Mireia Aragay

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Mireia Aragay is Professor of British Theatre in the English Literature Section of the Department Modern Languages and Literatures and English Studies, University of Barcelona, and Life Fellow of Clare Hall, University of Cambridge.

She holds a BA in English Literature (University of Barcelona), an MSc in English Language and Literary Stylistics (University of Edinburgh) and a PhD in English Literature (University of Barcelona). Her PhD thesis studied the role of language in the plays of Harold Pinter. Her research interests focus on Harold Pinter and contemporary British theatre, film adaptations of literary classics, Shakespeare and critical theory.

Her publications in these areas include Books in Motion: Adaptation, Intertextuality, Authorship (editor; Rodopi, 2005), British Theatre of the 1990s: Interviews with Directors, Playwrights, Critics and Academics (co-editor; Palgrave Macmillan, 2007), Ethical Speculations in Contemporary British Theatre (co-editor; Palgrave Macmillan, 2014), and “Theatre and Spectatorship”, a monograph issue of the Journal of Contemporary Drama in English (co-editor, 2016).

She was a member of “British Theatre of the 1990s”, a three-year research project funded by the Spanish Ministry of Science and Education (BFF2002-00257), and Principal Investigator of “The Representation of Politics and the Politics of Representation in post-1990 British Theatre”, funded by the Spanish Ministry of Science and Innovation (FFI2009-07598), and “Ethical Issues in Contemporary British Theatre since 1989: Globalization, Theatricality, Spectatorship” (FFI2012-31842), funded by the Spanish Ministry of Science and Innovation. She is now Principal Investigator of “British Theatre in the Twenty-First Century: Crisis, Affect, Community”, a four-year research project funded by the Spanish Ministry of Economy and Competitiveness and by FEDER (European Union) (FFI2016-75443). She is also Principal Investigator of the CBTBarcelona research group recognized by the Catalan research agency AGAUR (2014 SGR 49) and co-Principal Investigator, with Martin Middeke, of “Representations of the Precarious in Contemporary British Drama and Theatre”, a one-year (2014) research project funded by the Deutscher Akademischer Austausch Dienst (DAAD; Projekt-ID 57049392).

Contemporary British Theatre

(forthcoming): “Violència de les formes, formes de la violència: el teatre de debbie tucker green”, Violència i identitats. Eds. Francesco Ardolino and Elena Losada. Barcelona: Publicacions i Edicions de la UB.

(forthcoming): “On the Threshold: Precarious Hospitalities in Pornography, Fewer Emergencies and The American Pilot”, Of Precariousness: Vulnerabilities, Responsibilities, Communities in Twenty-first-century British Drama and Theatre. Eds. Mireia Aragay and Martin Middeke. Berlin and Boston: De Gruyter.

(forthcoming): with Martin Middeke, “Precariousness in Drama and Theatre: An IntroductionOf Precariousness: Vulnerabilities, Responsibilities, Communities in Twenty-first-century British Drama and Theatre. Berlin and Boston: De Gruyter.

(forthcoming): co-editor with Martin Middeke, Of Precariousness: Vulnerabilities, Responsibilities, Communities in Twenty-first-century British Drama and Theatre. Berlin and Boston: De Gruyter.

2017: “‘Els miralls són enganyosos’: espai, mirada i desig a La col·lecció (1961)”, (Pausa.) (Sala Beckett, Barcelona) 39. http://www.revistapausa.cat/els-miralls-son-enganyosos-espai-mirada-i-desig-a-la-col%C2%B7leccio-1961/

2017: “Llenguatge, política, realitat: el teatre de Harold Pinter”, Vells temps/Cendres a les cendres. Trans. Joan Sellent, prologue Carlota Benet. Barcelona: Comanegra/Institut del Teatre, pp. 109-124.

2016: with Enric Monforte, “Introduction: Theatre and Spectatorship – Meditations on Participation, Agency and Trust”, Journal of Contemporary Drama in English 4: 1, pp. 3-20.

2016: co-editor with Enric Monforte, special issue on “Theatre and Spectatorship”, Journal of Contemporary Drama in English 4: 1.

2014: with Clara Escoda and Enric Monforte, “Martin Crimp at Sala Beckett, Barcelona”, Contemporary Theatre Review 24: 3, pp. 376-87.

2014: “Fracturing the Critical Conversation on Pinter’s Language: A Response to Maurice Charney”, Connotations: A Journal for Critical Debate 23: 2, pp. 347-56.

2014: review of The Spaces of Irish Drama: Stage and Place in Contemporary Plays (Helen Lojek, 2011), Journal of Contemporary Drama and Theatre in English (JCDE) 2: 1, pp. 223-27.

2014: “To Begin to Speculate: Theatre Studies, Ethics and Spectatorship”, Ethical Speculations in Contemporary British Theatre. Eds. Mireia Aragay and Enric Monforte. Basingstoke and New York: Palgrave Macmillan, pp. 1-22.

2014: co-editor with Enric Monforte, Ethical Speculations in Contemporary British Theatre. Basingstoke and New York: Palgrave Macmillan.

2013: with Enric Monforte, “Racial Violence, Witnessing and Emancipated Spectatorship in The Colour of Justice, Fallout and random”, Contemporary British Theatre: Breaking New Ground. Ed. Vicky Angelaki. Basingstoke and New York: Palgrave Macmillan, pp. 96-120.

2013: “Relational Spaces: From the State of the Nation to Globalization in Contemporary British Theatre”, Adaptations, Versions and Perversions: Transnationality in Modern English Drama. Ed. Ignacio Ramos Gay. Newcastle: Cambridge Scholars Publishing, pp. 71-85.

2012: with Clara Escoda, “Postdramatism, Ethics and the Role of Light in Martin Crimp’s/James Macdonald’s Fewer Emergencies (2005)”, New Theatre Quarterly 28: 2, pp. 133-142.

2012: “Globalization, Space and the Ethics of Witnessing: Party Time (1991), Far Away (2000) and Fewer Emergencies (2002)”, Ethical Debates in Contemporary Theatre and Drama. Eds. Mark Berninger and Bernhard Reitz. Trier: Wissenschaftlicher Verlag Trier, pp. 105-119.

2011: “A Mirror of our own Anxiety: Civilization, Violence and Ethics in Martin Crimp’s Cruel and Tender”, Atlantis 33: 2, pp. 75-87.

2011: “Escritura, política y Ashes to Ashes: Entrevista con Harold Pinter”, Minerva: Publicación Cuatrimestral del Círculo de Bellas Artes IV Época, 18, pp. 30-36.

2010: with Pilar Zozaya, “Actos de fe: El teatro de David Hare, 1968-2009”, Primer Acto: Cuadernos de Investigación Teatral 333, pp. 31-44.

2009 (2001): “Pinter, Politics and Postmodernism”, The Cambridge Companion to Harold Pinter. Ed. Peter Raby. Cambridge: Cambridge University Press, pp. 283-96.

2008: “La revolució teatral de Harold Pinter”, Els Premis Nobel de l’Any 2005. Barcelona: Institut d’Estudis Catalans, pp. 106-39.

2007: review of Harold Pinter and the Twilight of Modernism (Varun Begley, 2005), Modern Drama 50: 1, pp. 114-16.

2007: co-editor with Hildegard Klein, Enric Monforte and Pilar Zozaya, British Theatre of the 1990s: Interviews with Directors, Playwrights, Critics and Academics. Basingstoke and New York: Palgrave Macmillan.

2006: “Harold Pinter: Teatro, lenguaje, política”, Revista de Teatro de la Asociación de Directores de Escena (ADE) 111, pp. 43-50.

2006: “’Images precisas e certeiras’: Harold Pinter, 1957-2006”, Revista Galega de Teatro 49, pp. 14-22.

2004: with Pilar Zozaya, “The State of British Theatre Now: An Interview with Michael Billington”, Atlantis 26: 1, pp. 89-100

2004: with Pilar Zozaya, “Assessing ‘In-Yer-Face’ Theatre: An Interview with Aleks Sierz”, The European English Messenger XIII, 1, pp. 60-71.

2003: with Pilar Zozaya, “The Royal Court in the 1990s: An Interview with Max Stafford-Clark”, Anuari de Filologia (Filologia Anglesa i Alemanya, Universitat de Barcelona) XXV, A-12, pp. 27-37.

2000: “’El teatro es entusiasmo, pasión, compromiso’: entrevista con Harold Pinter”, Primer Acto: Cuadernos de Investigación Teatral 282 (separata), pp. 3-9.

1998: Spanish translation of Harold Pinter’s One for the Road (La última copa), Assaig de Teatre: Revista de l’AIET 12-13-14, pp. 185-201. 10th National Prize for Translation awarded by the Spanish Association of Angloamerican Studies (AEDEAN), 1996.

1997: “Writing, Politics, and Ashes to Ashes: An Interview with Harold Pinter”, The Pinter Review: Annual Essays 1995-1996, pp. 4-15. Reprinted in: Harold Pinter, Various Voices: Prose, Poetry, Politics 1948-1989. London: Faber, 1998, pp. 58-70.

1996: co-editor with Victor Molina and Pilar Zozaya, “Dossier Pinter”, Quimera 152, pp. 19-39.

1995: review of Feminist Theories for Dramatic Criticism (Gayle Austin, 1991), Links and Letters 2, pp. 92-94.

1994: “Exploring Gender Roles in the 1960s: Ann Jellicoe’s The Knack and Harold Pinter’s The Homecoming”, Atlantis 16: 1-2, pp. 5-19. Reprinted in Essays from ESSE: Proceedings of the Women’s Studies Section at the ESSE Conference (Bordeaux, 1993), BELLS (Barcelona English Language and Literature Studies) 7, 1996, pp. 183-93.

1994: “Howard Brenton’s The Romans in Britain: Colonialism and Northern Ireland”, Anuari de Filologia (Filologia Anglesa i Alemanya, Universitat de Barcelona) XVII, A-5, pp. 9-16.

1992: El llenguatge en la producció teatral de Harold Pinter. Barcelona: PPU.

1991:L’habitació de Harold Pinter: el llenguatge, eina de poder i d’evasió”, (Pausa.) (Sala Beckett, Barcelona) 7, pp. 11-18.

1990: “David Hare’s Racing Demon: Just Taking the Church of England to Court?”, Anuari de Filologia (Filologia Anglesa i Alemanya, Universitat de Barcelona) XIII, A-1, pp. 9-20.

1990: review of The Field of Drama (Martin Esslin, 1987), Anuari d’Anglès (Universitat Autònoma de Barcelona), XI-XII, pp. 101-103.

1989: “Political Pinter: Mountain Language in Context”, BELLS (Barcelona English Language and Literature Studies) 2, pp. 17-29.

Other

2016: “Altres Shakespeares, o Shakespeare en plural” , “‘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.

2014: co-editor with Juan Carlos de Miguel and Juan Vicente Martínez Luciano, Teatro de excepción: Experiencias escénicas no institucionales en la Europa de los siglos XX y XXI. Quaderns de Filologia de la Universitat de València, Estudis Literaris, vol. XIX. València: Publicacions de la Universitat de València.

2012: with Enric Monforte, Clara Escoda, Verónica Rodríguez and María Isabel Seguro, Formative Learning and Assessment Tools for British Theatre Courses within the English Studies Degree. Barcelona: Dipòsit Digital de la Universitat de Barcelona. http://hdl.handle.net.sire.ub.edu/2445/32184

2005: with Gemma López, “Inf(l)ecting Pride and Prejudice: Dialogism, Intertextuality and Adaptation”, Books in Motion: Adaptation, Intertextuality, Authorship. Ed. Mireia Aragay. Amsterdam and New York: Rodopi, pp. 201-19.

2005: “Reflection to Refraction: Adaptation Studies Then and Now”, Books in Motion: Adaptation, Intertextuality, Authorship. Ed. Mireia Aragay. Amsterdam and New York: Rodopi, pp. 11-24.

2005: editor, Books in Motion: Adaptation, Intertextuality, Authorship. Amsterdam and New York: Rodopi.

2003: “Possessing Jane Austen: Fidelity, Authorship, and Patricia Rozema’s Mansfield Park”, Literature/Film Quarterly 31: 3, pp. 177-85.

2003: “’Adentrándose hacia el mar del otro’: Marina Warner reescribe La tempestad shakespeareana”, Hombres escritos por mujeres. Eds. Àngels Carabí and Marta Segarra. Barcelona: Icaria, pp. 47-79.

2002: “Ireland, Nostalgia and Globalisation: Brian Friel’s Dancing at Lughnasa on Stage and Screen”, International Journal of English Studies 2: 2, pp. 83-93.

2002: with Pilar Zozaya, “Teaching Shakespeare Then and Now: The University of Barcelona as a Case Study”, Shakespeare and Spain, Shakespeare Yearbook 13. Eds. José Manuel González and Holger Klein. Lewiston: Edwin Mellen Press, pp. 196-213.

2000: co-editor with Jacqueline Hurtley, Irish Literatures at Century’s End, BELLS (Barcelona English Language and Literature Studies) 11. Barcelona: PPU.

2000: “Feminismo y materialismo cultural: ¿enemigos o cómplices?, Feminismo y crítica literaria. Eds. Marta Segarra and Àngels Carabí. Barcelona: Icaria, pp. 43-69.

1999: “A Little Touch of Branagh: Henry V”, Links and Letters 6, pp. 11-22.

1998: with Gemma López, “Desire and Masquerade in the 18th Century: Eliza Haywood’s ‘Fantomina: Or, Love in a Maze’”, a paper given at XXII International Conference of the Spanish Association of Angloamerican Studies (AEDEAN). Published in: P. Gallardo and E. Llurda (eds.), Proceedings of the XXII International Conference of AEDEAN. Lleida: Universitat de Lleida, 2000, pp. 337-40.

1998: review of Diccionario cultural e histórico de Irlanda (Jacqueline Hurtley et al., 1996), Historia y Vida 363, pp. 114-15.

1998: editor, Literature and Cinema, BELLS (Barcelona English Language and Literature Studies) 9. Barcelona: PPU.

1997: “Reading Dermot Bolger’s The Holy Ground: National Identity, Gender and Sexuality in Post-Colonial Ireland”, Links and Letters 4, pp. 53-64.

1996: “The Carnivalesque in Brian Friel’s The Freedom of the City”, Revista Canaria de Estudios Ingleses 32-33, pp. 193-99.

1996: co-editor with Marisa Demoor and Jane Moore, Essays from ESSE: Proceedings of the Women’s Studies Section at the Second Conference of the European Society for the Study of English (ESSE), BELLS (Barcelona English Language and Literature Studies) 7. Barcelona: PPU.

1995: “Escribir Dublín, reescribir Irlanda: el teatro de Dermot Bolger”, a guest lecture given at V Jornadas de Teatro: Teatro y Ciudad, Universidad de Burgos. Published in: J.I. Blanco Pérez et al. (eds.), Teatro y Ciudad: V Jornadas de Teatro. Burgos: Universidad de Burgos, 1996, pp. 21-34.

1995: review of Writing Ireland: Colonialism, Nationalism and Culture (David Cairns and Shaun Richards, 1988), Links and Letters 2, pp. 89-92.

1994: “Field Day, Otherness, and Frank McGuiness’s Observe the Sons of Ulster, Marching towards the Somme”, a paper given at XVIII International Conference of the Spanish Association of Angloamerican Studies (AEDEAN). Published in: R.J. Sola et al., (eds.), Proceedings of the XVIII Conference of AEDEAN. Alcalá de Henares: Universidad de Alcalá, 1996, pp. 497-502.

1994: “Cambridge Seminar on Contemporary British Writing 1994: A Report”, BELLS (Barcelona English Language and Literature Studies) 6, pp. 233-36.

1994: “The Long Shadow of the Nineteenth Century: An Interview with A.S. Byatt”, BELLS (Barcelona English Language and Literature Studies) 5, pp. 151-64.

1994: co-editor with Jacqueline Hurtley, M. Luz Celaya and Ana Moya, Writing the End: An International Conference on Language and Literature in English at the Close of the 19th and 20th Centuries. Barcelona: PPU.

1993: “Two Frielian Experiments: Philadelphia, Here I Come! (1964) and The Freedom of the City (1973)”, Anuari de Filologia (Universitat de Barcelona), XVI, A-4, pp. 9-15.

1993: participation in the round table “Literature and Censorship”, chaired by Jacqueline Hurtley, with “Breaking through Censorship in 1960s Ireland: Friel’s Philadelphia, Here I Come! and Murphy’s A Crucial Week in the Life of a grocer’s Assistant”, XVII International Conference of the Spanish Association of Angloamerican Studies (AEDEAN). Published in: J. Pérez Guerra, ed., AEDEAN Select Papers in Language, Literature and Culture: Proceedings of the XVII International Conference. Vigo: Universidad de Vigo, 2000, pp. 287-88.

1993: “Brian Friel i el teatre irlandès”, programa de Dansa d’agost. Barcelona: Teatre Lliure, pp. 8-9.

1991: with Jacqueline Hurtley, “The ‘Chestertonization’ of Catalonia: G.K. Chesterton in La Revista and La Nova Revista”, Journal of Interdisciplinary Literary Studies 3: 1, pp. 23-40.

1990: “Satire Betrayed: A Look at Orwell’s Nineteen Eighty-Four”, Atlantis XII: 1, pp. 65-76.

1990: “Ironic Dramatic Monologues? An Exercise in Stylistics and Criticism”, Homenaje al Dr. Pedro-Jesús Marcos Pérez. Ed. Félix Rodríguez González. Alicante: Universidad de Alicante, pp. 397-405.

Contemporary British Theatre

2016: chair of session, “Residuos emocionales: Regímenes y disidencias afectivas en el mundo moderno”, Centre Dona i Literatura (University of Barcelona) and Centre de Cultura Contemporània de Barcelona (CCCB), 15-17 March.

2016: attendance at “Theatre and Mobility”, 25th Annual Conference of the German Society for Contemporary Theatre and Drama in English (CDE), Katholische Universität Eichstätt-Ingolstadt, 26-29 May.

2015: attendance at the symposium “Are We on the Same Page: Approaches to Text and Performance”, Royal Holloway, University of London, 26 September.

2015: conference convenor, “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: chair of session, “History is Broken Here: Indigenous Performance and the ‘Cunning of Recognition’”, keynote lecture by Helen Gilbert, 23rd Annual Conference of the German Society for Contemporary Theatre and Drama in English (CDE), University of Hamburg, 30 May-2 June.

2013: “Racial Violence, Witnessing and Emancipated Spectatorship in The Colour of Justice”, paper presented at “Re-Routing Performance/Re-caminant l’escena”, International Federation for Theatre Research Conference (IFTR/ FIRT), Institut del Teatre, Barcelona, 22-26 July.

2013: chair of panel, “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.

2013: with Clara Escoda and Enric Monforte, “Martin Crimp at Sala Beckett, Barcelona”, paper presented (by invitation) at “Dealing with Martin Crimp”, a conference organised by Royal Holloway, University of London and the University of Birmingham, held at Royal Court Theatre, London, 12 January 2013.

2012: with Deniz Bozer (Hacettepe University, Turkey) and Ibrahim Yerebakan (Rize University, Turkey), coordination of seminar “Representations of Political/Ethical Concerns in post-1989 British Theatre” at the 11th Conference of the European Society for the Study of English (ESSE), Bogaziçi University (Istanbul), 4-8 September.

2012: “Borders, Thresholds and Crossings: Liminal Spaces in post-1989 British Theatre”, paper given at the international conference “The Border, an Unavoidable Concept? International Conference on the Border and its Relationship to the Performing Arts in Europe”, organised by Grup de Recerca en les Arts Escèniques (GRAE), Universitat Autònoma de Barcelona, 1-3 March.

2011: “Crossing Borders: From the State of the Nation to Globalisation in Contemporary British Theatre”, guest lecture given at the international conference “Adaptations, Versions and Perversions: French Theatre and English Playwrights (19th-21st Century)”, Universitat de València, 1-2 December.

2011: “Globalization, Space and the Ethics of Witnessing in Party Time (1991), Far Away (2000) and Fewer Emergencies (2002)”, paper presented at “Ethical Debates in Contemporary Theatre and Drama”, 20th Annual Conference of the German Society for Contemporary Theatre and Drama in English (CDE), University of Mainz, 2-5 June.

2010: “Some Thoughts on Documentary Theatre and Canon Construction”, paper presented at the conference “Contemporary British Theatre: Towards a New Canon”, School of English, Birmingham City University, 16 October.

2010: chair of Emerging Scholars Panel “The Changing Faces of Theatrical Representation” at the conference “Contemporary British Theatre: Towards a New Canon”, School of English, Birmingham City University, 16 October.

2010: with Enric Monforte and Hanna Scolnicov (Tel Aviv University), coordination of seminar “Ethics in Contemporary British Theatre” at the 10th Conference of the European Society for the Study of English (ESSE), University of Turin, 24-28 August.

2009: “Civilisation, Violence and Ethics in Martin Crimp’s Cruel and Tender“, paper presented at the conference “Fractured Narratives: Pinter, Postmodernism and the Postcolonial World”, Goldsmiths College, University of London, 7 November.

2008: coordination of the round table “The Politics of Contemporary British Theatre”, XXXII International Conference of the Spanish Association of Angloamerican Studies (AEDEAN), Universitat de les Illes Balears, 14 November.

2008: participation in the round table “The Politics of Contemporary British Theatre” with a paper on documentary theatre, XXXII International Conference of the Spanish Association of Angloamerican Studies (AEDEAN), Universitat de les Illes Balears, 14 November.

2008:Blasted, Pain, Tragedy”, paper presented at the conference “Sarah Kane: Reassessments”, University of Cambridge, 16 February.

2007: attendance at the symposium “How Was It For Us? British Theatre Under Blair”, Writers’ Guild of Great Britain, London, 9 December.

2004: participation in the round table “Shocking the Audience? Experiential Theatre in London since 1990”, 7th Conference of the European Society for the Study of English (ESSE), Universidad de Zaragoza, 9 September.

1993: “Exploring Gender Roles in the 1960s: Ann Jellicoe’s The Knack (1961) and Harold Pinter’s The Homecoming (1965)”, paper presented at 2nd. Conference of the European Society for the Study of English (ESSE), University of Bordeaux, 4-8 September.

1992: “Narrative as Power in Harold Pinter’s Old Times”, paper given at XVI International Conference of the Spanish Association of Angloamerican Studies (AEDEAN), Universidad de Valladolid, 15 December. Published in: Proceedings of the XVI International Conference of AEDEAN. Eds. José M. Ruiz et al. Valladolid: U. de Valladolid, pp. 191-200.

1992: “El teatro político de Harold Pinter: de Precisely (1983) a Party Time (1991)”, paper presented at the conference “Teatro Siglo XX”, Universidad Complutense de Madrid, 17-20 November. Published in: Teatro siglo XX: Actas del Congreso. Eds. Joaquín Mª Aguirre et al. Madrid: Departamento de Filología Española III, U. Complutense de Madrid, pp. 74-81.

Contemporary British Theatre

2017: participation in the first research seminar of 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: attendance at the workshop “Processos i plantejaments en el teatre contemporani” led by Simon Stephens, Obrador Internacional de Dramatúrgia, Sala Beckett, Barcelona, 7-9 November.

2016: participation in the “First Happiness Seminar”, 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.

2015: “Espais foradats: Blasted (1995), de Sarah Kane”, a seminar taught within the course “Subvertir i seduir: les autores dels nostres dies”, Gaudir UB, Universitat de Barcelona, Àrea de Formació Complementària, 4 December.

2015: “Violència de les formes, formes de la violència: el teatre de debbie tucker green”, a talk given within the symposium “I Jornada d’Estudi CRIC: Violència i identitats”, Universitat de Barcelona, 26 November.

2015: “Els miralls són enganyosos: espai, mirada i desig a La col·lecció (1961)”, a guest lecture given at Sala Beckett, Barcelona, in conjunction with the run of Harold Pinter’s play, translated by Víctor Muñoz i Calafell and directed by Albert Prat, 29 October.

2014: “On the Threshold: Precarious Hospitalities in Pornography, Fewer Emergencies and The American Pilot”, a paper presented within the “Second Augsburg-Barcelona Seminar” organized by the research project “Darstellungen des Prekären im britishen Gegenwartstheater” (“Representations of the Precarious in Contemporary British Drama”), funded by the DAAD (Deutscher Akademischer Austausch Dienst – German Academic Exchange Service; Projekt-ID: 57049392), University of Barcelona, 17 September.

2013: guest seminar on “Theatre in London Today”, Universitat Autònoma de Barcelona, Departament de Filologia Anglesa i de Germanística, 21 February.

2013: Visiting Professor at the University of Augsburg; taught four masterclasses for members of staff and PhD and MA students on the topic of “Precariousness in Contemporary British Theatre and Drama”, Augsburg, 13 January-1 February.

2011: with Enric Monforte, guest seminar on “The State of Contemporary British Theatre”, Universitat Autònoma de Barcelona, Departament de Filologia Anglesa i de Germanística, 24 February.

2010: “Panorámica del teatro de David Hare, 1968-2010”, a guest lecture given within the “XIV Ciclo Autor: David Hare”, Festival Escena Contemporánea, Teatro Pradillo (Madrid), 11 February.

2006: “Pinter 1957-2006: Teatro, lenguaje y política”, a guest lecture given within the XVII Seminario de la Asociación de Directores de Escena (ADE) “Beckett y Pinter: dos vías de la literatura dramática contemporánea”, Medina del Campo (Valladolid), 7 July.

2005: “La revolució teatral de Harold Pinter”, a guest lecture given within the cycle “Els Premis Nobel 2005”, Institut d’Estudis Catalans (Barcelona), 19 December.

2003: “David Hare, textos i contextos: des del Portable Theatre (1968) fins a The Breath of Life (2002)”, a guest lecture co-authored with Pilar Zozaya for the “David Hare Season” organized by Fundació Romea per a les Arts Escèniques (Barcelona) and the British Council, 3 March.

2002: “El teatre anglès contemporani: la figura de Howard Barker”, a public interview with Michael Billington on the occasion of the Catalan premiere of Scenes from an Execution (Escenes d’una execució), organized by the British Council and the Teatre Nacional de Catalunya (TNC) and co-conducted with Pilar Zozaya, 22 March.

1996: a public interview with Harold Pinter held at Centre de Cultura Contemporània de Barcelona (CCCB), within the Pinter season “Otoño Pinter” organized by Sala Beckett (Barcelona) and the British Council, 6 December.

1996: “El llenguatge en l’obra de Harold Pinter”, inaugural lecture given within the Pinter season “Otoño Pinter”, organized by Sala Beckett (Barcelona) and the British Council, 21 October.

1995: “El diálogo dramático: el ejemplo de Harold Pinter”, a talk given within the seminar “Nuevas tendencias en la creación y producción teatrales” organized by Sala Beckett (Barcelona) and Instituto de Cooperación Iberoamericana (ICI), 6 November.

1994: “El lenguaje dramático de Harold Pinter”, a talk given within the seminar “Nuevas tendencias en la creación y producción teatrales” organized by Sala Beckett (Barcelona) and Instituto de Cooperación Iberoamericana (ICI), 24 October.

1993: “El diálogo dramático como acción: el ejemplo de Harold Pinter”, three talks given within the seminar “Nuevas tendencias en la creación y producción teatrales” organized by Sala Beckett (Barcelona) and Instituto de Cooperación Iberoamericana (ICI), 18 and 25 October, and 11 November.

1991: “El lenguaje en el teatro de Harold Pinter”, two talks given within the seminar “Play Pinter” organized by Sala Beckett (Barcelona), 17 and 24 April.

Contemporary British Theatre

In progress: María Isabel Seguro, “The Politics of Disability in Martin McDonagh”.

In progress: Marta Tirado, “Ètica, poètica i subjectivitat en l’obra de Sarah Kane”.

2016: Verónica Rodríguez, “Globalisation in David Greig’s Theatre: Space, Ethics and the Spectator”.

2011: Clara Escoda, “Collapse as Resistance in Martin Crimp’s Theatre”.

Other

In progress: Sonia Haiduc. “Adapting Literary Lives on Screen: Genre and the Embodiment of Text”.

Contemporary British Theatre

2015: Daria Lavrinienko, “Theatre as a Tool in Education and in Social and Political Activism: David Greig’s Dr. Korczak’s Example (2001) and Caryl Churchill’s Seven Jewish Children: A Play for Gaza (2009)”.

2012: Sara Montes, “Witnessing, Testimony and Ethics: The Theatre of debbie tucker green”.

Other

2013: Diego José Abad, “Rizal on Screen: A Study on the Representation of José Rizal in Film and his Relevance in the Construction of Philippine Consciousness”.

2012: Mar Cano Mesa, “Representing Contemporary Indian Women’s Masala Identities through Bollywood Film Adaptations of Jane Austen: Kandukondain Kandukondain [I Have Found It] (2000), Bride and Prejudice (2004) and Aisha (2010)”.

2011: Helena Mas Rodríguez, “Transfiguraciones de la novela gótica en Murnau y Coppola: tradición y creación en la adaptación cinematográfica de Drácula”.

2007: Sonia Haiduc, “‘The Horror of My Other Self’: Jekyll and Hyde on Screen”.

2006: Anna Marcet, “Towards a Balanced Model of Native American Masculinity: Louise Erdrich’s Love Medicine”.

1996: Anna Fabregat, “Narració, identitat i gènere: Dancing at Lughnasa de Brian Friel i Bailegangaire de Tom Murphy”.

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CBTMireia Aragay