Kate Bredeson (she/her) is a theatre historian, a director, and a dramaturg. Her project as a scholar is to research, write about, and practice the ways in which theatre can be a tool for radical activism and protest. Her first book, “Occupying the Stage: the Theater of May ’68” is published by Northwestern University Press (2018; finalist, George Freedley Award). She is currently at work on her project to edit anarchist Jewish theatre director Judith Malina’s unpublished diaries. Kate has earned fellowships and awards including a Beinecke Visiting Research Fellowship; a Fulbright in Paris; residencies at La Maison Dora Maar, the Rockefeller Foundation in Bellagio, the Camargo Foundation, Caldera, and Tao House; fellowships from the New York Public Library, NEH, Killam Foundation, Mellon Foundation, American Philosophical Society, Institut Français de Washington, and the American Society for Theatre Research. Kate has published articles in “PAJ”, “TDR”, “Theater Topics”, “Theatre Survey”, “Theater”, “Theatre Symposium”, “Modern and Contemporary France”, The Tennessee Williams Literary Journal, and Time Out Paris. She has essays in the books “Postdramatic Theatre and Form” (Bloomsbury, 2019), “The Sixties, Center Stage: Mainstream and Popular Performances in a Turbulent Decade” (Michigan, 2017), “The Routledge Companion to Dramaturgy” (Routledge, 2014), “International Women Stage Directors” (U. Illinois, 2013), “May 68: Rethinking France’s Last Revolution” (Palgrave, 2011), and the forthcoming “Routledge Anthology of Women’s Theatre Theory”. As a dramaturg, she has collaborated with the Court Theater in Chicago, Guthrie Theater, Yale Repertory Theatre, Yale Cabaret, Portland Playhouse, and choreographer Tahni Holt.