Petra Dotlačilová holds PhD in Dance Studies from the Academy of Performing Arts in Prague (2016), and PhD in Theatre Studies from Stockholm University (2020). In her research, she specializes in dance history and theatrical costume in Europe from 16th to 19th century. Particularly, she explores aesthetic and material properties of costumes, international transfers in design and relations between garments and movement practices.
Since 2014, she participates in the research project Performing Premodernity', connecting interdisciplinary research group of international academic and artistic scholars devoted to studying the musical and theatrical ideals, practices and conditions between 1760 and 1815. Between 2015 and 2017, she was assistant researcher in the project Ritual design on the ballet stage: Constructions of Popular Culture in the European Theatre Dance (1650-1760), funded by Emmy Noether Program of DFG and led by Dr. Hanna Walsdorf at University of Leipzig. Within these projects, Petra organized several conferences and workshops (e.g. 'Body Dance Costume' in Leipzig, 2016, 'Costume & Light' in Confidencen Theatre, Stockholm, 2017) and collaborated at costume-making for historically informed performances of Pygmalion (2015, Český Krumlov, 2016, Stockholm/Riddarhuset), and Le devin du village (2019, Stockholm/Confidencen). She teaches at the Academy of Performing Arts in Prague, at Stockholm University and she was guest lecturer at Aalto University in Helsinki, at Masarykova Univerzita in Brno and at Sorbonne University in Paris.
Since January 2021, she is associated researcher of Centre de musique baroque Versailles, and in the same year, she became Bernadottestipendiat with her research project Effigies of Performance: Late 18th Century Costumes in Swedish Archives.
Christine Jeanneret is associate professor at the Centre for Privacy Studies at the University of Copenhagen where she is the PI of SOUND, an innovative research aiming at listening, hearing and reconstructing the soundscapes of the Danish court at Rosenborg castle. She is a musicologist and her research focuses on early modern performing arts, opera, historical gestures, costumes, staging, sound, court and privacy studies. She has hold positions in Europe (University of Geneva, École française de Rome, Centre de recherche du château de Versailles, University of Copenhagen, Frederiksborg Castle) and in the USA (Yale and Columbia universities). In 2017, she was awarded Queen Margrethe II's Rome Prize for her outstanding research. Since 2018, she is the general editor of Brepols' series Music History and Performance: Practices in Context.
She strives to convey and share her academic research in the unique forms of performance and exhibitions, notably by collaborating with cultural institutions, early music ensembles and museums.
Jens Hesselager is associate professor in musicology at University of Copenhagen. His primary research focus is on opera, musical theatre and theatre music in the eighteenth and nineteenth century, with a particular interest in the various processes (translation, adaptation, re-interpretation, reduction, expansion, censorship etc) that transform practices, works and repertoires as they move from one national, cultural and political context to another. He has edited the volume Grand Opera Outside Paris: Opera on the Move in Nineteenth-Century Europe (Routledge 2018).
E-mail: Jens Hesselager email@example.com
Steen Kaargaard Nielsen is Associate Professor at the Department of Dramaturgy and Musicology at the School of Communication and Culture, Aarhus University, Denmark. His research interests cover a broad range of music and musicking, often linked by a prominent interest in recorded music, both historical and contemporary, and the cultural practices and processes involved in its production and use. Among his latest publications is the co-authored monograph Danmarks første lydoptagelser - Edisons fonograf i 1890'ernes København [Denmark's first sound recordings - Edison's phonograph in Copenhagen in the 1890s] on the earliest Danish sound recordings which, by constituting a soundtrack to the musical and theatrical life of Copenhagen in the late 19th century, open a unique sonic window to Danish performance practices in an otherwise completely silence decade.
E-mail: Steen Kaargaard Nielsen firstname.lastname@example.org
Ulla Kallenbach, PhD, is Associate Professor in Theatre Studies at the University of Bergen, Norway. Her principal field of research is the cultural history of imagination and dramaturgy, in particular the performativity of drama and the point of view of the spectator. Her monograph, The Theatre of Imagining - A Cultural History of Imagination in the Mind and on the Stage, was published by Palgrave Macmillan in 2018 as the first comprehensive study of the cultural history of imagination in the context of theatre and drama. She is head of the Norwegian research group for theatre history and dramaturgy, Editor-in-chief for the Scandinavian theatre journal Teatervitenskapelige Studier, and member of the Editorial Board of Nordic Theatre Studies. Kallenbach is currently PI of the collective research project Artistic Exchanges [ArtEx]: The Royal Danish Theatre and Europe, which uses state of the art digital methods to investigate artistic exchange and performative representations of Europe through the the outstanding archive of the Royal Danish Theatre.
Associate Professor in Dramaturgy, Aarhus University, since 1997. Annelis is in the managing group of Centre for Historical Performance Practice. She graduated as a dramaturg (MA), in addition she holds two BAs, in French and Russian literature and languages. Annelis' research at the Stanislavsky Archives at Moscow Art Theatre, Russia, resulted in her PhD dissertation, Konstantin Stanislavsky's theatre concepts (1997). Today, her research is mainly focused on dramaturgy and historiography in the field of stage directors and directing. Her forthcoming book is on stage directing and directors in Denmark.
Since 2007, she has also been director of Centre for Theatre Laboratory Research (CTLS), a research collaboration between Dramaturgy at Aarhus University and Odin Teatret, Nordisk Teaterlaboratorium.
Annelis will be part of the research project, Artistic Exchanges (ArtEx), and, she joins the pivotal pilot project, Theatre Archives in Denmark in the time of digitalization, a project in Digital Humanities in fundamental theatre research. This project involves other theatre scholars, education specialist and IT-consultants from the Royal Library, Denmark. The project is funded by Edu-IT at AU, and Consultancy by the Royal Library.
Annelis is on the editorial boards and advisory peer reviewing groups at international journals and foreign ministeries of research, including ERC-evaluations. Journals: Teatro e Storia, Il Castello di Elsinore, Journal of Theatre Anthropology, and Nordic Theatre Studies.
Magnus Tessing Schneider, PhD, is a research fellow in Theatre Studies, Stockholm University. He specializes in seventeenth- and eighteenth-century theatre and opera; relations between dramaturgy, aesthetic theory and scenic-vocal performance practice in Shakespeare and Italian opera; the operas of Claudio Monteverdi, Francesco Cavalli, C. W. Gluck and W. A. Mozart; the librettos of Giovan Francesco Busenello and Lorenzo Da Ponte; historical singers and interrelations of singing and acting; allegory and theatricality; theatre and the Enlightenment; and issues relating to historically informed performance practice. In addition to working as a researcher, he serves as a dramaturgical-historical consultant for opera directors, singers and conductors around the world. His current research project, "Enlightenment Anthropology and Italian Opera: The Revolutionary Theatre of Ranieri Calzabigi", is funded by the Swedish Research Council. He is also a fellow of the research group "Histories: Assessing the Role of Aesthetics in the Historical Paradigm" at the University of Southern Denmark, founded by the Velux Foundation.
Mark Tatlow is conductor, keyboardist, and educator, Mark Tatlow is currently writing a doctoral thesis at the University of Gothenburg. His artistic research centres around developing a decolonising performance praxis for early vocal music. Mark was previously Artistic Director at Drottningholms Slottsteater (2007-13), Professor of Musical Studies at the University College of Opera, Stockholm (2002-12), and is a co-founder of Performing Premodernity, a research project based at Stockholm University.
Recent opera performances include compiling and conducting Georgiana, a new award-winning eighteenth-century opera pasticcio commissioned to celebrate the 40th anniversary of the Buxton Festival (UK), conducting and staging Purcell's Dido and Aeneas for the Stift Festival (Holland), conducting at the Trigonale Festival (Austria) and leading Performing Premodernity's Rousseau Double Bill (Pygmalion and Le Devin du Village) at Confidencen, Ulriksdals Slottsteater (Stockholm), and elsewhere. Future work includes preparing performances of Uttini's Birger Jarl, which has not been heard since 1790.
E-mail: Mark Tatlow email@example.com