Andrew Sofer taught a two-week publication workshop for junior faculty at Harvard's Mellon School for Theater and Performance Research's June summer session on "Theater and Philosophy."

Laurence Senelick (Tufts University) was awarded the Betty Jean Jones Award of the American Theatre and Drama Society for Distinguished Teaching; he attended its international conference on American drama in Seville in May, delivering the paper "Dickens, Paedophilia and the Early American Musical." He has published "Russian enterprise, Bengali theatre, and the machinations of the East India Company," New Theatre Quarterly (Feb. 2012); "Jews in Fashion at the Moscow Art Theatre," in Jews and Theatre in an International Context, ed. Edna Nahshon (Brill); and "On the Eve: The Theatre in Russia 1911-1914," in 'Victory Over the Sun': The World's First Futurist Opera, ed. R. Bartlett and S. Dadswell (University of Exeter Press). He spoke on "Offenbach, Wagner, Nietzsche: The Politics of Polemic" at Harvard in March. His on-going translation of Stanislavsky's letters for Routledge won a subsidy from Transcript, The Mikhail Prokorov Fund.

Virginia Scott has published: "Who Was Robert Triplupart L'Andouiller? Or, an Actor's Quarrel in Late Sixteenth-Century Paris" in A Tyranny of Documents: The Performing Arts Historian as Detective, Performing Arts Resources 28 (2011); "Conniving Women and Superannuated Coquettes: Travestis and Caractères in the Early Modern French Theatre" in Early Theatre 15.1 (2012); "Cut the Cow, Cut the Queen: Problems of Cultural Translation" in Theatre History Studies 32 (2012); "L'Improvisation et le jeu naturel: Riccoboni et Visentini à Paris, 1716-1720" in Review LIGEIA (2012).

Rebecca Rovit's (University of Kansas) book, The Jewish Kulturbund Theatre Company in Nazi Berlin, is being released 1 August 2012 by The University of Iowa as part of Studies in Theatre History and Culture, edited by Tom Postlewait. This microhistory of an all-Jewish theatre company that co-existed with the Nazi regime for eight years, 1933-1941, is set against the backdrop of the Third Reich. The study draws on a wealth of primary documents and multiple layers of historical and cultural analysis to examine the dramatic repertoire produced, the identity of the company's participants, censorship, and the challenges of making theatre art under duress. See http://www.uiowapress.org/books/2012-fall/jewish-kulturbund-theatre-company-nazi-berlin.htm

Yana Meerzon (University of Ottawa) and J. Douglas Clayton have co-edited the new book Adapting Chekhov: The Text and Its Mutations, published by the Routledge series in Advances in Theatre & Performance Studies. “The book considers the hundred years of re-writes of Anton Chekhov’s work, presenting a wide geographical landscape of Chekhovian influences in drama … The collection demonstrates that adaptation as the practice of transformation and as a re-thinking of habitual dramatic norms and genre definitions leads to the rejuvenation of existing dramatic and performative standards, pioneering the creation of new traditions and expectations.”