theater history; copyright and the performing arts; digital humanities
¶early modern drama ¶typography ¶book history ¶book design ¶theater history ¶performance studies
early modern drama; theater history; performance studies; gender studies and feminist theory; sound studies; game studies.
Profession, Adaptation Studies, Romanticism, Victorian, Gothic, Gender Studies, Comics and Graphic Novels, Cultural Studies, Film, Theater History, Comparative Media
English Renaissance drama; Shakespeare; theater and performance; history of ideas; law
Spanish Empire, Transatlantic Discourse, Golden Age Theater, Medieval Studies, History of the Book, Paleography, History of Thought, Digital Humanities
Dr. Pangallo is a former Junior Fellow in the Society of Fellows at Harvard University and currently assistant professor of English at Virginia Commonwealth University. His primary areas of interest are early modern drama and theater history, with a focus upon connections between text, performance, and reception. He also has an interest in dramatic literature generally and the social and intellectual history of the book. His research focuses upon the complex connections between plays and the playhouses from which they emerged – their performance practices, modes of authorship and textual transmission, audiences and experiences of reception, and place within their historical context. As a scholar and a teacher, he is interested especially in the edges of theatrical and literary history, both how those edges transform our understanding of the center and how they can serve as entirely new centers themselves. Dr. Pangallo’s first book, Playwriting Playgoers in Shakespeare’s Theater (2017, University of Pennsylvania Press), focuses upon theatrical audiences and amateur playwriting in early modern England. Currently he is working on two books. “Theatrical Failure in Early Modern England” explores the causes and productive results of aesthetic, commercial, and material failure in domains such as the professional stage, court masque, household entertainment, and university play. “Strange Company: Foreign Performers in Medieval and Early Modern England” surveys the history of performers who toured to England from Spain, Italy, France, Ireland, Scotland, the Ottoman Empire, and elsewhere, establishing the role that they played in the development of early English theatrical culture and situating England’s theatrical Renaissance as one part of a global and more complexly transnational, transcultural theatrical Renaissance. Dr. Pangallo has designed and taught courses in early modern literature, dramatic literature, theater history, and book history at Bates College, Mount Holyoke College, Westfield State University, the University of Massachusetts Amherst, and Salem State University. He has been the recipient of grants from the Bibliographical Society of the United Kingdom, The Malone Society, and the Shakespeare Association of America, as well as a Jack Kent Cooke Foundation Scholarship and Jacob K. Javits Fellowship. Outside of his academic pursuits, Dr. Pangallo is a director and dramaturge and has worked for Salem Theatre Company as its founding artistic director, Rebel Shakespeare Company, and the Globe Theatre in London. He is also an award-winning book-collector.
Eighteenth-century French studies, women and gender studies, theater studies, book history
I am jointly appointed as Assistant Professor in the Department of English, and the Department of Romance and Classical Studies at Michigan State University where I teach courses on theater, performance studies, film, Italian language and Italian culture. My forthcoming book, The Theater of Narration: From the Peripheries of History to the Main Stages of Italy (Northwestern University Press, 2021), explores a form of contemporary solo theater in its historical, political, and performative dimensions. I have published on this practice in several peer-reviewed journals and edited collections including Theatre History Studies, Annali d’Italianistica, and Spunti e ricerche among others. My research has been supported by a year-long Fulbright grant to Italy, and Harvard’s Mellon School for Theater and Performance Research.