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Maria Elena Capitani

Università degli Studi di Parma (Italy), DUSIC - Dipartimento di discipline umanistiche, sociali e delle imprese culturali, Adjunct

University of Reading, Department of English Literature, Visiting Scholar

Universitat de Barcelona, Departament de Filologia Anglesa i Alemanya, Visiting Scholar

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DR MARIA ELENA CAPITANI holds a B.A. and an M.A. in Foreign Languages and Literatures (English and French) from the University of Parma (Italy), where she completed her European PhD in April 2016, with a dissertation entitled "The Politics of Re-(en)visioning: Contemporary British Rewritings of Greek and Roman Tragedies". She has also studied at the Universities of Provence (France), Edinburgh and Cambridge (UK), and at Trinity College Dublin (Ireland). She has been a Visiting Scholar at the Universities of Barcelona (Spain) and Reading (UK).
Her research interests lie in twentieth- and twenty-first century British literature and culture, with a special focus on drama/theatre, fiction, intertextuality, identity, adaptation/translation for the stage.
She currently teaches Anglophone Lit. and History of English Culture at the University of Parma.
She is part of the editorial staff of Parole Rubate/Purloined Letters, the University of Parma’s international peer-reviewed e-journal of quotation studies (http://www.parolerubate.unipr.it/). Editor: Prof. Rinaldo Rinaldi.

ASSOCIATIONS:

CDE – The German Society for Contemporary Theatre and Drama in English

AIA – Associazione Italiana di Anglistica

ESSE – The European Society for the Study of English

Associazione Sigismondo Malatesta

RESEARCH GROUP/S:

RADAC (Groupe de Recherche sur les Arts Dramatiques Anglophones Contemporains)
http://www.radac.fr/mecapitani.html
Supervisors: Prof. Diego Saglia
Address: Dipartimento di Discipline Umanistiche, Sociali e delle Imprese Culturali (DUSIC)
Unità di Lingue
Viale San Michele, 9
43121 Parma, Italy

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Papers by Maria Elena Capitani

"Virality, Slipperiness and Challenges: Adaptation Studies and/on the Contemporary Anglophone Stage" (Book Review Article), Atlantis: Journal of the Spanish Association of Anglo-American Studies, 43:1 (2021), pp. 243-256.

“The Crimpesque: Pinter’s Legacy in the Theatre of Martin Crimp”, in Harold Pinter: Stages, Networks, Collaborations, ed. by B. Chiasson and C. Fallow (London: Bloomsbury Methuen, 2021), pp. 174-193.

"A New Reality: Shelagh Delaney's 'A Taste of Honey' (1958)", in British Women's Writing, 1930 to 1960: Between the Waves, ed. by Sue Kennedy and Jane Thomas (Liverpool: Liverpool University Press 2020), pp. 215-231.

"'Blood and Ice', or Liz Lochhead's 'Hideous Progeny'", in Mary Shelley's Frankenstein, 1818-2018, ed. by Maria Parrino, Alessandro Scarsella, Michela Vanon Alliata (Newcastle upon Tyne: Cambridge Scholars Publishing, 2020), pp. 111-122.

"An English Playwright on the Italian Stage: Exporting, Translating and Staging Martin Crimp's Drama", Coup de théâtre (hors-série 2019), pp. 93-111.

“The Politics of Spectatorship: Community, Ethics, and Affect in Contemporary British Rewritings of Ancient Tragedies”, in Redefining Theatre Communities: International Perspectives in Community-Conscious Theatre-Making, ed. by M. Galea and S. Musca (Bristol-Chicago: Intellect, 2019), pp. 68-84.

"Nineties 'Lear': Neo-Jacobean Echoes in Martin Crimp's and Sarah Kane's 'In-Yer-Face' Theatre", in Worlds of Words: Complexity, Creativity and Conventionality in English Language, Literature and Culture (Vol. II), ed. by R. Ferrari and S. Soncini (Pisa: Pisa University Press, 2019), pp. 189-200.

"Narratives of Terror: Palinsesti, Displacement e Englishness nei drammi di Martin Crimp e Simon Stephens", SigMa - Rivista di Letterature Comparate, Teatro e Arti dello Spettacolo, 2 (2018), pp. 47-61.

Although adopting different strategies, Martin Crimp and Simon Stephens avoid the truthfulness of... more Although adopting different strategies, Martin Crimp and Simon Stephens avoid the truthfulness of docudrama, preferring a more or less allusive re-narration of events. To dramatise the dialogue between the personal and public dimension of a fact, both playwrights draw upon a hypotext, showing how the re-writing of an event is grafted upon a source, thus becoming a palinsest. However, the two plays differ in many ways. First of all, the global consequences of terrorism and the transnational echoes of 'Cruel and Tender' contrast with the staging of Englishness in 'Pornography'.

“Quoting the Canon, Demystifying Poetry: Bernardine Evaristo’s 'The Emperor’s Babe' Between Tradition and Innovation”, US-China Foreign Language, 16:1 (2018), pp. 55-61.

The award-winning British writer Bernardine Evaristo develops a creative approach to the politics... more The award-winning British writer Bernardine Evaristo develops a creative approach to the politics of form and content in her verse-novel "The Emperor's Babe", published in 2001 and set in Londinium in AD 211. This colourful reconstruction of Roman London is peopled with unforgettable characters, such as the teenage protagonist Zuleika, the daughter of Sudanese immigrants who becomes the wife of an absent man of status and the emperor's mistress. Believing that poetry should not be obscure and elitist, Evaristo opts for a highly intertextual and polyphonic novel in irregular verse which vividly rewrites the history of the black presence in Roman Britain from the perspective of the marginalized. In a unique way, in "The Emperor's Babe", past and present, Romanitas and Britishness, tradition and the subversion of the canon intriguingly overlap, creating a multilayered narrative of resistance. In particular, this article focuses on Evaristo's radical poetics, demonstrating how this author creates a seemingly inaccessible and hybrid language which can be easily intelligible and appealing.

"The Sense of (Un)Belonging: David Greig's (Un?)Scottishness in 'Pyrenees' and 'Damascus'", International Journal of Scottish Theatre and Screen (IJOSTS), 10 (2017), pp. 19-39.

"Re-membering the Bard: David Greig's and Liz Lochhead's Re-visionary Reminiscences of 'The Tempest'", Parole Rubate: Rivista internazionale di studi sulla citazione / Purloined Letters: An International Journal of Quotation Studies, 16 (2017), pp. 235-250.

"Non-Places as Sites for Intercultural Clashes in Sarah Kane's 'Blasted' and David Greig's 'Damascus'", in Transnational Subjects: Cultural and Literary Encounters (Vol. I), ed. by R. Ciocca, A. Lamarra, C. M. Laudando (Naples: Liguori, 2017), pp. 168-178.

"'Perhaps That Taste of Nothing Is What You Can Taste': Sensory Landscapes, Absence, and Objects in Martin Crimp's 'The Country'", Itinera 13 (2017), pp. 299-310.

When Martin Crimp's The Country was first performed at London's Royal Court Theatre in 2000, crit... more When Martin Crimp's The Country was first performed at London's Royal Court Theatre in 2000, critics focused on its Pinterian echoes, the popular motif of betrayal, as well as its attack on the rural myth, and described it as a disturbing and ambiguous play. Despite its unsettling elusiveness and coolness, The Country is a hot piece, in which sensual and sexual tensions permeate chilling verbal exchanges between cryptic – and seemingly unemotional – characters. Staging an intricate web of sensory reactions, provoked by the (im)materiality of language and the evocative potential of props, this drama effectively «works through affective nuances […], acoustic and visual, which develop an almost haunting presence in their absence» (Angelaki 2012: 97). Examining Crimp's sensory landscapes and his subtle dialogue between presence and absence, this article aims to demonstrate how, in an opaque play built on ellipses, the body sous rature speaks as loud as the ostended body.

"Appropriating 'Macbeth' in the Contact Zone. The Politics of Place, Space, and Liminality in David Greig's 'Dunsinane'", AION Anglistica - Stage and Beyond. Space and Place in Contemporary Theatre, 20:2 (2016), pp.17-29.

To a greater or lesser extent, the practices of rewriting and restaging a preexisting artefact im... more To a greater or lesser extent, the practices of rewriting and restaging a preexisting artefact imply some sort of movement, or – more technically – relocation. Remaining rooted in eleventh-century Scotland, David Greig's Dunsinane (2010) – commissioned by the Royal Shakespeare Company and first performed at the Hampstead Theatre, London – cannot be defined as a transposition diégétique or transdiégétisation (its Shakespearean source is not dislocated from its original spatio-temporal frame). However, this thought-provoking sequel to Macbeth (1606), whose title explicitly evokes the Bard's tragedy and the location of its final action, enters what Mary Louise Pratt would define as a 'contact zone'. In this light, Dunsinane becomes a site for intercultural clashes between Scottishness and Englishness, while simultaneously pointing at contemporary conflicts in Afghanistan and Iraq. Divided into four parts corresponding to the four seasons, Greig's piece is set in the aftermath of Shakespeare's play and opens with the English forces camouflaging themselves before attacking Macbeth's castle. Focusing on the figure of the English general Siward and his young soldiers invading a hostile land, the play imagines what happens after the tyrant's deposition and Malcolm's installation. Exploring the complex idea of place/space in this re-visionary appropriation of Macbeth, this article aims to show how a permeable, multifaceted, and protean country (un)written sous rature such as Scotland becomes a liminal and 'liquid' contact zone which is not only a battlefield for armies but also for cultures and ideas.

"From Page/Stage to Screen through Poetry: Relocation, Rewriting, and Remediation in Tony Harrison's 'Prometheus'", in Remediating Imagination: Literatures and Cultures in English from the Renaissance to the Postcolonial, ed. by G. Angeletti, G. Buonanno, D. Saglia (Rome: Carocci, 2016), pp. 205-12.

“Dealing with Bodies: The Corporeal Dimension in Sarah Kane's 'Cleansed' and Martin Crimp's 'The Country'”, JCDE: Journal of Contemporary Drama in English, 1:1 (2013), pp. 137-148.

“‘The treatment was wild’: medicina, desiderio e coscienza in 'The Country' di Martin Crimp”, La Torre di Babele. Rivista di letteratura e linguistica, 8 (2012), pp. 213-235.

“Blurring Ethical Boundaries: (Im)Moral Ambiguity in Martin Crimp’s Characters”, Performing Ethos: An International Journal of Ethics in Theatre & Performance, 2:1 (2011), pp. 65-68.

“Drammaturgia transtestuale. Martin Crimp fra autocitazione e riscrittura”, Parole Rubate: Rivista internazionale di studi sulla citazione/Purloined Letters: An International Journal of Quotation Studies, 3 (2011), pp. 83-112.

Book Reviews by Maria Elena Capitani

Mark S. Lussier, “Romantic Dharma: The Emergence of Buddhism into Nineteenth-Century Europe”, New York: Palgrave Macmillan, 2011, La Questione Romantica, New Perspectives on William Wordsworth, 3: 2 (2014), pp. 199-202.

"Virality, Slipperiness and Challenges: Adaptation Studies and/on the Contemporary Anglophone Stage" (Book Review Article), Atlantis: Journal of the Spanish Association of Anglo-American Studies, 43:1 (2021), pp. 243-256.

“The Crimpesque: Pinter’s Legacy in the Theatre of Martin Crimp”, in Harold Pinter: Stages, Networks, Collaborations, ed. by B. Chiasson and C. Fallow (London: Bloomsbury Methuen, 2021), pp. 174-193.

"A New Reality: Shelagh Delaney's 'A Taste of Honey' (1958)", in British Women's Writing, 1930 to 1960: Between the Waves, ed. by Sue Kennedy and Jane Thomas (Liverpool: Liverpool University Press 2020), pp. 215-231.

"'Blood and Ice', or Liz Lochhead's 'Hideous Progeny'", in Mary Shelley's Frankenstein, 1818-2018, ed. by Maria Parrino, Alessandro Scarsella, Michela Vanon Alliata (Newcastle upon Tyne: Cambridge Scholars Publishing, 2020), pp. 111-122.

"An English Playwright on the Italian Stage: Exporting, Translating and Staging Martin Crimp's Drama", Coup de théâtre (hors-série 2019), pp. 93-111.

“The Politics of Spectatorship: Community, Ethics, and Affect in Contemporary British Rewritings of Ancient Tragedies”, in Redefining Theatre Communities: International Perspectives in Community-Conscious Theatre-Making, ed. by M. Galea and S. Musca (Bristol-Chicago: Intellect, 2019), pp. 68-84.

"Nineties 'Lear': Neo-Jacobean Echoes in Martin Crimp's and Sarah Kane's 'In-Yer-Face' Theatre", in Worlds of Words: Complexity, Creativity and Conventionality in English Language, Literature and Culture (Vol. II), ed. by R. Ferrari and S. Soncini (Pisa: Pisa University Press, 2019), pp. 189-200.

"Narratives of Terror: Palinsesti, Displacement e Englishness nei drammi di Martin Crimp e Simon Stephens", SigMa - Rivista di Letterature Comparate, Teatro e Arti dello Spettacolo, 2 (2018), pp. 47-61.

Although adopting different strategies, Martin Crimp and Simon Stephens avoid the truthfulness of... more Although adopting different strategies, Martin Crimp and Simon Stephens avoid the truthfulness of docudrama, preferring a more or less allusive re-narration of events. To dramatise the dialogue between the personal and public dimension of a fact, both playwrights draw upon a hypotext, showing how the re-writing of an event is grafted upon a source, thus becoming a palinsest. However, the two plays differ in many ways. First of all, the global consequences of terrorism and the transnational echoes of 'Cruel and Tender' contrast with the staging of Englishness in 'Pornography'.

“Quoting the Canon, Demystifying Poetry: Bernardine Evaristo’s 'The Emperor’s Babe' Between Tradition and Innovation”, US-China Foreign Language, 16:1 (2018), pp. 55-61.

The award-winning British writer Bernardine Evaristo develops a creative approach to the politics... more The award-winning British writer Bernardine Evaristo develops a creative approach to the politics of form and content in her verse-novel "The Emperor's Babe", published in 2001 and set in Londinium in AD 211. This colourful reconstruction of Roman London is peopled with unforgettable characters, such as the teenage protagonist Zuleika, the daughter of Sudanese immigrants who becomes the wife of an absent man of status and the emperor's mistress. Believing that poetry should not be obscure and elitist, Evaristo opts for a highly intertextual and polyphonic novel in irregular verse which vividly rewrites the history of the black presence in Roman Britain from the perspective of the marginalized. In a unique way, in "The Emperor's Babe", past and present, Romanitas and Britishness, tradition and the subversion of the canon intriguingly overlap, creating a multilayered narrative of resistance. In particular, this article focuses on Evaristo's radical poetics, demonstrating how this author creates a seemingly inaccessible and hybrid language which can be easily intelligible and appealing.

"The Sense of (Un)Belonging: David Greig's (Un?)Scottishness in 'Pyrenees' and 'Damascus'", International Journal of Scottish Theatre and Screen (IJOSTS), 10 (2017), pp. 19-39.

"Re-membering the Bard: David Greig's and Liz Lochhead's Re-visionary Reminiscences of 'The Tempest'", Parole Rubate: Rivista internazionale di studi sulla citazione / Purloined Letters: An International Journal of Quotation Studies, 16 (2017), pp. 235-250.

"Non-Places as Sites for Intercultural Clashes in Sarah Kane's 'Blasted' and David Greig's 'Damascus'", in Transnational Subjects: Cultural and Literary Encounters (Vol. I), ed. by R. Ciocca, A. Lamarra, C. M. Laudando (Naples: Liguori, 2017), pp. 168-178.

"'Perhaps That Taste of Nothing Is What You Can Taste': Sensory Landscapes, Absence, and Objects in Martin Crimp's 'The Country'", Itinera 13 (2017), pp. 299-310.

When Martin Crimp's The Country was first performed at London's Royal Court Theatre in 2000, crit... more When Martin Crimp's The Country was first performed at London's Royal Court Theatre in 2000, critics focused on its Pinterian echoes, the popular motif of betrayal, as well as its attack on the rural myth, and described it as a disturbing and ambiguous play. Despite its unsettling elusiveness and coolness, The Country is a hot piece, in which sensual and sexual tensions permeate chilling verbal exchanges between cryptic – and seemingly unemotional – characters. Staging an intricate web of sensory reactions, provoked by the (im)materiality of language and the evocative potential of props, this drama effectively «works through affective nuances […], acoustic and visual, which develop an almost haunting presence in their absence» (Angelaki 2012: 97). Examining Crimp's sensory landscapes and his subtle dialogue between presence and absence, this article aims to demonstrate how, in an opaque play built on ellipses, the body sous rature speaks as loud as the ostended body.

"Appropriating 'Macbeth' in the Contact Zone. The Politics of Place, Space, and Liminality in David Greig's 'Dunsinane'", AION Anglistica - Stage and Beyond. Space and Place in Contemporary Theatre, 20:2 (2016), pp.17-29.

To a greater or lesser extent, the practices of rewriting and restaging a preexisting artefact im... more To a greater or lesser extent, the practices of rewriting and restaging a preexisting artefact imply some sort of movement, or – more technically – relocation. Remaining rooted in eleventh-century Scotland, David Greig's Dunsinane (2010) – commissioned by the Royal Shakespeare Company and first performed at the Hampstead Theatre, London – cannot be defined as a transposition diégétique or transdiégétisation (its Shakespearean source is not dislocated from its original spatio-temporal frame). However, this thought-provoking sequel to Macbeth (1606), whose title explicitly evokes the Bard's tragedy and the location of its final action, enters what Mary Louise Pratt would define as a 'contact zone'. In this light, Dunsinane becomes a site for intercultural clashes between Scottishness and Englishness, while simultaneously pointing at contemporary conflicts in Afghanistan and Iraq. Divided into four parts corresponding to the four seasons, Greig's piece is set in the aftermath of Shakespeare's play and opens with the English forces camouflaging themselves before attacking Macbeth's castle. Focusing on the figure of the English general Siward and his young soldiers invading a hostile land, the play imagines what happens after the tyrant's deposition and Malcolm's installation. Exploring the complex idea of place/space in this re-visionary appropriation of Macbeth, this article aims to show how a permeable, multifaceted, and protean country (un)written sous rature such as Scotland becomes a liminal and 'liquid' contact zone which is not only a battlefield for armies but also for cultures and ideas.

"From Page/Stage to Screen through Poetry: Relocation, Rewriting, and Remediation in Tony Harrison's 'Prometheus'", in Remediating Imagination: Literatures and Cultures in English from the Renaissance to the Postcolonial, ed. by G. Angeletti, G. Buonanno, D. Saglia (Rome: Carocci, 2016), pp. 205-12.

“Dealing with Bodies: The Corporeal Dimension in Sarah Kane's 'Cleansed' and Martin Crimp's 'The Country'”, JCDE: Journal of Contemporary Drama in English, 1:1 (2013), pp. 137-148.

“‘The treatment was wild’: medicina, desiderio e coscienza in 'The Country' di Martin Crimp”, La Torre di Babele. Rivista di letteratura e linguistica, 8 (2012), pp. 213-235.

“Blurring Ethical Boundaries: (Im)Moral Ambiguity in Martin Crimp’s Characters”, Performing Ethos: An International Journal of Ethics in Theatre & Performance, 2:1 (2011), pp. 65-68.

“Drammaturgia transtestuale. Martin Crimp fra autocitazione e riscrittura”, Parole Rubate: Rivista internazionale di studi sulla citazione/Purloined Letters: An International Journal of Quotation Studies, 3 (2011), pp. 83-112.

Mark S. Lussier, “Romantic Dharma: The Emergence of Buddhism into Nineteenth-Century Europe”, New York: Palgrave Macmillan, 2011, La Questione Romantica, New Perspectives on William Wordsworth, 3: 2 (2014), pp. 199-202.

“‘A Myriad of Literary Impressions’: L’intertextualité dans le roman anglophone contemporain”, sous la direction de Emilie Walezak & Jocelyn Dupont, Perpignan: Presses Universitaires de Perpignan, 2010, Parole Rubate/Purloined Letters, 6 (2012), pp. 151-158.

9.10.2014 :“Martin Crimp e il teatro francese: ‘The Extreme of My Empathetic Range’; o, tradurre Marivaux”, Université d’Avignon et des Pays de Vaucluse (France).

06.05.2021: (with Gioia Angeletti) “Europeanness, Border Aesthetics and Resistance in David Greig’s anti-Brexit Plays”, Border Narratives - Brexit, Europe, and the UK, 5-7 May 2021, Georg-August-Universität Göttingen (Germany) (online conference).

19.12.2020: "Literary and Cultural Intersections in Brexit Fiction", In-between 'Pop-' and 'Post-': Contemporary Routes in English Culture, 18-19 December 2020, Università di Verona (Italy) (online conference).

12.12.2019: "Keats on Air: Corporeal and Textual Dismemberment in Lucy Gough's 'Head', a Remediation of 'Isabella'", Late Romanticism: Past and Present, 12-14 December 2019, KU Leuven (Belgium).

05.09.2019: “A Tale of Two Countries: The Shadow of Brexit in Ali Smith’s 'Autumn' (2016) and Amanda Craig’s 'The Lie of the Land' (2017)”, XXIX AIA Conference: Thinking Out of the Box in Language, Literature, Cultural and Translation Studies, 5-7 September 2019, Università di Padova (Italy).

11.10.2018: "An English Playwright on the Italian Stage: Exporting, Translating and Staging Martin Crimp’s Drama", International Conference RADAC 40 - Crossing Borders: Contemporary Anglophone Theatre in Europe, 11-12 October 2018, Maison des Sciences de l'Homme, Paris (France).

07.04.2018: “The Crimpesque: Pinter’s Legacy in the Theatre of Martin Crimp”, International Conference: Staging Pinter: Networks, Collaborators, Legacies, 6-7 April 2018, University of Birmingham (UK).

21.02.2018: "'Blood and Ice', or Liz Lochhead’s ‘Hideous Progeny’", International Bicentenary Conference on Mary Shelley's 'Frankenstein', 21-22 February 2018, Università Ca' Foscari Venezia (Italy).

30.9.2017:"Narratives of Terror. Palinsesti, Displacement e Englishness nei drammi di Martin Crimp e Simon Stephens", Laboratorio Malatestiano: Di fronte all'evento. La rappresentazione della cronaca nelle arti contemporanee, 29-30 Sept. 2017, Rocca Malatestiana, Santarcangelo di Romagna (Italy).

15.9.2017: "Nineties Lear: Neo-Jacobean Echoes in Martin Crimp’s and Sarah Kane’s ‘In-yer-face’ Drama", XXVIII AIA Conference: Worlds of Words: Complexity, Creativity, and Conventionality in English Language, Literature and Culture, 14-16 September 2017, Università di Pisa (Italy).

05.07.2017: “Contemporary British Tragedy: Re-imagining Spectatorship and Community through Ethics and Affect”, English: Shared Futures, 5-7 July 2017, Newcastle Civic Centre (UK).

20.05.2017: “Re-Membering the Bard: David Greig’s and Liz Lochhead’s Revisionary Reminiscences of 'The Tempest'”, The Past is Back on Stage: Medieval and Early Modern England on the Contemporary Stage, 19-20 May 2017, Université Paul-Valéry Montpellier 3 (France).

30.3.2017: "Crossing Boundaries: Terror, Tragedy, and Displacement in Martin Crimp's 'Cruel and Tender'", Terror on Tour: Borders, Detours & Contingencies, 29-31 March 2017, Universität Innsbruck (Austria).

14.12.2016: "Camp Tragedy: Genere Letterario, Gender e Teatralità in 'The Bacchae' (2007) di David Greig", Maschere del Tragico - Convegno di Studi Letterari, 14-16 December 2016, Università Ca' Foscari Venezia (Italy).

24.08.2016: "The Sense of (Un)Belonging: David Greig's (Un?)Scottishness in 'Pyrenees' and 'Damascus'", ESSE Conference, 22-26 August 2016, National University of Ireland - Galway (Ireland).

28.06.2016: “Quoting the Canon, Demystifying Poetry: Bernardine Evaristo’s 'The Emperor’s Babe' between Tradition and Innovation”, What Happens Now: 21st Century Writing in English 2016 Conference, 27-29 June 2016, University of Lincoln (UK).

24.06.2016: “Re-presenting (Women’s) Reality: Class, Gender, and Sexuality in Shelagh Delaney’s 'A Taste of Honey'”, Revision, Revival, Rediscovery…‘Re’ words in British Women’s Writing between 1930 and 1960, 24 June 2016, University of Hull (UK).

14.06.2016: “‘Perhaps That Taste of Nothing Is What You Can Taste’: Sensory Landscapes, Absence, and Objects in Martin Crimp’s 'The Country'”, Le théâtre et les cinq sens. Théories, esthétiques, dramaturgies, 13-14 June 2016, Cité Internationale Universitaire, Paris (France).

14.04.2016: "Screening Tragedy: Trans-media Routes in Tony Harrison's 'Prometheus'", JAM 2016 - Media and Performance Across Platforms, 14 April 2016, University of Reading (UK).

11.09.2015: "Non-Places as Sites for Intercultural Clashes in Sarah Kane's 'Blasted' and David Greig's 'Damascus'", XXVII AIA Conference: Transnational Subjects: Linguistic, Literary and Cultural Encounters, 10-12 September, Università degli Studi di Napoli Federico II & L'Orientale (Italy).

04.06.2015: “The Politics of Rewriting Tragedy”, PhD Forum, 24th Annual Conference of the German Society for Contemporary Theatre and Drama in English (CDE): Theatre and Spectatorship, 4-7 June 2015, Universitat de Barcelona (Spain).