Dr Marta Minier
PhD in Drama (University of Hull)
Title of thesis: ‘Translating Hamlet into Hungarian Culture: A Case Study in Rewriting and Translocation’
BA, MA and PGCE equivalents in English and Hungarian Literature and Linguistics (University of Debrecen, Hungary)
SFHEA (Senior Fellow of the Higher Education Academy)
Márta Minier holds a PhD from the Centre for Performance Translation and Dramaturgy at the University of Hull. Her PhD thesis discussed the translation of Hamlet into Hungarian culture. Márta’s main research interests span translation studies, adaptation studies (alongside the related theories of intermediality and remediation), dramaturgy, Shakespeare studies (Shakespeare reception in particular), European drama, theatre, literature and culture with a special emphasis on the small nations of Central and Eastern Europe and Hungary in particular, biography on page, stage and screen, children’s literature, drama and media and – more recently – radio drama.
She is co-editor of the Journal of Adaptation in Film and Performance and one of the associate editors of the theatre studies journal Symbolon. She has also served on the editorial board of the open-access Global Shakespeare Journal, a peer-reviewed international publication in Shakespeare studies. A recent recipient of the David Almond Fellowship (from Newcastle University and Seven Stories, National Centre for Children’s Books) and the Stephen Joseph Award from the Society for Theatre Research, Márta currently studies the children’s theatre productions of David Wood as case studies of adaptation.
Márta has participated at numerous international conferences, and has so far (co-)organised fourteen academic conferences/symposia/seminars/panels at subject association congresses (about translation, adaptation, dramaturgy, East-Central European drama, Hamlet poetry, the biopic and cultural translation in a Welsh-Hungarian context, among other topics). She has co-edited a thematic volume of the peer-reviewed online journal New Readings on Hamlet and poetry (2012). Her recent co-edited collection on the contemporary biopic was published with Ashgate (now Routledge).
She has translated Sera Moore Williams’ play for young people, Crash, into Hungarian as part of a practice-led research project in translation and dramaturgy, and is now preparing the script for publication and a rehearsed reading.
Márta’s most recent creative project has been artistic directorship of a Mexican themed theatre festival carried out with undergraduate Theatre and Drama students. MX: A USW Cardiff Theatre Festival Celebrating Mexican Culture featured four performances, including one directed by Márta: 100 % Mexico, or Loa to the Divine Narcissus by Sor Juana Inés de la Cruz.
Márta convenes the undergraduate module Production: Theatre Festival, the postgraduate module Reflective Practice 2: Contexts, Practices and Applications, and serves as FQAC officer and Faculty Research Programmes Committee member for Drama within the School of Production and Performance, and as FRPC Deputy Head. She is also Erasmus and International Exchange Coordinator for the Faculty of Creative Industries.
She is a Senior Fellow of the Higher Education Academy (SFHEA) and Fellow of the Royal Society for the encouragement of Arts, Manufactures and Commerce (FRSA).
Main teaching areas:
European theatre, Shakespeare and the Renaissance, nineteenth- and twentieth-century theatre, adaptation and translation studies, theoretical approaches, Central and Eastern European cultures
Undergraduate modules taught include:
Production: Theatre Festival (module convener)
Performance and the Global Society (module convener)
Specialist Studies (module convener)
Script Analysis 2: Dramaturgy
Current postgraduate teaching includes:
Reflective Practice 2 (module convener)
Office hours this term:
on sabbatical – please e-mail for an appointment
Academic events organisation
▪ JAFP: Looking back, stepping forward, University of East Anglia, 15 July 2019 (with Richard Hand and Benjamin Pinsent)
▪ ‘Shakespearean Geographies on Screen’, a seminar for the European Shakespeare Research Association conference ‘Shakespeare and European Geographies: Centralities and Elsewheres’ at Roma Tre University, 9-12 July 2019
▪ ‘Remembering “The Bards of Wales”’ [commemorating the János Arany bicentenary in connection with the video mapping organised by the Hungarian Cultural Centre London], 21 October 2017, ATRiuM (organised with the George Ewart Evans Centre for Storytelling and The Centre for the Study of Media and Culture in Small Nations)
▪ ‘Shakespeare and the Jews’ conference, 28-30 March 2017 at University College London, on the organising committee with Adriana X. Jacobs (University of Oxford), Lily Kahn (UCL, principal organiser), Aneta Mancewicz (Kingston University), Christopher Stamatakis (UCL) and Ada Rapoport-Albert (UCL)
▪ The Last Train to Budapest – Biographical Novel and Community Film: Discussing British Fragments of the Memory of the 1956 Hungarian Revolution (a George Ewart Evans Centre for Storytelling event), ATRiuM, Cardiff, 26 November 2016
▪ ‘Shakespearean Romantic Comedies: Translations, Adaptations, Tradaptations’, a seminar co-organised (with Maddalena Pennacchia and Iolanda Plescia) for ESSE 2016, Galway, 22-26 August 2016
▪ ‘Challenges in Translating, Adapting, Tradapting Shakespeare’s Romantic Comedies’ (with Maddalena Pennacchia and iolanda Plescia) for ESSE 2016, Galway, 22-26 August 2016
▪ ‘Recent European (Re)translations of Shakespeare’, a seminar organised for the 2015 ESRA conference, Worcester (co-organised with Lily Kahn and Martin Regal), 29 June – 2 July 2015
▪ ‘Shakespeare, European Tourism and Beyond’, a seminar organised for the 2015 ESRA conference, Worcester (co-organised with Maddalena Pennacchia), 29 June – 2 July 2015
▪ ‘Hamlet Performances: (Non)translation and Questions of Authority and Textual Integrity’; a panel organised for Shakespeare: Text, Power, Authority: the 2014 BSA (British Shakespeare Association) conference, University of Stirling, 3-6 July 2014
▪ ‘Translations of Hamlet in Minority Cultures/Minor Languages’: a panel organised for the Shakespeare 450 conference, Paris, 21-27 April 2014
▪ Ways in, Ways out and “Ways through the Labyrinth” of Drama/Theatre/Performance Translation and Dramaturgy
(an interdisciplinary and international conference), University of South Wales, Cardiff, 6 June 2013
▪ Hamlet and Poetry (an international conference), University of Glamorgan, 13-14 September 2011 – co-organiser (with Ruth J. Owen)
▪ Living on Screens: Biopics of Anglophone Celebrities in Media Culture (an ESSE seminar), University of Torino, 24-28 August 2010 – co-organiser and co-convener (with Maddalena Pennacchia)
▪ Cultures of Translation: Adaptation in Film and Performance, University of Glamorgan, 26-28 June 2008 – co-organiser (with Richard Hand and Katja Krebs)
▪ ‘National Theatre Traditions: Translating and Adapting for the Stage’ – seminar series of the Theatre and Media Drama Research Unit, University of Glamorgan, summer term 2007-2008 – organiser
▪ Central and Eastern European Drama in English Translation and Production: A Research Symposium, Dept of Drama, University of Hull, 20 October 2007 – organiser
Selected conference papers, keynotes, research seminars and panelist work
▪ ‘The Chronotope in Adaptation: A Localised Othello as a Comedy on the Hungarian Small Screen and Stages’, ‘Shakespearean Geographies on Screen’, a seminar for the European Shakespeare Research Association conference ‘Shakespeare and European Geographies: Centralities and Elsewheres’ at Roma Tre University, 9-12 July 2019
▪ ‘Shakespeare Recontextualised for Young People and for Community Promenade Performance: Contemporary Theatrical Rewritings by David Lane’, a keynote delivered at A World of Translations, Universidade do Minho, 30 April 2019
▪ ‘Extramural Activities by Academics: Beyond the Ivory Tower of Academia’, Postgraduate Symposium, fAculty of Creaive Industries, University of South Wales, invited speaker on the ‘Using Your Research in the Real World’ panel, Cardiff, 9 April 2019.
▪ ‘“You have to give me the material, not the play”: Aspects of Authorship and Ownership of Story in the Spectrum of Contemporary English-language Documentary Theatre’, a keynote delivered at Reti performative 2: narrazioni, corpi, discipline nello spazio transmediale, L’Orientale University of Naples, 19-20 January 2017
▪ ‘Nurturing Opera Audiences: Interactivity and Historical Interpretation in the Welsh National Opera’s Marketing Campaign for the ‘Tudors Trilogy’’ – co-authored with Dr Rachel Grainger, Music and Performance Research Conference, 17 June 2016, Chapter Arts Centre, Cardiff
▪ Whose Child Is It Anyway? Whose Story? Whose Justice?: Notes on the Drama of Custody Battles From the Judgement of Solomon to Contemporary Documentary Theatre (keynote lecture, ‘Storytelling and Justice’ symposium, George Ewart Evans Centre for Storytelling, Cardiff, 14 May 2016)
▪ ‘Contemporary Retakes on the Roman Plays: Recontextualising and Modernising Character and Plot in David Lane’s Work for Young People and for Community Promenade Performance’, “Power and Communication in Shakespeare’s Roman Plays” seminar organised by Maddalena Pennacchia and Iolanda Plescia for the Shakespeare 2016 commemorative conference, Rome, 12 April 2016
▪ ‘Reflections on performance and the maternal (Conclusive feedback panel with Lib Taylor)’, Performance and the Maternal: Intersections and Encounters symposium, 12th March 2016, University of South Wales
▪’“Tradition Prepared Her. Change Will Define Her”: Translating History into Bio-Docudrama’ – research seminar, University of South Wales, 2 December 2015.
▪ ‘Marketing the Tudors: Interactivity and Historical Interpretation in Marketing Strategies Employed in Advertising/Used to Promote Welsh National Opera’s ‘Tudor Trilogy’’ (2013) – co-authored with Dr Rachel Grainger
Representing the Tudors conference, University of South Wales, Treforest, 10-11 July 2015
▪ ‘Lives Performed Live: Biographical Drama on Contemporary British Stages’, English Romantic Lives on Page, Stage, Screen: Mary Shelley (Vite di romantici inglesi fra pagina, palcoscenico e schermo: Mary Shelley) conference, Roma Tre University, 19 May 2015
▪ contribution to roundtable discussion (coordinated by Dr Cristina Marinetti): “WISE Connections: Fostering Arts Projects between Europe and Wales”, Chapter Arts Centre, Cardiff, 27 March 2015
▪ ‘The Choice of Translation as Part of the Performance Aesthetics of Contemporary Hungarian Hamlet Productions’, as part of the panel on ’Remembering Hamlets in Hungary ’, MLA Annual Convention, 8-11 January 2015, Vancouver.
▪ ‘Will Shakespeare, or Who You Will (1997) – The Nostalgic Shakespeare Musical Between Escapism and Politics’, The Fourth Shakespeare Conference: Shakespeare – Adaptation, Reception, Translation, Romanian Cultural Institute London, 14-15 November 2014, part of the panel on ‘Contemporary Shakespeares in Central and Eastern Europe’
▪ ‘A Comedic Adaptation of Othello on the Hungarian Small Screen and Stages’
Adapting, Performing and Reviewing Shakespearean Comedy symposium, Senate House, London, 12-13 June 2014
▪ ‘Hamlet Productions from Post-1989 Hungary’
Chronicles of the Time: Shakespeare in Central Europe, an international symposium organised by the Academy of Performing Arts Bratislava
Bratislava, Slovakia, 28 November 2013
▪ ‘The Rhetoric of Mastery ad Discipleship in the Hungarian Canon of Hamlet Translations’
Shakespeare and Myth, an international conference of the European Shakespeare Research Association
Montpellier, 26-29 June 2013
▪ ‘Serialising the Life of Monarch and Nation: Celebrification and Fragmentary Continuity in the 2009 Bio-docudrama The Queen’
New Elizabethans, an international and interdisciplinary conference, Senate House, London, 13-15 June 2013
▪ ‘Translating History and Cele-biography for the Small Screen: A Case Study of the Channel 4 Royal Bio-docudrama The Queen’
Adaptation: Classics and Beyond, an international conference, Roma Tre University, Italy, 20 March 2013
▪ ‘An Inadvertant Culture Crash?: Sera Moore Williams’ Play in Hungarian Translation’
Drama Translation in the Age of Globalisation: Paradoxes and Paradigms (an international symposium), University of Salford, 6 March 2013
▪ ‘Narrating Famous Lives on Screen: A Case Study of the Channel 4 Royal Bio-docudrama The Queen’
English Research Seminar series at Bishop Grosseteste University, 11 February 2013
▪ ‘Something Old, Something New, Something Borrowed … Something Golden":
Post-1989 Hungarian Hamlets’
An invited guest talk at the panel discussion Eastern European Hamlets, London (co-organized by the School of Arts at University of Kent and the Royal Central School of Speech and Drama), 30 January 2013
▪ ‘From Prose Fiction to Stage Drama: A Bloody Good Friday at the University of Glamorgan’ (with Steve Blandford, University of Glamorgan)
Cyfrwng conference, Swansea University, 12-13 July 2012
▪ ‘“Tradition Prepared Her. Change Will Define Her”: Translating History into Bio- Docudrama’,
Translating European Histories (an international and interdisciplinary symposium),
University of Salford, 2 July 2012
▪ Hamlet and Poetry (an international conference), University of Glamorgan, 13-14 September 2011 – co-organiser (with Dr Ruth J. Owen, Cardiff University)
▪ ‘The Curious Case of Hamlet and Petőfi: Poems by Arany, Kormos and Finta’,
Hamlet and Poetry (an international conference),
University of Glamorgan, 13-14 September 2011
▪ ‘From Gyurka to Emil, from Martine to Márti, to Emma: The Multiple Lives of Children’s Stories (and Their Readers)’ (invited guest talk – provocation),
Storytelling and Translation symposium,
George Ewart Evans Centre for Storytelling, University of Glamorgan, 6-7 May 2011
▪ co-convener (with Dr Maddalena Pennacchia, Roma Tre) and presenter at the biopic seminar, ESSE 10 conference, Torino, Italy, 24-28 August 2010
▪ ‘Hamlet in Hungarian Poetry’
Hamlet – Reception in European Cultures,
Cardiff University, 14-16 May 2009
▪ ‘Translating Márai’s “Embers” Within and Beyond Hungarian Culture’, with Dr Jozefina Komporaly:
Intercultural Dramaturgy, University of Theatre, Târgu-Mureş, Romania, 12-13 December 2008
▪ Presentation on the intersection of Translation Studies and Adaptation Studies
TAPRA, Drama-Screen Exchanges (Adaptation working group), 3-5 September 2008
▪ ‘Performative Acts: The Powerbook at the National Theatre’, with Dr Katja Krebs (University of Bristol)
Adaptations – Performing across Media and Genres, the 17th annual CDE (German Society for Contemporary Theatre and Drama in English) conference, University of Siegen-Akademie Biggesee, Attendorn, Germany, 1-4 May 2008
Faculty Erasmus/Exchange Coordinator (from September 2015)
Faculty Quality Assurance Committee (FQAC) panel representative (from September 2012)
Faculty Research Programmes Committee, FCI (member from September 2013, deputy chair from 2016/2017)
Faculty Research Programmes Committee, Faculty of Computing, Engineering and Science (external member from September 2016)
Research Programmes Sub Committee (member from September 2017)
Erasmus/student and staff exchange officer, Drama provision (from September 2012)
Divisional Examinations Officer (2010-2013)
Student casework contact, Drama (2010-2013)
Year tutor (second-year tutor) on the BA Theatre and Drama (2014-2015)
Race Equality Staff Network member
Edited collection of articles
Minier, M. and Pennacchia, M. (eds). Adaptation, Intermediality and the British Celebrity Biopic. Farnham: Ashgate, 2014.
Guest-edited thematic journal issues
▪ ‘Performing Narrative across Media’ (thematic issue), Textus, 2018:2 (co-edited with C. Maria Laudando), with a single-authored article and a co-authored introduction
▪ ‘(Re)Translations: Diachronic and Synchronic Perspectives on Giving New Voice to
Shakespeare’ (thematic issue), Multicultural Shakespeare: Translation, Appropriation and Performance, 2017 (volume 16, issue 1, co-edited with Lily Kahn), with a single-authored article and a co-authored introduction
▪ Hamlet and Poetry, a special issue of New Readings, 2012 (volume 12), co-edited with Ruth J. Owen (Cardiff University), with a single-authored article and a co-authored introduction
▪ Minier, M. and Grainger, R. ‘A paratextual analysis of Nurturing Opera Audiences: Transmedia practices, interactivity and historical interpretation in the Welsh National Opera’s promotion of the “Tudors Trilogy”’, Participations: Journal of Audience & Reception Studies, 16:1.
▪ Minier, M. “Adapting ‘Real-life’ Material: Metatheatrical Configurations of Authorship and Ownership of Story in Contemporary British Verbatim Theatre”, Textus, 2018:2, pp 23-40.
▪ Minier, M. and Laudando, C. M. “Introduction: Performing Narrative across Media”, Textus, 2018:2, pp 7-21.
▪ Minier, M. ‘Introduction: (Re)Translations: Diachronic and Synchronic Perspectives on Giving New Voice to
Shakespeare’, Multicultural Shakespeare: Translation, Appropriation and Performance, 2017 (volume 16, issue 1, co-edited with Lily Kahn), pp. 9-12. (co-authored with Lily Kahn)
▪ ‘Questioning the ’Of’ in Performance-as-translation: Multimedia as a subtext in the 2003 Pécs Hamlet_’_Multicultural Shakespeare: Translation, Appropriation and Performance, 2017 (volume 16, issue 1, co-edited with Lily Kahn), pp. 89-108.
▪ ‘Interdisciplinary Considerations about a Subgenre of the Contemporary Biographical Drama: Celebrity and Fandom in Recent Adaptations of Famous Lives for the Stage’ Critical Stages 12 (Special Topics: Adaptation, ed. by Patrice Pavis), 2015.
▪ ‘Translating Welsh Drama Into Hungarian Through English: A Contextual Introduction to Sêra Moore Williams’ Crash in Hungarian Translation’: AHEA: E-Journal of the American Hungarian Educators Association, 2013, Volume 6: http://ahea.net/e-journal/volume-6-2013/17
▪ ‘‘Recruiting the Bard’ for Socialism: Introducing Margit Gáspár’s Hamlet Is Not Right as Testimony and Shakespearean Appropriation: Romanian Shakespeare Journal, 2013, vol. 1 issue 1, pp. 74-96.
▪ ’Hamlet, Petőfi and the Poet’s Mandate: Poems by János Arany, Éva Finta and Gábor Tompa’: Hamlet and Poetry (New Readings 2012; edited by Márta Minier and Ruth J. Owen), pp. 91-106.
▪ Minier, M. ‘Hamlet and Poetry: Introduction’ (co-authored with Ruth J. Owen): New Readings 2012; edited by Márta Minier and Ruth J. Owen, pp. i-v.
▪ ‘Adaptation, Translation, Multimediality: A Hungarian Bestseller Across
Cultures’ (co-authored with Jozefina Komporaly): Journal of Adaptation in Film and
Performance I/3, pp. 191-204. ISSN 1753-6421
▪ ‘Fictitious and Fictionalised Hungarian Hamlet Performances’: Folio 2006/II, pp. 5-14.
▪ ‘Shakespeare Translation and Taboo: A Case Study in Retranslation’:
Gramma 2004 (Vol.12), pp. 73-87. ISBN 1106-1170
▪ ‘Beyond Foreignisation and Domestication: Harry Potter in Hungarian Translation’:
The Anachronist 2004, pp.153-174. ISSN 1219-2589
▪ ’Born as Men but Embroidering Novels: A Postmodernist Case of the Hungarian Appropriation of the Brontës’: Brontë Studies July 2003, pp. 201-208. ISSN 0309-7765
▪ ‘Egy fogadatlan prókátor megjegyzései a Jelenkor hungarológiafórumához’: Jelenkor 46:5 (2003): 560-568.
▪ ‘Szentivánéji álmok (A magyar Shakespeare-kánon útvesztői)’: Átváltozások 19 (2000): 147-156.
Articles in a collection
▪ ‘The “Contemporary Past” in Retakes on the Roman Plays: Recontextualising Themes and Modernising Character in David Lane’s Work for Young People and for Community Promenade Performance’ in Maria Del Sapio (ed.) Rome in Shakespeare’s World, Edizioni di Storia e Letteratura (Roma) in the series ‘Biblioteca di Studi Inglesi’ (2018), pp. 221-240.
▪ ‘The Choice of Translation as Part of the Performance Aesthetics of Contemporary Hungarian Hamlet Productions’ in Wild, Jana (ed.) Zrkadlá (pre) doby. Shakespeare v divadle Strednej Európy [Mirrors for the Times: Shakespeare in Central European Theatre], Bratislava: VŠMU (Academy of Music and Performing Arts) and Divadelný ústav (Theatre Institute) Bratislava, 2015 (in Slovak translation)
▪ ‘Uprooting Shakespeare: A Historical Survey of Early to Institutionalised Hungarian Shakespeare Translation’ in Jana Bzochova-Wild (ed.), “In double trust”: Shakespeare in Central Europe. Bratislava, Slovakia: VSMU, 2014, pp. 29-51.
▪ ‘Definitions, Dyads, Triads and Other Points of Connection in Translation and Adaptation Discourse’, in Translation and Adaptation in Theatre and Film, ed. Katja Krebs. Routledge, 2013, pp. 13-35.
▪ ‘Tracing a Text of Identity: Hungarian Hamlet Poetry’, in The Hamlet Zone, ed. Ruth J. Owen. Newcastle upon Tyne: Cambridge Scholars, 2012, pp. 31-43.
▪ ‘Performative Acts: Translating for the Theatre’ (co-authored with Katja Krebs):
Adaptations: Performing Across Media and Genres (Contemporary Drama in English 16), Wissenschaftlicher Verlag Trier, 2009, ISBN 978-3-86821-148-1
ed. Monika Pietrzak-Franger and Eckart Voigts-Virchow
▪ ‘Claiming Shakespeare as “Our Own”’:
Shakespeare in Europe: History and Memory,
ed. Marta Gibinska and Agnieszka Romanowska-Kowalska
Krakow: Wydawnictwo Uniwersytetu Jagiellonskiego (Jagiellonian University Press),
2008, pp. 177-185. ISBN 978-83-233-2466-9
▪ ‘A European Hamlet from 1929’:
Shakespeare and His Collaborators over the Centuries,
ed. Pavel Drabek, Klara Kolinska and Matthew Nicholls. Cambridge:
Cambridge Scholars Press, 2008, pp. 185-202. ISBN 1-84718-978-4
▪ ‘Linguistic Inventions, Culture-specific Terms and Intertexts in the Hungarian Translations of Harry Potter’:
No Child Is an Island: The Case for Children’s Literature in Translation
edited by Pat Pinsent. Lichfield, UK: Pied Piper Publishing, 2006, pp. 119-137.
ISBN 0 9552106 0 7 / 978 0 9552106 0 0)
▪ ‘Living and (Re)writing Against the Odds: Embroidering the Brontës into the Hungarian Postmodern’:
Loving against the Odds edited by Elizabeth Russell. Bern: Peter Lang, 2006, pp. 125-139. ISBN3-03910-732-1
▪ ‘“[…] the translatress in her own person speaks”: A Few Marginal Notes on Feminist Translation in Practice, in Creative Writing and in Criticism’:
Identity and Cultural Translation: Writing across the Borders of Englishness, edited by Ana Gabriela Macedo and Margarida Esteves Pereira. Bern: Peter Lang, 2005, pp. 39-54. ISBN 3-03910-267-2
▪ ‘Reconsidering Translation from the Vantage Point of Gender Studies’:
European Intertexts: Women’s Writing in English in a European Context, edited by Patsy Stoneman and Ana Maria Sanchez-Arce with Angela Leighton. Bern: Peter Lang, 2005, pp 59-83. ISBN 3-03910-167-6
▪ ‘Krapp’s Last Tape: Investigating Translation as Acculturation’: New Voices in Irish Criticism III, edited by Karen Vandevelde. Dublin: Four Courts Press, 2002, pp. 101-108. ISBN 1-85182-633-5 hbk and 1-85182-634-3 pbk
▪‘"To only use text where absolutely necessary": An interview with Natalie Abrahami about director-led adaptations of classics, her work at the Gate Theatre and Yerma’: Journal of Adaptation in Film and Performance 2012 vol. 5 issue 2, pp. 197-213. ISSN 1753-6421
▪ ‘An Interview with István Eörsi about Translation’: Hungarian Journal of English and American Studies (HJEAS) 2005 vol. 11 no. 1 (Spring), pp. 211-217. ISSN 1218-7364
▪ „Legfontosabb felismerni az írói szándékot…”
Beszélgetés Mészöly Dezsővel színházról, fordításról [An interview with Dezső Mészöly, a Hungarian Shakespeare translator]: Lyukasóra 2003/August, pp. 1-4. ISSN 1216-4399
▪ ‘“I’m a Tradesman”: An Interview with Ádám Nádasdy, the Translator’: The Anachronist 2002, pp. 303-314. ISSN 1219-2589
▪ Review of Stephen Gundle, Mussolini’s Dream Factory: Film Stardom in Fascist Italy, New York and Oxford: Berghahn. Journal of Italian Cinema & Media Studies, 2016.
▪ Review of Daniela Berghahn, Far-flung Families in Film: The Diasporic Family in Contemporary European Cinema (Edinburgh University Press, 2013). Transnational Cinemas 2014: 1 (5: 1), pp. 93-94.
▪ Review of Heinrich, Anselm (2008), Entertainment, Propaganda, Education: Regional Theatre in Germany and Britain Between 1918 and 1945, University of Hertfordshire Press, in Critique: Journal of Socialist Theory 41:1, pp. 139-141.
▪ Review of Eleonora Federici (ed.) (2011), Translating Gender, Bern: Peter Lang, in Target 25:2 (May 2013), pp. 291-296.
▪ A review of Shakespeare on Film: Such Things As Dreams Are Made Of by Carolyn Jess-Cooke (Wallflower Press, 2007) in Journal of Adaptation in Film and Performance, I/2 (Spring 2008)
▪ ‘Zdenĕk Stříbrný’s Shakespeare and Eastern Europe’: Hungarian Journal of English and American Studies (HJEAS) 2005 vol. 2 issue 1 (Spring), pp. 230-237. ISSN 1218-7364
▪ ‘Shakespeare and Modern Performance: A review of Shakespeare and Feminist Performance: Ideology on Stage by Sarah Werner and Shakespeare and Modern Theatre ed. by Michael Bristol and Kathleen McLuskie with Christopher Holmes’: Renaissance Forum 2002: Winter (vol. 6 issue 1). ISSN 1362-1149
Other published work
▪ “Brontë-k: the neo-Victorian play that pokes fun at the absurdity of Brontë family myths”, The Conversation, 27 July 2018
▪ ‘Poetry readings and adult colouring books as strategy for student wellbeing and productivity’,Journal of Imaginary Research, volume 4, ed. Matthew Cheeseman, 2018
Hamlet Translations: Prisms of Cultural Encounters across the Globe (co-ed. with Lily Kahn, 2020, Legenda)
Creative projects and practice as research projects include:
▪ MX: A USW Cardiff Theatre Festival Celebrating Mexican Culture (artistic directorship of a festival that featured four performances, autumn 2018)▪ 100 % Mexico, or Loa to the Divine Narcissus by Sor Juana Inés de la Cruz (director; as part of the MX festival, 1 and 2 November 2018)
▪ Climate Change Theatre Action (CCTA), 2017, Chapter Arts Centre, Cardiff, 21 November 2017 (co-producer, with Iano Premier, and director-dramaturg for the Wales based workshopped reading of a selection of CCTA 2017 plays with USW students)
▪ Remembering the 1956 Hungarian Revolution: A Reading from A Painter of Our Time by John Berger (ATRiuM, 28 October 2016, director of rehearsed reading)
▪ Heather Raffo’s Nine Parts of Desire (Storytelling and Justice symposium, George Ewart Evans Centre for Storytelling, ATRiuM, 13 May 2016, director of rehearsed reading)
▪ Caridad Svich, Upon the Fragile Shore (ATRiuM, Cardiff, as part of the NoPassport for Human Rights international scheme, 2 December 2014, co-director with Sian Summers)
▪ Voicing Human Rights: In memoriam Monica Ross (ATRiuM, 27 January 2014; director)
▪ Anniversary—an act of memory, Act 49 Chapter (Experimentica, Cardiff, 24 November 2012, as co-recitor)
Senior Fellow of the Higher Education Academy (SFHEA)
European Shakespeare Research Association (ESRA)
British Shakespeare Association (BSA)
Hungarian Shakespeare Association
Creative Industries Research Institute (CIRI) (internal)
Media, Music and Drama Research Unit (internal)
George Ewart Evans Centre for Storytelling (internal; steering group member)
Centre for the Study of Media and Culture in Small Nations (internal)
Centre for Gender Studies in Wales (internal)
Previously held professional memberships
European Society for Translation Studies (EST)
Society for Theatre Research (STR)
Modern Language Association (MLA)
Theatre and Performance Research Association (TAPRA)
CDE (German Society for Contemporary Theatre and Drama in English)
External research funding awarded:
*David Almond Fellowship, 2014, from Newcastle University and Seven Stories, National Centre for Children’s Books
*Stephen Joseph Award, 2016, from the Society for Theatre Research
- co-editorship of the Journal of Adaptation in Film and Performance
- associate editor of theatre studies journal Symbolon
- editorial board member of Global Shakespeare Journal
- member of advisory board for ’Turismi e Culture’ (Tourisms and Cultures) academic book series for Roma TrE-Press
- assistance with the production of Journal of Arts and Communities (initial stages)
- peer-reviewing manuscripts and proposals for academic writing:
Book/paper proposals for:
Bloomsbury Academic (previously Continuum) (monograph proposal), the IBBY Congress, London, 2012 (paper proposals)
Scholarly articles/book chapters for:
Adaptation; Shakespeare; SEDERI Yearbook; Critical Studies in Television; Slavonica; European Judaism: A Journal for the New Europe; Otherness: Essays and Studies; Storytelling, Self, Society; Cerae: An Australasian Journal of Medieval and Early Modern Studies; Humanities; Translation, Adaptation and Transformation (Continuum, 2012) ed. by Laurence Raw; The Routledge Companion to Adaptation (Routledge 2018) ed. by Dennis Cutchins, Katja Krebs and Eckart Voigts
Clearance reviews for manuscripts for:
Palgrave Macmillan (collection of articles), Intellect (monograph submission)
- named peer reviewer of collection of articles: „Eszedbe jussak!” Tanulmányok Arany János Hamlet-fordításáról [“Remember Me!” Essays on János Arany’s Translations of Hamlet] edited by Júlia Paraizs, Budapest: reciti
- endorsement written for the back cover of:
The Brontë Sisters in Other Wor(l)ds edited by Shouhua Qi and Jacqueline Padgett, Palgrave Macmillan 2014
Radical Revival as Adaptation: Theatre, Politics, Society by Jozefina Komporaly, Palgrave Macmillan, 2017
- reference for an RSE (Royal Society of Edinburgh) Arts and Humanities Award application
*Peer reviewing research project proposals for:
Research Foundation Flanders – FWO, Czech Science Foundation, Slovak Academy
- invited international guest at 16th International Theatre Festival, Pilsen, Czech Republic and Theatre Showcase Prague, Czech Republic, September 2008
- Principal Contributor on Adapting, Performing, Reviewing Shakespearean Comedy in a European Context project
- advisor on Shakespeare translation visualisation project, Swansea University
- contributing member of the Representations of the Other: Language, Body and Space in Cross-cultural Performances international research project
- panelist at Sherman Theatre, Cardiff, for Q&A discussions about performances: The Cherry Orchard by Gary Owen, Dublin Carol by Conor McPherson, Lord of the Flies by Nigel Williams, The Taming of the Shrew by Jo Clifford etc.
- external examining (PhD): Italy, Romania (co-relator), Australia (external examiner), UK (external examiner; internal examiner)
- FQAC panelist at internal quality assurance exercises: Periodic Review and Revalidation for Dept of Art an Design (spring 2013); BA Media Production revalidation; BA Photojournalism validation, BA Photography revalidation, BA Creative Industries (Photography) Top Up validation; FD in Creative Industries (Pop Music Technology) revalidation; BA Music Business validation (spring-summer 2013); BA English, BA English and Creative Writing, BA History, Cert HE English, Cert HE English and Creative Writing, Cert HE English and History (spring 2015); FD Fashion Styling Revalidation (2015); MA/PgCert Education (Innovation in Learning and Teaching), MA/PgCert Leadership and Management (Education), MA/PgCert CAMH (Child and Adolescent Mental Health), MA/PgCert TESOL (Teaching English to Speakers of Other Languages), MA/PgCert SEN (Special Educational Needs) / ALN (Additional Learning Needs), MA/PgCert SEN (Autism), PGDip SEN (Specific Learning Difficulties) (2017)
- member of the University of South Wales mentorship scheme as mentor
translation, adaptation, dramaturgy, intermediality, remediation, intercultural theatre, the biopic, biography and biographical drama, Shakespeare studies, Hungarian studies, European theatre and culture (with a special emphasis on Central and Eastern Europe), children’s culture
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