Teresa Grant is Associate Professor in Renaissance Theatre at the University of Warwick, UK. With primary research interests in early modern theatre (especially on the uses of animals on the stage), she also publishes more widely on Renaissance culture.Ignacio Ramos-Gay is Associate Professor in French and Comparative Literature at the University of Valencia, Spain. His research focuses on contemporary European drama, reception studies, and popular culture.Claudia Alonso Recarte is Associate Professor of English at the University of Valencia, Spain. Her research revolves around the field of (Critical) Animal Studies, with a special interest in the articulation of animal ethics discourses in literature and film, and their connection with national identities.

• 1. Introduction: real animals on the stage 2. ‘A pleasant tragicomedy, the cat being scap’t’?: William Sampson’s The Vow Breaker (1636) and the instability of genre 3. ‘Des singes, c’était le narcisse’: class, imitation and performing monkeys in late-eighteenth century Paris 4. Replacing injured horses, cross-dressing and dust: modernist circus technologies in Asia 5. There is a whale in the room: Pina Bausch’s animals on stage 6. Animals in socially engaged performance practice: becomings on the edges of extinction 7. ‘When the animal cannot keep up a good appearance it had better go out of the room’: vivisection and theatricality in the nineteenth and early twentieth centuries

Teresa Grant is Associate Professor in Renaissance Theatre at the University of Warwick, UK. With primary research interests in early modern theatre (especially on the uses of animals on the stage), she also publishes more widely on Renaissance culture.Ignacio Ramos-Gay is Associate Professor in French and Comparative Literature at the University of Valencia, Spain. His research focuses on contemporary European drama, reception studies, and popular culture.Claudia Alonso Recarte is Associate Professor of English at the University of Valencia, Spain. Her research revolves around the field of (Critical) Animal Studies, with a special interest in the articulation of animal ethics discourses in literature and film, and their connection with national identities.

• 1. Introduction: real animals on the stage 2. ‘A pleasant tragicomedy, the cat being scap’t’?: William Sampson’s The Vow Breaker (1636) and the instability of genre 3. ‘Des singes, c’était le narcisse’: class, imitation and performing monkeys in late-eighteenth century Paris 4. Replacing injured horses, cross-dressing and dust: modernist circus technologies in Asia 5. There is a whale in the room: Pina Bausch’s animals on stage 6. Animals in socially engaged performance practice: becomings on the edges of extinction 7. ‘When the animal cannot keep up a good appearance it had better go out of the room’: vivisection and theatricality in the nineteenth and early twentieth centuries

Teresa Grant is Associate Professor in Renaissance Theatre at the University of Warwick, UK. With primary research interests in early modern theatre (especially on the uses of animals on the stage), she also publishes more widely on Renaissance culture.Ignacio Ramos-Gay is Associate Professor in French and Comparative Literature at the University of Valencia, Spain. His research focuses on contemporary European drama, reception studies, and popular culture.Claudia Alonso Recarte is Associate Professor of English at the University of Valencia, Spain. Her research revolves around the field of (Critical) Animal Studies, with a special interest in the articulation of animal ethics discourses in literature and film, and their connection with national identities.

• 1. Introduction: real animals on the stage 2. ‘A pleasant tragicomedy, the cat being scap’t’?: William Sampson’s The Vow Breaker (1636) and the instability of genre 3. ‘Des singes, c’était le narcisse’: class, imitation and performing monkeys in late-eighteenth century Paris 4. Replacing injured horses, cross-dressing and dust: modernist circus technologies in Asia 5. There is a whale in the room: Pina Bausch’s animals on stage 6. Animals in socially engaged performance practice: becomings on the edges of extinction 7. ‘When the animal cannot keep up a good appearance it had better go out of the room’: vivisection and theatricality in the nineteenth and early twentieth centuries