Marta Tirado is Lecturer in the Department of Humanities at the University Pompeu Fabra (Barcelona) and in the Department of Directing and Dramaturgy at the Escola Superior d’Art Dramàtic Eòlia (Barcelona). She is also course instructor at the Universitat Oberta de Catalunya, Faculty of Arts and Humanities.
Marta holds a BA with a major in Humanities (University Pompeu Fabra, Barcelona), a BA in Drama and Performing Arts, with a major in Directing and Dramaturgy (ESAD, School of Drama at the Institut del Teatre, Barcelona), and an MA in Comparative Studies in Literature, Arts and Thought (University Pompeu Fabra, Barcelona). Her minor thesis, which was supervised by Carles Besa (University Pompeu Fabra), focused on a comparative analysis of the poetics of Sarah Kane’s Crave and the play by the Catalan playwright Lluïsa Cunillé, Apocalipsi. Her PhD thesis, entitled “Ethical Intentionality in Sarah Kane’s Blasted: Dramaturgy, Performance and Reception” (2022), was supervised by Mireia Aragay.
Marta was Visiting Research Student at the Department of Drama and Theatre at Royal Holloway, University of London (2015), and at the Department of Drama and Theatre Arts, University of Birmingham (2017). She was dramaturg and assistant director in the first Catalan production of Sarah Kane’s Blasted, Blasted (Rebentats), directed by Alícia Gorina and premiered at the Temporada Alta Festival (Girona-Salt, December 2017) and at Teatre Nacional de Catalunya (Barcelona, January 2018). In connection with this production, she co-curated, with Alícia Gorina, an exhibition on the reception of Blasted in Britain and Catalonia.
She was research assistant and co-investigator for the project “Ethical issues in contemporary British theatre since 1989: globalization, theatricality, spectatorship”, funded by the Spanish Ministry of Economy and Competitiveness (FFI2012-31842), and pre-doctoral teaching assistant in the English Literature Section of the Department of Modern Languages and Literatures and English Studies, University of Barcelona. She was also a co-investigator for “British Theatre in the Twenty-First Century: Crisis, Affect, Community”, a four-year research project funded by the Spanish Ministry of Economy and Competitiveness (MINECO) and the EU European Regional Development Fund (FFI2016-75443).
Contemporary British Theatre
2022: with M. Isabel Seguro, “The Crisis of Multiculturalism in Charlene James’ Cuttin’It (2016) and Gloria Williams’s Bullet Hole (2017)”, Crisis, Representation and Resilience: Perspectives on Contemporary British Theatre. Eds. Clare Wallace, Clara Escoda, Enric Monforte, José Ramón Prado-Pérez. London: Bloomsbury (Methuen Drama), pp.159-74. https://www.bloomsbury.com/uk/crisis-representation-and-resilience-9781350180857/
2019: “On Rebentats (TNC, 2018), the First Catalan Production of Sarah Kane’s Blasted: Construction and Audience of Catalan National Theatre”, special issue on “Crossing Borders: Anglophone Theatre in Europe”, eds. Susan Blattes and Christine Kiehl, Coup de Théâtre HS5, pp. 181-202.
2018: “Sobre Blasted” [On Blasted], programme notes on Blasted (Rebentats), by Sarah Kane, dir. Alícia Gorina (Barcelona: Teatre Nacional de Catalunya, January-February), pp. 10-12.
2017: “Sarah Kane: ‘Blasted és realment una obra esperançadora perquè els personatges segueixen esgarrapant una vida entre les ruïnes’” [Sarah Kane: ‘Blasted really is a hopeful play, because the characters do continue to scrape a life out of the ruins’], notes on Blasted (Rebentats), by Sarah Kane, dir. Alícia Gorina (Temporada Alta Theatre Festival, Teatre de Salt, 7-8 December), Temporada Alta Festival website, https://temporada-alta.com/blasted-sarah-kane/
2015: “Teatre i Espectador: 24è Congrés Anual CDE”, (Pausa.) (Sala Beckett, Barcelona) 37. http://www.revistapausa.cat/teatre-i-espectador-24e-congres-anual-cde/
2015: “Un projecte de tesi: ètica, poètica i subjectivitat en l’obra de Sarah Kane”, Estudis Escènics: Quaderns de l’Institut del Teatre 41-42, pp. 177-85.
2015: with Elisabeth Massana, “Entrevista amb Erika Fischer-Lichte: «La sacralitat del text és una ideologia»”, (Pausa.) (Sala Beckett, Barcelona) 37. http://www.revistapausa.cat/entrevista-amb-erika-fischer-lichte-la-sacralitat-del-text-es-una-ideologia/
2007: “Christoph Schlingensief, manipulador de la realitat”. Eds. Brigitte Luik and José Jato. “El llenguatge postdramàtic de la Volksbühne am Rosa-Luxemburg-Platz de Berlín. Conclusions d’un seminari d’investigació”, Estudis Escènics: Quaderns de l’Institut del Teatre 38, p. 98.
Other
2019: “Pròleg”, Freshwater: Una comèdia. Virginia Woolf. Tarragona: Arola Editors, pp. 7-30.
2019: “Apocalipsi (1998): poética, ética y recepción del teatro de Lluïsa Cunillé, Castilla: Estudios de Literatura 10, pp. 295-322. https://doi.org/10.24197/cel.10.2019.295-322
2016: “Shakespeare a Catalunya” , “‘To be or not to be…’ 400 anys amb William Shakespeare”, http://crai.ub.edu/ca/coneix-el-crai/biblioteques/biblioteca-lletres/tobeornottobe, curated by Esther Acereda (CRAI, University of Barcelona), Gabriel Tomàs (CRAI, University of Barcelona), Clara Escoda and Enric Monforte.
2000: El cinema del franquisme com a mirall d’una societat. Castelló: Ed. Castelló d’Impressió.
Contemporary British Theatre
2023: “Social, Familial and Individual Care Reponsibilities in Disease: debbie tucker green’s nut (2013), Nicola Wilson’s Plaques and Tangles (2015) and Katherine Soper’s Wish List (2015)”, paper presented at the international symposium “Care and/in Twenty-First Century British Theatre”, organised by the Contemporary British Theatre Barcelona research group, Facultat de Filologia i Comunicació, Universitat de Barcelona, 17-18 November.
2023: “Escenificació i recepció de les dramatúrgies femenines anglosaxones de la precarietat, la cura i l’afecte a l’escena catalana del segle XXI”, paper presented at the international symposium “Dramaturgues catalanes del segle XXI: creació, traducció i crítica”, Universitat de Barcelona, 2-3 October.
2021: attendance at “Critical Theatre Ecologies”, 29th Annual Conference of the German Society for Contemporary Theatre and Drama in English (CDE), University of Augsburg, 3-6 June [online].
2018: “Blasted’s First Catalan Theatre Production (2018, TNC, dir: Alícia Gorina): National Theatrical Construction and Spectatorship”, paper presented at “Crossing Borders: Contemporary Anglophone Theatre in Europe”, 40th International Conference of Recherches sur les Arts Dramatiques Anglophones Contemporains (RADAC), organised by Université Paris 13, Université Lyon 2, Université Grenoble-Alpes and RADAC, Paris, 11-12 October.
2018: attendance at “Víctimas y agresoras: Violencias y género(s) en la narrativa criminal”, an international conference organised by ADHUC – Centre de Recerca Teoria, Gènere, Sexualitat, University of Barcelona, 4-5 October.
2017: “Levinasian and Butlerian Ethics in Sarah Kane’s Work”, paper presented at the PhD Forum of “Nation, Nationhood and Theatre”, 26th Annual Conference of the German Society for Contemporary Theatre and Drama in English (CDE), University of Reading, 28 June-2 July.
2016: attendance at the “Body and Ecstasy” International Conference, Universitat Autònoma de Barcelona (UAB), Barcelona, 21-22 November.
2016: “Sarah Kane’s Theatre: Ethics, Precarity and Co-habitation in the Neoliberal World”, paper presented at the 1st International Conference of Young Researchers in Theatre Studies (CIJIET), University of Murcia, Murcia, 2-4 November.
2016: with Elisabeth Massana, “Failed Subjectivities and Conviviality in the Theatre of Sarah Kane and debbie tucker green [sic]”, paper presented at “Residuos emocionales: regímenes y disidencias afectivas en el mundo moderno”, a conference organized by Centre Dona i Literatura, GRC Creació i Pensament de les Dones, and CCCB, Universitat de Barcelona, 15-16 March.
2015: “Between the Self and the Other: Ethics and Vulnerability in Sarah Kane’s Blasted”, paper presented at “Postgraduate Research Afternoon”, Drama and Theatre Department, Royal Holloway, University of London, 9 December.
2015: attendance at “debbie tucker green International Symposium”, University of Lincoln, 21 November.
2015: attendance at the symposium “Are We on the Same Page: Approaches to Text and Performance”, Royal Holloway, University of London, 26 September.
2015: registration coordinator, “Theatre and Spectatorship”, 24th Annual Conference of the German Society for Contemporary Theatre and Drama in English (CDE), University of Barcelona, 4-7 June.
2014: “Ethical Responsibility and the Emancipated Spectator in Sarah Kane’s plays”, paper presented at the New Scholars’ Forum of “Theatre & Stratification”, International Federation for Theatre Research Conference (IFTR/ FIRT), University of Warwick, 28 July-1 August.
2013: “Ethics, Poetics and Subjectivity in the Work of Sarah Kane”, paper presented at the New Scholars’ Forum of “Re-Routing Performance/Re-caminant l’escena”, International Federation for Theatre Research Conference (IFTR/ FIRT), Institut del Teatre, Barcelona, 22-26 July.
2013: “Ética y poética en Apocalipsi, de la dramaturga Lluïsa Cunillé”, paper presented at the conference “Women Then and Now in Spanish Theatre, Cinema and Television”, organized by the Department of Hispanic Studies, Trinity College Dublin, Dublin, 25-27 June.
2013: “Ethics, Poetics and Subjectivity in Sarah Kane’s Work”, paper presented at the PhD Forum of “Theatre and Politics: Theatre as Cultural Intervention”, 22nd Annual Conference of the German Society for Contemporary Theatre and Drama in English (CDE), Charles University, Prague, 30 May-2 June.
Contemporary British Theatre
2024: participation in the post-show panel on Purificats (Cleansed) with translator Albert Arribas, director Mia Parcerisa, La Cremosa theatre company, moderated by Bernat Reher, Teatre Tantarantana, 22 February.
2024: contributor to the “L’Illa de Maians” podcast, hosted by Bernat Dedéu, in the programs on dramaturgy and dramatic theatre with Bernat Reher.
2023: participation in the study day on care in/and twenty-first century British theatre within the project “Gender, Affect and Care in Twenty-First Century British Theatre”, organized by the Contemporary British Theatre Barcelona research group, Universitat de Barcelona, Facultat de Filologia i Comunicació, 24 February.
2019: with M. Isabel Seguro, “The Crisis of Multiculturalism and (Post)Feminism in Charlane James’s Cuttin´It (2015) and Gloria Williams’s Bullet Hole (2018)”, paper presented at the symposium on crisis within the project “British Theatre in the Twenty-First Century: Crisis, Affect, Community”, organized by the Contemporary British Theatre Barcelona research group, Universitat de Barcelona, Facultat de Filologia i Comunicació, 11-12 April.
2018: participation in the study day on crisis within the project “British Theatre in the Twenty-First Century: Crisis, Affect, Community”, organized by the Contemporary British Theatre Barcelona research group, Universitat de Barcelona, Facultat de Filologia, 12 April.
2018: participation as dramaturg and assistant director in the first Catalan production of production of Sarah Kane’s Blasted, Blasted (Rebentats), directed by Alícia Gorina and premiered at the Temporada Alta Festival (Girona-Salt, December 2017) and at Teatre Nacional de Catalunya (Barcelona, January-February).
2018: with Alícia Gorina, co-curator of an exhibition on the reception of Blasted in Britain and Catalonia, Teatre Nacional de Catalunya, January-February.
2017: attendance at the talk “Desig i subversió” [Desire and Subversion], given by Marta Segarra, Centre de Cultura Contemporània de Barcelona, Barcelona, 15 February.
2017: participation in the study day on affect within the project “British Theatre in the Twenty-First Century: Crisis, Affect, Community”, organized by the Contemporary British Theatre Barcelona research group, Universitat de Barcelona, Facultat de Filologia, 24 March.
2016: co-organiser of the fourth Taller de Tesis (Thesis Workshop) for the PhD Programme “Construcció i Representació d’Identitats Culturals”, Universitat de Barcelona, Facultat de Filologia, 7 October.
2016: participation in the study day on happiness organized by the Contemporary British Theatre Barcelona research group, Universitat de Barcelona, Facultat de Filologia, 12 May.
2016: attendance at the symposium “Sarah Kane Explored: Staging the Unstageable”, Dorfman Theatre, National Theatre, London, 11 March.
2014: attendance to the “First and Second Augsburg-Barcelona Seminars” organized by the research project “Darstellungen des Prekären im britishen Gegenwartstheater” (“Representations of the Precarious in Contemporary British Theatre”), funded by the DAAD (Deutscher Akademischer Austausch Dienst – German Academic Exchange Service; Projekt-ID: 57049392), University of Augsburg (7-11 April) and University of Barcelona (15-19 September).
2014: attendance to the “Taller de Tesis”, PhD Programme “Construcció i Representació d’Identitats Culturals”, Universitat de Barcelona, Facultat de Filologia, 8 May.
2013: “Ètica, poètica i subjectivitat en l’obra dramàtica de Sarah Kane”, paper presented at “Taller de Tesi”, PhD Programme “Construcció i Representació d’Identitats Culturals”, Universitat de Barcelona, Facultat de Filologia, 14 May.
Other:
2020: participation as assistant director in the production of Victor Català’s Solitud, directed by Alícia Gorina and premiered at Teatre Nacional de Catalunya (Barcelona, March).