Marta Tirado

Marta Tirado is a PhD candidate at the University of Barcelona, where she is currently working on the representation of the relationship between the Self and the Other in Sarah Kane’s work from an ethical and aesthetic perspective. Her thesis is supervised by Mireia Aragay.

Marta 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 the connection with this production, she co-curated, with Alícia Gorina, an exhibitation on the reception of Blasted in Britain and Catalonia.

She 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 a MA in Comparative Studies in Literature, Arts and Thought (University Pompeu Fabra, Barcelona). Her minor thesis, which was supervised by Carles Besa (Universitat Pompeu Fabra, Barcelona), focused on a comparative analysis of the poetics of Sarah Kane’s Crave and the play by the Catalan playwright Lluïsa Cunillé, Apocalipsi. She has also been 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 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 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).

Contemporary British Theatre

2018: “Sobre Blasted”[On Blasted], programme notes on Blasted (Rebentats), by Sarah Kane, dir. Alícia Gorina (Barcelona: Teatre Nacional de Catalunya, January-February), pp. 10-2.

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), #PlusTA, Temporada Alta Festival website, http://www.plus-ta.cat/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

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

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

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: 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.

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