{"id":71,"date":"2021-09-22T20:50:19","date_gmt":"2021-09-22T20:50:19","guid":{"rendered":"https:\/\/www.ldtd.ro\/?page_id=71"},"modified":"2025-05-25T15:09:26","modified_gmt":"2025-05-25T15:09:26","slug":"","status":"publish","type":"page","link":"https:\/\/www.ldtd.ro\/hu\/echipa\/","title":{"rendered":"CSAPAT","raw":"CSAPAT"},"content":{"rendered":"","protected":false,"raw":""},"excerpt":{"rendered":"","protected":false,"raw":""},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_ro_post_content":"\n
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Mihai Pedestru este critic \u0219i semiotician teatral, interesat de teorie critic\u0103, de etica practicilor artistice, precum \u0219i de utilizarea tehnologiei pentru a cataloga, analiza, \u00een\u021belege \u0219i demantela textele \u0219i metatextele artelor performative.<\/p>\n\n\n\n

Convins de faptul c\u0103 informa\u021bia vrea, poate \u0219i trebuie s\u0103 fie liber\u0103, promoveaz\u0103 cercetarea teatrologic\u0103 fundamentat\u0103 pe date, construc\u021bia de corpusuri \u0219i seturi de date deschise \u0219i practicile din sfera umanioarelor digitale.<\/p>\n\n\n\n

Doctor \u00een Teatru (din 2012), cu o tez\u0103 despre influen\u021ba noilor tehnologii asupra publicurilor de teatru.<\/p>\n<\/div><\/div>\n\n\n\n

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Mihai Pedestru este critic \u0219i semiotician teatral, interesat de teorie critic\u0103, de etica practicilor artistice, precum \u0219i de utilizarea tehnologiei pentru a cataloga, analiza, \u00een\u021belege \u0219i demantela textele \u0219i metatextele artelor performative.<\/p>\n\n\n\n

Convins de faptul c\u0103 informa\u021bia vrea, poate \u0219i trebuie s\u0103 fie liber\u0103, promoveaz\u0103 cercetarea teatrologic\u0103 fundamentat\u0103 pe date, construc\u021bia de corpusuri \u0219i seturi de date deschise \u0219i practicile din sfera umanioarelor digitale.<\/p>\n\n\n\n

Doctor \u00een Teatru (din 2012), cu o tez\u0103 despre influen\u021ba noilor tehnologii asupra publicurilor de teatru.<\/p>\n<\/div><\/div>\n<\/div>\n\n\n\n

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Raluca Sas-Marinescu este specializat\u0103 \u00een Prelucrarea textului de spectacol, Adaptare \u0219i Dramatizare, Scenaristic\u0103 de film \u0219i Scriitur\u0103 Dramaturgic\u0103 \u0219i este dramaturg.<\/p>\n\n\n\n

Doctorat \u00een Teatru ob\u021binut la Universitatea Babe\u0219 Bolyai cu o tem\u0103 legat\u0103 de tehnicile \u0219i metodele contemporane de scriitur\u0103 dramaturgic\u0103.<\/p>\n\n\n\n

Cerceteaz\u0103 \u00een domeniul Teatru \u0219i Artele Spectacolului, practica sa artistic\u0103 vizeaz\u0103 construc\u021bia de text original bazat pe metoda practicilor colaborative, \u00een paralel dezvolt\u0103 proiecte de scriere creativ\u0103 dedicate adolescen\u021bilor \u0219i se ocup\u0103 cu documentarea practicilor dramaturgice ale ultimilor dou\u0103zeci de ani.<\/p>\n\n\n\n

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Katalin \u00c1gnes Bartha, PhD<\/strong><\/h6>
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Katalin \u00c1gnes Bartha, Associate Professor, Deputy Dean of the Faculty of Theatre and Film of Babe\u0219-Bolyai University. She received her PhD degree from the Babe\u0219-Bolyai University (2007). <\/p>\n\n\n\n

She is currently a postdoctoral research fellow at the J\u00e1nos Bolyai J\u00e1nos 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 Szab\u00e9di Memorial House, coordinating research and academic projects related to 20th century Hungarian intellectuals in Romania. <\/p>\n\n\n\n

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.<\/p>\n<\/div><\/div>\n<\/div>\n\n\n\n

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Anca Ha\u021biegan, PhD<\/strong><\/h6>
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Anca Ha\u021biegan specializes in the history of Romanian theatre.<\/p>\n\n\n\n

She completed her PhD in Philology at the \u201cBabe\u0219-Bolyai\u201d University with a thesis called Theatricality and The Novel Under the Communist Regime<\/em> (2008). <\/p>\n\n\n\n

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.<\/p>\n\n\n\n

She is the author of Diminea\u021ba actri\u021belor<\/em> [Dawn of The Actresses<\/em>] (Ia\u0219i: Polirom, 2019) and C\u0103r\u021bile omului dublu. Teatralitate \u0219i roman \u00een regimul comunist<\/em> [The Books of The Double-Man. Theatricality and The Novel Under the Communist Regime<\/em>] (Cluj: Limes, 2010). <\/p>\n<\/div><\/div>\n<\/div>\n\n\n\n

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Mihai Pedestru, PhD<\/strong><\/h6>
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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.<\/p>\n\n\n\n

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.<\/p>\n\n\n\n

PhD in Theatre (since 2012) with a thesis on the influence of new technologies on theatre audiences.<\/p>\n<\/div><\/div>\n<\/div>\n<\/div>\n\n\n\n

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Raluca Sas-Marinescu, PhD<\/strong><\/h6>
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Raluca Sas-Marinescu specializes in Adaptation and Drama Writing, playwriting  and script writing and she activates as dramaturg.   <\/p>\n\n\n\n

He completed her PhD in Theatre at Babe\u0219 Bolyai University with a thesis concerning contemporary playwriting techniques and methods. <\/p>\n\n\n\n

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. <\/p>\n\n\n\n

Her publications include: Dramaturg and dramaturgy: methods, techniques and case studies<\/em> (Bucharest,  Eikon, 2017), \u201eOnly Lovers left alive\u201d in Survival guide<\/em> for theatrologists <\/em>(Bucharest: Eikon, 2014), \u201eDramaturg and dramaturgy \u00een colective practice \u2013 definition and exemples\u201d, Symbolon, 2018, \u201eMozg\u00f3 dr\u00e1mairodalom \u2013 a sz\u00ednh\u00e1zi sz\u00f6veg \u00e1llapota Rom\u00e1ni\u00e1ban\u201d  \u00een Sz\u00e9pirodalmi Figyel\u0151, Budapest, 2019.Her theatre production include a great number  of performances like: Occupy Yourself<\/em> (2015), Reactring Cernob\u00eel <\/em>(2016) and IntimIDateMe<\/em> (2018), Cluj Napoca, Varoterem Projekt, The promise of a beautiful life (because of Chekov) <\/em>(2013) and Vacuum<\/em> (2014), R\u00e2mnicu V\u00e2lcea, Anton Pann Theatre, Fontana di Trevi<\/em> (2012) and Midsummer Night\u2019s Dream<\/em> (2003) Satu Mare, North Theatre, Antemporal.G<\/em> (2004) , State Theatre, Baia Mare.<\/p>\n<\/div><\/div>\n<\/div>\n\n\n\n

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