Kamil Seruga
He graduated in Spanish Philology from the University of Warsaw (2014). His undergraduate thesis, focused on the rewriting of the Don Juan myth in the works of Jacinto Grau, was developed under the guidance of Professor Urszula Aszyk. In the same year, he enrolled in the doctoral studies program at the Faculty of Modern Languages, University of Warsaw. In September 2019, he successfully defended his doctoral thesis titled "Los autores galardonados con el Premio Marqués de Bradomín ante la relación texto-representación: los intentos de trazar nuevas direcciones de la dramaturgia española (1985-2012)" It is noteworthy that the thesis was, once again, elaborated under the supervision of Professor Urszula Aszyk.
His scholarly endeavors are reflected through the publication of several articles in reputable journals such as Monteagudo, Anagnorisis, Signa, Itinerarios, and Sociocriticism. Furthermore, he has taken on editorial roles, coordinating two monographic volumes (2017 and 2020) on contemporary Spanish theater in collaboration with distinguished professors including U. Aszyk, J. Romera Castillo, K. Kumor, and J. E. Duarte.
As collaborator of the Faculty of Philosophy and Letters at the University of Granada, he enriched his expertise through a postdoctoral research stay in 2022, under the supervision of Professor María Ángeles Grande Rosales. Since 2022, he has been a member of the Editorial Board of the journal Impossibilia, thereby reinforcing his commitment to knowledge dissemination.
His active participation in numerous international conferences, spanning countries such as Poland, Spain, Italy, Brazil, Argentina, and Cuba, underscores his dedication to global intellectual exchange. He was invited several times as a keynote speaker and gave lecture: at Universidad de La Laguna (2022), Universidade Fluminense do Río de Janeiro (2023), and Universidade de Santiago de Compostela (2024).
He has contributed to the organization of various international academic events, notably serving as a member of the Organizing Committee for the III and IV International Symposium "Theater as an object of study" (7-8.04.2017, and 31.05-1.06.2019, respectively), as well as the international congress "Embodied Memory: Emotions, Bodies, and Migrations in Hispanic Cultural Production of the 21st Century" (1-3.06.2017). Additionally, he served on the Scientific Committee of the "2nd International Congress Humanities-Society-Identity," held at the University of Warsaw from 8-9.12.2023.
Address: Poland
His scholarly endeavors are reflected through the publication of several articles in reputable journals such as Monteagudo, Anagnorisis, Signa, Itinerarios, and Sociocriticism. Furthermore, he has taken on editorial roles, coordinating two monographic volumes (2017 and 2020) on contemporary Spanish theater in collaboration with distinguished professors including U. Aszyk, J. Romera Castillo, K. Kumor, and J. E. Duarte.
As collaborator of the Faculty of Philosophy and Letters at the University of Granada, he enriched his expertise through a postdoctoral research stay in 2022, under the supervision of Professor María Ángeles Grande Rosales. Since 2022, he has been a member of the Editorial Board of the journal Impossibilia, thereby reinforcing his commitment to knowledge dissemination.
His active participation in numerous international conferences, spanning countries such as Poland, Spain, Italy, Brazil, Argentina, and Cuba, underscores his dedication to global intellectual exchange. He was invited several times as a keynote speaker and gave lecture: at Universidad de La Laguna (2022), Universidade Fluminense do Río de Janeiro (2023), and Universidade de Santiago de Compostela (2024).
He has contributed to the organization of various international academic events, notably serving as a member of the Organizing Committee for the III and IV International Symposium "Theater as an object of study" (7-8.04.2017, and 31.05-1.06.2019, respectively), as well as the international congress "Embodied Memory: Emotions, Bodies, and Migrations in Hispanic Cultural Production of the 21st Century" (1-3.06.2017). Additionally, he served on the Scientific Committee of the "2nd International Congress Humanities-Society-Identity," held at the University of Warsaw from 8-9.12.2023.
Address: Poland
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Papers by Kamil Seruga
The paper investigates the dramatic figure of a minor migrant, and aims, specifically, to examine their role as a protagonist in the contemporary Spanish theater stage plays that deal with the problem of migration. The presence of the minor migrant in contemporary Spanish theater is disproportionately scarce considering their massive participation in the migratory process. Among the works published in two theater anthologies on migration that we established as the corpus for the paper (Los mares de Caronte, 2016, and Sillas en la frontera, 2018), minor migrant figures appear only in four texts: En un lugar de nadie and El viaje de Adou, by Diana de Paco; El camión al paraíso, by Antonia Bueno and Babel, by Juana Escabias. The playwrights not only manage to address some pressing topics related to migration, but also reclaim the voice of minor migrants. The paper analyzes plays both thematically and formally: we apply the concept of ontological security (Anthony Giddens) to the dramatization of migration experience and analyze dramaturgical techniques that are employed to elicit social denunciation.
The paper investigates stage plays, which address the issue of Western European migration policies and focuses on the works of Angélica Liddell, Aurora Mateos and Antonia Bueno. The main analytical perspective are two female figures: a pregnant woman and a mother. Within the adopted framework both are perceived as constructs with dramatic potential for social denunciation. The study also aims to examine the migration processes in terms of a battlefield. The migrants, marginalized and excluded by the hegemonic power, are thus examined from the perspective of their agency within a conflictive space.
Abstract: The paper dwells on two phenomena that can be observed in a Paco Bezerra's stage play Grooming, that is, theatralization and dramatization of the Internet and new technologies. The title itself reveals the main issue that will be covered; nevertheless, denunciation of grooming as a social problem is but a starting point for a broader pondering upon human conduct, which clearly has been affected by the possibilities of telematic tools and the impact of new media. Due to the recurring use of new technology, and its infl uence on dramatic production, it was necessary to include not only the stage play's text, but also to take into consideration the staging of the play. Given the convergence between the theme and the means of expression, a most intriguing question needed to be addressed: the relation between theater, new technologies and spectators, whose perception and sensibility have undergone substantial changes.
The vigor of theatre’s techniques for self-representation, since its origins, is unquestionable, although the diversity of meta strategies has increased significantly. Contemporary Spanish theater is no exception to this trend and this work investigates these elements, which come to the fore in Llàtzer García’s Viento en las velas. García immediately introduces us to the universe of world literature’s fictional characters, and a hero of this adventure, apparently coming from outer (extradramatic) reality, called Playwright. His search for suitable material for a new work, unexpectedly, turns into a quest. This adventure is the source of the metafictional stage play: The Incredible Adventures of the Playwright. Intertextual dimension, play within a play technique and metalevels are key elements that reflect the text’s self-referential and self-conscious character.
El presente estudio pretende adentrarse en el aspecto de la violencia representa-do en el drama El señor de Pigmalión de Jacinto Grau. La pieza desarrolla el mito clá-sico de Pigmalión que, sin embargo, aparece actualizado. El protagonista, director de escena, construye unos autómatas casi humanos –le sirven de actores durante las representaciones teatrales– que acaban por independizarse de su creador humano. La tensión entre el dominador y los dominados se resuelve precisamente mediante el acto de violencia. Nos proponemos analizar dicha violencia en el contexto de la rebeldía y fuerte anhelo de liberación.
Abstract
The matter of the present paper is the analysis of violence as represented in the drama El señor de Pigmalión by Jacinto Grau. The play is based on the classical myth of Pygmalion, although the playwright brings its content up to date and stages it in pre-Francoist Spain. The main protagonist is a director who creates human-like marionettes and organizes them as his own actor's troupe. Their constant exploitation produces an increasing tension that leads them to break away from their human creator through an act of violence. Due to that fact, the present study focuses on violence in relation to the yearning for liberation and rebellion against the oppressor.
Book Reviews by Kamil Seruga
Books by Kamil Seruga
The paper investigates the dramatic figure of a minor migrant, and aims, specifically, to examine their role as a protagonist in the contemporary Spanish theater stage plays that deal with the problem of migration. The presence of the minor migrant in contemporary Spanish theater is disproportionately scarce considering their massive participation in the migratory process. Among the works published in two theater anthologies on migration that we established as the corpus for the paper (Los mares de Caronte, 2016, and Sillas en la frontera, 2018), minor migrant figures appear only in four texts: En un lugar de nadie and El viaje de Adou, by Diana de Paco; El camión al paraíso, by Antonia Bueno and Babel, by Juana Escabias. The playwrights not only manage to address some pressing topics related to migration, but also reclaim the voice of minor migrants. The paper analyzes plays both thematically and formally: we apply the concept of ontological security (Anthony Giddens) to the dramatization of migration experience and analyze dramaturgical techniques that are employed to elicit social denunciation.
The paper investigates stage plays, which address the issue of Western European migration policies and focuses on the works of Angélica Liddell, Aurora Mateos and Antonia Bueno. The main analytical perspective are two female figures: a pregnant woman and a mother. Within the adopted framework both are perceived as constructs with dramatic potential for social denunciation. The study also aims to examine the migration processes in terms of a battlefield. The migrants, marginalized and excluded by the hegemonic power, are thus examined from the perspective of their agency within a conflictive space.
Abstract: The paper dwells on two phenomena that can be observed in a Paco Bezerra's stage play Grooming, that is, theatralization and dramatization of the Internet and new technologies. The title itself reveals the main issue that will be covered; nevertheless, denunciation of grooming as a social problem is but a starting point for a broader pondering upon human conduct, which clearly has been affected by the possibilities of telematic tools and the impact of new media. Due to the recurring use of new technology, and its infl uence on dramatic production, it was necessary to include not only the stage play's text, but also to take into consideration the staging of the play. Given the convergence between the theme and the means of expression, a most intriguing question needed to be addressed: the relation between theater, new technologies and spectators, whose perception and sensibility have undergone substantial changes.
The vigor of theatre’s techniques for self-representation, since its origins, is unquestionable, although the diversity of meta strategies has increased significantly. Contemporary Spanish theater is no exception to this trend and this work investigates these elements, which come to the fore in Llàtzer García’s Viento en las velas. García immediately introduces us to the universe of world literature’s fictional characters, and a hero of this adventure, apparently coming from outer (extradramatic) reality, called Playwright. His search for suitable material for a new work, unexpectedly, turns into a quest. This adventure is the source of the metafictional stage play: The Incredible Adventures of the Playwright. Intertextual dimension, play within a play technique and metalevels are key elements that reflect the text’s self-referential and self-conscious character.
El presente estudio pretende adentrarse en el aspecto de la violencia representa-do en el drama El señor de Pigmalión de Jacinto Grau. La pieza desarrolla el mito clá-sico de Pigmalión que, sin embargo, aparece actualizado. El protagonista, director de escena, construye unos autómatas casi humanos –le sirven de actores durante las representaciones teatrales– que acaban por independizarse de su creador humano. La tensión entre el dominador y los dominados se resuelve precisamente mediante el acto de violencia. Nos proponemos analizar dicha violencia en el contexto de la rebeldía y fuerte anhelo de liberación.
Abstract
The matter of the present paper is the analysis of violence as represented in the drama El señor de Pigmalión by Jacinto Grau. The play is based on the classical myth of Pygmalion, although the playwright brings its content up to date and stages it in pre-Francoist Spain. The main protagonist is a director who creates human-like marionettes and organizes them as his own actor's troupe. Their constant exploitation produces an increasing tension that leads them to break away from their human creator through an act of violence. Due to that fact, the present study focuses on violence in relation to the yearning for liberation and rebellion against the oppressor.