Rebecca Schneider works among the fields of performance, media, dance, theatre, and digital arts. She is Professor of Theatre Arts and Performance Studies and affiliate faculty with Modern Media and Culture at Brown University in Providence, RI, USA. She is the author of The Explicit Body in Performance (1997), Performing Remains: Art and War in Times of Theatrical Reenactment (2011, recipient of a Notable Book Award, ATHE), Theatre And History (2014), and Remain, co-written with Jussi Parikka and Ioana Jucan (2018) which includes the long-form essay “Slough Media.” Schneider has edited several collections, including special issues of TDR The Drama Review on “Performance and New Materialism,” “Precarity and Performance,” and “Performance and Social Reproduction.” She has published over 50 essays across fields. “That the Past May Yet have Another Future: Gesture in the Times of Hands Up,” published in Theatre Journal, won the best essay prize with the American Society for Theatre Research in 2018. Other notable essays include  “Hello Dolly Well Hello Dolly: The Double and Its Theatre” in Psychoanalysis and Performance; “It Seems As If I am Dead: Zombie Capitalism and Theatrical Labor” and “Remembering Feminist Remimesis” in TDR; “What Happened: Finishing Live” in Representations; and, her personal favorite, “Solo Solo Solo” in After Criticism.  Schneider has been a Visiting Distinguished Professor at Queen Mary University in London and was a co-principal investigator on a Mellon-funded project “Dance in/and the Humanities,” an eight-year endeavor to enhance the development of critical dance studies broadly conceived.  Her book At a Standstill, Moving: Gesture, Temporality, and the Interval in Performance is underway for publication and has been selected to be designed as a fully digital book through a Mellon development grant for the Digital Humanities at Brown University.