Dorothy Chansky is a Professor in the School of Theatre and Dance at Texas Tech University, USA, where she is a President's Excellence in Research Professor. She was Founding Director of Tech's Humanities Center and a past President of the American Theatre and Drama Society as well as Vice President for Publications of the American Society for Theatre Research. Dorothy’s previous publications include Composing Ourselves: The Little Theatre Movement and the American Audience (2004) and Kitchen Sink Realisms: Domestic Labor, Dining, and Drama on the American Stage (2015). She was editor of Theatre Annual: A Journal of Theatre and Performance of the Americas from 2011-2016 and is a former Book Review Editor of Theatre Journal. She is a current member of the Translation, Adaptation, and Dramaturgy Working Group of the International Federation for Theatre Research.

• PART I: ORIENTATION.- Chapter 1: Introduction.- Chapter 2: Dementia, Alzheimer’s, Age: Intersectionalities.- Chapter 3: Bodies in the Audience/Bodies Onstage: Intersectionalities.- PART II: SOCIAL INSECURITY.- Chapter 4: Walk-on:  Joint Owners in Spain.- Chapter 5: Supporting Role: All the Living.- Chapter 6: Willy Loman Center Stage: Death of a Salesman.- PART III: TAKING IT PERSONALLY Chapter 7: From the Inside Brain Crash: Wings “I am an Archive”: Ruff.- Chapter 8: Inside (and) Out “Who exactly am I?”: The Father.- PART IV: HUMAN. RESOURCES.- Chapter 9: Memory.  Loss. Or, Understanding Memory (for Dummies).- Chapter 10: Family Affairs Sign on the Dot(ty)ed Line: Dot Brief me on this: Our Mother’s Brief Affair.- Chapter 11: Ready for Prime Time: Marjorie Prime.- Chapter 12: Cellular Data.- Chapter 13: No.  Regrets. Wav(erly)ing Goodbye: The Waverly Gallery Humans. Resources.: The Humans.- Chapter 14: Who Cares?.

Dorothy Chansky is a Professor in the School of Theatre and Dance at Texas Tech University, USA, where she is a President's Excellence in Research Professor. She was Founding Director of Tech's Humanities Center and a past President of the American Theatre and Drama Society as well as Vice President for Publications of the American Society for Theatre Research. Dorothy’s previous publications include Composing Ourselves: The Little Theatre Movement and the American Audience (2004) and Kitchen Sink Realisms: Domestic Labor, Dining, and Drama on the American Stage (2015). She was editor of Theatre Annual: A Journal of Theatre and Performance of the Americas from 2011-2016 and is a former Book Review Editor of Theatre Journal. She is a current member of the Translation, Adaptation, and Dramaturgy Working Group of the International Federation for Theatre Research.

• PART I: ORIENTATION.- Chapter 1: Introduction.- Chapter 2: Dementia, Alzheimer’s, Age: Intersectionalities.- Chapter 3: Bodies in the Audience/Bodies Onstage: Intersectionalities.- PART II: SOCIAL INSECURITY.- Chapter 4: Walk-on:  Joint Owners in Spain.- Chapter 5: Supporting Role: All the Living.- Chapter 6: Willy Loman Center Stage: Death of a Salesman.- PART III: TAKING IT PERSONALLY Chapter 7: From the Inside Brain Crash: Wings “I am an Archive”: Ruff.- Chapter 8: Inside (and) Out “Who exactly am I?”: The Father.- PART IV: HUMAN. RESOURCES.- Chapter 9: Memory.  Loss. Or, Understanding Memory (for Dummies).- Chapter 10: Family Affairs Sign on the Dot(ty)ed Line: Dot Brief me on this: Our Mother’s Brief Affair.- Chapter 11: Ready for Prime Time: Marjorie Prime.- Chapter 12: Cellular Data.- Chapter 13: No.  Regrets. Wav(erly)ing Goodbye: The Waverly Gallery Humans. Resources.: The Humans.- Chapter 14: Who Cares?.

Dorothy Chansky is a Professor in the School of Theatre and Dance at Texas Tech University, USA, where she is a President's Excellence in Research Professor. She was Founding Director of Tech's Humanities Center and a past President of the American Theatre and Drama Society as well as Vice President for Publications of the American Society for Theatre Research. Dorothy’s previous publications include Composing Ourselves: The Little Theatre Movement and the American Audience (2004) and Kitchen Sink Realisms: Domestic Labor, Dining, and Drama on the American Stage (2015). She was editor of Theatre Annual: A Journal of Theatre and Performance of the Americas from 2011-2016 and is a former Book Review Editor of Theatre Journal. She is a current member of the Translation, Adaptation, and Dramaturgy Working Group of the International Federation for Theatre Research.

• PART I: ORIENTATION.- Chapter 1: Introduction.- Chapter 2: Dementia, Alzheimer’s, Age: Intersectionalities.- Chapter 3: Bodies in the Audience/Bodies Onstage: Intersectionalities.- PART II: SOCIAL INSECURITY.- Chapter 4: Walk-on:  Joint Owners in Spain.- Chapter 5: Supporting Role: All the Living.- Chapter 6: Willy Loman Center Stage: Death of a Salesman.- PART III: TAKING IT PERSONALLY Chapter 7: From the Inside Brain Crash: Wings “I am an Archive”: Ruff.- Chapter 8: Inside (and) Out “Who exactly am I?”: The Father.- PART IV: HUMAN. RESOURCES.- Chapter 9: Memory.  Loss. Or, Understanding Memory (for Dummies).- Chapter 10: Family Affairs Sign on the Dot(ty)ed Line: Dot Brief me on this: Our Mother’s Brief Affair.- Chapter 11: Ready for Prime Time: Marjorie Prime.- Chapter 12: Cellular Data.- Chapter 13: No.  Regrets. Wav(erly)ing Goodbye: The Waverly Gallery Humans. Resources.: The Humans.- Chapter 14: Who Cares?.