Dr. Aneta Mancewicz
Aneta Mancewicz is a Marie Curie Research Fellow at Central and an Assistant Professor at Kazimierz Wielki University, Bydgoszcz, Poland. In 2010-11, she was a Kosciuszko Foundation Fellow at Theatre Department, Graduate Center, City University of New York.
Her research at Central, supported by EU FP7, explores the functions of digital media in European performances of Shakespeare over the last twenty years. The project aims to identify new tendencies in contemporary theatre, new turns to Shakespearean interpretation, and new patterns in European artistic and cultural production.
Her doctoral research focused on deconstructions of Hamlet in contemporary European drama and resulted in a book in Polish [Poor Hamlet. Deconstructions of “Hamlet” and Hamlet in Contemporary Drama] (Księgarnia Akademicka Press, 2010). An article in English summarizing her doctoral work is forthcoming in The Shakespeare International Yearbook (2012).
Since 2004 Aneta has been teaching on Shakespearean performance, as well as history, theory and criticism of English drama and literature at Kazimierz Wielki University. She has guest lectured at City University of New York (USA), University of Padua (Italy), University of Modena and Reggio Emilia (Italy), University of Greifswald (Germany) and Pázmány Péter Catholic University (Hungary).
> Performance of Shakespeare
> Digital Media and Intermediality
> Theory of Adaptation
> European Drama and Theatre
> Performance Studies
> Critical Theory
> International Shakespeare Association
> European Shakespeare Research Association
> Shakespeare Association of America
> International Federation for Theatre Research
> European Network for Comparative Literary Studies
> Marie Curie Intra-European Fellowship (FP7), Central School of Speech and Drama, Intermedial Shakespeare on European Stages (ISES); project consultant: Prof. Robin Nelson (09/2011 – 12/2013).
> Kosciuszko Foundation Fellowship, Graduate Center (Theatre Program), City University of New York; Postdramatic Shakespeares; project consultant: Prof. Daniel Gerould (09/2010- 02/2011).
> Publication Awards for the book Biedny Hamlet: Ministry of Science and Higher Education of Poland and Kazimierz Wielki University (2010).
> Conference Grant, IASEMS (Italian Association of Shakespearean and Early Modern Studies) to attend the 8th Conference of ESRA (European Shakespeare Research Association), Pisa, Italy (11/2009).
> German Shakespeare Society Bursary to attend the Spring Conference in Weimar, Germany (04/2009).
> Doctoral Research Grant from Kazimierz Wielki University (02/2007-12/2008).
Biedny Hamlet! Dekonstrukcje “Hamleta” i Hamleta w dramacie współczesnym, (Poor Hamlet. Deconstructions of “Hamlet” and Hamlet in Contemporary Drama). Book in Polish, Księgarnia Akademicka Press, 2010
“To what base uses we may return”: Deconstruction of Hamlet in Contemporary Drama.” Forthcoming in The Shakespeare International Yearbook (Ashgate Press, 2012).
“The Truth of the Trash: Video Aesthetics in the Performance of The Screech (2010) by Videotheatre.” Slavic and East European Performance. 31.1 (2011): 29-39.
“The Mask of Electronics”: Videotheatre of Piotr Lachmann and Jolanta Lothe.” Theatrical Blends: Art in the Theatre / Theatre in the Arts. Eds. Jerzy Limon, and Agnieszka Żukowska. Gdańsk: Słowo/obraz terytoria, 2010. 195-208.
“Remember thee?: Post-war Memory and Guilt in Peter Piotr Lachmann’s Theatre Production Hamlet from Gliwice.” Wissenschaftliches Seminar Online 7 (2009).
“Metatheatre(s) in Tom Stoppard’s Rosencrantz and Guildenstern are Dead, The Real Inspector Hound and Harold Pinter’s The Lover.” Friendly Metaphors. Essays on Linguistics, Literature and Culture in Honour of Aleksander Szwedek. Eds. Ewa Wełnic, and Jacek Fisiak. Frankfurt am Main: Peter Lang, 2008. 87-97.
“Passion, Morality, and Thesis: Dramatic Genres in Edward Bond’s Passion.” Studies in English Drama and Poetry. Ed. Joanna Kazik. Łódź: Wydawnictwo Uniwersytetu Łódzkiego, 2007. 209-218.
“Sacred and Pure Like First Love: Nüganen’s Adaptation of Gombrowicz’s Marriage in Toruń, Poland.” Slavic and East European Performance. 26.1 (2006): 75-83.
Regular contributor to Polish-language theatre journals: Didaskalia and Teatr (2009- present)
Conference Papers (selection)
“The Stage as a Page and the Stage as a Screen: Shakespearean Metamorphoses in Stefan Pucher’s The Tempest (2007),” World Congress of International Shakespeare Association. (Prague, Czech Republic, 17-22 July, 2011)
“Performance Text of Julie Taymor’s The Tempest” (2010) and the Poetics of Cinematic Appropriation,” Conference of European Shakespeare Research Association and German Shakespeare Society. (Weimar, Germany, 28 April-1 May 2011)
“To be or not to be Hamlet: A Postdramatic Perspective,” Conference Worldwide Hamlet.” (Craiova, Romania, 26-27 April, 2010)
“New Hamlets in the New Media? On the Wooster Group’s and Videotheatre’s Digital Performances of Hamlet,” Conference of Shakespeare Association of America. (Chicago, USA, 1-3 April, 2010)
“Un(Taming) the Shrew: Negotiating Conflict in Marowitz’s and Morrison’s Adaptations,” Conference of European Shakespeare Research Association. (Pisa, Italy, 19-22 November, 2009)
“Mirror of Another Time”: Peter Piotr Lachmann’s Experiments with Video on Stage,” Conference Blending Media. Art in the Theatre / Theatre in the Arts. (Gdańsk, Poland, 1-5 August, 2009)
“Alas, poor Hamlet! Deconstruction of the Romantic Legacy of Hamlet in Contemporary European Plays,” Conference Hamlet – Reception in European Cultures. (Cardiff, UK, 14-16 May, 2009)
“Remember Thee? Post-war Memory and Guilt in Peter Piotr Lachmann’s Production Hamlet from Gliwice,” Spring Conference of German Shakespeare Society. (Weimar, Germany, 23-26 April, 2009)
“Are you familiar with this play?” De-writing Hamlet in Contemporary Drama,” SCAENA Conference. (Cambridge, UK, 18-20 July, 2008)
“Losing the Name of Action: Tom Stoppard’s Rosencrantz and Guildenstern are Dead (1966) and Janusz Głowacki’s Fortinbras Is Drunk (1990) As Two Models of Hamlet’s Cultural Appropriation,” Conference of Australia and New Zealand Shakespeare Association. (Dunedin, New Zealand, 6-9 February, 2008)
“There is method in’t”! Madness as Reversal of Gender Roles in Saverio La Ruina’s Kitsch Hamlet (2004),” Folly – 11th International Conference of British Comparative Literature Association. (London, UK, 2-5 July, 2007)
“Shakespeare in Calabria: Reception of Hamlet in Saverio La Ruina’s Kitsch Hamlet (2004),” 8th Annual British Graduate Shakespeare Conference. (Stratford, UK, 15-17 June, 2006)