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Bernadette Cochrane joined UQ in 2014 as a Lecturer in Theatre and Performance in the School of Communication and Arts. She has taught on historical and contemporary drama, dramaturgical theory and performance-making. Her current teaching responsiblities include particular reference to European theatre of the twentieth-century, and directing and dramaturgy. Bernadette, as part of the UQ Drama team, was received the 2018 Award for Programs that Enhance Learning for the "UQ Drama: Building Pathways to Creative Careers" project. In 2016, again as part of the UQ Drama team, she received a Commendation for Teaching Excellence, Prior to joining UQ, Bernadette was a freelance arts worker with a particular focus on directing and dramaturgy. Bernadette completed her dramaturgical PhD at the University of Queensland in 2013.

Her co-edited anthology New Dramaturgy: International Perspectives on Theory and Practice was published by Methuen in 2014. She is a major contributor to The Cambridge Encyclopedia of Stage Directors and Directing, edited by Maria Delgado and Simon Williams. Bernadette is a member of the Translation, Adaptation, and Dramaturgy Working Group of the International Federation of Theatre Research. She is also a Board Member for the Migrant Dramaturgies Network - the international research network developed in partnership with New Tides Platform (UK) and the Centre for Theatre Research at the University of Lisbon, Portugal - which explores emerging dramaturgies of theatrical responses to migration in light of recent migration and shifts in global politics and economics. Bernadette is currently researching the intersection of live performance, cinema, institutional dramaturgies, and cultural production; and contemporary theatrical representations of Otherness.

Bernadette is unavailable for new supervisions.

Dr Emma Cole is an award-winning scholar and Director of the Research Centre in Creative Arts and Human Flourishing. A dramaturg, classicist, and a theatre and performance studies scholar, Emma works across industry and academia, with particular expertise in the performance of Greek tragedy in contemporary theatre. She has received funding from the Australian Research Council for her work on tragedy and translation, and from the Arts and Humanities Research Council in the UK for her work with British theatre company Punchdrunk. Her monograph Punchdrunk on the Classics showcased the research emerging from her work with Punchdrunk and won the 2024 ADSA Rob Jordan Prize for best book. Her work with Punchdrunk was profiled in the New York Times here. She is currently working on her own translations of Euripides' final trilogy (Bacchae, Iphigenia at Aulis, and Alcmaeon in Corinth) and a Beckett-inspired methodology for translating tragic fragments for performance.

Emma's research interests lie primarily in translation and adaptation studies, particularly regarding the translation and adaptation of Greek tragedy in contemporary theatre, and in immersive and experimental forms of theatre. Her other publications include the edited collection Experiencing Immersion in Antiquity and Modernity (2025), a student edition of Women of Troy (2024), a co-edited special issue of Contemporary Theatre Review on the director Simon Stone, the book Postdramatic Tragedies (OUP, 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), as well as articles and chapters on Punchdrunk, Sarah Kane, Martin Crimp, and Katie Mitchell. Her 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 'Ancient Greek Drama in the Twentieth and Twenty-First Century' in the Methuen Drama Encyclopedia of Modern Theatre (forthcoming).

Emma is a Fellow of the Higher Education Academy and the Royal Historical Society, a UQ Ally and a friend of the Reconcilliation Action Network. She joined the University of Queensland in 2023. Prior to this, she worked at the University of Bristol.

Chris is an Australian theatre and cultural historian teaching and researching in the Drama program in the School of Communication and Arts, currently working on an ARC DECRA-funded project about the origins of live performance subsidy in Australia between 1949 and 1975. In this work, as in all of his research, Chris is particularly interested in what funded cultural output can tell us about national pre-occupations and anxieties. Along with this historical focus, Chris is working on a book project about contemporary Australian mainstage theatre after the Kevin07 election, as well as the Australian component of a project on the cultural history of the Eurovision Song Contest outside Europe. Chris's teaching responsibilities at UQ include theatre history, performance production, and script analysis. Chris welcomes applications for higher degree research at MPhil or PhD level in any of these areas.

Chris joined UQ from the University of New England (UNE), where he was Lecturer in Theatre Studies in 2017 and directed UNE's major production of Spring Awakening in his own translation. Between 2014 and 2016, Chris was Associate Lecturer in Performance Practices at the National Institute of Dramatic Art (NIDA), Sydney, where he taught into the theoretical components of the practice-led Bachelor and Master of Fine Arts degrees. Chris was awarded his PhD from the Department of Theatre and Performance Studies at the University of Sydney, with a thesis entitled “Learning to inhabit the chair: Knowledge transfer in contemporary Australian director training”. This research was later published as the monograph Knowledge, Creativity and Failure (Palgrave, 2016). Chris currently serves as Vice-President of ADSA (the Australasian Association for Theatre, Drama and Performance Studies), an Associate Editor of Theatre, Dance and Performance Training, Deputy Editor of Performance Paradigm, and a Convenor of the Historiography Working Group of the International Federation for Theatre Research (IFTR).