Verónica Rodríguez

Verónica Rodríguez is Teaching Fellow in Theatre and Performance in the Department of Film, Theatre and Television at the University of Reading.

Her book, David Greig’s Holed Theatre: Globalization, Ethics and the Spectator (2019), with a foreword by Dan Rebellato, was published by Palgrave Macmillan and launched at Royal Holloway, University of London in collaboration with the Centre for Contemporary British Theatre. Verónica graduated from the University of Murcia with a major in English Studies and in 2011 she completed an MA in European Comparative Literature, also at the University of Murcia. Her minor thesis focused on a comparative analysis of William Shakespeare’s The Tempest and the first of David Greig’s plays, A Savage Reminiscence or How to Snare the Nimble Marmoset, and was supervised by Ángel-Luis Pujante and Keith Gregor. Her PhD thesis on the plays of David Greig was supervised by Mireia Aragay at the University of Barcelona.

Her main research interests are in the fields of contemporary British theatre and performance with a focus on the intertwining of ethics, aesthetics and politics, globalization, spectatorship, new political forms of theatre and the health humanities (the intersection of theatre and women’s health in particular). She was research assistant 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 a co-investigator for “Ethical Issues in Contemporary British Theatre since 1989: Globalization, Theatricality, Spectatorship”, funded by the Spanish Ministry of Economy and Competitiveness (FFI2012-31842). 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). She is 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). In 2019, she attended the “Mellon School of Theatre and Performance: Migrations” at Harvard University.

She is co-founder of the community theatre company Wild Forest Theatre, based in Waltham Forest, London. She is a member of the artistic collective of endometriosis sufferers Inner-Orchestra. Her play Bi, about bipolar disorder, was commissioned by the Royal Court Theatre’s “Listen Local” project and presented during the Waltham Forest London Borough of Culture 2019, directed by Lucy Morrison.

Contemporary British Theatre

(forthcoming): “The Sick Body and Spectatorship: Thinking through Endometriosis”, Routledge Companion to Audience and the Performing Arts. Eds. Matthew Reason et al. London and New York: Routledge.

(forthcoming): “Subverting the Victimhood Narrative in Refugee Theatre: A Conversation with Phosphoros Theatre”, Contemporary Theatre Review.

(forthcoming): “Posh”, The Cambridge Companion to British Playwriting since 1945. Eds. Vicky Angelaki and Dan Rebellato. Cambridge: Cambridge University Press.

2020: “The Open Constructed Public Sphere: Aeschylus’ The Suppliant Women in a Version by David Greig”. Special Issue: The Public Place of Drama in Britain, 1968 to the Present Day. Ed. Mary Brewer. Humanities 9 (1): 21, pp. 1-15. https://www.mdpi.com/2076-0787/9/1/21

2019: “‘Who Would Disagree that in a World of Trump and Putin and Boris Johnson… Brecht Is Not the Theorist and Playwright of Our Times?’: Bertolt Brecht’s Influence on David Greig’s Work”. Journal of Contemporary Drama in English 7: 2, pp. 242-58. https://doi.org/10.1515/jcde-2019-0025

2019: David Greig’s Holed Theatre: Globalization, Ethics and the Spectator. Cham: Palgrave Macmillan.

2019: “Confounding as Dismeasure: Value in David Greig’s Theatre”. Proceedings of the Conference Theatre as a Value-Based Discourse: Slovak Theatre and Contemporary European Theatre Culture. Ed. Elena Knopová. Bratislava: VEDA, Slovak Academy of Sciences, pp. 84-102.

2017: “Bridging Precariousness and Precarity: Ecstasy and Bleeding Across in the Work of David Greig and Suspect Culture”, Of Precariousness: Vulnerabilities, Responsibilities, Communities in 21st-Century British Drama and Theatre. Eds. Mireia Aragay and Martin Middeke. Berlin/Boston: De Gruyter, pp. 155-70.

2016: “‘That Space’: Across Text and Performance in Suspect Culture’s One Way Street”. Platform: Postgraduate Journal of Theatre Arts 10: 1, pp. 29-52.

2016: “Zāhir and Bātin: An Interview with David Greig”. Special Issue: David Greig: Dramaturgies of Encounter and Engagement. Ed. Jacqueline Bolton. Contemporary Theatre Review 26: 1, pp. 88-96.

2015: “Ambivalent Borders in David Greig’s Europe (1994)”, De fronteres i arts escèniques. Ed. Núria Santamaria with Francesc Foguet. Lleida: Punctum, pp. 183-96.

2012: with Dilek İnan, “Combining the Epic with the Everyday: David Greig’s Dunsinane”International Journal of Scottish Theatre and Screen 5: 2, pp. 56-78.

2012: “The ‘Polethics’ of the Mediated/tized Spectator in the Global-technologized Age: David Greig’s Theatre”, Oxímora 1: 1, pp. 53-76.

2012: “Intervention of the ‘Sensible’ in the Globalized Society: David Greig’s ‘Aesthethics’ in The American Pilot (2005)”, activate 2: 1, pp. 1-16.

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, Departament de Filologia Anglesa i de Germanística, Universitat Autònoma de Barcelona, pp. 238-44. E-book.

Other

2017: “‘Hysterizing’ 30 Years of AIDS: Identity of People Living with HIV/AIDS (PLWHAs)”, Identity and Identification: Proceedings of the 14th International Culture and Power Conference. Eds. Ángel Mateos-Aparicio and Eduardo de Gregorio-Godeo. Cuenca: Ediciones de la Universidad de Castilla-La Mancha, pp. 157-66.

2012: with Mireia Aragay, Enric Monforte, Clara Escoda, 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

2011: “‘Discourses’ and ‘Counterdiscourses’ on Bodies of People Living with HIV/AIDS”. El cuerpo en mente. Versiones del ser desde el pensamiento contemporáneo. Eds. Mireia Calafell and Aina Pérez. Barcelona: UOC, pp. 417-27.

Contemporary British Theatre

2020: attendance at the British Society of Aesthetics Conference, “Art, Aesthetics, and the Medical and Health Humanities”, University of Kent, 7-9 February.

2019: “Unhousedness: Zinnie Harris’ This Restless House as Feminist Adaptation”, paper presented at the “International Playwriting Symposium: Zinnie Harris”, University of Lincoln, Lincoln Performing Arts Centre, 22-23 November.

2019: chair of panel “Global Catastrophes”, “International Playwriting Symposium: Zinnie Harris”, University of Lincoln, Lincoln Performing Arts Centre, 22-23 November.

2019: “Crisis Ecology: Migratory Aesthetics in The Container, The Suppliant Women, and Dear Home Office”, paper presented at “Theatre of Crisis: Aesthetic Responses to a Cross‐Sectional Condition”, 28th Annual Conference of the German Society for Contemporary Theatre and Drama in English (CDE), Graz, 20-23 June.

2018: “This is Our Song: Aeschylus’ The Suppliant Women in a Version by David Greig”, paper presented at “Theatre and Migration: Theatre, Nation and Identity between Migration and Stasis”, International Federation for Theatre Research Conference (IFTR/FIRT), Belgrade, 9-13 July.

2018: attendance at the Conference “Dynamics of Interweaving Performance Cultures,” Freie Universität Berlin, Berlin, 21-24 June.

2018: “Citizenship, Public Sphere and Protest in Aeschylus The Suppliant Women in a Version by David Greig”, paper presented at “1968-2018 I Protest, Performance and the Public Sphere”, University of Warwick, 7-9 June.

2018: attendance at the symposium “Shadows of the Dawn: Migration and the Indeterminacy of Community and Immunity 2”, Brunel University, London, 3 June.

2018: attendance at the Conference “Embodied Practice and Performance in the Arts”, Canterbury Christ Church University, 5-6 April.

2017: attendance at “Welcome is a Radical Act”, Goldsmiths College, University of London, 9 November.

2017: “The Politico-Aesthethic Value of David Greig’s Theatre”, keynote lecture presented at the conference “Theatre as a Value-based Discourse: Slovak and Contemporary European Theatre Culture”, The Institute of Theatre and Film Research of the Slovak Academy of Sciences, Bratislava, 5-6 October.

2017: chair of panel, “Censorship, Negotiation and Commerce in European Theatre”, “Unstable Geographies: Multiple Theatricalities”, International Federation for Theatre Research Conference (IFTR/FIRT), Universidade de São Paulo, São Paulo, 10-14 July.

2017: “David Greig’s Holed Theatre”, paper presented at “Unstable Geographies: Multiple Theatricalities”, International Federation for Theatre Research Conference (IFTR/FIRT), Universidade de São Paulo, São Paulo, 10-14 July.

2017: attendance at “Nation, Nationhood and Theatre”, 26th Annual Conference of the German Society for Contemporary Theatre and Drama in English (CDE), University of Reading, 29 June-2 July.

2017: attendance at the conference “Theatres of Contagion: Infectious Performance”, Birkbeck Centre for Contemporary Theatre, University of London, 11-12 May.

2017: attendance at the Intersections Conference “Performing Reference(s) / Referencing Performance(s)”, Central School of Speech and Drama, London, 19-20 January.

2016: “David Greig’s The Events: Post-Brechtian Aesthetics, a Political Theatre for a Global Age”, a paper presented at the 1st International Conference of Young Researchers on Theatre Studies (CIJIET), University of Murcia, 2-4 November.

2016: attendance at “The Politics of Collaboration – European Currents”, Middlesex University, 24 September.

2016: “Recycling Brecht: David Greig’s The American Pilot and The Events”, paper presented at the 15th Symposium of the International Brecht Society “Recycling Brecht”, St Hugh’s College, University of Oxford, 25-29 June.

2016: attendance at the Intersections Conference “Practice (…) Research”, Central School of Speech and Drama, London, 14-15 January.

2015: attendance at the “debbie tucker green International Symposium”, University of Lincoln, Lincoln Performing Arts Centre, 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: 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: attendance at the “David Greig Symposium”, University of Lincoln, Lincoln Performing Arts Centre, 28-29 March.

2013: “Walking One Way Street: Immaterial Memory and Belonging in the Crippled City”, paper presented at the PhD Forum of “Theatre and Politics: Theatre as Cultural Intervention”, 22th Annual Conference of the German Society for Contemporary Theatre and Drama in English (CDE), Charles University, Prague, 30 May-2 June.

2013: “Neo-Brechtian Techniques for a Globalized Age: The Politics of David Greig’s Brewers Fayre (2009) and Fragile(2011)”, 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 Christina Papagiannouli, organization of the round table “Brecht, Internet and PowerPoint: Contemporary Political Theatre in the Age of Globalization” 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.

2012: with Dilek İnan, “Combining the Epic with the Everyday: David Greig’s Dunsinane (2010)”, paper presented at the 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, Istambul, 4-8 September.

2012: “The Mediated/Mediatized Spectator in the Global-technologized Era: Some Instances from David Greig’s Theatre”, paper presented at the New Scholars’ Forum of “Mediating Performance: Scène, Média et Médiation”, International Federation for Theatre Research Conference (IFTR/ FIRT), Pontificia Universidad Católica de Chile, Santiago de Chile, 22-28 July.

2012: “Prolegomena and Theoretical Framework of Mapping Globalization in David Greig’s Theatre”, paper presented at the PhD Forum of “Bodies on Stage”, 21th Annual Conference of the German Society for Contemporary Theatre and Drama in English (CDE), Wolfsburg, Mülheim/Ruhr, 7-10 June.

2012: “Ambivalent Borders in David Greig’s Europe (1994)”, paper presented at the international conference “The Border, an Unavoidable Concept? International Conference on the Border and its Relationship to the Performing Arts in Europe”, organized by Grup de Recerca en les Arts Escèniques, Universitat Autònoma de Barcelona (GRAE), 1-3 March.

2012: “David Greig’s Theatre ‘Aesthethics’”, paper given at “Theatre and Alternative Value”, “A TaPRA Postgraduate Symposium”, Royal Holloway, University of London, 28 January.

2011: participation in the round table “The Politics of Re-reading/Rewriting in Contemporary British Theatre” with the paper “The Politics of Re-reading/Rewriting in David Greig’s Savage Reminiscence (1991) and The Bacchae(2007)”, XXXV International Conference of the Spanish Association of Angloamerican Studies (AEDEAN), Universitat Autònoma de Barcelona, 17 November.

2011: “Amnesiac Legacies? Cognitively Mapping Traumatic Experiences in Ashes to Ashes &Mapping. Time: NOW”, paper presented at the Postgraduate Colloquium “NOW, Legacies and Amnesia”, Goldsmiths College, University of London, 19 February.

Contemporary British Theatre

2020: attendance at “Closed Lands: Discussion”, with Simon Grangeat, Becka McFadden, David Furlong and Szabolcs Musca, Cage, the Vaults, 4 March.

2020: attendance at “Art Performance and the Act: Conversation with Romeo Castellucci”, Centre for Performance and Creative Exchange, University of Roehampton, 19 February.

2020: participant in a pre-show Creative Workshop Poet in da Corner, facilitated by Rachel Lemon, Royal Court Theatre, 12 February.

2020: performance/writing workshop facilitator with Lorraine Hodgson for Wild Forest Theatre, William The Fourth Pub, Leyton, London, 11 February.

2020: participant in the workshop “Perceiving Differently: Understanding Neurodivergence Through Creative Practices”, run by Nicola Shaughnessy, within the British Society of Aesthetics Conference: “Art, Aesthetics, and the Medical and Health Humanities”, University of Kent, 8 February.

2019: “Después de la tesis, ¿qué?”, invited talk given at the “Taller de Tesis”, PhD Programme “Construcció i Representació d’Identitats Culturals”, University of Barcelona, 2 December.

2019: attendance at “‘Theatre Workings’ Lecture: Stefan Bläske – The Theatre of Milo Rau”, Royal Central School of Speech and Drama, London, 1 October.

2019: writer of and performer in I’m an Earthling, directed by Hamish Pirie, London Borough of Culture 2019, Waltham Forest, London, 20-29 September.

2019: “David Greig’s Europe”, invited lecture presented at Scottish Universities’ International Summer School (SUISS), University of Edinburg, 30 July.

2019: attendance at “Anne Boggart in Conversation: With Professor Geoffrey Colman”, Royal Central School of Speech and Drama, London, 19 July.

2019: participant in the workshop “Loneliness and Minority Stress: Abu Ansari and Elaine Foster”, within “Action/Reflection event ‘That’s not my name!’”, Goldsmiths, University of London, 5 June.

2019: participant in “Listen Local: Writing Workshops”, 6 May (facilitated by Hamish Pirie), 13 May (facilitated by Debbie Hannan), 20 May (facilitated by Emteaz Hussain), 27 May (facilitated by Sonali Bhattacharyya), 3 June (facilitated by Emma Dennis-Edwards), 10 June (facilitated by Al Smith), Waltham Forest, London.

2019: attendance at “Hear Tell: Describing, Reporting, Narrating”, TaPRA Documenting Performance Interim Event, Tate Modern, 13 May.

2019: “Uncontaining the Refugee Crisis in The Container, The Suppliant Women and Dear Home Office”, 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.

2019: with Lucy Jackson and Polina Kalinina, “Restaging the Chorus – The Case of David Greig”, a research seminar presented at the Cambridge Interdisciplinary Performance Network (CIPN) seminar series, Centre for Research in the Arts, Social Sciences and Humanities (CRASSH), Cambridge, 12 March.

2019: attendance at “MIGRATIONS: HARBOUR EUROPE – Closed Lands, by Simon Grangeat”, a staged reading of Closed Lands by Simon Grangeat and a debate chaired by Szabolcs Musca, with Vicky Angelaki, Graca P. Correa, Bernadette Cochrane, Alison Jeffers and Roxane Paire, Arcola Theatre, London, 7 February.

2018: attendance at the “Symposium ‘On Criticism’ – Platform Journal”, Royal Central School of Speech and Drama, 23 November.

2018: attendance at “Courage Everywhere Pop Up: Suffra-jujitsu, Talk and Demo”, Dorfman Theatre, 18 November.

2018: attendance at “Courage Everywhere: Post-Show Talk on Votes for Women by Elizabeth Robins”, Dorfman Theatre, 18 November.

2018: attendance at “CAPA – Workshop and Keynote Lecture” by Helen Nicholson, University of East London, Stratford, London, 8 November.

2018: with Giovanni Covelli (Universidad Pedagógica Nacional, Bogotá), co-creator and co-facilitator of the workshop “Something that Happens by Virtue of the Relation between Us”, Canterbury Christ Church University, 21 April.

2018: attendance at the TaPRA Performance, Identity and Community interim event “Anarchy, Desire and Performance”, Camden People’s Theatre, London, 28 March.

2018: attendance at “Katie Mitchell and Martin Crimp in Conversation”, Finalists’ Festival, Royal Holloway, University of London, 21 March.

2018: attendance at “Introduction to Embodied Poetics with Amy Russell”, The Factory, Islignton, London, 18 March.

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 “Negative Theatrics: A Conversation with Writer and Director Julia Jarcho”, Queen Mary, University of London, 12 December.

2017: attendance at This Beautiful Future, post-show discussion hosted by Maddy Costa (Dialogue Theatre Club), Yard Theatre, 22 November.

2017: participant in “Women for Refugee Women: Practical Drama Workshop” facilitated by Women for Refugee Women within the conference “Welcome is a Radical Act”, Goldsmiths College, University of London, 9 November.

2017: performer in The Turas Mor: A Free Community Play by Ollie Birch, produced by Soho Theatre, Walthamstow’s Lloyd Park, London, 28 August.

2017: participant in “Performance Skills Sessions” conducted, among others, by Soho Theatre associate director Charlotte Bennett, 5 June-21 August.

2017: production team assistant, Summer College 2017, Theatre Royal Stratford East, for “Scratch Night Performance” (8 August) and “Frantic Assembly Intensive” (culminating in the performance of By Design: A Response to the V&A at Theatre Royal Stratford East (18 August) and V&A (19 August)).

2017: attendance at “Where Citizenship and Heritage Meet: Research Day”, Royal Holloway, University of London, 17 May.

2017: attendance at the round table discussion “Democracy in the Arts in Europe”, Rich Mix, London, 8 May.

2017: attendance at “Simon Stephens in Conversation” with Royal Court Associate Director Lucy Morrison, 4 May.

2017: attendance at the London Theatre Seminar “Political Theatre(s) in Europe” (in conjunction with the European Theatre Research Network), University of London Senate House, 27 April.

2017: attendance at “Brexit the Stage: What Next for British Theatre and Europe?”, V & A Museum, London, 22 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 keynote event and symposium “Theatre, Performance & Employment”, Queen Mary, University of London, 23-24 February.

2017: attendance at “Tools of the Trade: E-Learning for Effective Teaching and Learning”, workshop led by Inma Alvarez, Senate House, University College London, 22 February.

2017: attendance at the seminar “Social bodies: The Oresteia at Shakespeare’s Globe”, Louise Owen, QUORUM 2016-17 series, Queen Mary, University of London, 8 February.

2017: attendance at “The New Librettist: The Role of the Writer in Opera”, Barbican Centre, London, 6 February.

2017: attendance at the “Royal Holloway Research Afternoon”, Royal Holloway, University of London, 25 January.

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 “Conventions of Proximity in Art, Theatre and Performance”, School of Arts, Birkbeck College, University of London, 5-6 May.

2016: attendance at an Information Session facilitated by Geese Theatre Company, Woodbridge House, Birmingham, 5 February.

2015: participant in a workshop with Quarantine at “Theatre and Spectatorship”, 24th Annual Conference of the German Society for Contemporary Theatre and Drama in English (CDE), University of Barcelona, 4-7 June.

2015: attendance at the “Taller de Tesis”, PhD Programme “Construcció i Representació d’Identitats Culturals”, Universitat de Barcelona, Facultat de Filologia, 22 May.

2015: “‘Tearing a Hole through Everything and Everyone: David Greig’s Theatre’s Dialectics”, a paper presented at the symposium “Performing Dialectics”, Queen Mary, University of London, 30 January.

2014: “Bleeding Across: Ecstasy in the Work of David Greig and Suspect Culture”, a paper presented within the “Second Augsburg-Barcelona Seminar” organized by the research group “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.

2014: attendance at the “Taller de Tesis”, PhD Programme “Construcció i Representació d’Identitats Culturals”, Universitat de Barcelona, Facultat de Filologia, 8 May.

2013: attendance at the “Taller de Tesis”, PhD Programme “Construcció i Representació d’Identitats Culturals”, Universitat de Barcelona, Facultat de Filologia, 14 May.

2013: attendance at the symposium “Haggis Hunting: Fifty Years of New Writing in Scotland”, Edinburgh University and Traverse Theatre, Edinburgh, 4-6 April.

2013: “Imagining Belonging from the Airplane Village: David Greig’s San Diego (2003)”, paper presented at the Research Seminar Series, University of Winchester, 3 April.

2013:  attendance at the conference “Artaud Forum 3: Theatre and Resonant Politics”, Brunnel University, London, 23-24 March.

2013: attendance at the seminar “The Year of the Flood: Staging Watery Dissensus in Shipley and Saltaire” led by Steve Bottoms, London Theatre Seminar Series, Senate House, London, 28 February.

2013:  attendance at the seminar “Theatre and Time: In Search of a Methodology” led by David Wiles, QUORUM 2012-13 series, Queen Mary, University of London, 27 February.

2013: attendance at “Marianne Elliot and Simon Stephens on Port”, Platforms, National Theatre, London, 7 February.

2013: attendance at the seminar/performance “Agonies of Sound” led by Joe Kelleher and Erini Kartsaki, QUORUM 2012-13 series, Queen Mary, University of London, 30 January.

2013: attendance at “THE BIG SWAP – Roundtable ‘European Theatre’” with Thomas Ostermeier, Simon McBurney, Ludovic Lagarde and Olivier Cadiot”, Goethe Institut, London, 23 January.

2013: attendance at “Play in Performance Practices: A TaPRA Postgraduate Symposium”, Royal Holloway, University of London, London, 19 January.

2013: attendance at the “Colloquium of Performance Research”, Central School of Speech and Drama, London, 17-18 January.

2013: attendance at the symposium “Dealing with Martin Crimp”, Royal Court Theatre, London, 12 January.

2012: participant in a workshop with Diana Taylor, activity for New Scholars at “Mediating Performance: Scène, Média et Médiation”, International Federation for Theatre Research Conference (IFTR/ FIRT), Pontificia Universidad Católica de Chile, Santiago de Chile, 22-28 July.

2012: participant in a workshop with Rona Munro at “Bodies on Stage”, 21st Annual Conference of the German Society for Contemporary Theatre and Drama in English (CDE), Wolfsburg, Mülheim/Ruhr, 7-10 June.

2012: attendance at the symposium “Devised Dramaturgy: A Shared Space”, Prague Quadrennial of Performance Design and Space, Archa Theatre, Prague, 20-21 April.

2011: attendance at the seminar “Contemporary British Theatre: Annual Overview (2011)” led by Aleks Sierz, University of Barcelona, 30 November.

2011: attendance at the seminar “Contemporary British theatre: Simon Stephens’s Pornography” led by Aleks Sierz, University of Barcelona, 30 November.

2011: attendance at the lecture “Precarious Life, Vulnerability, and the Ethics of Cohabitation” given by Judith Butler, Museu d’Art Contemporani de Barcelona (MACBA), Barcelona, 12 July.

2011: attendance at the Synge Summer School, Rathdrum, Co. Wicklow (Ireland), 30 June-3 July.

2011: attendance at the seminar “Harold Pinter’s Investigation of the Limits of Theatre” led by Hanna Scolnicov, University of Barcelona, 14 June.

2011: attendance at the lecture “The Pains of Keeping Subjectivity at Play: Dismemberment, Disembodiment and Contingency in Sarah Kane’s CleansedCrave and 4.48 Psychosis” given by Cristina Delgado-García, University of Barcelona, 18 May.

2011: attendance at the seminar “Good Brave Causes and Frightening Futures: New Writing in English Theatre” led by Aleks Sierz, University of Málaga, 29 March.

2009-2010: Murcia reviewer for PlaystoSee.com while research assistant for “Shakespeare in Spain in the Frame of His European Reception”, a three-year research project funded by the Spanish Ministry of Science and Innovation (FFI-2008-01969), PI Keith Gregor, University of Murcia.

2009: attendance at a two-day course with Judith Butler, “Crítica, discrepancia y violencia”, Centro de Documentación y Estudios Avanzados de Arte Contemporáneo (CENDEAC), Murcia, 26-28 May.

2009: attendance at a two-day course with Gayatri Chakravorty Spivak, “La cuestión de la subalternidad”, Centro de Documentación y Estudios Avanzados de Arte Contemporáneo (CENDEAC), Murcia, 1-2 December.

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