Ewa Bal
Ewa Bal is professor of Jagellonian University in Krakow (Poland) and visiting professor at Ukrainian, Italian and Spanish Universities. She has got a professor habilitation in 2018 and a PhD in 2006 at the Jagellonian University. In 2004–2008, she was a lecturer of Polish culture and language at the University “Orientale” of Naples (Italy). She graduated in Theatre Studies at the Jagellonian University in Krakow (1996) and in Italian Studies (Discipline dello Spettacolo) at the Sapienza University of Rome (Italy) in 1999. She is a member of EASTAP (European Association for Studies of Theatre and Performance) and IFTR (International Federation for Theatre Research). Winner of the Italian Ministry of Foreign Affairs Scholarship, the Polish National Centre of Science Grants and national prizes. Author of two monographs: Corporeality in Drama: The Theatre of Pier Paolo Pasolini and its Legacy (Krakow, 2006), In the Footsteps of Harlequin and Pulcinella. Cultural Mobility and Localness of the Theatre (Krakow, 2017 in Polish, in English by Peter Lang, Germany 2020 ) and over forty papers in scientific journals. She co-edited such works as Performance, Performativity, Performer: Definitions and Critical Analysis (Krakow, 2013), Performance Studies: Territories (Krakow, 2017) and recently "Situated Knowing. Epistemic Perspectives on Performance" (Routledge, 2020). She translated and edited several Italian and Polish plays by Pier Paolo Pasolini, Emma Dante, Davide Enia, Annibale Ruccello, Enzo Moscato, Fausto Paravidino, Jan Klata and Michał Walczak. Her major academic interests are the cultural mobility of performance and theater, minority language theater and performance, Ukrainian theatre and performance, translation studies, and (de)postcolonial studies.
Foreign Languages: Ukrainian, Italian, English, Spanish, French, Polish
Address: Jagellonian University (Kraków)
Golebia Street, 18
31-007 Kraków (Poland)
Foreign Languages: Ukrainian, Italian, English, Spanish, French, Polish
Address: Jagellonian University (Kraków)
Golebia Street, 18
31-007 Kraków (Poland)
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Papers by Ewa Bal
Dziady by Adam Mickiewicz
translation: Viktor Humeniuk, direction: Maja Kleczewska,
premiere: 27 May 2023
CHORUS OF WOMEN Foundation; Powszechny Theatre in Warsaw; Maxim Gorki Theater; Festival d'Avignon; Maillon, Théâtre de Strasbourg - Scène européenne; SPRING Performing Arts Festival; Tangente St. Pölten - Festival Für Gegenwartskultur
Mothers. A song for a war time
concept, direction: Marta Górnicka, libretto: Marta Górnicka and ensemble, premiere: 29 September 2023
Teatr Współczesny in Szczecin
I will tell you tomorrow by Liuba Ilnytska
director: Nina Khyzhna, script and dramaturgy: Liuba Ilnytska, premiere: 23 June 2023
This book reworks the concept of situated knowledges put forward over thirty years ago by American biologist and philosopher Donna Haraway in order to challenge the Enlightenment paradigm of objectivity in sciences by emphasising the role of the embodied and partial socio-cultural perspective of the scholar in the production of knowledge.
Methodological Perspectives
The article is an attempt to outline new methodological perspectives on performance studies which derive from Stephen Greenblatt’s Cultural Mobility Manifesto, published in 2010.
It analyses the concept of “contact zones,” introduced for the first time in the humanities
by Mary Luise Pratt in 1993, and subsequently developed by Stephen Greenblatt and Donna
J. Haraway, demonstrating how it reformulates the present understanding of “performance.”
According to the author of the article, the contact zones, intended as a space of encounter
of heterogenic subjects, allow scholars to have a closer look at emergent strategies, meanings,
and contingencies of the present cultural reality. To explain her argument, the author analyses two study cases: the performance Exhibit B by Brett Bailey from 2013, and an exhibition
of photographer Pieter Ugo, Between the Devil and the Deep Blue Sea at Museu Coleção
Berardo, Lisbon (05.07.2018–07.10.2018).
Dziady by Adam Mickiewicz
translation: Viktor Humeniuk, direction: Maja Kleczewska,
premiere: 27 May 2023
CHORUS OF WOMEN Foundation; Powszechny Theatre in Warsaw; Maxim Gorki Theater; Festival d'Avignon; Maillon, Théâtre de Strasbourg - Scène européenne; SPRING Performing Arts Festival; Tangente St. Pölten - Festival Für Gegenwartskultur
Mothers. A song for a war time
concept, direction: Marta Górnicka, libretto: Marta Górnicka and ensemble, premiere: 29 September 2023
Teatr Współczesny in Szczecin
I will tell you tomorrow by Liuba Ilnytska
director: Nina Khyzhna, script and dramaturgy: Liuba Ilnytska, premiere: 23 June 2023
This book reworks the concept of situated knowledges put forward over thirty years ago by American biologist and philosopher Donna Haraway in order to challenge the Enlightenment paradigm of objectivity in sciences by emphasising the role of the embodied and partial socio-cultural perspective of the scholar in the production of knowledge.
Methodological Perspectives
The article is an attempt to outline new methodological perspectives on performance studies which derive from Stephen Greenblatt’s Cultural Mobility Manifesto, published in 2010.
It analyses the concept of “contact zones,” introduced for the first time in the humanities
by Mary Luise Pratt in 1993, and subsequently developed by Stephen Greenblatt and Donna
J. Haraway, demonstrating how it reformulates the present understanding of “performance.”
According to the author of the article, the contact zones, intended as a space of encounter
of heterogenic subjects, allow scholars to have a closer look at emergent strategies, meanings,
and contingencies of the present cultural reality. To explain her argument, the author analyses two study cases: the performance Exhibit B by Brett Bailey from 2013, and an exhibition
of photographer Pieter Ugo, Between the Devil and the Deep Blue Sea at Museu Coleção
Berardo, Lisbon (05.07.2018–07.10.2018).