The “Reclaimed Avant-Garde” | Platform For Researchers of Central-Eastern European Theatre

In 2017, to spark discussion and stimulate the exchange of knowledge, the Zbigniew Raszewski Theater Institute initiated a platform for researchers of Central-Eastern European theatre. The group’s task in 2017 was to prepare an anthology presenting a panorama of the theatre avant-garde of Central-Eastern Europe, taking into account its diversity in an international context and the interdisciplinary dimension of this phenomenon. Since 2018, the platform has been working on A Lexicon of the Central-Eastern European Interwar Theatre Avant-garde (in English), which will be a summary of the research project financed by the National Programme for the Development of Humanities entitled „Reclaimed Avant-garde. Polish and Central-European theatre avant-garde”.

Tania Arcimovich is a PhD Candidate at the International Centre for the Study of Culture in the Justus-Liebig-Universität, Germany. She graduated from the Belarusian State Academy of Arts in Minsk, within the Department of the History of Theatre, and received a Masters in Sociology, focusing on Cultural Studies, from the European Humanities University (Vilnius, Lithuania). She has written several articles about Belarusian modern theatre published in various Belarusian and foreign magazines and book series. Tania Arcimovich is author of the
book ‘Belarusian Experimental Theatre in the Thaw period. Between Modernism and Avantgarde’ (European Humanities University, Vilnius, 2020) published in Russian.

Martin Bernátek is an Assistant Professor, area head of theatre studies, and a vice-chair in the Department of Theatre and Film Studies at Palacký University, Olomouc, Czech Republic. His research is located on the intersection of performance and media studies, and focuses on issues of theatre space. Interest in the historical inquiry into hybridizations of performing arts, visual arts, and cinema in Central Europe resulted in the dissertation ‘Screening Practices in Theatres Before World War I’ (published in Czech, 2016). During the last five years, he took part in a research project on the history of Czech theatre photography (Arts and Theatre Institute, Prague), and the legacy of the Prague linguistic circle within the field of theatre theory (Masaryk University, Brno, Czech Republic). He is a member of the editorial board of the ArteActa journal for performing arts and artistic research (Academy of Performing Arts in Prague), as well as a member of the European Association for the study of theatre and performance. He co-organizes the international Josefov summer school in the East-Bohemia Fortress Josefov (alongside Masaryk University and the University of Warsaw).

Alexandra Chiriac is an art historian specializing in marginalized histories of twentieth century design and performance, with a specific focus on identity, gender, and ethnic minorities. Currently she is a Leonard A. Lauder Fellow for Modern Art at the Metropolitan Museum of Art, New York, with a project on the visual and material culture of modernity. Chiriac holds a PhD from the University of St. Andrews on modernism in stage and interior design in Interbellum East-Central Europe, and has published on Romanian, Russian, and Jewish design and performance history. Among her publications are ‘Ephemeral Modernisms, Transnational Lives. Reconstructing Avant-Garde Performance in Bucharest’ in the Journal of Romanian Studies (2020), ‘Romanian Modernism and the Perils of the Peripheral’ in the volume Borders of Modernism edited by Massimiliano Tortora and Annalisa Volpone (2019), ‘The Magical and the Mechanical: M.H. Maxy, Iacob Sternberg and the Bukarester Idishe Theater Studio’ in The History Journal of the Jews in Romania (2017), and ‘Fedor Lopukhov and The Bolt’ in Studies in Theatre and Performance (2016).

Wojciech Dudzik is a theatrologist and cultural expert, Professor at the Section for Theater and Performance at the Institute of Polish Culture at the University of Warsaw, member of the Polish Committee of Cultural Studies at the Polish Academy of Sciences, and President of the Polish Society for Theater Research. He is the author of the publication: ‘Karnawały w kulturze’ (Carnivals in Culture) (2005), and anthologies: ‘Świadomość teatru. Polska myśl teatralna drugiej połowy XX wieku’ (Consciousness of the Theater. Polish Theatrical Thought of the Second Half of the 20th Century) (2007, German edition 2011), ‘Karnawał. Studia historyczno-antropologiczne’ (Carnival. Historical and Anthropological Studies) (2011), and ‘Paradoksy maski. Antologia’ (Paradoxes of the Mask. An Anthology) (2018), and the volumes: ‘Struktura w antystrukturze. Szkice o karnawale i teatrze’ (Structure in Anti-Structure. Studies about Carnival and Theater) (2013), ‘W poszukiwaniu stylu. Teatr Narodowy 1924–1939’ (In Search of Style. National Theater 1924–1939) (2015), ‘Maska w kulturze współczesnej Europy. Teorie i praktyki’ (The Mask in the Culture of Contemporary Europe. Theories and Practices) (2020); co-editor of the academic textbook ‘Antropologia widowisk’ (Anthropology of Spectacles) (2005, 2010), and the online ‘Encyclopedia of Polish Theater’ www.encyklopediateatru.pl.

Małgorzata Dziewulska deals with contemporary staging and its relationship with the audience and collective imagination in historical, social, and political contexts. She is the author of numerous publications and books, such as: ‘Teatr zdradzonego przymierza’ (The Theatre of the Betrayed Covenant) (1985), ‘Artyści i pielgrzymi’ (Artists and Pilgrims) (1995), and ‘Inna obecność’ (Another Presence) (2009). In the 70s and 80s, she was a co-founder of the Puławy Theatre Studio, and a collaborator of the Jerzy Grotowski Laboratory. She has lectured at the Department of Theatre Studies in the Jagiellonian University, was part of the Res Publica monthly team, and has produced opera performances. In the 90s, she belonged to the literary management of the Stary Theatre in Krakow, and thereafter was the literary manager of the National Theatre in Warsaw under the management of Jerzy Grzegorzewski. Since 1994, she has been a lecturer at the Theatre Academy in Warsaw, firstly at the Faculty of Theatre Studies, and currently in the Directing Department. At the Zbigniew Raszewski Theatre Institute she conducted her own seminars: ‘Profecja i promocja’ (Prophecy and Promotion), and ‘Pracownia Kantorowska’ (The Kantor Workshop).

Dorota Fox is a Doctor of Humanities in the field of Literary Studies, and Habilitated Doctor in the field of Cultural Studies; Assistant Professor at the Institute of Culture Sciences at the University of Silesia, Poland. She is a member of the Polish Association for Theatre Research and the Polish Association for Culture Studies. Her research interests focus on the history of theatre criticism, theatre of the interwar period, and forms of stage art. She is the author of the monographs: ‘Kabarety i rewie międzywojennej Warszawy. Z prasowego archiwum Dwudziestolecia’ (Cabarets and Revues of Interwar Warsaw. From the Press Archive of the Interwar Period) (2007), and ‘Czasopiśmiennictwo teatralne w Polsce w latach 1918–1939’ (Periodicals of Theatre in Poland 1918–1939) (2013).

Ewa Guderian-Czaplińska (1962–2020), Professor at Adam Mickiewicz University in Poznań, Poland. She worked at the Institute of Theatre and Media Arts of Adam Mickiewicz University from 2017–2019, and was director of the Institute. She dealt with the theatre of the
interwar period, contemporary theatre and drama, and theatre criticism. She is the author of the publications: ‘Szara strefa awangardy. O dramatach Awangardzistów krakowskich’ (Grey Area of the Avant-garde. On the Dramas of Krakow Avant-gardists) (1998), ‘Teatralna Arkadia. Poznańskie teatry dramatyczne 1918–1939’ (Arcadia of Theatre: Poznań Drama Theatres, 1918–1939) (2004), a new study of Anna Świrszczyńska’s dramas ‘Orfeusz’ (Orpheus) (2013), co-editor of the anthology ‘Awangarda teatralna w Europie ŚrodkowoWschodniej. Wybór tekstów źródłowych’ (Avant-garde Theatre in Central and Eastern Europe. A Selection of Source Texts) (2018), editor of several theatrological books, and has written for the journals Didaskalia and Dialog.

Anca Hațiegan is an Associate Professor in the Faculty of Theatre and Film of the BabeșBolyai University in Cluj-Napoca, Romania. She specializes in the history of Romanian theatre. She completed her PhD in Philology at the Babeș-Bolyai University with a thesis titled ‘Theatricality and The Novel Under the Communist Regime’ (2008). Her academic interests focus on the history of Romanian theatre, the history of actresses, women and theatre, theatre and nation, theatre and Communism, theatre and literature, and theatricality among others. She is the author of ‘Dimineața actrițelor’ (Dawn of The Actresses) (Polirom, Iași, 2019) and ‘Cărțile omului dublu. Teatralitate și roman în regimul comunist’ (The Books of The DoubleMan. Theatricality and The Novel Under the Communist Regime) (Limes, Cluj, 2010). She is currently working on another book focusing on the biography and career of Romanian theatre and film director Liviu Ciulei.

Zoltán Imre, PhD (Queen Mary College, University of London, 2005) is an Associate Professor in the Department of Comparative Literature and Culture, Eötvös University, Budapest, Hungary. His publications include various books and articles on Hungarian and European theatre.

Ketevan Kintsurashvili, PhD, is an art historian specializing in modern and contemporary art. Currently she teaches at the University of Georgia. From 1978–2012, she worked as a Senior Researcher and Professor at the Institute of Georgian Art, the Tbilisi State Art Academy, and the University of Theatre and Film. She is the author of more than twenty monographs on David Kakabadze, Kirill & Ilia Zdanevich, Niko Pirosmani, Petre Otskheli, Koka Ignatov, and others. She has also authored a textbook on 20th century avant-garde art, and numerous articles and catalogs. She has taught and conducted research work at Mount Holyoke College, Yale University, and Balliol College (United Kingdom). She is a Fellow at the Open Society Foundations, International Research Exchange (RSEP/IREX), Salzburg Global Seminars, Oxford Colleges Hospitality Scheme, Fulbright Scholars Exchange, and other programs. Kintsurashvili has given presentations at conferences and seminars arranged among others by The University of Chicago, Malmö Art Academy, Regents College (London), Jacobs University (Bremen). She was also speaker at the AICA XLVII International Congress in Seoul/Suwon, and a National Curator for Georgia during the 12th Prague Quadrennial of Performance Design and Space.

Višnja Kačić Rogošić is an Assistant Professor at the University of Zagreb. She serves on the editorial board of the Croatian Theatre Journal, and is an associate of the Miroslav Krleža Institute of Lexicography. She published a book ‘Group Devised Theatre’ (2017). She was a Fulbright Fellowship Program scholar in 2010–2011 (CUNY, New York City, USA). She is a member of the Croatian ITI Center, and part of the executive committee of the Croatian Association of Theatre Critics and Theatre Scholars.

Anna Korzeniowska-Bihun holds a doctoral degree as graduate of the Faculty of Theatre Studies at the The Aleksander Zelwerowicz National Academy of Dramatic Art in Warsaw, Poland (1997), and in Ukrainian Studies from the Faculty of Applied Linguistics at the University of Warsaw (2004). Translator of Ukrainian literature, and of films from Ukrainian, Belarusian, Russian, and English. She is the author of articles on Ukrainian theater for Teatr monthly, and scientific publications on Ukrainian drama. She is the editor of the collection ‘Współczesna dramaturgia ukraińska. Od A do Ja’ (Contemporary Ukrainian Dramaturgy. From A to Me) (2018), and the Polish edition of theatrical writings by Łeś Kurbas (2021).

Dariusz Kosiński is a Professor of the Institute of Polish Studies at the Jagiellonian University in Kraków. Former research director of the Grotowski Institute in Wrocław (2010–2013); member of the editorial board of Jerzy Grotowski’s collected texts. Former research director= of the Raszewski Theatre Institute in Warsaw (2014–2018). Author of the history of Polish theatre and performances ‘Performing Poland’ (2010, English translation 2019), and several books about Jerzy Grotowski including ‘Grotowski. Przewodnik’ (Grotowski. A Guide) (Wrocław, 2009). Since 2016 he has been a leading researcher of the international research project ‘Reclaimed Avant-Garde. Theatre Avant-Garde of the Central-Eastern Europe.’ He is also active as a theatre critic of the important Polish political and cultural weekly Tygodnik Powszechny.

Małgorzata Leyko is a Professor at the Drama and Theatre Department of the University of Łódź, Poland. Her primary research deals with German language theatre from the 19th to 21st century, Jewish theatre in Poland, Polish-German theatre relations, and theatre theories from the beginning of the 19th century. From this field she has authored ‘Reżyser masowej wyobraźni. Max Reinhardt i jego teatr dla pięciu tysięcy’ (The Director of Mass Imagination. Max Reinhardt and His Theatre for Five Thousand) (2002), ‘Teatr w krainie utopii’ (Theatre in Utopia) (2012), and numerous articles and dissertations. She is the editor of ‘Łódzkie sceny żydowskie’ (The Jewish Theatres in Łódź) (2000), and ‘Teatr masowy – teatr dla mas’ (The Mass Theatre – Theatre for the Masses) (2011), and is co-editor of several books published in Poland and Germany including ‘Teatr żydowski w Polsce’ (Jewish Theatre in Poland) (1998) with prof. Anna Kuligowska-Korzeniewska. An important aspect of her scientific background are her translations from German, including Christopher Balme’s ‘Wprowadzenie do nauki o teatrze’ (The Cambridge Introduction to Theatre Studies) (with prof. Wojciech Dudzik, 2003, second edition, 2005), and subsequent volumes of the ‘Theatroteka’ series: ‘Scena przyszłości’ (The Theatre of the Future) by G. Fuchs (2005), ‘O teatrze i aktorze’ (On the Theatre and the Actor) by M. Reinhardt (2006), ‘O cudowności u Shakespeare’a’ (On the Miraculous in Shakespeare) by L. Tieck (2006), ‘Ekspresjonizm w teatrze niemieckim’ (Expressionism in the German Theatre) by herself and Wojciech Dudzik (2009), and ‘Eksperymentalna scena Bauhausu’ (The Experimental Scene of the Bauhaus) by O. Schlemmer (2010). She has also translated dramas by Peter Turrini, Gert Jonke, and Arthur Schnitzler into Polish.

Milan Madjarev is a theatrologist, playwright, drama and improv pedagogue, leader of psychodrama, and a translator from Slovenian to Serbian – one such publication being Edi Majaron’s ‘Faith in the Doll’. He also directs plays for theatre and radio. Productions include those based on texts by Miodrag Radisavljević, Slobodan V. Jovanović, Jerzy Andrzejewski, Henrik Ibsen, Alexander S. Pushkin, Marina Milivojević, Pavo Marinković, Edward Albee, and Stefan Zweig. He completed his doctoral thesis on the work ‘The Movement Theatre of Josef Nadj’ in 2008. He teaches performing arts and creative drama at the College of Professional Studies in Education of Teachers in Kikinda, Serbia. He has published five books: ‘Creative Drama in the Skozoriste’, ‘The Movement Theatre of Josef Nadj’ (which was awarded for Theatre Criticism and Journalism at the 52nd MESS in Sarajevo), ‘The Parallel History of Theatre’ and two novels: ‘Stories,’ and ‘New Stories.’ He also co-authored the book ‘Applied Theatre in Vojvodina from 2000 until Today.’ Milan Madjarev explores stage
presence, energy, and the pre-conditions for developing spontaneity and creativity of dancers, actors, and non-actors. He has worked in Slovenia, Serbia, Bosnia and Herzegovina, and South Korea.

Marina Milivojević Mađarev is an Associate Professor at the Academy of Novi Sad, Serbia. She completed her PhD in Theatre Studies at the University of Arts, Belgrade, Faculty of Drama Arts in 2008. In 1992, she completed her BA in Dramaturgy at FDU, Belgrade. Marina Milivojević Mađarev worked as one of editors of the BITEF Chronicles at the Radio Television of Serbia. She worked at the Yugoslav Drama Theatre as dramaturge and PR manager from 1999–2011. Since 2011, she has been affiliated with the Academy of Art, Novi Sad. She has published several essays about theatre in the magazines Teatron, Ludus, and Scena, and is a member of the editorial board of Scena. She has published several books about Serbian drama and theatre, has written over twenty dramas, radio dramas, dramas for children, TV scenarios, and tele-plays. She was responsible for the selection of the Sterijino Pozorje festival in 2015 and 2016. She also wrote columns for several newspapers and magazines in Belgrade. She is a critic of the weekly Vreme.

Justyna Michalik-Tomala, PhD, works in the Department of Drama and Theatre at the University of Łódź, Poland. She has co-edited numerous books and exhibition catalogues published by the Centre for the Documentation of the Art of Tadeusz Kantor – CRICOTEKA in Krakow. She is also the author of the book ‘Idea bardzo konsekwentna. Happening i Teatr Happeningowy Tadeusza Kantora’ (A Very Consistent Idea: Tadeusz Kantor’s Happenings and Happening Theater), published in 2015. Her research interests are: avant-garde, culture studies, performative studies, art and politics, relationships and dependencies between historical avant-garde and neo avant-garde.

Krystyna Mogilnicka holds a doctoral degree; cultural anthropologist, translator, theatre producer, manager of cultural projects, graduate of the Institute of Polish Culture at the University of Warsaw, and Theatre Studies at the Charles University in Prague. Since 2016, she has been working for the Zbigniew Raszewski Theatre Institute where she currently manages the department of international cooperation.

Kamelia Nikolova is a theatre researcher, historian, and theatre critic. She is a Professor of European Theatre and is Head of the Theatre Studies Department at the National Academy for Theatre and Film Arts in Sofia, Bulgaria, is a Research Fellow at the Theatre Department of the Institute of Art Studies at the Bulgarian Academy of Sciences, and is a Visiting Professor within other universities. Her research and teaching interests are tied to the history of Bulgarian and European theatre, the historical theatre avant-garde, theory of dramatic literature and performance, stage directing, new theatre practices, and new drama. Her list of publications includes nine books, among them are: ‘The Other Name of Modern Theatre: Stage Director’ (1995), ‘Expressionist Theatre and the Body Language’ (2000), ‘History of Bulgarian Theatre: Volume IV’ (2011, as part of a research team), ‘Bulgarian Theatre after 1989,’ and ‘New British Drama’ (2013, 2018), as well as many further studies and articles in the Bulgarian and international specialty press, published in more than ten languages.

Martynas Petrikas, PhD, is an Associate Professor in the Faculty of Communication at Vilnius University, Lithuania. His research scope includes the history of Lithuanian theatre with special emphasis on its political and social implications, as well as the international dimension of its development. He has published articles and made numerous presentations at conferences on the reverberations of historical experiences in contemporary theatre as well as on relations between Lithuanian and Polish theatre in the 20th century. His key publication, a contribution to a collective monograph, ‘Post-Soviet Lithuanian Theatre: History, Identity, Memory’ (in Lithuanian), was printed in 2014.

Asta Petrikienė, PhD, is a research fellow at Lithuanian Culture Research Institute, Department of Music and Theatre History. Her scientific interests include institutional aspects of development in theatre history. In 2015, she defended her doctoral thesis on relations between theatre and the state in inter-war Lithuania. Her key publications are contributions to collective monographs ‘Reclaimed Avant-Garde: Spaces and Stages of Avant-Garde Theatre in Central-Eastern Europe’ (2018) and ‘Lexicon of Avant-Garde Theatre in Central-Eastern Europe’ (in progress).

Boris Senker graduated in Comparative Literature and English Studies at Zagreb University, Croatia. He is Professor Emeritus of Drama and Theatre at the Department of Comparative Literature at the same university. In 2007 he devised a program for interdisciplinary Doctoral Studies of Literature, Performance Art, Film, and Culture, where he was Chair for six years. His publications include fourteen books, mainly on the ‘formative period’ of director’s theatre (from the Duke of Meiningen to Artaud), on the Croatian theatre of the 20th century, Shakespeare presented on Croatian stages, theatre exchanges, and contemporary theatre studies. He edited two volumes of ‘Theatre in Croatia and Bosnia and Herzegovina 1826–1945. Indexes’ for the Lexicographical Institute, and is currently editing a theatre lexicon for the same institute. He wrote entries on Croatian theatre for German and British theatre lexicons. He is author and co-author of thirty plays and stage scripts. Since 2012 he has been a full member of the Croatian Academy of Arts and Sciences, and since 2018, Chair of its Department for the History of Croatian Theatre.

Przemysław Strożek is a Habilitated doctor, Assistant Professor at the Institute of Art of the Polish Academy of Sciences, Research Associate of the Archiv der Avantgarden in Dresden. A holder of the Fulbright Scholarship at the University of Georgia (Athens, GA, USA), and Accademia dei Lincei, Rome. A scholarship holder of the Foundation for Polish Science and the Ministry of Science and Higher Education under the category of Outstanding Young Scientist. He is the author of several dozen scientific articles on the avant-garde, the first monograph on the reception of Italian futurism in Poland: ‘Marinetti i futuryzm w Polsce’ (Marinetti and Futurism in Poland) (Warsaw, 2012), as well as on sport in art: ‘Modernizm – sport – polityka’ (Modernism – Sports – Politics) (Warsaw, 2019). He acted as curator of numerous exhibitions, including an exhibition on Enric Prampolini, the Polish section of Emergence at the Prague Quadrennial of Performance Design and Space (2019), and an exhibition by Ahmed Cherkaoui at Zachęta – the National Gallery of Art in Warsaw (2020).

Edīte Tišheizere, PhD, is a Latvian theatre scholar and critic. She graduated from the State Institute of Theatre Arts in Moscow (GITIS, 1976–1985). She is a senior scholar at the Institute of Literature, Folklore, and Art at the University of Latvia. She is the editor-in-chief of the theatre magazine Teātra Vēstnesis. Her books include: ‘Neatkarības laika teātris’ (The [Latvian] Theatre of the Period of Independence) (ed., auth., 2020), ‘Abpus rāmjiem. Sarunas par mākslu un dzīvi’ (Beyond Frames: Talking about Art and Life) (2014), and ‘Režijas virzieni un personības Liepājas teātrī’ (Directing and Directors of the Liepaja Theatre) (2010). Her research interests are in interaction between directing and scenography, and the development of the historical avant-garde in the 20th and 21st centuries.

Tomaž Toporišič is a dramaturg and theatre theoretician. Currently he is an Associate Professor in history and the theory of drama and performing arts, Vice Dean of the Academy of Theatre, and also teaches sociology of theatre at the University of Ljubljana, Slovenia. His
primary research interests are contemporary performing arts, literature, and visual culture. He was the artistic director and a dramaturg of Mladinsko Theatre, co-founded the Exodos Festival of Contemporary Performing Arts, and was a guest programmer while Maribor was the European Capital of Culture. He was also a curator of several exhibitions for the Prague Quadrennial of Performance Design and Space. He is a member of the editorial board of Amfiteater: Journal of Performing Arts Theory, Secretary General of the Slovene Centre of the International Institute of Mediterranean Theatre (IITM), and is also a member of the Slovene and European Society of Aesthetics (ESA), the European Association for the Studies of Theatre and Performance (EASTAP), and other associations. He has published numerous papers on theatre and performing arts, and authored books such as ‘Ecdyses of Drama and Theatre’ (2008), and ‘Intercultural and Intermedia Nomadism: On the Intertwining of Media and Cultures in Contemporary Performing Arts’ (2018). He is also the co-editor of: ‘Drama, Text, Scripture’ (2008), and ‘Occupying Spaces: Experimental Theatre in Central Europe’ (2010). In 2014, for exceptional achievements in the field of dramaturgy, he received the title Chevalier dans l’Ordre des Arts et Lettres, from the French Minister of Culture.

Hanna Veselovska is a Professor, theatre critic, and scholar from Ukraine. Senior Research Fellow at the Modern Art Research Institute, the National Academy of Arts of Ukraine, her research and publication interests include modern theatre theory, and Ukrainian theatrical avant-garde. She also teaches and writes extensively on the historic and contemporary Ukrainian theatre, and has authored of over two-hundred-twenty published works, including ‘Kyiv’s Multicultural Theatrical Life, 1917–1926’ in Modernism in Kyiv: Jubilant
Experimentation (Toronto, 2010), and ‘On the Path to Innovation and Experiment: Ukrainian Theater in the first third of the 20th century,’ in Staging the Ukrainian Avant-garde of the 1910s and 1920s (New York, 2015). Among her recent books (all in Ukrainian) are: ‘Twelve Productions by Les Kurbas’ (2005), ‘The Theatrical Intersections in Kyiv: 1900-1910s. Kyiv’s Theatrical Modernism’ (2006), ‘Ukrainian Theatrical Avant-garde’ (2010), ‘Modern Theatrical Arts’ (2014), ‘Maria Zankovetska National Academy Ukrainian Drama Theatre. Time and Fates (1917–1944). Part I’ (2016), ‘Theatre of Mykola Sadovskyj (1907–1920)’ (2018), and ‘More than a Theatre: Ivan Franko National Theatre (2001–2012)’ (2019).

Edyta Zielnik is a producer, coordinator of international events at the Zbigniew Raszewski Theatre Institute, Warsaw, Poland. She cooperated on behalf of the Institute for the implementation of projects in the field of performative and new media arts, interdisciplinary laboratory, and exhibition and research-artistic projects such as ‘SharedSpace: Music Weather Politics 2013–2016’, ‘Post Apocalypsis,’ ‘Polska New Theater,’ ‘The Year of Avant-garde,’ ‘APORIA. THE CITY IS THE CITY,’ ‘EMERGENCE. From shared experience to new
creativity. Living Heritage / Reframing Memory.’

Co-financed by the Minister of Culture and National Heritage of the Republic of Poland

Reclaimed Avant-garde

The Reclaimed Avant-garde project aims to document and present the achievements of the theatre avant-garde of Central-Eastern Europe.

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Reclaimed Avant-garde