I am a classicist and a theatre and performance studies scholar, and am a Fellow of the Higher Education Academy and the Royal Historical Society. My area of expertise lies in the performance of Greek tragedy in contemporary theatre, and I am particularly interested in experimental, immersive, and postdramatic adaptations of tragic texts. My most recent research was supported through the Arts and Humanities Research Council in the UK, via a UKRI Innovation Fellowship titled Punchdrunk on the Classics. The research project built upon my prior work as academic consultant on Punchdrunk’s Kabeiroi (2017) and involved me going on secondment to Punchdrunk in a knowledge-exchange arrangement during which I worked as dramaturg on their production The Burnt City (2022-23). My monograph Punchdrunk on the Classics: Experiencing Immersion in The Burnt City and Beyond documented the intersection between immersion and ancient literature within the development and audience experience of the production, and was published with Palgrave Macmillan in 2023. My collaboration with Punchdrunk on The Burnt City was profiled in the New York Times here.
Other current research projects include an edited collection titled Experiencing Immersion in Antiquity and Modernity: From Narrative to Virtual Reality (Bloomsbury), a student edition of Euripides' Women of Troy for Methuen Drama, an invited chapter on dance, immersivity, and translation in Punchdrunk's The Burnt City and, together with Professor Chris Hay (Flinders University) a special issue of Contemporary Theatre Review on the theatre director Simon Stone.
My previous publications include the monograph Postdramatic Tragedies through the Classical Presences series at Oxford University Press (2019), and the co-edited collection Adapting Translation for the Stage (with Geraldine Brodie, for Routledge's Advances in Theatre and Performance Studies series, shortlisted for the 2019 TaPRA prize for editing). I have also published articles and chapters on Punchdrunk, Sarah Kane, Martin Crimp, and Katie Mitchell. My pieces for a general audience have appeared in popular publications including The Theatre Times, The Conversation, and Exeunt Magazine. Dictionary and encyclopedia entries include the 'drama, reception of' entry for the Oxford Classical Dictionary, and the 'Ancient Greek Drama in the Twentieth and Twenty-First Century' in the Methuen Drama Encyclopedia of Modern Theatre (2024).
I joined the University of Queensland in 2023. Prior to this, I worked at the University of Bristol from 2015-2023. Alongside academia, I work as a dramaturg and academic consultant on new writing and classical adaptation projects, and welcome contact from potential collaborators.
Dr Tom Doig is a creative nonfiction author, investigative journalist and scholar. Tom was the recipient of the 2023 CLNZ-NZSA Writer's Award for his work on prepper subcultures in Aotearoa New Zealand. He has written two books about the unprecedented 2014 Hazelwood mine fire disaster: Hazelwood (Penguin Random House, 2020) and The Coal Face (Penguin Books Australia, 2015). Hazelwood was a finalist for the 2020 Walkley Book Award, Journalism and the 2021 Ned Kelly Awards, Best True Crime and Highly Commended in the 2020 Victorian Premier's Literary Awards, Non-Fiction. The Coal Face was joint winner of the 2015 Oral History Victoria Education Innovation Award. Dr Doig has also written a humorous travel memoir, Mörön to Mörön: Two men, two bikes, one Mongolian misadventure (Allen & Unwin, 2013). He is the contributing editor of the interdisciplinary collection Living with the Climate Crisis: Voices from Aotearoa (Bridget Williams Books, 2020).
Dr Doig teaches creative non-fiction and poetry.
As a scholar, Dr Doig is interested in interdisciplinary approaches to the accelerating climate crisis, with a focus on the cultural, social and psychological aspects of climate breakdown. He is currently researching a new book: We Are All Preppers Now (forthcoming with Scribe Publications), documenting survivalists, doomsday preppers, climate activists and other subcultures of imminent collapse around the world.
Dr. Helen Marshall is an acclaimed writer, editor and book historian. Her first collection of fiction, Hair Side, Flesh Side, takes its name from the two sides of a piece of parchment—animal skin scraped, stretched and prepared to hold writing. Gifts for the One Who Comes After, her second collection, borrows tropes from the Gothic tradition to negotiate issues of legacy and tradition. Collectively, her two books of short stories have won the World Fantasy Award, the British Fantasy Award, and the Shirley Jackson Award for outstanding achievement in the literature of psychological suspense, horror and the dark fantastic.
Her research as both as a creative practitioner and a scholar emerges out of the recent interest in “weird” fiction, a sub-genre of fantasy which blends supernatural, mythical, and scientific writing. Using modern theories of cognition, my work posits weird texts as “emotion machine[s]” (Tan 1996) designed to defamiliarize traumatic experiences so they can be more easily managed. Her debut novel The Migration (Random House Canada/Titan UK, 2019) exemplifies this. It finds parallels between the emergence of the Black Death in the fourteenth century and the ecological crises of the twenty-first century—that is, periods when humanity has had to confront the possibility of widescale loss of life. What interests her about the topic is not its bleakness but its interrogation of how change might take place, particularly for young people. The Migration explores these challenges. It initially presents metamorphosis as a major crisis, terrifying in its transfiguration of death. But, as the novel progresses, it shows the potential for hopeful and radical change.
Over the last five years notions of the apocalypse have emerged as a theme in her work. Her second collection, Gifts for the One Who Comes After addressed the shaping and persistence of memory in the wake of dangerous upheaval. Rather than taking the long view of history in my first collection, it negotiated very personal issues of legacy and tradition, creating myth-infused worlds where “love is as liable to cut as to cradle, childhood is a supernatural minefield, and death is ‘the slow undoing of beautiful things’” (Quill & Quire, starred review). Likewise her most recent edited collection The Year’s Best Weird Fiction argues that the techniques of defamiliarization used by contemporary authors such as Jeff VanderMeer and China Miéville offer routes for engaging in an increasingly destabilized world.
As a creative practitioner she has worked with interdisciplinary teams using narrative skills, worldbuilding and gamification for the UK’s Ministry of Defence (future threat prediction), the Diamantina Institute (storytelling and empathy for medical researchers), CERN, the European Organization for Nuclear Research (future technologies), and the Department of Defence (innovation and AI – funded $260,000). She has led international workshops to research how creative skills might be applied to wicked problems and she has led a project to apply these skills to technology foresight for the Defence Science Technology Group (Web 3.0 - funded $89,097).
She has further interests in both modern and medieval publishing cultures. Her PhD examined the codicology and palaeography of late medieval manuscripts from England, looking at how Middle English “bestsellers” such as Chaucer’s Canterbury Tales and the anonymous Prick of Conscience made use of traceable networks of production and dissemination. This work builds upon the practical experience she gained working in the publishing industry as the Managing Editor for ChiZine Publications, Canada’s largest independent genre press, where she was involved in all aspects of production including editing, marketing and business management. In 2016 she undertook a research project to investigate the publishing history of Stephen King’s Carrie (1974), which provided a snapshot of the changing social, economic and cultural environment of the publishing industry when key editorial and marketing decisions fashioned the King brand.
Her current projects explore worldbuilding, franchise writing, and the application of creative arts methodologies for interdisciplinary and transdisciplinary ideation.
Beck Wise teaches and researches in professional, technical and academic writing, with specialisations in the rhetoric of science, visual communication, writing in digital environments, and gender studies.
Current research projects include:
Medical imaging, argumentation and public culture
Reproductive health and access in Australia
Writing instruction for diverse academic disciplines
