TEAM

Katalin Ágnes Bartha, Associate Professor, Deputy Dean of the Faculty of Theatre and Film of Babeș-Bolyai University. She received her PhD degree from the Babeș-Bolyai University (2007).

She is currently a postdoctoral research fellow at the János Bolyai János Bolyai Research Fellowship of the Hungarian Academy of Sciences.Between 2007-2018 she was an associate lecturer at the Hungarian Institute of Literature at the Faculty of Arts of the BBU, and between 2003-2019 he was a researcher at the Szabédi Memorial House, coordinating research and academic projects related to 20th century Hungarian intellectuals in Romania.

She has participated in several theatre studies research projects funded by the Hungarian Academy of Sciences. she has also published several studies on theatre culture in Central and Eastern Europe, edited several volumes on intercultural relations, theatre historiography and intellectual career histories, and edited a volume of critical sources. Her volumes include Shakespeare in Transylvania (19th century Hungarian reception), Argumentum, Bp., (2010) and A Nationality Publishing House in the Decades of Dictatorship (1969-1989), Polis-NKI, 2020.

Anca Hațiegan specializes in the history of Romanian theatre.

She completed her PhD in Philology at the “Babeș-Bolyai” University with a thesis called Theatricality and The Novel Under the Communist Regime (2008). 

She researches about the history of Romanian theatre, the history of actresses, women and theatre, theatre and nation, theatre and Communism, theatre and literature, theatricality, etc.

She is the author of Dimineața actrițelor [Dawn of The Actresses] (Iași: Polirom, 2019) and Cărțile omului dublu. Teatralitate și roman în regimul comunist [The Books of The Double-Man. Theatricality and The Novel Under the Communist Regime] (Cluj: Limes, 2010). 

Mihai Pedestru is a theatre critic and semiotician, interested in critical theory, art ethics, as well as in using technology to catalogue, analyse, understand, and subvert the texts and metatexts of performing arts.

Firm believer that information wants to, can, and must be free, he promotes grounded theory approaches in theatre studies, the construction of open corpuses and data sets, and digital humanities practices.

PhD in Theatre (since 2012) with a thesis on the influence of new technologies on theatre audiences.

Raluca Sas-Marinescu specializes in Adaptation and Drama Writing, playwriting  and script writing and she activates as dramaturg.   

He completed her PhD in Theatre at Babeș Bolyai University with a thesis concerning contemporary playwriting techniques and methods. 

Her research is focused on playwriting, narrative structure development and collaborative practice, her artistic practice is focus on developing scripts for stage together with an assemble, working on theatre making and devising methods. In the same time she is developing creative writing projects for teenagers and she is documenting last twenty years of drama writing. 

Her publications include: Dramaturg and dramaturgy: methods, techniques and case studies (Bucharest,  Eikon, 2017), „Only Lovers left alive” in Survival guide for theatrologists (Bucharest: Eikon, 2014), „Dramaturg and dramaturgy în colective practice – definition and exemples”, Symbolon, 2018, „Mozgó drámairodalom – a színházi szöveg állapota Romániában”  în Szépirodalmi Figyelő, Budapest, 2019.Her theatre production include a great number  of performances like: Occupy Yourself (2015), Reactring Cernobîl (2016) and IntimIDateMe (2018), Cluj Napoca, Varoterem Projekt, The promise of a beautiful life (because of Chekov) (2013) and Vacuum (2014), Râmnicu Vâlcea, Anton Pann Theatre, Fontana di Trevi (2012) and Midsummer Night’s Dream (2003) Satu Mare, North Theatre, Antemporal.G (2004) , State Theatre, Baia Mare.