia (2023).
KOK Su Mei is a Senior Lecturer at the Department of English, Faculty of Arts and Social Sciences, Universiti Malaya, where she teaches courses locating Shakespeare within his historical contexts, and in his modern afterlives. She has published on Malaysian adaptations of Shakespeare, as well as on Shakespeare’s contemporary, Thomas Middleton.
A. X. LEDESMA does research on sound, material culture, and ecological thinking. His work in these interrelated areas has taken on various forms including installation, performance, and text; iterations of which have appeared in various institutional and non-institutional spaces and platforms. He received an MA in Cultural Studies from Goldsmiths, University of London and currently teaches at the Department of English and Comparative Literature at the University of the Philippines Diliman from which he received a BA in Comparative Literature.
LEE Hyon-u is a professor in the Department of British & American Studies at Soon Chun Hyang University in South Korea. His work focuses on Shakespeare, especially in performances. He has published several Shakespearean books including Glocalizing Shakespeare in Korea and Beyond (Dongin Publishing Co., 2009) and Korean Shakespeare Renaissance (in Korean, Dongin Publishing Co., 2016) and translations, many essays, written theatre criticism, directed stage productions, and performed as an actor on stage. He is the former President of The Shakespeare Association of Korea, a member of the Advisory Board of the International Shakespeare Conference, and a member of the Executive Committee of the International Shakespeare Association and Asian Shakespeare Association. He is also a co-director of the Asian Shakespeare Intercultural Archive. He organized the 2020 Asian Shakespeare Association Conference in Seoul and contributed to the 2021 World Shakespeare Congress in Singapore as a local committee member and the director of the Digital Asian Shakespeare Festival. He received several awards for his stage direction and academic achievements and performed the roles of panel speaker, workshop leader, and moderator for various international conferences.
Jason Eng Hun LEE is a creative writer, scholar, performer and community advocate whose research and practice fields encompass postcolonial and diasporic Asian writing, and global Shakespeares. His articles have been published in Textual Practice, The Journal of Postcolonial Writing, Wasafiri, and Shakespeare. His poetry collection includes Beds in the East (2019) and he is co-editor of Where Else: An International Hong Kong Poetry Anthology (2023). He serves as literary editor for Postcolonial Text and is chief organizer of OutLoud HK, Hong Kong’s longest-running poetry collective. He is a Senior Lecturer in English and Comparative Literature at Hong Kong Baptist University.
Bi-qi Beatrice LEI is Founding Chair of the Asian Shakespeare Association. She received her Ph.D. in English from New York University and has published on Sidney, Shakespeare, early modern culture, intercultural theater, films, television, and popular culture. Lei is Founding Director of the Taiwan Shakespeare Database, an open-access online performance archive hosted by NTU’s Research Center for Digital Humanities, and a co-editor of the Arden series Global Shakespeare Inverted. She taught at National Tsing Hua University and National Taiwan University, and currently serves as Vice-Chair of the International Shakespeare Association and Assistant Director of the Shakespeare Association of America.
LIN Hsiu-wei is Artist Director of Taigu Tales Dance Theatre and Executive Director of the Contemporary Legend Theatre. Lin explores life with movements of her body. Her works fuse Eastern philosophy, modern spirit, and primitive nature, touching the heart and inner senses. Her 14 works include Myth of the Last Century, The Life of Mandala, Compass, The Back of Beyond, and The Monologue of Poetry and Flower. She has been invited to perform at international festivals and has served as the Contemporary Legend Theatre’s producer as well as its playwright and choreographer.
MA Yujing is a lecturer in the Faculty of Letters at Soka University in Japan. Her doctoral dissertation, titled Shakespeare, Education, and Popular Culture in China, explores the intersection of Shakespearean works and adaptations with Chinese cultural contexts. She has published several papers on Mandarin film and manga adaptations of Shakespeare, as well as Japanese manga versions of Shakespeare. Her most recent publication is “Shakespeare’s Spirit, Chinese Characteristics: Transplanting Romeo and Juliet on the Chinese Stage” (2024). Her current research interest focuses on a comparative study of teaching Shakespeare in higher education in China and Japan.
Maria Ana Micaela Chua MANANSALA, Mic for short, earned her Ph.D. in Humanities from the International and Advanced Japanese Studies program of the University of Tsukuba. She teaches with the Department of English and Comparative of the University of the Philippines Diliman, where she earned her BA and MA in Comparative Literature. Her academic work revolves around intersections of popular genres and representations of gender, with specific interest in literary adaptations into comics and anime.
Lestari MANGGONG, home-based in the English Studies Program of Universitas Padjadjaran, Indonesia, teaches contemporary American literature, modern English literature, and postcolonial literature, to name a few. She earned her Master’s degree in Postcolonial Literature from the University of Kent at Canterbury, England. She was a participant of SUSI (Study in the U.S. Institutes) in contemporary American literature at the University of Louisville, Kentucky, U.S. in 2013. Her expertise is on postcolonial, narrative, feminist, and cultural studies. She is a member of the Postcolonial Studies Association (PSA), International Shakespeare Association (ISA), and Asian Shakespeare Association (ASA).
MATSUYAMA Kyoko is a full-time professor at Komazawa Women’s University in Japan. Her research centres on English Renaissance drama, mainly Shakespeare, and their performance or reception by 21st century Japanese audience and readers in the form of stage, manga, Japanese Young-Adult Novel, and Japanese anime. Her recent works are “Teaching English Literature in Universities,” British Shakespeare Association Teaching Shakespeare Magazine (Issue 13, 2017), her most recent work is “Predator or Prey Who Do You Think You Are?—The Dystopian Interpretation/Adaptation of Titus Andronicus in the animation PSYCHO-PASS,” Critical Survey (Vol.33, Number1, Spring, 2021).
MINAMI Ryuta is Professor of English at the Faculty of Communication Studies, Tokyo University of Economics, Japan. His recent publications include “Hello Sha-kitty-peare?: Shakespeares Cutified in Japanese Anime Imagination,” Journal for Early Modern Cultural Studies 16/ 3 (2016), “What’s in a name?: Shakespeare and Japanese pop culture” in The Routledge Handbook to Shakespeare Global Appropriation (2020), and “Comics under Martial Law: ‘New Society’ and a National Language/Literature in the Philippines of the 1970’s” in Genealogy of Cold War Culture in East Asia – Change and Continuity across 1945 (2024).
Taarini MOOKHERJEE is a Newton International Fellow, sponsored by the British Academy, at Queen’s University Belfast. Her current book project examines contemporary Indian adaptations of Shakespeare in theatre, film, and fiction. She previously taught literature at Columbia University, New York, and SUNY, New Paltz. She received her PhD in English and Comparative Literature from Columbia University and holds a Masters in Shakespeare Studies from King’s College London. Her most recent publications include “Motherhoods and Motherlands: Gender, Nation, and Adaptation in We That Are Young” in Shakespeare and Cultural Appropriation (Routledge 2023) and “Vandana Kataria’s Noblemen: Global Frames of Interpretation” in Recontextualizing Indian Cinema in the West (Bloomsbury 2023).
Ted MOTOHASHI is Professor of Cultural Studies at the Tokyo University of Economics. He received his D.Phil. in Literature from the University of York, UK in 1995. He is the incumbent president of the Japan Section of the International Association of Theatre Critics. His publications include several books on drama, cultural and postcolonial studies, and most recently “‘Our Perdita is found’: The Politics of Trust and Risk in The Winter’s Tale” in Shakespeare and the Political edited by Rita Banerjee and Yilin Chen (Bloomsbury, 2024). He is a leading translator into Japanese of works by Homi Bhabha, Gayatri Spivak, Judith Butler, Noam Chomsky, Arundhati Roy, among others.
Shuo (Jasmine) NIU is a PhD researcher at the University of York. They graduated from North Carolina University and acquired a master’s degree from North Carolina State University. Shuo is a member of the Shakespeare Association of America and the British Shakespeare Association. Her specializations include Shakespeare adaptation, translation, rewrites, appropriation of Shakespeare, Asian Shakespeare, and Shakespeare in other languages.
OKUYAMA Atsuko is a PhD candidate in literature at Nagoya University Japan. She received her MA in Humanities from Mie University and her BA in English Literature from Doshisha University. She taught at Nagoya University of Foreign Studies and Nagoya Women’s University, and is currently teaching part-time at Meijo University.
OSHIMA Hisao is Associate Professor of Drama at the Graduate School of Design, Kyushu University and a committee member of Shakespeare Society of Japan. His English publications include “The Tempest and Japanese Theatrical Traditions: Noh, Kabuki, and Bunraku” in Tobias Döring and Virginia Mason Vaughan, eds., Critical and Cultural Transformations: Shakespeare’s ‘The Tempest’–1611 to the Present (Narr Verlag, 2013), “Performance Review on The Tempest by Yamanote Jijosha” in Shakespeare Studies: The 400th Anniversary Special Issue, Vol.53 (Shakespeare Society of Japan, 2015), and “Ophelia and the Tradition of ‘Joyu’ in Japan” in the Special Issue of Shakespeare Review Vol.57 No.4: “Intersections in Shakespeare” (The Shakespeare Association of Korea, 2022). He is currently working on an intertextual study of the visual reception of Shakespeare [JSPS KAKENHI Grant Number 16K02453].
Ernesto A. PANG, JR. graduated with a BA in English Studies, majoring in Creative Writing, from the University of the Philippines Diliman. He was a book editor for seven years in a publishing house in the Philippines, primarily working on children’s books. Then he became a high school English and theatre teacher in Quezon City, Metro Manila, where he got to adapt and stage six Shakespeare plays with his students.
PARK Unyoung received her Ph.D. in Theatre, Film, and Media Studies from Goethe University of Frankfurt am Main in Germany for her research on the American film director Stanley Kubrick. Currently, she is a visiting scholar at the Institute of Humanities Studies, Kyungpook National University in South Korea. Having majored in Theatre, Film, and Media Studies and minored in American Studies as well as German Studies, her research interests include Media Archaeology, Gender Studies, and Intermediality. Her selected publications are: “Two Dialectical Modes of Remembering: Ode to My Father and Taxi Driver” (2024), “‘Language of the Heart’ and Film Language: Focusing on the Dispute about Minari” (2023), “Shakespeare In Love (1998): Renaissance Playwright Shakespeare Adapted to a Hollywood Auteur in Reader’s Imagination” (2022).
Luigi Antonio F. PINGA, also known as Gino, graduated from University of Asia and the Pacific (UA&P) in Manila, Philippines with a Masters in the Arts of Humanities in 2022. The title of his thesis is The Path of Forgiveness: Scruton’s Idea of Redemption and Dostoevsky’s Brothers Karamazov. He grew up memorizing lines by Banquo in Macbeth, and by Polonius in Hamlet. He currently teaches Hamlet in UA&P to freshmen and sophomores for their core curriculum.
Robert PINUELA is a member of the Junior Theater Arts Club at UP High School in Iloilo,
University of the Philippines Visayas.
Ryan L. PULJANAN, West Visayas State University, Philippines.
Hannes RALL is President’s Chair Professor in Animation Studies and Associate Chair Research 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 successful books “Animation: From Concept to Production” and “Adaptation for Animation Transforming Literature Frame by Frame” (CRC Press) can be found in over 160 important university libraries, including Stanford, Yale, Cornell, UCLA and Columbia.
Ronaldo RIVERA is a member of the Junior Theater Arts Club at UP High School in Iloilo,
University of the Philippines Visayas.
Karen RABER is Distinguished Professor of English at the University of Mississippi, and Executive Director of the Shakespeare Association of America. Her work spans the areas of posthumanist theory, ecostudies, animal studies, and gender studies. Her book publications include Shakespeare and Animals, A Dictionary (2022), Shakespeare and Posthumanist Theory (2018), and Animal Bodies, Renaissance Culture (2013); she has also written over forty articles and book chapters and has edited or coedited seven collections, including The Routledge Handbook of Shakespeare and Animals (2022) coedited with Holly Dugan; Performing Animals: History, Agency, Theater (2017) coedited with Monica Mattfeld; and Early Modern Ecostudies: From Shakespeare to the Florentine Codex (Palgrave 2009) coedited with Ivo Kamps and Thomas Hallock. She is series editor of Routledge’s Perspectives on the Non-Human in Literature and Culture (https://www.routledge.com/Perspectives-on-the-Non-Human-in-Literature-and-Culture/book-series/PNHLC). Her current projects include The Oxford Handbook of Shakespeare and the Natural World, coedited with Todd Borlik, and a monograph on early modern meat. See www.karenraber.com for more information and a full cv.
MCM (Matthew Constancio Maglana) SANTAMARIA is professor of Asian and Philippine Studies at the Asian Center, University of the Philippines Diliman. He received his Doctor of Law degree in Political Science from the Kyoto University Graduate School of Law in 1999. He has published numerous book chapters and journal articles on Sama-Bajau ethnography, performance studies, religion and law, and Philippine folktales and epics. He is a practicing theatre choreographer and pursues his goal of revitalizing Sama-Bajau traditional music and dance through his dance company, the Bunga Arts Link. He currently holds the title of University of the Philippines Artist I.
Maria Lorena M. SANTOS, Ph.D. is an Associate Professor with University of the Philippines’ Department of English and Comparative Literature, who has published several works that explore intersections between the Philippines and Western texts and tropes. Two of these are book chapters in Robinson Crusoe in Asia (2021), published by Palgrave-Macmillan, and Superheroes Beyond (2024), published by the University Press of Mississippi. Her journal article publications feature topics such as Jane Austen glocalizations, Bikol translations of Shakespeare’s sonnets, and an ecocritical reading of a Bikol play. She has also written two children’s books set in her home town in Bikol.
Ranee SCLAVIA is a member of the Junior Theater Arts Club at UP High School in Iloilo,
University of the Philippines Visayas.
Amrita SEN, Ph.D., is Associate Professor at the University of Calcutta, India. She has edited Digital Shakespeares from the Global South, co-edited Civic Performance: Pageantry and Entertainments in Early Modern London, and special issue of Journal for Early Modern Cultural Studies on “Alternative Histories of the East India Company”. She is Collaborator in the digital project Shakespeare in the Post-Colonies at Ohio State University. Her current projects include a co-edited collection Shakespeare in the ‘Post’ Colonies: Legacies, Cultures and Social Justice, and special issue on “Shakespeare in Bengal,” with Borrowers and Lenders. Her co-edited collection Early Modern Performance Beyond the Public Stage is forthcoming.
Bruce G. SHAPIRO studied with Lee Strasberg before receiving a BFA (California Institute of the Arts), an MFA (University of Iowa), and the PhD from Queensland University of Technology in Brisbane, where he currently lectures. He has written and directed plays in the USA, Taiwan, and Australia, and coached actors in dozens of international film productions. His books include Divine Madness and the Absurd Paradox: Ibsen’s Peer Gynt and the Philosophy of Kierkegaard (1990), Reinventing Drama: Acting, Iconicity, Performance (2000), and Speaking American: The Australian Actor’s Guide to an American Dialect with CD (2000/2007). Previous conference presentation topics include Shakespeare, performance, and language. His current research is on performance narrative.
Scott SHEPHERD received his PhD in the text and performance of Q1 Hamlet from Royal Holloway, University of London, where he taught from 2016 until he moved to Korea in 2019. Since 2020 he has been Assistant Professor of English at Chongshin University in Seoul, as well as a columnist for the Korea Times. His research interests include early Shakespeare texts and the use of those texts in performance, Korean Shakespeare performance, and representations of Koreanness and foreignness in K-Drama. With Vanessa Lim and Han Yehrim, he is preparing an edited volume on the performance of Shakespeare in Korea.
SU Tsu-Chung, Ph.D. in Comparative Literature at the University of Washington, is Distinguished Professor of English at National Taiwan Normal University. Su was President of 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 was a Visiting Research Fellow at Goethe University Frankfurt from 1 May to 31 May 2024, a Visiting Research Fellow at the University College London from 2021 to 2022, a Visiting Professor at Aberystwyth University from 2012 to 2013, a Fulbright Senior Scholar at Princeton University from 2007 to 2008, and a Visiting Scholar at Harvard University from 2002 to 2003. His areas of interest include Greek tragedy, Shakespeare, modern drama, theatre history, critical theory and criticism, performance studies, Nietzsche and his French legacy, and theories of consciousness and mindfulness. Su is the author of three monographs: Artaud Event Book (2018), The Anatomy of Hysteria: What It is, with Some of the Kinds, Causes, Symptoms, Representations, & Several Critiques of It (2004), and The Writing of the Dionysian: The Dionysian in Modern Critical Theory (1995). His recent publications include essays on Antonin Artaud, Eugenio Barba, Peter Brook, Jerzy Grotowski, Richard Schechner, Phillip Zarrilli, and Konstantin Stanislavsky.
SUZUKI Masae teaches English and theatre at KyotoSangyo University. She is also a member of the “Fusion of Eastern and Western Classical Theatre and the Creation of Geki Noh Project” led by professor Noriko Izumi. She has studied Noh under the Kanze school and has also appeared as a member of the jiutai (chorus) in the production of Noh Hamlet in Miyako Island, Okinawa in 2005. Suzuki’s major publications are “The Rose and the Bamboo: Noda Hideki’s Sandaime Richaado,” included in Performing Shakespeare in Japan (Eds. Minami, Curruthers and Gillies, Cambridge University Press, 2001), “Shakespeare, Noh, Kyogen, and Okinawa Shibai,” included in Shakespeare, Disneyland and Cyberspace (Eds. Alexa Alice Joubin and Charles S. Ross, Purdue University Press, 2009) and “Shakespeare and Class: Othello in Mainland Japan and Okinawa,” included in The Shakespeare Yearbook: Shakespeare and Asia (Ed. Lingui Yang, Edwin Press, 2010). She also contributed to Shinsaku-Noh Macbeth (Ed. Noriko Izumi, Izumi Shoin, 2015) and Shinsaku-Noh Othello (Ed. Noriko Izumi, Izumi Shoin, 2019). Suzuki’s article on Okinawan Theatre is also included in A History of Japanese Theatre, edited by Jonah Salz, published by Cambridge University in 2016.
TANG Bin Brittany received her PhD from the English Department at the Chinese University of Hong Kong. Her doctoral research centers on post-1980s stage adaptations of Shakespeare’s Macbeth in Mainland China, Hong Kong, and Taiwan, with a particular focus on how traditional theatre is revitalized in the pursuit of modernity. She is generally interested in traditional and indigenous theatre, especially their interactions with the modernizing and globalizing society.
Arbaayah Ali TERMIZI holds a senior lecturer position in the Department of English, Faculty of Modern Languages and Communication, Universiti Putra Malaysia. Her primary focus revolves around the adaptation of Shakespeare’s works, reflected in her authorship of two academic books on the esteemed dramatist. Furthermore, she has co-edited an additional two volumes on subjects related to theatre. Currently, she leads a research project which looks into interculturalism within Malaysia’s theatre movement.
Alan THOMPSON has a PhD from the University of Toronto and teaches at the Faculty of Foreign Languages, Gifu Shotoku Gakuen University, in central Japan. His main research interests are in language contact and change, translation, and the uses of literature in English language learning.
May Anne TICAO-JARO is an Associate Professor at the University of San Agustin. She has participated in national and international research conferences, and published her works in research journals. As Executive Council member of the National Commission for Culture and the Art’s Committee on Literary Arts in 2020-2022, she has served various functions including that of a project director and editor of two of the committee’s publications. She is a fellow of the Fray Luis de Leon Creative Writing Institute of the University of San Agustin, and she served as project director of the 20 th San Agustin Writers Workshop.
Lily Rose TOPE is Professor Emerita and former department head of the Department of English and Comparative Literature, University of the Philippines. She teaches Asian literature but her research specialization is Southeast Asian literature in English. She also publishes articles on Southeast Asian ecocriticism. She is currently a vice president of the Association of Scholars on Literature and the Environment (ASLE) ASEAN chapter. She is one of the main editors of the Journal of Southeast Asian Ecocriticism.
Poonam TRIVEDI taught at Indraprastha College, University of Delhi. She has co-edited books on Indian and Asian Shakespeare: Asian Interventions in Global Shakespeare: “All the World’s his Stage” (Routledge, 2020), Shakespeare and Indian Cinemas: “Local Habitations” (Routledge, 2018) and Shakespeare’s Asian Journeys: Critical Encounters, Cultural Geographies, and the Politics of Travel (Routledge, 2017), Re-playing Shakespeare in Asia (Routledge, 2010) and India’s Shakespeare: Translation, Interpretation and Performance (University of Delaware Press, 2005) and has authored a CD, “King Lear in India” (2006). She has published articles in several journals and contributed to the Cambridge Companion on Shakespeare on Screen. She is on the Editorial Board of the Shakespeare on Screen series and is a Vice-Chair of the Asian Shakespeare Association.
UCHIMARU Kohei is Associate Professor of English Language and Literature at Osaka Metropolitan University (also a graduate of the MA Shakespeare Institute of the University of Birmingham). His co-authored works include Shakespeare in East Asian Education (Palgrave, 2021), Shakespeare Society of Japan’s 60th Anniversary Collection of Essays (Kenkyusha, 2021), and Policies and Practice in Language Learning and Teaching: 20th-century Historical Perspectives (Amsterdam University Press, 2022). Currently, he is contributing to Global Macbeth, edited. by S. Clark and W. Rampone (Macmillan). His latest papers can be found in Cahiers Élisabéthains and Multicultural Shakespeare. He also served as a co-convenor of the “Remembering War through Shakespeare” seminar at the 11th World Shakespeare Congress (2021), and served as an editor-in-chief for Shakespeare Studies in 2023, the annual international journal published by the Shakespeare Society of Japan.
Cindy VELASQUEZ is a professor in literature and creative writing at the University of San Carlo in Cebu City, Philippines.
Reto WINCKLER is assistant professor in the Department of English at City University of Hong Kong. He is interested in Shakespeare, madness and folly, ordinary language philosophy, contemporary anglophone popular culture and adaptation studies (particularly in television series and digital media). His articles have been published in The Journal of Popular Culture, Texas Studies of Literature and Language, Shakespeare, The Journal of Adaptation in Film and Performance, Cahiers Élisabéthains, and Adaptation, where he is also a member of the editorial board. He is the co-editor of Television Series as Literature (Palgrave, 2022) and the forthcoming When American Television Series Became Literature (Brill).
YIN Yuanwei is a PhD student in the School of English at Queen’s University Belfast. She is a recipient of the China National Scholarship, was recognised as an Outstanding Graduate of Nanjing University, and has been awarded a full scholarship co-funded by Queen’s University Belfast and China. Her research interests include Chinese opera and Shakespeare, Shakespearean adaptations, intercultural studies, and performance studies.
Roweena YIP is a Lecturer in theatre and the humanities at the National University of Singapore. Her research focuses on the performativity of gender in performances of Shakespeare in Asia. Her forthcoming book is titled Gender in Asian Shakespeare: Towards Intercultural Feminism. She has also published in Shakespeare Bulletin (forthcoming), Asia Theatre Journal and Gender Forum. As Assistant Director of the Asian Shakespeare Intercultural Archive (A|S|I|A), she manages the workflow for multilingual scripts and collaborates with a diverse team of translators and editors in East and Southeast Asia.
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.”
ZHONG Jie is a PhD candidate in English and American Literature at Shanghai International Studies University and a lecturer at the Civil Aviation and Flight University of China, where he teaches English and American Literature, Aviation English and Literary Translation. His research interests include William Shakespeare, William Faulkner, and Contemporary American Fiction. He has published several papers in esteemed academic journals in China, including one in Chinese Translators Journal, three in Chinese Social Sciences Today and two in China Civil Aviation. Additionally, he has authored papers examining the literary influence of Shakespeare on Mark Twain and Chinese Novelist Louis Cha Leung-Yung.