My research focuses on contemporary theatre and performance, women’s theatre, critical and performance theory. My teaching specialisms further include actor training practices (particularly Stanislavsky) and the modernist avant-garde.
2010: PhD in Drama and Theatre (Royal Holloway, University of London)
2008: PG Certificate (Royal Holloway, University of London)
2005: MA Research in Drama and Theatre (Royal Holloway, University of London)
2004: BA English and Greek Language and Literature (University of Athens)
I joined the department as a Teaching Fellow in 2011; I have previously lectured at Royal Holloway (University of London), University of Winchester, De Montfort University and Kingston University. During my postgraduate studies at Royal Holloway (University of London) I co-founded Platform postgraduate ejournal of Theatre and Performing Arts and served as editor for three years.
I have been also collaborating with cafila aeterna theatre company as resident spectator and co-deviser since 2009 participating in The World Rests on a Tortoise, ‘100 years of Futurism’, Goldsmiths College (2009) and What Happened to the Tyrant, Camden People’s Theatre (2010).
I currently teach Performance: Theory, Practice and Critique, Theatre Practice (L1), Theatre Lab (L2) and Theatre Praxis (L2).
My Phd thesis focussed on the work of the transplanted American playwright Phyllis Nagy during the period 1992-2005 and its polarized reception in Britain. I employed a comparative framework in order to discuss her relationship with feminist theatre, 1990s British new writing, and her European influences, particularly the legacy of Brecht and Ionesco. Drawing on the work of Judith Butler and Rosi Braidotti I constructed a critical frame whose scope was to illuminate the implications of fluid or nomadic identities in a contemporary context, placing emphasis on the idea of travelling, displacement and social responsibility.
My subsequent research has sought to expand the concept of responsibility in relation to ethics and contemporary theatre and performance. I am currently writing on the plays of black British playwright debbie tucker green in the light of human rights, precariousness and Levinas’ concept of response-ability.
I have been also examining representations of radical democracy and civic space in the work of Rimini Protokoll. I am currently working on a monograph on precariousness and responsibility in contemporary British theatre.
I am a member of Theatre and Performance Research Association (TaPRA) (Performance, Identity, Community Working Group) and the German Society for the Study of Contemporary Theatre and Drama in English (CDE).
Selected conference presentations
‘Precarious Citizenship: The Migrant on Stage in Prometheus in Athens’ Asylum and Displacement in the Twenty-First Century: Performing Community, Crisis and Belonging, RHUL, April 2012
‘Eυθύνη και Ηθική: Ο μετανάστης επί σκηνής στο Ο Προμηθέας στην Αθήνα των Rimini Protokoll’ (‘Responsibility and Ethics: The migrant on stage in Rimini Protokoll’s Prometheus in Athens’). 2nd Pannelhenic Theatre Conference, University of Athens, Greece, March 2012.
‘City, Citizenship, and Democracy: on the failure(s) of dominant narratives’. Panel presentation. TaPRA Annual Conference 2011, Kingston University.
‘Silent Witness: Ethics of Responsibility in the Plays of debbie tucker green.’ Contemporary British Theatre: Towards a New Canon. Birmingham City University, October 2010.
‘Encountering History: Spectatorship, Embodiment, Authenticity in Theodoros Terzopoulos’s Mauser (2009).’ TaPRA Annual Conference 2010, University of Glamorgan, Cardiff.
‘Nomadic Performatives in the Plays of Phyllis Nagy.’ TaPRA Annual Conference 2009, University of Plymouth.
‘Limited National Imaginings: A Critique of British Insularity in Phyllis Nagy’s Never Land (1998).’ IFTR 2009 (The Kay McDonnell New Scholars Forum), Lisbon, Portugal, 2009.
‘Intercultural Encounters in debbie tucker green’s random.’ CDE Annual Conference, ‘Staging Interculturality,’ Vienna, Austria, 2009.
‘Individual and Communal Responsibility in Phyllis Nagy’s Weldon Rising (1992) and debbie tucker green’s dirty butterfly (2003) and random (2008).’ TaPRA Annual Conference 2008, University of Leeds, 2008.
‘Is the Personal Political? Narratives of Citizenship and Democracy’, Europe in Crisis Research Seminar, University of Winchester, November 2011.
‘Dramaturgies of the Personal: The Theatre of Rimini Protokoll’, Kingston University, WIRE sessions, 2011
‘Precarious Subjects: Ethics of Witnessing and Responsibility in the Plays of debbie tucker green’. Performing Ethos 3.1 (2012) (forthcoming)
[co-authored with Dr Lynette Goddard] ‘Acting (In) Action: Staging Human Rights in debbie tucker green’s Royal Court Plays’ in Contemporary British Theatre: Breaking New Ground, ed. Vicky Angelaki (Palgrave 2013, forthcoming)
‘“Other” stories: action, ethics, citizenship’ in Contemporary Theatre Review Backpages 21:3 (2011): 371-373.
‘Myth and Binary Opposites: A Theatrical Approach.’ [Μύθος και Δομικές Αντιθέσεις: Μια Θεατρική Προσέγγιση]. Athens: Ομπρέλα May 2010.
‘Intercultural Encounters in debbie tucker green’s random’ in Staging Interculturality (CDE 17) ed. Werner Huber and Margaret Rubik (Trier: Wissenschaftlicher Verlag Trier, 2010), 75-87.
‘Gender Performativity, Nomadic Subjectivity and Theatre: Phyllis Nagy’s Weldon Rising and The Strip.’ Debating the Difference: Gender Representation and Self-Representation, ed. Rachel Jones et al. (Duncan of Jordanstone: University of Dundee, 2010)
Book Review of Lynette Goddard’s Staging Black Feminisms: Identity, Politics,
Performance.’ Platform 2.1 (2007): 97-99.
‘A Meta-Criticism of Phyllis Nagy’s Critical Reception in London: What Do the Critics (Not) Want?’ Platform 1.1 (2006): 57-69.
I have also contributed a number of annotations of scholarly articles and books to Routledge ABES Contemporary Literature section.