Dr. Olga Krasa-Ryabets
Olga is a theatre director and researcher based at the Amsterdam School for Cultural Analysis (ASCA). She is also a member of the Netherlands Institute for Cultural Analysis (NICA) and founder of the Centre for Aliative and Trivial Research (CenAR).
Olga’s areas of interest include cognitive humanities, archeology of the everyday, slow thinking and the off-modern.
She holds a Theatre Specialist BA with Honours (University of Toronto), an MA in Alternative Theatre Directing and Puppetry (Academy of Performing Arts in Prague) and a PhD in Theatre Studies from the University of Amsterdam with a dissertation titled Secret Theatre: off-the-grid performance practices in socialist Poland and Czechoslovakia (2019).
Kryštof is a Czech actor and musician. He studied acting, music and dance from a young age with award-winning teachers and performers and has been active on the Prague music scene for over ten years. Over time, his various projects took him to Germany, France, Italy, Norway, Romania and all over the Czech Republic. CenAR credits include
The Water Hen (actor), Rotten Kid Dong Sells His Ma (actor, musical director), Ibsen’s Lady from the Sea (actor) and Tales from the Middle Ages (actor, co-author). Kryštof is a graduate of the Prague Conservatory (Classical Percussion) and holds a BA from the Royal Conservatory in Den Haag (Jazz Improvisation and Vibraphone).
Jana is a Czech painter and book collector. She holds an MFA in Painting from the University of Ostrava, Faculty of Fine Arts. Jana currently studies Master’s Programme in Visual Cultures, Curating and Contemporary Art at Aalto University Helsinki and among others has recently assisted in artist supportive projects for refugees organized by NGO Turvapaikanhakijoiden tuki ry in Helsinki. Previously she has worked in the Prague gallery scene (DOX, AMoYA) from 2010 – 15. Over the years, Jana has collaborated with CenAR as a scenographer, producer and curator. Jana currently lives in Helsinki with filmmaker Sampo Siren and their son Johan.
Dr. Fabiola Camuti
Fabiola is an artist-researcher and a theatre director based in Amsterdam. She is a member of ASCA (Amsterdam School of Cultural Analysis) and Lecturer at the Department of Theatre Studies, University of Amsterdam. She holds a joint PhD in Theatre Studies (Art History and Performance Studies, Sapienza University of Rome and ASCA, University of Amsterdam) with a dissertation titled The Trained Experience: A Study on the Relationship between Meditation Practices and the Actor’s System of Knowledge. She is also involved in multidisciplinary research projects on the topic of theatre in prison and probation. Her research in the field of theatre and performance studies focus primarily on Theatre History (especially 17th Century Theatre and Commedia dell’Arte), Applied Theatre, 20th Century Acting Theories and Techniques, Actor’s Training, Performance Creation, and Practices-based Research.
Tatiana is a Faculty of Arts & Science Postdoctoral Fellow at the Women & Gender Studies Institute at the University of Toronto, where she is working on her postdoctoral project about contemporary Russian queer theater and drama. She defended her Ph.D. in Slavic Literary Studies at the University of Passau, Germany, in 2019, after obtaining degrees in Teaching Foreign Languages (English and Spanish) in Yaroslavl (Russia), and Russian and East-Central European Studies in Passau. She is co-editor of several collections of interdisciplinary essays on privacy, including Outside the “Comfort Zone”: Private and Public Spheres in Late Socialist Europe (forthcoming in 2020 by De Gruyter). Tatiana’s work strives to capture and elucidate sites, experiences, and articulations of “marginality” in Russian cultural imagination, especially in literature, media, and the arts of the twentieth and twenty-first centuries. A meeting point of hegemonic and alternative discourses, “marginality” as a social, political, and cultural construct fascinates her by the multiplicity of meanings and readings that may be (counter-)coded in it. It thereby has immense potential to reveal the structures of power, control, and difference that have to do not only with political oppression, but also with imaginativeness and agency, which are often overlooked in connection to (neo)authoritarian settings like Russia. Tatiana’s broader research interests include Soviet and contemporary Russian history and culture, political art, cultural privacy studies, queer studies, performance studies, and histories and cultures of LGBT communities in Eastern Europe.
Nadia de Vries
Nadia is a PhD candidate at the University of Amsterdam’s School for Cultural Analysis (ASCA). Her research focuses on the aestheticization of death in web-based cultures. She is the author of four poetry chapbooks and the curator of Sisternhood (2016), an anthology of poetry by European women.
Brittany Pheiffer Noble
Brittany studies Russian literature, culture and intellectual history at Columbia University in New York. She is currently completing her dissertation, Medieval Culture and Modern Exile: The Middle Ages in the Émigré Imagination, which investigates returns to the Medieval in the literature, visual arts, and religion of the Russian émigré community of interwar Paris. She also works on Georgian literature and culture, aesthetics, and Orthodox theology.
Brittany holds a Masters degree from Yale University’s Divinity School where she studied religion and theology. She received her Bachelors degree from Dartmouth College where she studied Russian and Studio Art.
Dr. Olga Śmiechowicz
Olga is an Early Career Researcher in Classics and Theatre Studies and a Fellow at the Chair of Theatre and Drama at the Faculty of Polish Studies of the Jagiellonian University in Krakow. Recipient of scholarships from University of Cambridge, Saint Petersburg State University, L’Université Paris-Sorbonne. As the post-doc she undertook research at the Universität Wien and Ruprecht-Karls-Universität Heidelberg. Olga is a reviewer at “Frammenti sulla scena. Studi sul teatro antico frammentario” journal, published by Centro Studi sul Teatro Classico Università degli Studi di Torino. For many years, as drama critic she has collaborated with Polish magazines devoted to theatre.
Poeci sceniczni w komediach Arystofanesa [Stage Poets in Aristophanes’ Comedies] (2014)
Arystofanes [Aristophanes] (2015)
Polski teatr po upadku komunizmu. Lupa, Warlikowski, Klata [Polish Theatre after the Fall of Communism: Lupa Warlikowski, Klata] (2018)
Polish Theatre after the Fall of Communism. Dionysus since ’89 (2018)
Didaskalia do historii – teatr starożytnej Grecji i jego kontekst polityczny [Stage scripts to History] (2018)
Arystofanes w Oxfordzie [Aristophanes at Oxford] (2018).
Trojanki Jana Klaty [Trojan Women by Jan Klata] (2019)