In the frame of THALIA we mainly join forces between two universities who already have strong profiles in research on theatre(texts), literature, performance and dramaturgy. The VUB research center CLIC and Ghent University’s research center S:PAM are – in different ways – specialised in related topics, and they already connect researchers and research projects with a strong international reputation. THALIA however is open to welcome scholars with different affiliations.
- Ghent University / S:PAM
- Vrije Universiteit Brussel / CLIC
Ghent University affiliated scholars
Annelies Van Assche is PhD student at the Art, Music and Theatre Studies Department at Ghent University and member of research centre Studies in Performing Arts & Media (S:PAM). She works on the interdisciplinary, FWO funded research project Choreographies of Precariousness, which deals with contemporary dancers’ socio-economical position and its influence on their production processes.
Benjamin Biebuyck has been a Professor of German Literature at Ghent University since 2000. He published extensively on Nietzsche, on the relationship between literature, law and ethics, on literary theory – particularly on theoretical issues concerning figurativeness – as well as on 19th and 20th century German literature in “Philologus”, “Germano-Slavica”, “Nietzsche-Studien”. He is also supervisor of several research projects on 19th and 20th century German literature and intellectual history.
Charlotte Gruber is PhD student at the Art, Music and Theatre Studies Department at Ghent University and member of research centre S:PAM (Studies in Performing Arts & Media). She is finishing the BOF-funded PhD research Antigone in/as Transition. A Study on the Performing Arts Status Quo in Europe (in its Transcontinental Contexts), which critically discusses the legacy of Antigone in contemporary performance art and academia.
Christel Stalpaert is Professor of Theatre, Performance and Media Studies at Ghent University where she is co-director of the research unit S:PAM (Studies in Performing Arts and Media). Her main areas of research are the performing arts, dance and the new media (from the historical avant-garde onward) at the meeting-point of philosophy. She is currently doing research on performing cultural trauma and conflict in contemporary performing arts (e.g. post-migrant theatre, the notion of embodied cognition and the poetics of failure in mechanisms of remembering)
Christine Kanzis Professor of German Literature at Ghent University. She is specialised in Fantasies and Techniques of Reproduction in Literature, Theatre, Science, and the Arts (19th to 21st century), in the Interrelations between Affects and Knowledge in Literature, Theatre, Science, and the Arts around 1800 and in Theories of Inter/Mediality.
Frederik Le Roy holds degrees in Philosophy (Catholic University of Leuven, 2003) and Performance Studies and Film (Ghent University, 2005) and was visiting research student at the Department of Theatre, Dance, and Performance Studies at UC Berkeley in 2006. In 2012 he obtained his doctoral degree at Ghent University with a dissertation entitled “Verknoopte tijd, verfrommelde geschiedenis” (“Entangled Time, Crumpled History”).
Gunther Martens is a Professor of German Literature at Ghent University. He supervises research projects on text theatricality, music criticism, migrant literature and rhetorical narratology. His current research activities comprise: rhetorical narratology; research into new documentary strategies in literature and culture (e.g. Rimini Protokoll; Zeh, Röggla, …); the cultural history of the Encyclopaedia as hybrid genre.
Jeroen Coppens is currently a Post-Doctoral Assistant at the Department of Art History, Musicology and Theatre Studies at Ghent University. He is a member of research centre Studies in Performing Arts & Media (S:PAM, Ghent University) and of the Arbeitsgruppe Dramaturgie of the Gesellschaft für Theaterwissenschaft. He publishes on the themes of visual dramaturgy, intermediality, postdramatic theater and the performance of images.
Jürgen Pieters is Professor of literary theory at Ghent University and the director of research center GEMS. He teaches courses on the history of poetics and on theories of cultural history. He is currently finishing a book on the methodology of literary history and preparing a monograph on early modern consolatory writing.
Katharina Pewny is, after a Habilitation in Theatre Studies and Dramaturgy in 2009, Professor of Theatre, Performance and Media Studies and (with Ch. Stalpaert) director of the research centre S:PAM (Studies in Performing Arts and Media) at Ghent University. She specialises in antique and contemporary theatre, both in the analysis of theatre texts and performances, in dramaturgy and ethics in aesthetics. Her current research includes re-stagings of Greek tragedies, ritual aspects of theatre and other media and German theatre (texts). She is the chair of THALIA.
Kornee van der Haven is Professor of Early Modern Dutch and German Literature at Ghent University. He is currently working on the FWO-funded research project Enlightenment at War: Epic Poetry, the Citizen and Discursive Bridges to the Military (1740-1800), which investigates the role of literature in making the military an integral part of the civic public sphere during the Enlightenment, bridging the gap between studies on 18th-century epic poetry and military treatises.
Kristoffel Demoen is Professor of ancient Greek and Byzantine Literature at Ghent University and has a focus on Greek literature from the imperial period (Second Sophistic), Late Antiquity (Patristics) and early to middle-Byzantine period. He especially enjoys working on narrative prose and poetry (o.a. epigrams).
Mara Santi is Professor of Italian Literature at Ghent University. She is specialised in the study of the Italian writer Mauro Covacich who edited a multimodal pentalogy composed by four books and a video installation; study of the relation between literature and performance arts, between different media. Study of the relation between the concept of performance and narrative forms such as the short story collections.
Marcus Hahn conducts research from a media anthropology perspective as well as from a cultural studies and science studies point of view. His research is focused on the history of the media concept, especially its intersections and interferences with western psychiatric and ethnological knowledge around 1900 (hypnosis, trance, possession), and its development alongside the German speaking modern literature, expressionist cinema and media theory.
Sarah J. Adams is a voluntary employee at the Department of Literary Studies at Ghent University and lecturer of early modern history at Amsterdam University College. In 2020, she completed her PhD, entitled “Repertoires of Slavery: Dutch Theater Between Abolitionism and Colonial Subjection, 1770-1810,” under the supervision of Prof. Kornee van der Haven (UGhent). The project, funded by FWO, charted the erratic ideological terrain of abolitionism through the lens of white-produced theater in the Netherlands in a period rife with seething debates over race, national identity, profitability, and human rights. Her follow-up project, “Blackface Burlesques,” will explore the modes, scenarios, tropes, and techniques used to design “blackness” on the comic Dutch stage and investigate the different functions of these modes of representation. Her research interests include critical race theory, postcolonial criticism, popular culture, and performance historiography. Since 2016, Sarah is co-editor of the yearbook of the Dutch-Belgian Society for Eighteenth-Century Studies, and a member of the research groups THALIA, GEMS, and CEL19.
Sophie Wennerscheid is Professor for Scandinavian Literature and Culture at University Ghent.
Tom Laureys is a PhD candidate (BOF) in Dutch literature at Ghent University. His project Radical Revenge? focuses on the providentialist discourse of seventeenth-century revenge theatre in the Northern Netherlands (1638-1678). The aim of the project is to contribute to our understanding of how the subject in the revenge tragedy is conceptualized differently in its relation to the providential order compared to early modern Aristotelian and French-classicist tragedies.
Yannice De Bruyn is PhD student at the Department of Literary Studies of Ghent University and the TALK Department of Vrije Universiteit Brussel. She conducts her research within the framework of Imagineering Violence: Techniques of Early Modern Performativity in the Northern and Southern Netherlands (1640-1690). This project is a collaboration between Vrije Universiteit Brussel, Ghent University, Leiden University and VU Amsterdam, funded by the Flemish and Dutch research foundations FWO and NWO.
Renée Vulto holds a BA and MA degree in Musicology from the University of Amsterdam and Utrecht University. Currently she is a doctoral researcher at the Department of Literary Studies at Ghent University, working on her interdisciplinary research-project: “Singing Communities: Dutch Political Songs and the Performance of National Identity (1775-1825)”.
Vrije Universiteit Brussel affiliated scholars
Christophe Collard is a postdoctoral research fellow and works at the VUB within the IUAP project on Literature and Media Innovation on the American multi-media dramaturge and director John Jesurun, one of the ‘masters’ of René Pollesch. His project centers on the concepts of ‘hypermediacy,’ ‘intermediality,’ and ‘digitalism’.
Hans Vandevoorde is professor of Dutch Literature at VUB. He publishes extensively on the history of literature, culture and performance in the fin de siècle and the interwar period, on generational aspects of literary history, on urban space in literature, culture and performance since the 19th century, and on experimental poetry after 1945.
Inge Arteel is professor of German Literature at the VUB and, since July 2014, chair of the research group CLIC, Centre for Literary and Intermedial Crossings. She has published on Elfriede Jelinek (both text and performance analyses) and other ‘heirs’ of the Austrian neo-avantgarde (Friederike Mayröcker, Gerhard Roth, Lisa Spalt etc). Her current research concerns grotesque aesthetics. As a member of the scientific advisory board of the Elfriede Jelinek Forschungszentrum at Vienna University, she is related to intermedial research projects on the work of Jelinek and other German language playwrights. She is the Co-chair of THALIA.
Janine Hauthal works as an FWO Postdoctoral Fellow at VUB since October 2014. She earned her doctorate with a dissertation on “Metadrama and Theatricality”. Her research interests include metaization across media and genres, postdramatic theatre (texts), transgeneric/transcultural narratology, contemporary (black) British writing and postcolonial theory. Her current postdoctoral project focuses on how Europe is imagined in contemporary British novels, travelogues and plays.
Johan Callens is professor of English and American Literature and Theatre Studies at the VUB. He has published extensively on intermediality, metatheatre, American drama and performance, postdramatic mediaturgy, genre and media innovation, adaptations. He supervises a PhD project on Postdramatic Mediaturgy within the IUAP project Literature and Media Innovation: The Question of Genre Transformations (coordination KULeuven).
Karel Vanhaesebrouck works as a professor of Theatre Studies at ULB and RITS and as a research professor at VUB. His research interests concern the intermedial imagination of the tension between theatricality and reality, adopting an explicitly interdisciplinary approach to study historical and contemporary instances of theatricality in relation to cultural and social contexts.
Klaas Tindemans works as a professor of Theatre Studies and research coordinator at RITS and as a research professor at VUB. His research interests concern theatricality and politics, theatre and political violence, the documentary and performance, and the problematics of the legitimization of governmental policies on arts and culture.
Mathias Meert works as an FWO PhD scholar at the VUB since October 2012. He is preparing a dissertation on intertextuality and authorship in selected plays and pantomimes of RichardBeer-Hofmann, an author, playwright and director of the “Wiener Moderne”.
Ronald Geerts is professor of Theatre and Film Studies at VUB, ULB and UA. His research interests include the screenplay as an intermedial text, style as a narrative strategy in screenplays, and the status of the text in contemporary theatre.
Karen Jürs-Munby is a Lecturer in Theatre Studies at the Lancaster Institute for the Contemporary Arts at Lancaster University. She has published widely on contemporary European theatre, especially on the relation between text and performance in postdramatic theatre, the politics of postdramatic theatre and on Elfriede Jelinek’s theatre texts in performance. She is currently working on a monograph investigating the diverse directorial approaches to Jelinek’s theatre texts, “Jelinek in Practice: German Directors’ Theatre, Politics and Aesthetics” (Bloomsbury Methuen Drama). She is an international partner of the Jelinek Research Platform, Vienna and a member TAPRA’s Directing and Dramaturgy Working Group.
Yana Meerzon holds a PhD from The Graduate Centre for Study of Drama, University of Toronto (2003). Her research interests are in the areas of drama and performance theory, theatre semiotics and communication, theatre of exile and immigration, and Russian theatre. She has completed a study on Michael Chekhov’s acting theory and pedagogy, published under the title “A Path of the Character: Michael Chekhov’s Inspired Acting and Theatre Semiotics”, by Peter Lang Publishing House, 2005. Her research project “Theatricality and Exile” has been sponsored by the Social Sciences and Humanities Research Council (SSHRC). Her manuscript “Performing Exile – Performing Self: Drama, Theatre, Film” is published by Palgrave Macmillan, 2012.
Marissia Fragkou is senior lecturer in Performing Arts and joined Canterbury Christ Church University in 2013. Prior to this appointment she was a teaching fellow in Drama at the University of Birmingham (2011-2013) where she extensively taught on the undergraduate programme. She has previously lectured in a number of HE institutions (Royal Holloway, Winchester, DMU, Kingston). In the past she has widely taught on both theory and theatre practice specializing in: British theatre; feminist theatre; cultural/critical theory; contemporary theatre practices/devising; applied theatre; actor-training.
THALIA page on the research portal of the Faculty of Arts and Philosophy of Ghent University: http://research.flw.ugent.be/thalia
THALIA is supported by Bijzonder Onderzoeksfonds, Ghent University and Research & Development Vrije Universiteit Brussel