Dr Alex Boyd (PhD Performance Studies, University of California) is a senior student in the traditional Chinese system, Weihai Lishi Quanfa. He has been training for over 30 years in energy work, and has built a university-level degree in Lishi that has been running in the UK for 4 years. He consults widely in the entertainment field and trains internationally, including in China. Dr Alexander Boyd's international work with 'Lishi in Performance' develops Asian methods for working with energy, breath and alignment with people working professionally in theatre, sport and other western embodied practices. He has been pivotal in establishing various international not-for-profit organisations that allow his research in embodied learning, to be applied and developed to benefit various communities. This includes organizing and delivering traditional community based classes and courses in a Daoist whole-body breathing system for the UK charity Lishi International, of which he is a Trustee.
Peter Lichtenfels is a professional theatre director and writes on Shakespeare and contemporary performance. He was the Artistic Director of the Traverse Theatre during the Scottish National resurgence in Britain in the 1980s, and was the Theatre Director (Artistic and Executive) at the Leicester Haymarket Theatre where he introduced radical international, diverse and alternative theatre to the UK. He has championed cross-cultural theatre throughout his career and is committed to interdisciplinary work among theatre, dance, and performance art. Before expanding his international career, he combined his professional theatre directing with an academic post at Manchester Metropolitan University, the at the time the only university conservatory program in the UK, and has gone on to develop MFA degrees, and PhD programs in Practice as Research.
Lynette Hunter is a Professor of the History of Rhetoric and Performance at UC Davis. She has written and edited over 30 books and many essays in a range of disciplines from the history of rhetoric and literature, to philosophy and feminist theory, to post/neo-colonial studies (especially in Canada), to the history of science and computing, to women’s history and gender studies (from the early modern period), to performance studies. She has scripted, devised, produced and toured, several theory performance installations in Europe and North America and explores alternative ways of disseminating modes of knowing within aesthetics and scholarship.