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Margherita Laera is a lecturer in Drama and Theatre at the University of Kent, Canterbury. She specialises in contemporary European theatre, translation and transnational performance, and is also a professional arts journalist and theatre translator. Her publications include Reaching Athens: Community, Democracy and Other Mythologies in Adaptations of Greek Tragedy (Oxford: Peter Lang, 2013). Author affiliation details are correct at time of print publication.

Dr Tom Cantrell is Senior Lecturer and Deputy Head of the Department of Theatre, Film and Television at the University of York, UK. He has published on modern British drama on stage and screen, documentary theatre and acting processes. Author affiliation details are correct at time of print publication.

Nataša Govedić

Paul Elsam trained as an actor at the former Manchester Polytechnic School of Theatre, UK, and has worked widely as a performer in theatre, radio, film and television, including in BAFTA and Olivier-nominated productions on stage and screen. He has directed professional actors and students in both the UK and the USA, often working ‘in the round’. He has held teaching posts at the universities of Hull and Teesside, and at the Academy of Live and Recorded Arts. He maintains a strong research interest in post-war theatre historiography, and in the praxis of actor training. Author affiliation details are correct at time of print publication.

Paul Elsam trained as an actor at the former Manchester Polytechnic School of Theatre, UK, and has worked widely as a performer in theatre, radio, film and television, including in BAFTA and Olivier-nominated productions on stage and screen. He has directed professional actors and students in both the UK and the USA, often working ‘in the round’. He has held teaching posts at the universities of Hull and Teesside, and at the Academy of Live and Recorded Arts. He maintains a strong research interest in post-war theatre historiography, and in the praxis of actor training. Author affiliation details are correct at time of print publication.

Paul Elsam trained as an actor at the former Manchester Polytechnic School of Theatre, UK, and has worked widely as a performer in theatre, radio, film and television, including in BAFTA and Olivier-nominated productions on stage and screen. He has directed professional actors and students in both the UK and the USA, often working ‘in the round’. He has held teaching posts at the universities of Hull and Teesside, and at the Academy of Live and Recorded Arts. He maintains a strong research interest in post-war theatre historiography, and in the praxis of actor training. Author affiliation details are correct at time of print publication.

Mark Fisher is one of Scotland’s foremost commentators on the arts. With over 25 years’ experience, he is the Scottish theatre critic for The Guardian, a former editor of The List and a freelance contributor to Variety, The Scotsman and Scotland on Sunday. He is the author of The Edinburgh Fringe Survival Guide (“A wonderfully practical but also inspirational book full of good advice” - Lyn Gardner, The Guardian) and the co-editor of Made in Scotland, an anthology of plays published by Methuen Drama. Author affiliation details are correct at time of print publication.

Mark Fisher is one of Scotland’s foremost commentators on the arts. With over 25 years’ experience, he is the Scottish theatre critic for The Guardian, a former editor of The List and a freelance contributor to Variety, The Scotsman and Scotland on Sunday. He is the author of The Edinburgh Fringe Survival Guide (“A wonderfully practical but also inspirational book full of good advice” - Lyn Gardner, The Guardian) and the co-editor of Made in Scotland, an anthology of plays published by Methuen Drama. Author affiliation details are correct at time of print publication.

Trevor Rawlins

Eilon Morris is a core member of DUENDE and OBRA Theatre Co, in which he works as a performer, composer and trainer. A percussionist and theatre practitioner, Eilon completed a PhD at Huddersfield University in 2013 examining the role of rhythm in psychophysical actor training and has contributed to the book Encountering Ensemble (2013) as well as having work published and presented in Stanislavski Studies, Total Theatre Magazine and at various international conferences. Eilon performs and teachers throughout Europe, presenting workshops and masterclasses at universities and other training centres. Author affiliation details are correct at time of print publication.