Jon Berry is a playwright and researcher currently based at Royal Holloway, University of London. His academic work centres around contemporary metaphysics of theatre looked at through the work of Deleuze and Guattari, with a particular interest in the ontology of the political in Welsh 21st-century plays. He is currently researching the autonomy of plays in political life outside of the human, as well as a small note on the notion of the ‘real world’ in theatre scholarship. His plays have been performed across the UK, and he has been awarded with a Theatre503 503Five award.

Chris Green is a lecturer in performance at Edge Hill University and an artist who works under the name greenandowens with Katheryn Owens. They recently passed their viva for their fully collaborative, co-authored practice research PhD at the University of Plymouth. This research is centered on experiences of millennial precarity, drawing on philosophies of hauntology and lost futures (published in Performance Research and Studies in Theatre & Performance). Their work is due to be published in the ‘On Care’ edition of Performance Research and in the book Rethinking Barthes through Performance. They are also in the process of developing new research on friendship, leisure, and performance. 

Milo Harries is a PhD candidate at the University of Cambridge, writing on dramaturgies of encounter in the context of the climate crisis. His work has appeared in Critical Stages/Scènes Critiques, CTR, Platform, and IJPADM. Milo is also an opera singer and coach, and has worked at the Royal Opera House, Glyndebourne, and Opera North (see www.miloharries.com).

Grace Joseph is a theatre director, access worker, and PhD researcher at Goldsmiths, University of London. Her practice-based PhD is shaped by ongoing collaborations with disabled-led theatre companies, and interrogates the aesthetics of access in both rehearsal and performance. At Goldsmiths, she co-convenes the Performance Research Forum, the Department of Theatre and Performance’s public research event series. As a theatre director, Grace has trained at the Young Vic, worked at Shakespeare’s Globe and Hampstead Theatre, and developed new writing with Camden People’s Theatre and Battersea Arts Centre. She has directed and lectured at Drama Studio London and Central School of Speech and Drama, and has a Level 3 in British Sign Language. 

Katheryn Owens is an artist-academic who works under the name greenandowens with Chris Green. They recently completed the viva for their co-authored practice-research PhD titled ‘Performance Writing, Objects and Millennial Precarity: a co-authored PaR exploration between friends’ at the University of Plymouth, UK. Their research is centred on experiences of millennial precarity (housing, labour, time), drawing on philosophies of hauntology and lost futures (published in Performance Research and Studies in Theatre & Performance). Central to this research is the potentiality of friendship, hospitality and art making as ways to reimagine the future and how producing slow forms of object making and DIY practices fit into this. Their performance writing practice often takes the form of walks, sound, text-based scores, craft, and zines. In 2022 they were commissioned by the Whitworth to make Borderlines, a walking performance exploring queer hidden borders in the city of Manchester as part of a Suzanne Lacy retrospective. Katheryn works as an associate lecturer and in hospitality; the experience of which is reflected in the research.

Amy Terry is a theatre-maker and practice-based PhD candidate at Royal Holloway, University of London. They hold an MA in Text and Performance from RADA/ Birkbeck. Their current research focuses on postdramatic playwriting methodologies as an intersectional way of working for queer, trans*, and working-class practitioners. As a writer and performer, they have presented work at Camden People’s Theatre and are in the process of creating a queer touring show in association with Farnham Maltings. They are currently the dramaturgy mentor for Gabriel by Clare Bayley, a collaboration between University College, Oxford and Oxford Playhouse.

Laura Vorwerg is a visiting lecturer and doctoral researcher at Royal Holloway, University of London and has previously worked as a director, assistant director, and staff producer in opera and theatre. Her research explores the relationship between performer training and interdisciplinary performance practice within theatre and opera and seeks to examine the ways in which embodied physical skills are taught, learnt, maintained, and adapted within professional practice. Laura has contributed chapters to Interdisciplinary Arts: Contemporary Perspectives, published by the University of Malta Press, and Time and Performer Training, published by Routledge.

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