activate

Editorial Committee

 

Current editorial committee members:

Katerina Paramana (Guest Editor: Vol. 3, issue 1; Editorial Committee Member: Vol. 1, issue 1; Vol. 2, issue 1; Vol. 2, issue 2) is a London-based artist from Athens, Greece. She makes performances, installation- and lecture-performances. Her work examines the construction of systems, the relationships they afford and the economies of thought, interaction and exchange they (re)produce. It has been presented in theatres and galleries in the US, UK, Sweden, Portugal and Greece. Katerina has also performed for companies and artists in the UK and the US (e.g. Tino Sehgal, Ivana Müller, Bojana Cvejić and Christine De Smedt, Liz Lerman Dance Exchange, Lea Anderson, Simon Vincenzi) at venues including Barbican Theatre, Tate Modern, Laban, Siobhan Davies Studios, Southbank Centre, Kennedy Centre (D.C.) and Lincoln Centre (NYC). She is currently completing a PhD at University of Roehampton, London supervised by Professor Joe Kelleher and Dr Anna Pakes and funded by the Alexander S. Onassis Public Benefit Foundation. Her research has been presented in conferences and symposia internationally. Katerina was an Associate Researcher with Performance Matters directed by Adrian Heathfield, Gavin Butt and Lois Keidan. She holds an MA in Choreography (Laban Conservatoire of Music and Dance) and BAs in Theatre and in Dance (University of Maryland, US). She has taught modules, workshops and lectures on live art, dance, theatre and performance in undergraduate and postgraduate programmes. She is an Associate Lecturer at Birkbeck, University of London (www.katerinaparamana.com).

Maria del Mar Yanez-Lopez (Managing Editor: Vol. 3, issue 1)
Maria is a PhD candidate at Roehampton University. Her research is situated within the area of historiography and feminism/s in performance. She is researching ideas about the production, transmission and mediation of received bodies of knowledge and the role that ‘ephemeral’ art and ‘living’ archives may play in contesting hegemonic versions of these processes. Her academic background is in Art History (BA, Birckbeck College) and Collections Care (MA Northumbria University). Her research extends her previous interest in models of spectatorship and the politics of participation in the contemporary cultural arena, as well as critical questions about the management of media art in public collections. These are aspects that she explored during her past collections care work in Spanish and UK museums and galleries.

Betina Panagiotara (Associate Editor, Vol. 3, issue 1)
Betina is a PhD researcher at the University of Roehampton – Dance and Drama, Theatre & Performance Department -, exploring artistic practices during times of social crisis, focusing on choreographers operating in Greece. In this context, she is looking at emerging artistic identities, historical representations in performances, contemporary dance making within a neoliberal context, and in particular notions of collectivity and collaboration. Her research is realized with a scholarship from the Alexander S. Onassis Public Benefit Foundation. She has studied Communication, Media & Culture at Panteion University, Greece (BA, 2003) and has received her Master in Arts in Dance Histories, Cultures & Practices from Surrey University, UK (2006) receiving the Lansdale Prize for the dissertation “Sinequanon: an investigation of postmodern dance in Greece”. She collaborates with festivals and artists in research and production, and has worked as journalist for Greek newspapers and magazines. Email: panagiop@roehampton.ac.uk, Blog: Ferry bot & the dreadful supervisors

Emily Sweeney (Associate Editor, Vol. 3, issue 1; Vol. 2, issue 1; Vol. 2, issue 2)
Emily Sweeney is a movement artist, originally from Vermont (US), where she studied at Bennington College, but now working internationally, performing, teaching, and participating in artist residencies around North America and Europe. Her work is concerned with the interplay among improvisation, choreography, bodies, senses, spaces, and memory. Her current projects include: an adaptation of “Dynamic”, a solo by Deborah Hay;  resonance, an ongoing research and performance collaboration with Martín Lanz Landázuri and William “Bilwa” Costa; and Imaginary is also real, a telepathic improvisation experiment in collaboration with Jil Stifel. Emily is a founding member of the interdisciplinary working groups Perpetual Movement Sound and Intercontinental Collaborations. She has performed in the work of Claudia Bosse/theatercombinat at Impulstanz Vienna, and with Emily Johnson/Catalyst Dance. Emily is also a yoga teacher, having received her certification through the Sivananda Yoga Vedanta Academy in Vrindavan, India. She holds an MA in Performance & Creative Research from the University of Roehampton in London. emilysweeney.net

 

 

Past editorial committee members:

Annalaura Alifuoco (Vol. 1, issue 1; Vol. 2, issue 1; Vol. 2, issue 2)
Born and raised in Naples, Southern Italy, Annalaura Alifuoco now lives and works in London. In 2006, she was awarded an Honours degree in Performing Arts at London Metropolitan University, followed by an MA in Physical Theatre and Performance at Royal Holloway University of London (2008). Since 2005, Annalaura has been associate artist of LEIBNIZ, a performance collective established by Dr. Ernst Fischer & Helen Spackman and dedicated to exploring issues of belonging, personal and communal identities and human rights. Her ongoing enquiry into the relationship between embodiment, subjectivity and socio/political engagement is an attempt to stretch the possibilities and definitions of performance in order to develop its potential to participate and intervene in the very human flights between desire and terror, love and death. She is currently pursuing this enquiry in the form of a PhD at Roehampton, which aims to formulate a way of ‘performing’ the archive based on embodied practices of recovering. By deconstructing the axiom of the product as the end-point of the processes of re-presentation, her project aims to address key questions regarding the preservation of performance, the reiteration of its experiential and embodied forces, and the impact of various forms of language, document, and archive on meaning.

Mariella Greil (Managing Editor, Vol. 2, issue 1; Vol. 2, issue 2)
Mariella Greil is a choreographer, dancer and performer. She is currently working on her practice-as-research PhD at University of Roehampton, London with the title ‘Being In Contact: Encountering A Bare Body’ , contributes as Associate Researcher to the Performance Matters creative research project and is Managing Editor of the e-journal activate. www.mariellagreil.net

Sarah Harman (Vol. 1, issue 1; Vol. 1, issue 2)
Sarah Harman received her BA (Hons) from the London Metropolitan university in Photomedia and achieved a Masters with Distinction at Brunel in Cult Film and Television. Her latter dissertation focused upon Paracinema and feminist discourse: Unpacking power, sexuality and female hysteria in The Craft (1996). Currently a PhD candidate at Brunel’s Screen Media Research department, her research has the working title of Femininity, Feminism and Masochism: The Female Masochist Body in Paracinema, examining paracinematic adaptations of contemporary and classical sadomasochistic texts, through a prism of feminist, psychoanalytical and socio-political analysis. Concurrently, other research is underway for three papers for publication: Femininity, ‘Fangirls’ and The Mighty Boosh: Female Fan Practices, Interaction and Consumption; Economies of Perversion in Ballard (1973) and Cronenberg’s (1996) Crash; and an adaptation of the Masters dissertation as discussed above. In addition she is currently working on co-editing a collection of papers for publication titled The Twilight Collection.

R. Justin Hunt (Managing Editor, Vol. 1, issue 1; Vol. 1, issue 2)
R. Justin Hunt is a lecturer, producer and performer. He received his bachelor’s degree in Educational Theater and Dance from Emerson College and his Master’s in Performance Studies from the Tisch School of the Arts, New York University. Justin is completing a PhD at Roehampton University, London on Contemporary Queer Performance and the Archive. He is an adjunct professor in Communications at Hult International Business School and an Adjunct Professor of Writing at Syracuse University London. He also teaches dance at Chisenhale Dance Space, in London. Justin is a founding co-producer of the quarterly live art event ‘I’m with you’.

Shaun May (Vol. 1, issue 1; Vol. 1, issue 2)
Shaun is a Ph.D candidate at the Central School of Speech and Drama, University of London. His research attempts to apply Heideggerean phenomenology to anthropomorphism and comic failure and is funded by the Beatrice Lillie Studentship. He holds a BA in Drama and Philosophy from the University of Kent and an MA in Text and Performance from King’s College London and RADA. Shaun is the Artistic Director of Square Moon Theatre and works freelance as a director and producer. More information on his research and practice can be found on his website, www.shaunmay.co.uk.

Flora Pitrolo (Vol. 1, issue 1; Vol. 1, issue 2; Vol. 2, issue 1)
Flora Pitrolo is an artist, researcher and writer working in London and sometimes Italy. She holds an MA in Theatre Studies and French and an MPhil by Research from the University of Glasgow. Her latter thesis, FAC UT ARDEAT COR MEUM: An Experiment in Listening to Visual Theatres (2010) attempted a theorization of the sound of the image on stage, notably in the work of the Socìetas Raffaello Sanzio. Flora is now working on an AHRC-funded PhD at Roehampton University. Following her work on the senses and the image, her current research focuses on the image-theatre of the Italian Post-Avantgarde of the late 1970s and early 1980s. She is exploring how a shifting sensual attunement to the image, in the aesthetic world of Italy in that period, manifested itself as political intervention, and how it went on to shape contemporary Italian experimental practice. Flora also works as a translator and a writer, particularly in Italy, and is the founder and director of PALAZZO theatre, mostly active in Scotland. Her most recent piece is an EP for bedroom label ‘The Wool Shop Productions’.

Eleftheria Rapti (Vol. 2, issue 2)
Eleftheria Rapti currently lives in Athens, is a dance artist and researcher. She has made and performed work, both solo and in collaboration with artists from diverse disciplines, in Greece, Ireland, UK and elsewhere. She is interested in the exploration of different forms of writing and their performative potential. She holds an MA in Contemporary Dance Performance from the University of Limerick, Ireland, and has just completed a practice-based PhD project at Roehampton University. Parallel to her artistic practice she studied Philosophy-Pedagogy-and Psychology at the University of Athens.

Danae Theodoridou (Guest Editor: Vol. 1, issue 1)
Danae Theodoridou is a London-based performance artist and researcher. She studied Greek Philology and Linguistics at Aristotle University of Thessaloniki, Greece and Acting at the Drama School of the National Theatre of Northern Greece. She has worked as an actress in theatre, cinema and television. Currently, Danae is a PhD candidate at Roehampton University, London. Her research is practice-led and considers notions and practices of drama and dramaturgy within contemporary theatre and dance practices, mainly by focusing on aspects related to fragmented poetics, voice and authority, representation, theatricality, performative writing and the spectator’s reception. Danae creates and presents solo and collaborative works and writings in the UK, Greece (with Construction works theatre company of whom she is also a founding member), Amsterdam and elsewhere. Her work has been awarded and supported by important cultural institutions both in UK and Greece, such as: the Arts and Humanities Research Council (UK), the Theatre of Neos Kosmos, the Greek General Secretariat for Youth and the European Union as part of the European Year of Creativity and Innovation initiative. She is a visiting lecturer in the Drama, Theatre and Performance studies Department of Roehampton University. She has conducted performances, lectures and workshops for the MA students of Laban, Queen Mary and Central School of Speech and Drama Universities in London. She has taken part in numerous workshops with artists and theorists such as: Ivana Muller, Goat Island, B. Campbell, L.Baur, Ultima Vez, Cupola Bobber, B. Kunst, BADco and others. www.danaetheodoridou.com

Veronika Wilson (Vol. 1, issue 1)
Veronika Wilson is a PhD candidate in the final year of study at Roehampton University. Her research focuses on a reading of the performances and performativities that occurred at Greenham Common Women’s Peace Camp and is governed by the belief that performance in its various forms occurs as an ethical search to elicit recognition from the witness. Veronika is an associate artist for whatsthebigmistry and has collaborated on a number of projects with this artist, and is a member of Arts T, a small and intimate collective of arts practitioners. She also makes solo performance work most often from a feminist perspective and usually for festival contexts.

 

activate is a peer-reviewed e-journal in the field of performance and creative research, based in the Department of Drama, Theatre and Performance at University of Roehampton, London.