Editor
Donatella Gavrilovich
University of Rome ‘Tor Vergata’

Associate Editors
Donato Santeramo
Queen’s University, Kingston (CANADA)
Ol’ga Kupcova
State Institute of Art Studies (SIAS), Mosca (RUSSIA)

Consulting Editor
Marie-Christine Autant-Mathieu
EUR’ORBEM, CNRS, Paris-Sorbonne (FRANCE)
Delphine Pinasa
Centre National du Costume de Scène et de la Scénographie (CNCS)
(FRANCE)
Dmitrij Rodionov
A. A. Bakhrushin State Central Theatre Museum (RUSSIA)

Advisory Board
Gabriella Elina Imposti
University of Bologna
Andrei Malaev-Babel
Florida State University/Asolo Conservatory for Actor Training (USA)
Lorenzo Mango
University of Naples ‘L’Orientale’
Mariateresa Pizza
Archive ‘Dario Fo-Franca Rame’
Roger Salas
‘El Pais’, Madrid (SPAIN)
Riku Roihankorpi
University of Tampere (FINLAND)

Editorial Board
Leonetta Bentivoglio
‘La Repubblica’, Rome
Michaela Böhmig
University of Naples ‘L’Orientale’
Manuela Canali
National Academy of Dance, Rome
Silvia Carandini
University of Rome ‘La Sapienza’
Alexander Chepurov
Russian State Institute of Performing Arts
Marietta Chikhladze
Tbilisi State University (GEORGIA)
Enrica Dal Zio
‘Michael Chekhov Association MICHA’, New York (USA)
Dominique Dolmieu
Maison d’Europe et d’Orient – Eurodram (FRANCE )

Erica Faccioli
Academy of Fine Arts of Venezia
Stefania Frezzotti
National Gallery of Modern Art (GNAM), Rome
Fabrizio Grifasi
Fondazione Romaeuropa, Rome
Vladislav Ivanov
State Institute of Art Studies (SIAS), Mosca (RUSSIA)
Lucie Kempf
Université de Lorraine (FRANCE )
Claudia Pieralli
University of Florence
Gabriel Poole
University of Cassino and Southern Lazio
Elena Randi
University of Padua
Daria Rybakova
St. Petersburg State University of Culture and Arts (RUSSIA)
Elena Servito
INDA (National Institute of Ancient Drama) Foundation of Syracuse
Margaret Shewring
University of Warwick (ENGLAND)
Artem Smolin
St. Petersburg State University of Information Technologies, Mechanica
and Optics (RUSSIA)
Leila Zammar
Loyola University of Chicago JFRC
Fabio Massimo Zanzotto
University of Rome ‘Tor Vergata’

Editorial Assistants
Elisa Anzellotti, University of Viterbo “La Tuscia”
Annamaria Corea, University of Rome ‘La Sapienza’
Anna Isaeva, Université Paris 3 Sorbonne Nouvelle (FRANCE )
Irina Marchesini, University of Bologna
Marianna Zannoni, University of Venice

Staff
Marco Argentina, University of Padua, Giulia Cara, University of
Rome ‘Tor Vergata’, Gioia Cecchi, University of Rome ‘La Sapienza’,
Marco Damigella, University of Roma Tre, Davide Di Bella, University
of Florence, Alessandro Maria Egitto, University of Rome ‘Tor
Vergata’, Valeria Gaveglia, University of Rome ‘Tor Vergata’, Silvia Loreti, University of Rome ‘Tor Vergata’, Manuel Onorati, University of
Rome ‘Tor Vergata’, Valeria Paraninfi, University of Rome ‘Tor Vergata’, Elisa Passone, University of Rome ‘Tor Vergata’, Ilaria Recchi, University of Rome ‘Tor Vergata’, Andrea Vanacore, University of Roma Tre

Donatella GAVRILOVICH (University of Rome Tor Vergata) is Associate Professor of History of Theatre and Digital Technologies. She is a scholar interested in Russian theatre, dance, set designer and visual art from the nineteenth century to contemporaneity. Her research also focused on the Performing Arts digital archives and theatrical exhibitions. Graduated with Honor in History of Contemporary Art, she collaborated as researcher in Italian projects with CNR-Sapienza University of Rome, National Gallery of Modern and Contemporary Art in Rome and Museum of Verbania-Pallanza. In 2012 she was invited to join the ECLAP-EUROPEANA project as an expert. The following year she began the collaboration with the ITMO University of St. Petersburg (Russia) for the application of new technologies to the Intangible Cultural Heritage, creating in 2016 «Vera Komissarzhevskaya Virtual Museum»: http://verakomina.ifmo.ru. In 2014 she designed the ontology of an innovative knowledge base model for cataloging the theatrical performances, entitled Performance Knowledge base (PKb). Since 2016 she collaborates with Bern University of Applied Sciences (BIAS) on the methodology to create an International Performing Arts Platform and she participated in the Swiss Open Cultural Data Hackathon. She collaborates also with Centre for Practice as Research in Theatre T7 of University of Tampere (Finland) concerning the problems of virtual reconstruction of the historical theatrical productions. Actually, she joins a European and Canadian research network (CAPACOA) dedicated to the issue of digital archives and open data in theatre (COST project in progress: LODEPA, Linked Open Data, directed by Beat Estermann (BIAS). She is a member of W3C – PAIR CG (Performing Arts Information Representation Community Group), Open Science YERUN WG “Tor Vergata”, EURODRAM, SIBMAS, SEFER (University of Warwick) and CERCLE (University of Lorraine). Since 2012 she founded and directed the scientific publishing series entitled “Arti dello Spettacolo/Performing Arts” and, since 2015, the online opens source journal http://www.artidellospettacolo-performingarts.com She has conceived and organized numerous conferences and round tables. In 2019 she launched the project The “États Généraux” Of The Performing Arts, with funding and patronage of University of Rome “Tor Vergata” which aims to monitor the status of performing arts studies worldwide through a series of conferences. Her publications include several articles and books. Among these: Profumo di Rus’. L’arte del teatro in Russia. Scritti d’artisti, pittori e critici 1860-1920 (1993); Nel segno del colore e del corpo. Il regista-scenografo Aleksandr Golovin. Sperimentazione e riforma nella scena russa dal 1878 al 1917 (2011); Vera Komissarževskaja. Una donna “senza compromesso” La vita e l’opera dell’attrice russa dal 1899 al 1906 (2011 and 2014); Arts and Dance. Russian and Soviet Choreographers (2017). An essay in the Meyerhold Companion volume is forthcoming publication for Routledge publishing house.

Donato Santeramo (Queen’s University, Kingston – CANADA)  earned his undergraduate degree at the University of Rome, “La Sapienza” and his Ph.D. at the University of Toronto. He is the Head of the Department of Languages, Literatures and Cultures at Queen’s University and is cross appointed to the School of Drama and Music.  He is also associated with the Cultural Studies Graduate Program and holds an appointment at the Graduate School of the University of Rome II. He taught, from 2000 to 2013, at Middlebury College’s Summer School and at the Centre for the Study of Diaspora at the University of Calabria.  He has published on Italian literature, theatre, film and Semiotics. His most recent publications are: M. Bertone, A. Nicaso and D. Santeramo, eds., Cahiers de narratologie, 36/2019 : Rhétorique et représentations de la culture mafieuse. Images, rituels, mythes et symboles, 2019; M. Gieri and D. Santeramo eds., XX-Century Italian Filmmakers, Universitalia 2019, 2 vols.) ; Il laboratorio teatrale pubblico di Edward Gordon Craig, (Sinestesie, 2018) ; Gavrilovich D., Pizza M. & Santeramo D. eds., Franca Rame: Una vita mille avventure, One Life: A Thousand Adventures, (Universitalia, 2017) and Capozzi, R, Nardi,F. Pietropaolo D. & Santeramo, D., Twentieth-Century Italian Playwrights, (Universitalia, 2016. 2 vols.). He has also translated and staged works of contemporary Italian playwrights and is on the Editorial Boards of several academic journals. He has also participated in several creative and artistic endeavors including the art exhibit Chromosomes (Rome 2008 and Lisbon 2009) and co-edited the book Red Cars – An Original Screenplay by David Cronenberg. In 2004 he was the recipient of the Queen’s Alumnae Teaching Award.

Ol’ga Kupcova (State Institute of Art Studies (SIAS), Moscow (RUSSIA))  is a historian of theatre and literature, candidate of Philological sciences.  From 2007 to the present Senior Researcher of the Theatre Sector at the State Institute of Art History (SIAS). From 2016 to currently Professor at the Faculty of Humanities, National Research University Higher School of Economics. From 1978 to 1980 Head of the Scientific and Educational Department of the State Museum-Reserve A.N. Ostrovsky “Shchelykovo”. From 1997 to 2000, Senior Researcher of the Department for the “Study and Publication of the director Vsevolod Meyerhold’s Creative Heritage” at the SIAS of Moscow. Author of the book Life of the Manor Myth: Lost and Found Paradise (together with EE Dmitrieva) and more than 100 articles on the history of Russian theatrical culture in the 18th-20th centuries, drama, theatre criticism, Russian-French theatrical relationships.

Marie-Christine Autant-Mathieu (EUR’ORBEM, CNRS, Paris-Sorbonne – FRANCE) est Directrice de recherche CNRS émérite (Arts du spectacle), directrice adjointe de l’unité CNRS-Paris Sorbonne EUR’ORBEM. Historienne du théâtre et spécialiste du théâtre russe et soviétique, elle travaille sur les transferts culturels au théâtre, notamment lors des tournées et des circulations des théories du jeu ; sur l’histoire du Théâtre d’Art de Moscou et la genèse du système de Stanislavski ; sur les nouvelles écritures dramatiques russes ; sur la fabrique du ‘soviétique’ dans les arts et la culture. Parmi ses dernières publications : Le Théâtre soviétique après Staline, Paris, Institut des Etudes slaves, 2011 ; Stanislavski. La Ligne des actions physiques, Montpellier, L’Entretemps, 2007 ; Mikhaïl Tchekhov/Michael Chekhov. De Moscou à Hollywood. Du théâtre au cinéma (ed.), Montpellier, L’Entretemps, 2009 ; Créer, ensemble. Points de vue sur les communautés artistiques (ed.), Montpellier, L’Entretemps, coll. Les Voies de l’acteur, 2013 ; L’Etranger dans la littérature et les arts soviétiques (ed.), Lille, Septentrion, 2014 ; The Routledge Companion to Michael Chekhov (ed. avec Yana Meerzon), London/New York, Routledge, 2015. On trouvera la liste complète de ses publications sur www. autant-mathieu.fr

Delphine Pinasa (Centre National du Costume de Scène et de la Scénographie (CNCS)  – FRANCE) est Historienne de l’art, spécialiste du costume et du textile, elle joint une formation universitaire à la Sorbonne, complétée au Victoria and Albert Museum à Londres, à une formation dans les milieux de la mode et du théâtre, au Musée de la Mode et du textile, puis à l’Opéra national de Paris. Responsable du fonds muséographique des costumes à l’Opéra national de Paris de 1993 à 2000, puis chef du service Patrimoine Costumes de ce Théâtre à partir de 2001, elle a été le commissaire de nombreuses expositions en France et à l’étranger et a publié plusieurs ouvrages, en relation avec ces expositions comme avec l’histoire des ateliers de costumes du Palais Garnier. Depuis 2005, elle a pris en main les destinées du Centre National du Costume (CNCS), à Moulins, dont elle a été nommée en  2006 directrice déléguée puis Directrice principale depuis 1er août 2011.

Dmitrij Rodionov (A. A. Bakhrushin State Central Theatre Museum – RUSSIA) is General Director of the A.A. Bakhrushin State Central Theatre Museum (since 2007), honored worker of culture of the Russian Federation, Phd. of Art History, associate Professor, Head of the Federal scientific and methodological center for working with state theatre museums, theatre museums and museums that have theatre collections in their collections (since 1979). Author of more than 100 articles, books, albums on theatre topics, researcher of the creative heritage of the theatre artist, “machinist of the scene” Karl Waltz. Author and project manager of the All-Russian campaign “Let’s Preserve the History of Russian Theatre for the Future Generation!”, announced in 2012 with the aim of preserving the theatre heritage of Russia. Leader of numerous National and International exhibition projects with the participation of more than 30 countries of the world. Member of the State Organizing Committee of “The Year of Theatre” in Russia (2019Editor-in-chief of the “Scene” magazine. Author of touring activities, public relations and topical issues on theatre activity at the Russian Academy of theatre arts( GITIS), the Moscow State Conservatory, and the Studio School of the Moscow Art Academic Theatre.

Gabriella Elina Imposti (University of Bologna) is Full Professor of Russian Literature in the Department of Modern Languages, Literatures and Cultures at Bologna University. She has published several articles on Russian and Italian Futurism: Rol’ zvukopodrazhaniia v poetikakh italianskogo i russkogo futurizma. Marinetti, Kruchenykh i Khlebnikov ([The role of onomatopoeia in Italian and Russian Futurism] Moscow 2000); Jazyk bogov: fonosimvolizm i zaum v “Zangezi” V. Khlebnikova ([The language of gods: phonosymbolism and zaum in Khlebnikov’s ‘Zangezi’] Astrakhan 2010); Velimir President of the World in Florence: Claudio Ascoli’s production in 2004 (Moscow 2010); La Prima Guerra Mondiale e la sua ricezione nella letteratura russa: Aleksandr Blok e Vladimir Majakovskij (Trento 2015). She is also the author of a book on a major Russian philologist, linguist, and scholar of versification, Alexander Vostokov (Aleksandr Christoforovič Vostokov. Dalla pratica poetica agli studi metrico-filologici, Bologna, CLUEB, 2000). She has written various articles on Russian Romanticism and its reception of British and German literature: The Reception of Thomas Moore in Russia During the Romantic Age . In: Thomas Moore. Texts, Contexts, Hypertext. REIMAGINING IRELAND, (Oxford 2013); articles on contemporary Russian women writers and the development of gender studies in Russia: , “La grande muta si è messa a parlare”, saggio introduttivo in LEI. Racconti russi al femminile (Pisa 2008), Lo sviluppo dei “gendernye issledovanija” in Russia nell’ultimo decennio (Studi Slavistici, 2004), Una scrittrice-pittrice: Nina Gabrieljan in una prospettiva femminista, in Sentieri Interrotti/Holzwege (Rome 2012). She has also published several articles on Tolstoy and Dostoevskii: Il sosia. Avventure del signor Goljadkin, ovvero Poema pietroburghese di Fedor M. Dostoevskij (Bologna 2008), “La mitedi Dostoevskij un titolo ‘inaffidabile’? (Rome 2012),and  on cinema and literature: Belye noči Dostoevskogo v zerkale kino: Viskonti, Pyr’ev, Bresson i Grej [Dostoevskii’s ‘White nights’ in the mirror of cinema: Visconti, Pyr’ev, Bresson and Gray] (Moscow 2013), “God’s Playground”: Poland and the Second World War in Wajda’s cinema (Amsterdam 2009). See her webpage: http://www.unibo.it/docenti/gabriella.imposti

Andrei Malaev-Babel (Florida State University/Asolo Conservatory for Actor Training – USA) is the Head of Acting at the Florida State University/Asolo Conservatory. He served as an Artistic Director for the Chamber Forms Theatre (Moscow) and Stanislavsky Theater Studio (Washington, DC.). Andrei is on the board of Michael Chekhov Association in NYC, and on the advisory board of Rose Bruford’s Stanislavski Centre (UK). His productions were presented by the United Nations, the World Bank, the Kennedy Center and the National Theatre. As an expert on Russian Andrei presented at the Smithsonian, The Woodrow Wilson International Center for Scholars and Stanford University. He appeared internationally at venues, such as Young Vic Company (London, UK), Stanislavsky Institute (São Paulo, Brazil), International Volkov Theatre Festival and St. Petersburg Academy of Theatre Arts (Russia), and Odessa Philharmonic (Ukraine). Andrei was nominated for a Helen Hayes Award as an Outstanding Director. His two volumes on the Russian theatrical innovator Yevgeny Vakhtangov were published by Routledge. He holds an MFA from the Vakhtangov Theatre Institute in Moscow, where he worked with Russia’s outstanding director Alexandra Remizova. See his webpage: https://demidovschool.com/malaev-babel

Lorenzo Mango (University of  Naples ‘L’Orientale’) is Full Professor of Modern and Contemporary Theatre at the University of Naples “L’Orientale”. He is author of the following books: L’officina teorica di Edward Gordon Craig, Corazzano, Titivillus, 2015; Il principe costante di Calderón de la Barca/Słowacki per Jerzy Grotowski, Pisa, ETS, 2008; La scrittura scenica. Un codice e le sue pratiche nel teatro del Novecento, Roma, Bulzoni, 2003; Alla scoperta di nuovi sensi. Il Tattilismo futurista, Napoli, La città del sole, 2001 (e-book, CUE 2015); Teatro di poesia. Saggio su Federico Tiezzi, Roma, Bulzoni, 1994; La scena della perdita. Il teatro tra avanguardia e postavanguardia, Roma, Kappa, 1987. He is co-editor of the web magazine: “Acting Archives Review. Rivista di studi sull’attore e la recitazione” (www.actingarchives.it).

Maria Teresa Pizza (Archive ‘Dario Fo-Franca Rame’) Director of Archivio MusALab Franca Rame Dario Fo, Fellow at the ICCD/MiBACT where she is in charge of the project “Knowledge and Enhancement of the Rame Fo Archive”. She holds a PhD in Performing Arts at the University of Rome “Sapienza” and has achieved the national qualification for Associate Professor in 2014. Author of many publications, including: Il gesto, la parola, l’azione. Poetica, drammaturgia e storia dei monologhi di Dario Fo (Roma, Bulzoni, 1996); Al lavoro con Dario Fo e Franca Rame. Genesi e composizione dello spettacolo teatrale (Roma, Bulzoni, 2006); ); Regia Digitale. Le arti dello spettacolo nell’era virtuale (Napoli, Liguori, 2010); Ritorno a Ruzzante. Analisi di uno spettacolo di Dario Fo e Franca Rame, (Perugia, Morlacchi, 2013); Il teatro a disegni di Dario Fo con Franca Rame, (Milano, Scalpendi, 2015).

Roger Salas (‘El Pais’, Madrid – SPAIN) Crítico de Danza y Moda. Ejerce como crítico en el diario El País desde hace 23 años. Escritor y especialista en Danza, trabajó en el Museo Nacional de Bellas Artes de La Habana, donde se ocupaba de las exposiciones temáticas de ballet. Ha vivido en Milán, donde trabajó en el entorno de la moda y en el estudio de arquitectura de Vittorio Garatti. Desempeñó entre 1989 y 1992 el cargo de Asesor Nacional Ejecutivo de la Danza del Ministerio de Cultura Español y redactó un anteproyecto de Danza y Ballet para la EXPO 92 de Sevilla. Ha realizado trabajos de escenografía y vestuario para teatros de España, Europa y América. Imparte un seminario a los alumnos de Escenografía de la Facultad de Bellas Artes de la Universidad Complutense de Madrid. Es Asesor Artístico del Festival Internacional de Ballet de Miami, además de consultor y patrono de la Fundación Internacional de la Danza. Es redactor de las voces de los tomos dedicados a la danza en el siglo XX de la Enciclopedia Italiana di scienze, lettere ed arti  y ha publicado varios títulos entre los que destacan Ahora que me voy (1998), Gelatti di passione (2002) o Florinda y los boleros de cristal (2002). Desde 2017 Director artístico del “Festival Equilibria” en el Auditorium Parco della Musica de Roma.

Riku Roihankorpi (University of Tampere – FINLAND) Director of Research of the Centre for Practice as Research in Theatre at the University of Tampere, has led international research projects DREX (2009-2012), VIMMA (2013-2014), TNT (2015-16), Platinum (2015-17), LiDiA (2021-2023) on technological performance and its uses in recreating the material conditions of past performances. His research and teaching reflect the areas of performance philosophy and intermedial, political and non-anthropocentric performance, along with their ethical challenges. Recent publications include “Performing (the Subject of) Exteriority: Virtuality, Mīmēsis, and the Gratuitous ‘One Must’” in Through the Virtual, Toward the Real: The Performing Subject in the Spaces of Technology (2015, Palgrave Macmillan); “Intermedial ontologies: strategies of preparedness, research and design in real time Performance Capture”, Nordic Theatre Studies 26:2 and the co-edited anthology Näyttämö ja Tutkimus 5: Teatteri ja media(t) (2015). Roihankorpi’s recent work has been published by Palgrave Macmillan, the journals Nordic Theatre Studies and Italian “Arti dello Spettacolo / Performing Arts”, as well as The Finnish Society for Theatre Research.

Leonetta Bentivoglio (‘La Repubblica’, Rome) è saggista, giornalista e scrittrice. Ha curato manifestazioni culturali in Italia e all’estero. Dal 1992 è inviato speciale de la Repubblica per i settori Cultura e Spettacoli, dove scrive di danza, musica e letteratura. È autrice di vari libri, tra cui una storia de La danza contemporanea (Longanesi 1985, con varie riedizioni) e un volume su Il teatro di Pina Bausch (Ubulibri 1991, due edizioni). Nel 2006 ha scelto, curato e tradotto per i Classici Garzanti le short stories di Thomas Hardy I tre sconosciuti e altri racconti. Altri suoi titoli: Vieni, balla con me, ancora sul teatrodanza di Pina Bausch (Barbès 2008), Corpi senza menzogna (Barbès 2009), dedicato al teatro di Pippo Delbono, Il mio Verdi (Castelvecchi 2013), raccolta di interviste ai massimi interpreti verdiani, E Susanna non vien – Amore e sesso in Mozart, firmato con Lidia Bramani (Feltrinelli 2014), e Pina Bausch – Una santa sui pattini a rotelle (Clichy, 2015).

Michaela Böhmig (University of Naples ‘L’Orientale’) is a retired Professor of Russian Language and Literature at the Faculty of Humanities of the University of Naples – L’Orientale, and is a scholar of Russian culture of the nineteenth and twentieth and centuries. Her many publications in the field of the Russian avant-garde include Le avanguardie artistiche in Russia. Teorie e poetiche: dal cubofuturismo al costruttivismo (1979), Das russische Theater in Berlin 1919-1931 (1990), Aleksej Kručenych, La vittoria sul sole (2003) and Chudožnik Pavel Fedorovič Čeliščev (1898-1957): ot “stilja rjus” k sjurrealizmu i abstrakcionizmu (2013). She is currently studying the life and work of Russian artists and writers in Italy from the end of the nineteenth century to the first decades of the twenties, as well as the myth of Southern Italy in Russian literature and art. Her most recent work is La danza libera nel paese del balletto. Isadora Duncan in Russia (1903-1918) (2016).

Manuela Canali (National Academy of Dance, Rome) Librarian in charge at the National Academy of Dance, is a musicologist and a performance expert. She was awarded a diploma in piano and  harpsichord and she has had an intense concert career both in Italy and abroad. She graduated with honours from Bologna University (DAMS, section, performing arts), specialised in librarianship at the renowned Vatican School and was awarded a specialist degree in Publishing and writing, (“Sapienza” University in Rome). She organises activities promoting art and music both on a national and an international level. She reorganised the library of the Academy of Dance in Rome in 2005 which led to a transformation of the library, specialised in the choreutic field and unique in its kind. She is the curator of the initiative Librindanza at the  Ruskaja Theatre of the National Academy of Dance under the aegis of  MIBACT. Her books: Luce per la danza. La nuova stagione 1999-2012 (L’Epos, 2012) and Dalla scrittura al computer. Nuove tecnologie per la didattica nella scuola (Morphema Editore, 2014), the latter is concerned with innovative, technological issues intended for Italian schools.  

Silvia Carandini (‘Sapienza’ University of Rome)  is a retired Professor of History of Theatre at Sapienza University of Rome. She has published L’effimero barocco, strutture della festa nella Roma del Seicento, 2 voll. (Catalogo e Testi), Bulzoni, Roma 1977-1978 (with M. Fagiolo dell’Arco); La melagrana spaccata. L’arte del teatro in Francia dal naturalismo alle avanguardie storiche, Valerio Levi editore, Roma 1988; Teatro e spettacolo nel Seicento, Laterza, Bari 1990; Don Giovanni o l’estrema avventura del teatro. Il nuovo risarcito Convitato di pietra di Giovan Battista AndreiniStudi e edizione critica, Bulzoni, Roma 2003 (with L. Mariti); La generazione danzante. L’arte del movimento in Europa nel primo Novecento, Di Giacomo, Roma 1997 (edited with E. Vaccarino). She is founder member of the Associazione Sigismondo Malatesta. Some of her publications can be downloaded from www.academia.edu

Marietta Chikhladze (Tbilisi State University – GEORGIA) earned her BA and MA in Romance Philology at the Ivane Javakhishvili Tbilisi State University (1999-2002, 2003-05). She holds PhD in Modern, Comparative and Postcolonial Literatures from Alma Mater Studiorum – University of Bologna (2009-2012) where she worked under the supervision of Professor Gabriella Elina Imposti. In the frame of short-research grants she was a researcher at the Taras Shevchenko National University of Kyev (2012), at the University of Warsaw (2013-2014) and at the University of Lisbon (2019, 2020). With the Erasmus + staff for teaching mobility agreement she held lectures at the University of Bologna (2018) and the University of Lisbon (2019) on “The representation of the Caucuses in the Russian Literature of the 19th Century”. Since 2018 an editorial board member of the Neke, The New Zealand Journal of Translation Studies, Victoria University of Wellington. Since 2015 she is Visiting Lecturer at Ivane Javakhishvili Tbilisi State University and the coordinator of the TSU-Camões Portuguese Language and Culture Centre.


Enrica Dal Zio (‘Michael Chekhov Association MICHA’, New York – USA) is trainer of Creative Speech, actress, director, clown and therapist. In the artistic and therapeutic fields, for the past many years she has worked through the Art of Speech. She is acknowledged as a professional coach of the “Learning – to – learn”, the Destiny Learning, the Spiritual Research , the Dialogue as a meeting, the Michael Chekhov theater technique,  Spacial Dynamics and Bothmer  gymnastics. From the synthesis of her own elaborations of the techniques of Jacques Lecoq, Michael Chekhov, Rudolf Steiner, C.v. Houten and Viola Spolin she has created a new pathway to became a clown. Member of the Michael Chekhov Asociation New York MICHA. She is responsible for a three years training in New Adult Learning Path in Florianopolis, (BR). She gives courses, seminars and conferences in Italy. Among her published articles: “Die Grundgebärde der Sprache als Weg zur Verwandlung der Doppelgänger in  bezug auf die 4 Ätherarten” in von Coenraad van Houten Der dreigliedrige Weg des Schicksalslernen, Verlag  Freies Geistesleben, Stuttgart 2003; “Muttersprache  –  Seelische Beschaffenheit  –  Neue Sprachentwicklung” in the Rundbrief der Sektion für redende und musizierende Künste, Eastern 2014, Goethenum, Dornach.

Dominique Dolmieu (Maison d’Europe et d’Orient – Eurodram – FRANCE) a fondé et co-dirige avec Céline Barcq la Maison d’Europe et d’Orient, pôle culturel européen, indépendant et solidaire, basé à Paris. Qualifiée de “rather unique in Europe” par la commission européenne, la MEO regroupe notamment les éditions l’Espace d’un instant, l’une des principales références pour les écritures théâtrales européennes dans l’espace francophone, le théâtre national de Syldavie, pour lequel il a mis en scène une vingtaine de spectacles (Visniec, Boytchev, Havel, Stefanovski, Akhmadov, Neziraj, Priajko), et Eurodram, réseau européen de traduction théâtrale, dont il assure la coordination générale. 


Erica Faccioli (Academy of Fine Arts of Venice) Professor at the Academy of Fine Arts of Venice (Chairs: History of Performing Arts, History and Theory of Scenography, Literature and Philosophy of theatre). She has carried out the PhD in Theater Studies and the Post-Doctorate in Historical-Artistic Studies at the University of Bologna. Specialist of Russian and Soviet theatre and post-soviet culture, she has conducted research and has conducted research periods in Russia, Ukraine, France. She is the author of essays on Russian, Ukrainian, Belarusian, Lithuanian theatre for national and international journals and has curated several academic conferences. She has collaborated with the Department of Music and Performing Arts (University of Bologna), with the CESC (Centre d’Etudes Slaves Contemporaines – Département de Sciences Humaines) in Grenoble. She is a member of the editorial board of the scientific journal “Culture teatrali”. She coordinated the Italian Committee of Eurodram from 2010 to 2018. Among the most recent publications: I teatri post-sovietici. Ucraina, Bielorussia, Lettonia, Estonia, Lituania, UniversItalia, Roma 2016, il catalogo: Energia delle prove. Il teatro di Oskaras Koršunovas, UniversItalia, Roma 2017; co-editor with Stéphane Resche, Drammaturgia europea contemporanea. Eurodram 2017, Editoria&Spettacolo, Spoleto 2018.

Stefania Frezzotti (National Gallery of Modern Art (GNAM), Rome) Art historian. Curator of the 19th century painting and sculpture collections of the National Gallery of Modern Art (GNAM). Director of the Catalog Office. Among the most recent publications: National Gallery of Modern Art & Maxxi. The collections 1958-2008, edited by S.Frezzotti, C. Italiano, A. Rorro, Milan, Electa 2009; The National Gallery of Modern Art. Chronicles and history 1911-2011, edited by S.Frezzotti and P. Rosazza-Ferraris, Rome, Palombi, 2011; Autumn light. Alla Stanga by Giovanni Segantini. A restoration, edited  by L. D’Agostino and S. Frezzotti, Rome, Gangemi, 2013. Among the recent exhibitions: Dante Gabriel Rossetti Edward Burne-Jones and the Myth of Italy in Victorian England, edited by MT Benedetti, S. Frezzotti, R. Upstone, Rome, GNAM, 2011. Commissioner of the exhibition Art in Japan 1868-1945, edited  by Ozaki Masaaki and Matsubara Ryuchi, Rome, GNAM 2013;  D’après Rodin. Italian sculpture of the early twentieth century, edited  by S. Frezzotti, Rome, GNAM, 2014. 

Fabrizio Grifasi (Fondazione Romaeuropa, Rome) è socio fondatore e membro del Consiglio di Amministrazione della Fondazione Romaeuropa, nella quale ricopre la carica di Direttore Generale e Artistico. Ha inoltre prodotto eventi di Performing Art per diverse organizzazioni e festival, tra cui la stessa Romaeuropa e l’Opera di Parigi. È stato consulente per fondazioni nazionali e internazionali. È stato nominato Chevalier de l’Ordre des Arts e des Lettres nel 1992 e Ufficiale dell’Ordine al Merito della Repubblica Italiana nel 2013.

Vladislav Ivanov (State Institute of Art Studies (SIAS), Moscow – RUSSIA) Full doctor. Head of Department of Theatre – Institute for Arts Research (SIAS), Moscow. He published as editor-in-chief  of  Mnemosyne: Documents and facts from the history of national theater of the 20th century (Mnemosyna. Documenti i facti iz istorii otechestvennogo teatra XX veka). Issues 1–6. Moscow; Yevgenij Vakhtangov. Documents and evidence. Vol. 1–2.  Moscow: Indrik, 2011. As author Russian seasons of Habima theatre (Russkie sezony teatra «Habima»). Moscow: Artist. Director. Theatre, 1999. GOSET: policy and art. 1918–1928 (GOSET: politika i iskusstvo. 1918–1928). Moscow: GITIS, 2007. Also a lot of articles and publications on creation of Yevgenij Vakhtangov, Sergei  Eisenstein, Aleksei Granovskii, Alexander Tairov, Mikhail Chekhov, Nikolai Evreinov, Sergei Eisenshtein, Yurij Rakitin, Vasilij Sahnovskii, Boris Glagolin, Boris Ferdinandov,  Rudolf Ungern, Giorgij Yakulov and others. International Award Stanislavsky in the category «theater science» for the creation of the almanac «Mnemosyne: Documents and facts from the history of national theater of the 20th century»


Lucie Kempf (Université de Lorraine – FRANCE) is a lecturer at Université de Lorraine (Nancy). She teaches Russian language, literature and civilization, and also history of the Russian theatre. She is a member of the research group CERCLE, whose research field is Cultures and Literatures of Eastern Europe. She wrote a PHD thesis on the russian actress Vera Komissarzhevskaja (1864-1910). She co-edited two books: Le théâtre au cinéma. Adaptations. Transpositions. Hybridations, PUN, 2010 and Le théâtre neo-documentaire, résurgence ou réinvention?, PUN-Editions Universitaires de Lorraine, 2014.  Her papers are mainly about Russian theatre of the beginning of the 20th century (actor’s technique, staging, dramaturgy), about revolutionary Russian theatre of the civil war and the twenties (open-air mass spectacles, agit-prop theatre, living newspapers, mock tribunal, etc.), as well as contemporary russian dramaturgy (Ivan Viripaev, Vassili Sigarev, russian verbatim).

Claudia Pieralli (University of Florence)  is Associate Professor at the University of Florence, where she teaches Russian Literature and Culture of XX century. After a master degree in Slavic Philology in 2004, she got a Ph. D. in Russian Studies at the University of Milan, furtherly developing her research experience thanks to a two-year post Doc at the Dom Russkogo Zarubež’ja in Moscow and a second post-doc research grant at the Sorbonne, where she worked in the Russian free-mason archives in Paris. Pieralli is the author of the first scientific edition of the art treatise Otkrovenie iskusstva by N.N. Evreinov (2013), whereas the monograph Il pensiero di N. Evreinov dalla teatralità alla ‘poetica della rivelazione’ (2015). She is currently studying the literary memory of concentrationary experience in URSS, having published surveys about ‘segregation poetry’ during Stalin’s repressions, such as: La lirica nella “zona”: poesia femminile nei Gulag staliniani e nelle carceri in Confini, separazioni e processi di integrazione nel mondo slavo, FUP 2012, pp. 221-246, and The Poetry of Soviet Political Prisoners (1921-1939): historical-typological framework, in Contributi italiani al Congresso Internazionale degli Slavisti, 2013, pp. 387-412. For the latest publications see:

 https://www.unifi.it/p-doc2-2017-0-P-3f2b3430322f2d-0.html

Gabriel Poole (University of Cassino and Southern Lazio) is Assistant Professor of English Literature at University of Cassino. He holds a
Ph.D. in English and American Literature from University of Notre Dame, in the United States,
and a Doctorate in Literatures in English from Università “La Sapienza” di Roma, in Italy. He
has written mostly on English Romanticism, as well as on Modern Theater and Critical Theory. He
has worked as a translator for more than thirty years, translating mostly academic works into
English. He the author of Swimming at Midnight, a translation into Italian and critical
commentary of a selection of poems by John Matthias, and the author of the translations into
English of most of the poets in the Italian section of www.poetryinternational.org. He also
the translator of many of the poets in the InVerse: Italian Poets in Translation series,
published every year by John Cabot University in Rome. Most of his publications can be downloaded from www.academia.edu

Elena Randi (University of Padua) è professore ordinario presso l’Università degli Studi di Padova, dove insegna Storia della Danza e Metodologia e Critica dello Spettacolo. È membro del collegio della Scuola di Dottorato in Storia, Critica e Conservazione dei Beni Culturali dell’Università di Padova. Fra le sue pubblicazioni, risultano preminenti le monografie dedicate a Delsarte (François Delsarte: le leggi del teatro. Il pensiero scenico del precursore della danza moderna, Bulzoni, 1993; Il magistero perduto di Delsarte. Dalla Parigi romantica alla modern dance, Esedra, 1996; François Delsarte: la scène et l’archétype, L’Harmattan, 2016), al teatro romantico (Anatomia del gesto. Corporeità e spettacolo nelle poetiche del Romanticismo francese, Esedra, 2001; I primordi della regia. Nei cantieri teatrali di Hugo, Vigny, Dumas, Pagina, 2009; Percorsi della drammaturgia romantica, UTET, 2006; Il teatro romantico, Laterza, 2016) e alla danza del Novecento (Protagonisti della danza del XX secolo. Poetiche ed eventi scenici, Carocci, 2014). Ha pubblicato due edizioni critiche: della Donna di maneggio di Goldoni per l’Edizione Nazionale delle opere goldoniane (Marsilio, 2011) e di Angelo, tyran de Padoue di Victor Hugo (Le Lettere, 2012). Attualmente sta concludendo per l’editore Audino la traduzione di Ted Shawn, Every Little Movement, e per Carocci una monografia sulla modern dance americana.

Daria Rybakova (St. Petersburg State University of Culture and Arts – RUSSIA) Associate professor. Ph.D. in History of Arts. In 1988 she graduated from the Leningrad State Institute of Theater, Music and Cinematography with a degree in theater studies; qualification: theater expert. She also graduated from the master’s degree at the Faculty of Art History at the European University in St. Petersburg (2006), defended her master’s thesis “Opposition” theater / life “in the drama of A. N. Ostrovsky and A. P. Chekhov.” In 2013 she defended her thesis on the topic: “Theatrical mythology in the drama of A. N. Ostrovsky.” He is the author of many articles on the history of theater, drama and problems of modern theater. She is a regular participant in scientific conferences of St. Petersburg State Institute of Cinematography (St. Petersburg). The sphere of scientific interests of Daria Rybakova covers issues of the history of Russian and foreign theater, drama theory and theater theory.

Elena Servito (INDA Foundation (National Institute of Ancient Drama) of Syracuse) Responsible for the Archive and Library of Istituto Nazionale del Dramma Antico of Syracuse and for INDA communication. Degree in D.A.M.S. earned at the University of Bologna and Master degree in Conservation of Cultural Heritage from the University of Udine. The archive and library of the INDA Foundation, founded in 1927, consist of over 15,000 pieces divided into materials of different types: theatre, dance, visual arts, stage costumes, music, audio-visuals.

Margaret Shewring (University of Warwick – UNITED KINGDOM) Margaret Shewring is an Emeritus Reader in Theatre and Performance Studies at the University of Warwick. Her teaching, research and recent publications concentrate on the performance context for Shakespeare and his contemporaries, Renaissance and Early Modern European Festivals, and the design of space for performance on the contemporary stage. She is a co-founder of the Society for European Festivals Research and co-general editor, with J.R. Mulryne and Margaret M. McGowan of the European Festival Studies Series 1450-1700 Series, originally with Ashgte Publishing and now with Routledge. Her edited collection of essays, Waterborne Pageants and Festivities in the Renaissance, was published by Ashgate, in November/December 2013. She joined the staff of Theatre Studies in Autumn 1978. She took her undergraduate degree in English Language and Literature at the University of Birmingham (1971–74). Her doctoral research, at the Shakespeare Institute (University of Birmingham), concentrated on a critical edition of The Great Favourite; or, the Duke of Lerma (1668), attributed to Sir Robert Howard. A revised and updated version of this thesis was published by Garland publishing, New York, in 1988.

Artem Smolin (St. Petersburg State University of Information Technologies, Mechanica and Optics – RUSSIA) Associate Professor at Faculty of Software Engineering and Computer Systems. Director of the Center for Usability and Mixed Reality. Director of the Center for Design and Multimedia at ITMO University. In 2000 Smolin graduated from Krasnoyarsk State Technical University, Mechanical and Technological faculty with the Degree in engineering. In 2001 he worked as an assistant lecturer at the Department of Materials-handling vehicles and robots of Oil, gas and Technological machines Faculty, Krasnoyarsk State Technical University. In 2005 defended a PhD thesis in Philosophy on «Surrealism as the quintessence of the reality and superreality». From 2005 to 2007 he worked as the assistant at the Department of Ethics, Aesthetics, and Culture, Krasnoyarsk State Technical University. From 2007 to 2011 he worked as associate professor at the Department of IT in creative and cultural industries, Humanities Institute of Siberian Federal University. Smolin teaches the following courses: Autodesk Autocad, Program Work, Culturology, Interaction Design, IT in Museums educational activities. His research interests are IT-technology, philosophy, art, history, architecture, archaeology, design. Among his most recent articles: A Multiplayer Guessing Game in Immersive Virtual Reality , «Journal of Chemical Education», 2020, Vol. 97, No. 11, pp. 4184-4188; Creation of a hardware-software complex for the transmission of odor in virtual reality environments, CEUR Workshop Proceedings, 2020, Vol. 2590, pp. 1-9; Multimedia reconstruction of a stage event. The Seagull on Alexandrinsky stage, first night, 17 october 1896, 3rd International Multidisciplinary Scientific Conference on Social Sciences and Arts, SGEM 2016, pp. 329-337.

Leila Zammar (Loyola University Chicago in Rome) earned her PhD from the University of Warwick (UK) after obtaining two MPhils from the University of Rome ‘La Sapienza’ and a Master Degree in “Lifelong learning” from the University of Rome ‘Roma Tre’. She has been adjunct professor at Loyola University of Chicago JFRC since 1995, where she currently teaches Introduction to Opera. Dr Zammar has also taught courses for other institutions and universities and has participated in numerous conferences and workshops among which the 61st and 62nd Annual Meeting of the Renaissance Society of America (Berlin, Germany, 26-28 March 2015 and Boston, USA, 31 March–2 April 2016). She is a member of the editorial board of the scientific international journal Arti dello Spettacolo/Performing Arts and a member of the SEFER (Society for European Festival Research). Her publications include several articles and books (see https://luc.academia.edu/LeilaZammar) and a forthcoming publication for Brepols, entitled Opera, Scenography and Power: Festival Entertainments at the Barberini Court in Rome,1628-1656

Fabio Massimo Zanzotto (University of Rome ‘Tor Vergata’) is an Associate Professor at Department of Enterprise Engineering of the University of Rome ”Tor Vergata”. PhD in Computer Science and Automation, Faculty of Engineering, University of Rome “Tor Vergata”. Since 1998, he has interests in the research endeavor of Artificial Intelligence. He is active in the area of Machine Learning for Natural Language Processing, mainly working in three areas: recognizing textual entailment, syntactic parsing for Italian, and, recently, distributed/distributional models for NLP. Since 2013 he is coordinator of the Master Program: Indicizzazione di documenti cartacei, multimediali ed elet- tronici in ambiente digitale, Dept. of Humanities, University of Rome “Tor Vergata”. Since 2014 he is Associate Editor, Journal of Brain Informatics: Brain Data Computing and Health Studies. He is author of more than 100 publications:

https://dblp.org/pid/32/797.html

Elisa Anzellotti, University of Viterbo “La Tuscia”

Annamaria Corea, University of Rome ‘La Sapienza’

Anna Isaeva, Université Paris 3 Sorbonne Nouvelle (FRANCE )

Irina Marchesini, University of Bologna

Marianna Zannoni, Ca’ Foscari University of Venice

 

Marco Argentina, University of Padua

Giulia Cara, University of Rome ‘Tor Vergata’

Gioia Cecchi, University of Rome ‘La Sapienza’

Marco Damigella, Università Roma Tre

Davide Di Bella, Università di Firenze

Alessandro Maria Egitto, University of Rome ‘Tor Vergata’

Valeria Gaveglia, University of Rome ‘Tor Vergata’

Silvia Loreti, University of Rome ‘Tor Vergata’

Manuel Onorati, University of Rome ‘Tor Vergata’

Valeria Paraninfi, University of Rome ‘Tor Vergata’

Elisa Passone, University of Rome ‘Tor Vergata’

Ilaria Recchi, University of Rome ‘Tor Vergata’