Clara Escoda

Clara Escoda is Lecturer in the English Literature Section of the Department Modern Languages and Literatures and English Studies, University of Barcelona.

Clara graduated in 2002 from the University of Barcelona with a major in English Studies, and in 2004 she completed an MA in the Humanities in Hood College (Maryland, USA), with a concentration on African American literature. Her minor thesis focused on the work of Toni Morrison and Gayl Jones. Her PhD thesis on the plays of Martin Crimp was supervised by Mireia Aragay and published as Martin Crimp’s Theatre: Collapse as Resistance to Late Capitalist Society (De Gruyter, 2013).

She has published articles on African American literature, on theatre and performance, and on Martin Crimp’s plays, and has presented papers on Martin Crimp’s and Alice Birch’s plays. She was a co-investigator for “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 for “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 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). She participated in “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): “Gender and the Body in Alice Birch’s Revolt. She Said. Revolt Again: A Twenty-First Century Feminist Manifesto”. Cambridge Companion to British Playwriting since 1945. Eds. Vicky Angelaki and Dan RebellatoCambridge: Cambridge UP.

2018: “‘Her Heart knows my Heart for a brief Moment’: Mediated Affect and Utopian Impulse in Many Moons (2011) by Alice Birch”. Performing Ethos: An International Journal of Ethics in Theatre and Performance 8.1, pp. 19-34.

2018: “‘Deeper than that’: Hegemonic Emotional Experiences and Affective Dissidences in Martin Crimp’s In the Republic of Happiness (2012)”. Nexus 2018. 2, pp. 45-56.

2018: “Divergent Subjects: Disrupting the Inherited Lifelines of Global Capitalism in Alice Birch’s Revolt. She Said. Revolt Again (2014)”. Proceedings of the International Conference Theatre as Value-Based Discourse – Slovak Theatre and Contemporary European Theatre Culture. Ed. Elena Knopová. Bratislava: VEDA, Slovak Academy of Sciences, pp. 36-51.

2018: review of Twenty-First Century Drama: What Happens Now (eds. Siân Adiseshiah and Louise LePage, 2016), New Theatre Quarterly 34.3, p. 300.

2017: “Ethics, Precariousness and the ‘Inclination’ to the Other in debbie tucker green’s dirty butterfly, Laura Wade’s Posh and Martin Crimp’s In the Republic of Happiness”, Of Precariousness: Vulnerabilities, Responsibilities, Communities in Twenty-first-century British Drama and Theatre. Eds. Mireia Aragay and Martin Middeke. Berlin and Boston: De Gruyter, pp. 187-202.

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

2014: “Violence, Testimony and Ethics in Martin Crimp’s The Country and The City”, Ethical Speculations in Contemporary British Theatre. Eds. Mireia Aragay and Enric Monforte. Basingstoke and New York: Palgrave Macmillan, pp. 25-41.

2013: Martin Crimp’s Theatre: Collapse as Resistance to Late Capitalist Society. Berlin and Boston: De Gruyter.

2012: review of Hamlet y el actor: En busca del personaje (Artezblai, 2011), Anagnorisis: Revista de investigación teatral5, pp. 134-41.

2012: “The Politics of Re-reading / Re-writing in Contemporary British Theatre”, a paper given at the XXXV Conference of the Spanish Association of Angloamerican Studies (AEDEAN). Published in: At a Time of Crisis: English and American Studies in Spain. Eds. Sara Martín Alegre, Melissa Moyer, Elisabet Pladevell and Susagna Tubau. Barcelona: Departament de Filologia Anglesa i de Germanística, Universitat Autònoma de Barcelona, pp. 238-44. E-book.

2012: with Mireia Aragay, “Postdramatism, Ethics and the Role of Light in Martin Crimp’s/James Macdonald’s Fewer Emergencies (2005)”, New Theatre Quarterly 28: 2, pp. 133-42.

2011: review of Theatre and Feeling (Palgrave Macmillan, 2010), Platform: Journal of Theatre and Performing Arts 6: 1, pp. 115-20.

2010: “A Textual Analysis of Martin Crimp’s Adaptation of Anton Chekhov’s The Seagull: The Importance of Testimony and Relationship”. Platform: Journal of Theatre and Performing Arts 10: 1, pp. 54-70.

2010: “‘In-Yer-Face Theatre’ and the ‘Society of Spectacle’: The Violence of Progress in Martin Crimp’s The Treatment”, Annals of the University of Craiova. Eds: Dieter Wessels and Felicia Burdescu. Craiova: Editura Universitaria, pp. 116-31.

2009: bibliographical entry on “Martin Crimp’s Attempts on Her Life”, Literary Encyclopedia. Ed. Robert Clark, East Anglia (Norwich), http://www.litencyc.com

2008: “Short Circuits of Desire: Language and Power in Martin Crimp’s Attempts on her Life (1997)”, A Body that Could Never Rest: Relaciones entre cuerpo y cultura en las tradiciones anglófonas 2. Eds. Félix Ernesto Chávez and Diego Falconi. Barcelona: UOC, pp. 173-88.

2007: “‘head green water to sing’: Minimalism and Indeterminacy in Martin Crimp’s Attempts on her Life (1997)”, Drama and/after Postmodernism. Eds. Christoph Henke and Martin Middeke. Trier: Wissenschaftlicher Verlag, pp. 149-63.

2007: “Short Circuits of Desire: Language and Power in Martin Crimp’s Attempts on her Life (1997)”, Ariel: A Review of International English Literature 3-4, 36, pp. 103-26.

 

Other

2016: “Shakespeare i el cinema” , “‘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.

2012: review of Baroque Allegory Comedia: The Transfiguration of Tragedy in Seventeenth-Century Spain  (Kassel: Reichenberg, 2012), Anagnorisis: Revista de investigación teatral 6, pp. 134-40.

2012: with Mireia Aragay, Enric Monforte, 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/2445/32184

2007: “‘I Carve Myself into My Hands’: The Body Experienced from Within in Ana Mendieta’s Work and in Migdalia Cruz’s Miriam’s Flowers”, Hispanic Review 3, 75, pp. 289-311.

2006: “Julie Taymor’s Titus (1999): Framing Violence and Activating Responsibility”, Atlantis 2, 28, pp. 57-70.

2005: “The Relationship Between Community and Subjectivity in Octavia E. Butler’s Parable of the Sower”, Extrapolation 3, 46, pp. 351-9.

2005: “Strategies of Subversion: The Deconstruction of Madness in Eva’s Man, Corregidora and Beloved”, Atlantis 1, 27, pp. 29-38.

Contemporary British Theatre

2017: “Divergent Subjects: Disrupting the Inherited Lifelines of Global Capitalism in Alice Birch’s Revolt. She Said. Revolt Again (2014)”, keynote lecture presented at the conference “Theatre as a Value-based Discourse: Slovak Theatre and Contemporary European Theatre Culture”, University of Bratislava, 5-6 October.

2016: “‘Her Heart Knows My Heart for a Brief Moment’: Affect Mediation and Utopian Impulse in Many Moons(2011), by Alice Birch”, paper presented at the conference “British Theatre in the 21st Century: New Texts, New Stages, New Identities, New Worlds”, organized by Paris-Sorbonne University, Royal Holloway (University of London) and Sorbonne-Nouvelle University, Université Paris-Sorbonne, París, 13-15 October.

2016: “Radical Poetics: Ethics, Dispossession and Affective Dissidences in Martin Crimp’s In the Republic of Happiness (2012)”, paper presented at 4th International Conference “What Happens Now: 21st Century Writing in English”, University of Lincoln, 27-30 June.

2016: “‘Deeper than That’: Hegemonic Emotional Experiences and Affective Dissidences in Martin Crimp’s In the Republic of Happiness (2012)”, paper presented at “Residuos emocionales: Regímenes y disidencias afectivas en el mundo moderno”, a conference organized by Centre Dona i Literatura, Universitat de Barcelona, and CCCB,  Barcelona, 15-16 March.

2015: member of the organizing committee, “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: “Ethics, Precariousness and the ‘Inclination’ to the Other in debbie tucker green’s dirty butterfly, Laura Wade’s Posh and Martin Crimp’s In the Republic of Happiness”, paper presented at “Theatre and Stratification”, International Federation for Theatre Research Conference (IFTR/ FIRT), University of Warwick, 28 July-1 August.

2013: “Witnessing, Spectatorship and Ethics in Martin Crimp’s The Country”, paper presented at the international conference “The Viewing of Politics and the Politics of Viewing: Theatre Challenges in the Age of Globalized Communities”, Aristotle University (Thessaloniki), 18-21 April.

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

2012: “’Empire, Resistance, and the Creation of Borderlands in Moira Buffini’s Welcome to Thebes (2010)”, 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: participation in the round table “The Politics of Rereading/Rewriting in Contemporary British Theatre” with a paper on Martin Crimp and Moira Buffini, XXXV International Conference of the Spanish Association of Angloamerican Studies (AEDEAN), Universitat Autònoma de Barcelona, 17 November.

2010: “Attempts on her Life and Face to the Wall: Postdramatism, the ‘Society of Spectacle’, and Crimp’s Vignettes of Collapse”, paper presented at the conference “Contemporary British Theatre: Towards a New Canon”, School of English, Birmingham City University, 16 October.

2009: “‘In-Yer-Face Theatre’ and the ‘Society of Spectacle’: The Violence of ‘Progress’ in Martin Crimp’s The Treatment (1993)”, paper presented at 8th International Conference Language, Literature and Cultural Policies: from Evolution to Involution, University of Craiova, Rumania, 3 October. Co-organised with the Department of English Studies of Rhur University, Bochum, Germany.

2008: participation in 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.

2007: “‘The Stage, a Skull’: Scenic Poetry and the Role of Light in Martin Crimp’s Fewer Emergencies (2005)”, paper presented at XXXI International Conference of the Spanish Association of Angloamerican Studies (AEDEAN), University of A Coruña, 16 November. Published in: Proceedings of the XXXI International Conference of AEDEAN. Ed. María Jesús Lorenzo Modia. A Coruña: Universidade da Coruña, pp. 461-74.

2007: “Short Circuits of Desire: Language and Power in Martin Crimp’s Attempts on her Life (1997)”, paper presented at “First International Conference Body and Textuality. Telling Bodies: Practices, Discourses, Looks”, Universitat Autònoma de Barcelona, 27 March.

2006: “‘head green water to sing’: Minimalism and Indeterminacy in Martin Crimp’s Attempts on her Life (1997)”, paper presented at “Drama and/after Postmodernism”, 15th Annual Conference of the German Society for Contemporary Theatre and Drama in English (CDE), University of Augsburg, Germany, 26 May.

Contemporary British Theatre

2018: chair of panel “Feminist Readings”, “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: 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.

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.

2017: attendance at the symposium “Theatre, Drama and Youth”, Lille University, Lille, 2-3 February.

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”, National Theatre, London, 11 March.

2015: “Postmodern or Satiric? From The Treatment (1993) to Fewer Emergencies (2005) by Martin Crimp”, guest lecture for the postgraduate unit “Literatura, ètica i globalització” within the official MA Programme “Construcció i Representació d’Identitats Culturals”, Universitat de Barcelona, Departament de Filologia Anglesa i Alemanya, 29 October.

2014: “Ethics, Precariousness and the ‘Inclination’ to the Other in debbie tucker green’s dirty butterfly, Laura Wade’s Posh and Martin Crimp’s In the Republic of Happiness”, guest lecture for graduate course “Literatura, ètica i globalització” within the official Masters Programme “Construcció i Representació d’Identitats Culturals”, Universitat de Barcelona, Departament de Filologia Anglesa i Alemanya, 26 November.

2014: “Ethics, Precariousness and the ‘Inclination’ to the Other in debbie tucker green’s dirty butterfly, Laura Wade’s Posh and Martin Crimp’s In the Republic of Happiness”, 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 Theatre”), funded by the DAAD (Deutscher Akademischer Austausch Dienst – German Academic Exchange Service; Projekt-ID: 57049392),University of Barcelona, 17 September.

2013: “Ethics, Precariousness and the ‘Inclination’ to the Other in debbie tucker green’s dirty butterfly, Laura Wade’s Posh and Martin Crimp’s In the Republic of Happiness”, paper delivered at the seminar “Ethics, Precariousness and Contemporary (British) Theatre”, organized by Universitat de Barcelona, Departament de Filologia Anglesa i Alemanya, 28 October.

2012: guest lecture on Martin Crimp’s Attempts on her Life for graduate course “Literatura i Escena: Construcció d’Identitats des del Royal Court Theatre” within the official Masters Programme “Construcció i Representació d’Identitats Culturals”, Universitat de Barcelona, Departament de Filologia Anglesa i Alemanya, 5 December.

2011: guest lecture on Martin Crimp’s Attempts on her Life for graduate course “Literatura i Escena: Construcció d’Identitats des del Royal Court Theatre” within the official Masters Programme “Construcció i Representació d’Identitats Culturals”, Universitat de Barcelona, Departament de Filologia Anglesa i Alemanya, 9 November.

Contemporary British Theatre

In progress: Albert Méndez Panadés, “The Subject in Conflict: A Philosophical Approach to Contemporary British Theatre” (co-supervised with Mireia Aragay).

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