Prof. Dr. Jenny Schrödl
Jenny Schrödl is an Assistant Professor of Theatre Studies (with a focus on contemporary theatre and performance art) at the Freie Universität Berlin since January 2015. She heads the Junior Research Group Art Couples: Relationship Dynamics and Gender Relations in the Arts. Jenny Schrödl completed her doctoral dissertation on the aesthetics of voice in post-dramatic theatre in 2010 as a member of the Collaborative Research Center “Cultures of the Performative” (SFB “Kulturen des Performativen”). Between 2011 and 2013 she worked as a coordinator for various gender oriented research groups on the FU and HU Berlin. Since 2014 she has been running the study group “Gender” of the Society for Theatre Studies (Gesellschaft für Theaterwissenschaft e.V.). Her research focuses on: Contemporary Theatre and Performance Art; Theory and Aesthetics of the Voice; Aesthetic Experience and Perception as well as Gender/Queer Theory and Performance.
Selected publications: Vocal Intensities. On the Aesthetics of Voice in Post-Dramatic Theatre, Bielefeld: transcript 2012 (Vokale Intensitäten. Zur Ästhetik der Stimme im postdramatischen Theater); Voice-Worlds. Philosophical, Media-Theoretical and Aesthetic Perspectives (ed. with D. Kolesch and V. Pinto), Bielefeld: transcript 2009 (Stimm-Welten. Philosophische, medientheoretische und ästhetische Perspektiven); More than Appearance. Aesthetics of the Surface in Film, Art, Literature and Theatre (ed. with the research group Surface Phenomena of the University of Zurich), Zürich/Berlin: diaphanes 2008 (Mehr als Schein. Ästhetik der Oberfläche in Film, Kunst, Literatur und Theater); Art Voices (ed. with D. Kolesch), Berlin: Theater der Zeit 2004 (Kunst-Stimmen).
Dr. Magdalena Beljan
Magdalena Beljan is a Researcher at the “Center for the History of Emotions” of the Max Planck Institute for Human Development in Berlin. She studied Literature, History and Text Technology in Bielefeld and Antwerp (Belgium) and in 2010 she completed her doctoral dissertation in Luxembourg on the history of male homosexuality. As the recipient of a postdoctoral fellowship she contributed research to a project on ambivalent emotions towards HIV/AIDS in the Federal Republic of Germany. In her current project “Love Works” she addresses questions on the interplay between love and work in the relationships of artist couples in the 19th and 20th century. Magdalena Beljan is an editor of the online journal “body politics. Journal for the History of the Body” and is also a member of the research group for the history of the body.
Selected publications: Sexual Revolution? On the History of Sexuality in German-speaking Countries after 1960 (ed. with P.-P. Bänziger, F. X. Eder und P. Eitler), Bielefeld: transcript 2015 (Sexuelle Revolution? Zur Geschichte der Sexualität im deutschsprachigen Raum seit den 1960er Jahren); Learning How to Feel: Children’s Literature and the History of Emotional Socialization, 1870 – 1970 (ed. with U. Frevert et al.), Oxford: Oxford University Press 2014; Pink Times? A History of the Subjectivization of Male Homosexuality in the FRG of the 1970s and 1980s, Bielefeld: transcript 2014 (Rosa Zeiten? Eine Geschichte der Subjektivierung männlicher Homosexualität in den 1970er und 1980er Jahren der BRD).
Maxi Grotkopp, M.A.
Maxi Grotkopp studied Theatre Studies, German Literature and Philosophy at the Freie Universität Berlin and the Humboldt Universität zu Berlin. In her master’s thesis “The Pirate as (A)Topos of the Cultural Imaginary” (“Der Pirat als (A)Topos des kulturellen Imaginären”) she developed an interdisciplinary, transmedial cultural history of the figure of the pirate. Since February 2015 she has been a research assistant with the Junior Research Group Art Couples: Relationship Dynamics and Gender Relations in the Arts. Her PhD project analyzes the works and relationship experiments of the performance artists Marina Abramović and Ulay. Her research interests include, alongside Performance and Gender Theory, the relations between Aesthetic Theory, Political Philosophy and Media Aesthetics.
Publications: „’Daß ich eins und doppelt bin’: Ähnliche Differenzen bei Abramović und Ulay“ in: Friedemann Kreuder, Ellen Koban, Hanna Voss (Hg.): Re/Produktionsmaschine Kunst. Kategorisierungen des Körpers in den Darstellenden Künsten. Bielefeld: Transcript (due to appear in 2017).
Malwina Miziarska, born in Warsaw, holds a BA from Warsaw Theatre Academy and is currently finishing her Master degree there. In 2012 she moved to Berlin and has lived here ever since. She started studying Theatre Studies at the Theatre Institute as an Erasmus scholar. Then she enrolled for graduate studies. Right now she is focusing on her MA thesis in Polish about Theatre and Popculture. Apart from performance and gender theory, she does research in the field of Polish and German contemporary theatre. Furthermore, she’s recently become interested in family constellations in Poland and Germany, including both its political and historical aspects.