Jury 27. Festiwalu Szekspirowskiego

w Gdańsku
Theatre critic, literary historian

Jacek Kopciński

Jacek Kopciński is a literary historian, theatre critic, and editor-in-chief of Teatr (Theatre) monthly. He recently published “Powrót Dziadów” (The Return of Forefathers’ Eve) and other theatrical sketches, where he discusses, among other things, contemporary theatre productions of Romantic drama. In 2012–2013, he edited the two-volume anthology “Transformacja. Dramat polski po 1989 roku” (Transformation: Polish Drama After 1989). He is also the originator and academic editor of the series “Dramat Polski. Reaktywacja” (Polish Drama: Reactivation) featuring ten volumes of dramatic texts by Polish post-World War II playwrights. He recently published a report on. He works at the Polish Academy of Sciences Institute of Literary Research, where, since 2012, he has been heading the Centre for Research on Contemporary Polish Drama. He teaches at the Cardinal Stefan Wyszyński University in Warsaw (UKSW) and at the University of Warsaw (Faculty of Artes Liberales). He is a member of the judging panel of the prestigious Gdynia Playwriting Award.

Aneta Mancewicz ©marekszczepanski.com
Theatre researcher and critic

Aneta Mancewicz

Aneta Mancewicz is a theatre researcher and critic. She is a Senior Lecturer at Royal Holloway, University of London. Her work focuses on staging Shakespeare, digital technologies and European theatre. From 2016 to 2018, she collaborated with the Belgian collective CREW on „Hamlet” adaptations involving virtual and augmented reality. In 2020, she worked with a global creative studio, Nexus Studios, on an augmented reality adaptation of “The Tempest”. Her publications include three books: “Hamlet after Deconstruction” (Palgrave Macmillan 2022), “Intermedial Shakespeares on European Stages” (Palgrave Macmillan 2014), and “Biedny Hamlet” [Poor Hamlet] (Ksiegarnia Akademicka Press 2010). She also co-edited three collections of essays: “Intermedial Performance and Politics in the Public Sphere” (Palgrave Macmillan 2018), “Local and Global Myths in Shakespearean Performance” (Palgrave Macmillan 2018) and “Routledge Companion to Contemporary European Theatre and Performance” (forthcoming in 2023), which includes 94 chapters written by international contributors. Her theatre reviews have appeared in “Didaskalia”, “Teatr” and “Blogging Shakespeare”.

Dramaturg in theatre

Eleanor Skimin

Eleanor Skimin is based in Los Angeles and works as a dramaturg in theatre, and on the development of television projects for Disney Studios. She was Humanities Manager at the Brooklyn Academy of Music (BAM) in New York City. Dramaturgy credits include: Classic Stage Company (CSC) in New York City (Hamlet, Midsummer, The Seagull); Nature Theater of Oklahoma (Poetics: A Ballet Brut, Kasimir and Karoline, Three Sisters); Kate Whoriskey at the Bard Summerscape Festival in New York (Camille); the Native Voices Festival at the Autry Museum of American Art in Los Angeles; Poor Dog Group’s Group Therapy at Cener for the Art of Performance at UCLA; and the development of a musical with actress Judy Davis based on Patrick White’s A Cheery Soul. In 2016 she had a writing residency at the Ingmar Bergman Estate on the island of Fårö in Sweden. In 2017 Eleanor won first prize in the IFTR New Scholars Essay Competition for an essay on dramaturgy. Her article, “Reproducing the White Bourgeois: The Sitting-Room Drama of Marina Abramovic,” was published in TDR (The Drama Review) and she has written for Theater Survey.

Eleanor has taught theatre, dramaturgy and performance courses: in the U.S. at Brown University, CalArts, UCLA and the University of Southern California (USC); and in Australia at the University of New South Wales and the National Institute of Dramatic Art (NIDA). She was a research fellow at the Huntington Library in San Marino, California. Eleanor has a law degree and is a graduate of the MFA program in Dramaturgy at Columbia University. She is working on a PhD in Theatre and Performance Studies at Brown University. Her research explores late nineteenth century modernist theatre in relation to domesticity and the formation of white bourgeois subjectivity.

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