Dror ABEND-DAVID PhD: teaches at the department of Languages, Literatures and Cultures at the Unviersity of Florida. His first book, based o his dissertation, was published in 2003 by Peter Lang under the title Scorned my Nation: A Comparison of Translations of The Merchant of Venice into German, Hebrew and Yiddish. His new book, Media and Translation: An Interdisciplinary Approach, is forthcoming in 2013 with Contimuum Press. He received his doctorate in Comparative Literature from New York University (2001), and has published extensively on Translation in relation to Media, Drama, Literature, and Jewish Culture.
Åse Eliason BJURSTRÖM: is a drama teacher and lecturer in education at University West, Trollhättan Sweden. She has together with ecologist Miriam Sannum initated RCE West Sweden in relation to the UN Decade of Learning for Sustainable development. She is interested in an intercultural rhizomatic arts-based learning. Learning that sets out to create flows in-between different arenas. For the last twenty years she has worked with drama in intercultural network settings, mainly in East Africa and Sweden. She has co-authored a number of articles and book chapters in the area of intercultural education and work integrated learning, the most recent being ‘Weaving Pedagogies of Possibility’ in Arjen Wals and Peter Corcoran’s edited book Learning for Sustainability in Times of Accelerating Change.
Adam CZIRAK PhD: graduated in German Studies from Eötvös-Loránd University, Budapest and in Theatre Studies and Comperative Literature Studies from Freie Universität Berlin. He wrote his dissertation on participative practices of looking in intersubjective based art and has a PhD in Theatre Studies. Currently he is assistant professor at the Department for Performance Studies at the Freie Universität Berlin. His research focuses on aesthetics of contemporary theatre, visual culture, psychoanalysis, and performance art in the Eastern European Neoavantgarde. Publications: Partizipation der Blicke (Bielefeld, 2011) / Die Aufführung (ed. with E. Fischer-Lichte et al., München, 2011) / Theories of Contemporary Dance (Budapest, 2013) / Melancholy and Politics (ed. With Vassilis Noulas et al, Athens, 2013, in print)
Melanie DREYER: is a director, actor, translator, teacher and producer. She specializes in intercultural, multilingual theater projects and has directed over fifty productions nationally and internationally. Currently serves as the Producing Director of Civic Ensemble (www.civicensemble.org) and as Assistant Professor of Acting/Directing at Cornell University. More about her work may be found at http://www.melaniedreyer.com.
Márta MINIER: is Lecturer in Drama at the University of South Wales. She holds a PhD from the Centre for Performance Translation and Dramaturgy at the University of Hull. Her PhD thesis discussed the translation of Hamlet into Hungarian culture. Márta’s main research interests include European drama with a special emphasis on Central and Eastern Europe; translation studies; adaptation studies; dramaturgy; stage and screen biography; Shakespeare studies. She is Assistant Editor of the Journal of Adaptation in Film and Performance and one of the associate editors of the theatre studies journal Symbolon.
Manuela PERTEGHELLA: is a theatre translation scholar and practitioner. Her main interests are theatre translation and literary translation, in particular the collaborative nature underpinning the translation of international drama, and the translation of non-standard language theatre. She has also written extensively about translation as a highly creative and critical practice. She has worked for various British theatre companies as a script reader, translator and literary assistant, and has taught translation extensively at UK universities. She co-edited Staging and Performing Translation: Text and Theatre Practice (Palgrave 2011), Translation and Creativity (Continuum 2006) and One Poem in Search of a Translation (Peter Lang 2008). She is currently working on multimedia translations, on a poetry collection, and has recently co-founded The Creative Literary Studio (http://thecreativeliterarystudio.wordpress.com), where she blogs on translation, writing and text making.
Sándor SAJÓ PhD: is a philosopher and in some sense a poet and a writer too. Currently, he is assistant professor at Eötvös Loránd University Budapest (his Habilitation is in progress). His book Almost Everything. The Dialectics of Broken Totality is forthcoming both in Hungarian and English. Accordingly, he is interested in almost everything. To put it a bit more exactly, he feels close to various philosophers like Kant, Hegel, Kierkegaard, Nietzsche, Husserl, Heidegger, Merleau-Ponty and Deleuze. For different reasons, to be sure. Earlier, he also translated texts from some of these authors into Hungarian.
Imre UNGVÁRI-ZRÍNYI PhD: graduated from the Babeș-Bolyai University Cluj, Romania. He is associate professor at the Babeș-Bolyai University Cluj, Department of Philosophy in Hungarian. He has been teaching General and Applied Ethics, Axiology and Anthropology at this institution from 1994. His books are: Dialogue. Interpretation. Interaction. Toward a Communicative Approach to Culture (2005), Introduction in Ethics (2006), Basic Concepts of Applied Ethics. Bioethics, Business Ethics, Ethics of Public Service, Media Ethics (2007), Philosophy of Morals (2008). His research topics are: ethics of intercultural communication; media ethics; dialogic ethics for business; moral responsibility.
Diasporic Genius (Canada, Toronto) is grounded in the creative process and the development of creative capacity and agency, in individuals and communities. It brings the impact strategies of artists (and scientists, business leaders, teachers and innovators in every sector), together with the power of Story-as-a-generative-force to bear on the opportunities and challenges of community engagement and economic resilience. Our projects range from community development to multidisciplinary performance. Diasporic Genius is also dedicated to reclaiming the innovative power of large-scale public celebration and performance, and presents its vision and plan as ultimately the shortest route to significant and sustainable economic, cultural, social and built-space transformations. http://diasporicgenius.com/
The Commedia School (Denmark) is a 2 year professional level actor training program founded by Ole Brekke and Carlo Mazzone in Copenhagen, Denmark. Since 1978, each September, a new group of students from around the world have been attracted to Northern Europe’s oldest physical theater school to develop themselves as performers. The school has started students on successful careers in many areas of performing including stage, street theater, circus, puppet theater, magic, children’s theater, performance, cabaret, and film. The Commedia School is a physical theater school. The basis of the training is movement, the physical aspect of acting, which is often left out of traditional acting programs. The school has attracted students from 35 different countries and all continents. Because each class has students from many countries, the English language is used. The current (2013) multi-national teaching staff includes: Ole Brekke (USA), Marcello Bosschar (Brazil), Ruth Lerche (Denmark), Janusz Komodowski (Poland), Finbarr Ryan (UK), and Petra Föhrenbach (Germany). http://www.commediaschool.com
European Theatre Collective (ETC), established in 2007, is a cutting-edge theatre ensemble based in Helsinki, Finland. ETC is at the forefront of an expanding international network of both foreign theatre artists who have immigrated to Finland and Finnish theatre artists who have received their education abroad. Through a number of avenues, including original dramatic productions with prominent artists, storytelling workshops, and many other creative activities, ETC is bringing artists from many diverse cultural backgrounds together to create new and exciting artistic work, strengthening both the Finnish artistic community and the international artistic community with every collaboration.
The Theatre Studies Department at the University of Malta is a relatively young department, forming part of the School of Performing Arts, although Theatre Studies has been established as an area of study at the university for about twenty five years. Members of staff in the department specialize in a number of different aspects of theatre scholarship, including physical theatre, musicality in theatre, the Russian twentieth century, Baroque and postcolonial theatre. Further information about the department can be found at http://www.um.edu.mt/performingarts/theatre. For this project the department is represented by Dr Marco Galea (http://www.um.edu.mt/performingarts/theatre/staff#Marco).
The Centre works to initiate vigorous and productive interventions into nominal areas of otherness as a site for critical, socio-political, cultural, and literary exploration. As an international and multidisciplinary project, it also involves discussions and readings that relate to cultural theory, continental philosophy, sociology, postcolonial studies, psychoanalysis, gender studies, Gothic studies, postmodernism and poststructuralist theory. The Centre promotes and envisages expanding and productive international collaboration; hence, we gladly invite fellow academics, writers, artists, individuals, and institutions from all countries, to convene and discuss representations of otherness in the arts.
Transindex http://www.transindex.ro: the website was launched initially by Philosophy students in 1999 as an independent online media. With a daily 15.000 hits of visitors, by now it has become the most popular Hungarian written medium in Romania and the most influential forum on politics, culture and society. It’s principles and values are: liberal, cosmopolitan and innovative.
Observator Cultural and http://www.observatorcultural.ro: Observator Cultural (Cultural Observer) is a literary weekly that reports on culture and arts scene in Romania and also features debates on political issues. The printed version is funded by subscriptions and arts advertisements. It functions as a joint-stock company, the shares are held by the editors. In 2005 some of the journalists left the editing team owing to friction over the financing. In 2006 Observator Cultural was designated the country’s best cultural magazine by the Romanian cultural broadcaster Radio Romania Cultural.
Játéktér/Playing Area and http://www.jatekter.ro: the printed and online journal came to life in 2012 with the intent to become an active part of Hungarian theatrical life in Romania. It wishes to be a chronicler and a participant of this world of extreme diversity both in structure and artistic expression, situated on the meeting point of Romanian and Hungarian culture. Hungarian and Romanian theater makers, critics and writers contribute to this journal that speaks in mostly widely accessible, understandable terms about the theatrical life of our area.