European Association for the study of theatre and performance

Category: News

Christian Biet

Dear colleagues and friends, It is with immense sadness that we announce the death of our colleague and friend Christian Biet, who passed away on 13 July 2020. An eminent…

Dear colleagues and friends,

It is with immense sadness that we announce the death of our colleague and friend Christian Biet, who passed away on 13 July 2020. An eminent researcher, his publications and his teaching never ceased to nourish the world of theatre. Christian Biet was loved. He was a generous and militant colleague who fought against all forms of discrimination and pettiness, and who was passionately invested in everything he undertook: conferences, journals, books and articles. He leaves us mourning, and orphaned. His intellectual breadth spanned from the seventeenth century to today, bringing texts into dialogue with each other, unearthing archives, opening new pathways. Today, the French theatre world is in mourning. It has lost a great man. Below, you will find the message written by his friends and colleagues at the Université de Paris Ouest.

With my best wishes,

Josette Féral,
EASTAP President.

See the portrait of Christian Biet in Le Monde

Dear Colleagues, Dear Friends,

Some words fly away as we try to set them down. Language resists the attempt to say something that our understanding refuses to accept.

Late on Friday afternoon Christian Biet was riding his bike down a country lane, no helmet, no ID, and no care in the world, at ease in the landscape he’d known since childhood. A passing motorist describes him as wobbling unsteadily, perhaps as the result of a medical problem, perhaps not. We don’t know. An enquiry is underway. As he fell, the back of his head forcibly struck the ground: loss of consciousness, cranial fracture. An ambulance rushed him to hospital where he was placed in resuscitation and an artificially induced coma, still, at this point, unidentified. His partner, Sophie Houdard, had been looking everywhere for him before finally arriving at his side. Following his full recovery from a heart attack some years ago, Christian was taking anticoagulant medication. Doctors had to wait until the effects of this medication diminished before they could attempt an operation to contain and repair the cerebral haemorrhage. On Sunday, a scan revealed that the haematoma had already caused serious and irreparable damage. The outcome was no longer in doubt. Sophie was at his bedside and Christian’s children, David and Flore, joined her there.

We are devastated and struggling to believe this news. The more so since Christian both embodied such force of life and thought and shared them so generously. He was preparing to take his official retirement in just a few days, after having given so much to the Paris Ouest University and achieving so much in the field of theatre studies. Forever in the heat of the action, he was teeming with plans for holidays and for work, hiking and travel, books and articles, meetings and new discoveries. The tireless spirit of enquiry that led him, in spite of his specialism in the seventeenth century and in particular Corneille (Moi, Pierre Corneille, Gallimard, 2005), to interview the choreographer Bintou Dembélé about her hip-hop production of Rameau’s Les Indes Galantes at the Paris Opéra for the lead article in this month’s Théâtre/Public, that same spirit drove him on to countless collaborative projects, such as the international resource, the Complete Comédie-Française Register, which would never have seen the light of day without his inexhaustible energy.

For the Department of Theatre Studies (which he often led), for the History of Arts and Performance research unit (which he co-directed with Ségolène Le Men and where he ran the theatre team until last month), for the consultative disciplinary committee of section 18 of the CNU of which he was long-serving president, for the Doctoral School of Letters, Language and Theatre (whose board he frequently served on), and for Paris Ouest University as a whole (where his contributions to the advisory board never went unremarked), this is neither the time nor the place for any of us to attempt to sum up the scale of his contributions.

It’s far too soon, as well, to attempt any kind of exhaustive list of his works: no fewer than 125 entries on the database of the Bibliothèque Nationale (data.bnf.fr). From the works published under his name, those he edited or co-edited, periodicals he curated, the lectures and classes abroad (for many years he has begun each autumn with a visiting professorship at NYU), the collections of texts with notes, the endless scroll of articles, the collection he edited for Garnier Classics; from all of this, let us linger for a moment over just one title. To the deceptively simple question, Qu’est-ce que le théâtre ? Christian Biet, together with our colleague Christophe Triau, gave his answer in a book of over a thousand pages (Folio Essais, 2006, translated into Japanese and English, currently being translated into Brazilian Portuguese) as profound in its learning and as sparkling in its wit as it is accessible, both in style and in price, so much so that both students and theatre-lovers consult it like Holy Writ.

The thread that runs through this opus, as indeed it through the entirety of his work –  whether it be the study of the relationship between seventeenth-century theatre and theatre of all subsequent epochs, to the law, the justice system, money or war; whether it be a work such as Tragédies et récits de martyre (Classiques Garnier, 2009), or whether it be organising the collection, translation and publication of the writings of Richard Schechner, a theorist and practitioner of performance studies (Performance, Expérimentation et théorie du théâtre aux USA, Théâtrales, 2008) – is the conviction, born of experience and confirmed by archival research, that theatre cannot be reduced to a text or even to the features of a particular mise-en-scène, but consists, in fact, of the entire performative event, linking and binding together both performers and the audience in the theatre (or at the fairground).

This year, Covid-19, which he contracted early on in an atypical but not asymptomatic form, tripped him up and slowed him down a little but could not stop him. His experimental seminar on the digital humanities for the Masters degree at EUR ArTec, thrilled the students, gripped by the ease with he which he moved between the past and the present. On the evening of 4 July, his former doctoral students (around fifty of them, many already with outstanding careers and some still involved in research) held a party to celebrate their supervisor, from whom they had received as much rigour as they had freedom and who had ceaselessly offered them his advice and supported them in their work, sometimes for many years after their formal relationship had ended. As recently as 8f July he sat (albeit remotely) on the examining board for one of them.

None of this goes to restore to us the charm of our friend and comrade, his warmth and loquacity. The list of his qualities is long: wholly rounded character, tenacious willpower, fighting spirit, devastating wit. Some may whisper that he could be a little harsh in defending a cause in which he believed, and a university he loved – that is Sophie’s word, and it’s surely not too strong – in spite of its flaws. This is why he was so energetically involved in resistance to certain recent proposed educational reforms, considering that they sought to reduce the freedom of these places of knowledge and freedom of thought to which he was so devoted.

A mandarin? Perhaps, but a miraculous mandarin. And the emotion that we feel deserves a Béla Bartók to express it.

A ceremony will take place in Paris once the formalities are concluded. Details will follow.

Our thoughts go out to his partner Sophie, to his daughter Flore, and to his son David, as well as to their mother at this awful time.

Affection and solidarity to his friends everywhere, to his colleagues on five continents, from New York to Shanghai and from Sao Paulo to Tokyo, to his doctoral students past and present, and to his eternal students, which many of us will remain forever.

Emmanuel Wallon
Professeur de sociologie politique
Université Paris Nanterre

Co-directeur du Département des arts du spectacle


Chers membres et amis,

Nous avons l’immense tristesse d’annoncer le décès de Christian Biet, collègue et ami, survenu le dimanche 12 juillet en fin de journée. Sommité dans le monde du théâtre , ses recherches, ses publications, son enseignement n’ont cessé d’irriguer  le mileiu théätral. Christian Biet était aimé.

C’était un collègue généreux et combatif qui luttait contre toutes les discriminations et petitesses, qui s’impliquait férocement dans tout ce qu’il entreprenait: conférences, colloques, revues, livres, artitcles.  Il nous laisse dans le deuil  et orphelins d’une pensée qui n’a eu de cesse de traverser les siècles du XVIIème à aujourd’hui, faire dialoguer les textes, explorer les archives, ouvrir les nouvelles voies. Aujourd’hui le monde théâtral français est en deuil. Il a perdu un grand homme.

Vous trouverez ci-dessous le message de ses amis et collègues  de l’Université de Nanterre.

Bien cordialement,

Josette Féral,
EASTAP, Presidente

Voir le portrait de Christian Biet dans Le Monde

Chères et chers collègues et ami-e-s,

Certains mots s’enfuient quand on veut les coucher. La langue résiste à la tentative de dire ce que l’entendement refuse d’admettre.

Christian Biet est mort hier à l’hôpital de Poitiers. Dimanche soir l’état de mort cérébrale avait été constaté : formule la plus contraire à l’idée que nous gardons de lui.

En fin de journée vendredi, il circulait à vélo sur une route de campagne, sans casque, sans papiers, sans souci dans ce pays familier depuis son enfance. Un automobiliste à l’approche dit l’avoir vu vaciller, peut-être sous l’effet d’un malaise ou pour toute autre raison, on n’en sait rien, une enquête est en cours. Dans la chute, l’arrière de sa tête a violemment heurté le sol: perte de connaissance, traumatisme crânien. Le Service médical d’urgence l’a conduit à l’hôpital où il a été placé en réanimation, en coma artificiel, sans qu’il soit encore possible de l’identifier. Sophie Houdard, sa compagne, l’a longuement cherché avant de pouvoir se rendre auprès de lui. Suite à un accident cardiaque dont il s’était complètement remis il y a quelques années, Christian prenait un traitement anticoagulant. Il fallait attendre que ses effets diminuent avant de tenter une intervention pour stopper et résorber l’hémorragie. Dimanche, une sonde a tout de même été posée, révélant que l’hématome avait déjà produit des lésions graves et irréversibles. L’issue ne faisait plus de doute. Sophie était à ses côtés et les enfants de Christian, David et Flore, l’avaient rejointe.

Cette nouvelle nous trouve incrédules, abasourdis car Christian a toujours montré et généreusement dispensé force de vie et de pensée. Il s’apprêtait à prendre officiellement sa retraite dans quelques jours, après avoir tant donné à l’université, tant accompli pour les études théâtrales. Comme toujours sur la brèche, il fourmillait de projets de vacances et de travaux, de randonnées et de voyages, de livres et d’articles, de rencontres et de découvertes. L’ubiquiste curiosité qui lui faisait questionner la chorégraphe Bintou Dembélé sur son adaptation des Indes galantes de Rameau avec des danseurs hip-hop sur la scène de l’Opéra de Paris, en ouverture du numéro de Théâtre/Public paru au début de ce mois – une revue de référence dont il a permis la renaissance grâce au soutien de notre université – ce grand dix-septièmiste, spécialiste de Corneille (Moi, Pierre Corneille, Gallimard, 2005 ), n’avait pas fini de l’insuffler à de multiples aventures collectives, tel le programme international des Registres de la Comédie-Française qui n’aurait pas vu le jour sans son inlassable énergie.

Ce n’est ni le moment, ni le lieu pour le Département des arts du spectacle (qu’il a plusieurs fois dirigé), pour l’unité de recherche en « Histoire des arts et des représentations » (qu’il a codirigée avec Ségolène Le Men et dont il a animé l’équipe théâtre jusqu’au mois dernier), pour le comité consultatif de discipline de la 18e section du CNU qu’il a longtemps présidé, pour l’école doctorale Lettres, langues spectacles (au conseil de laquelle il a plusieurs fois siégé), et pour l’Université Paris Nanterre dans son ensemble (où sa contribution à la commission scientifique ne passait jamais inaperçue) de faire le compte de tout ce qu’il leur a apporté. Crise sanitaire ou pas, nous ferons en sorte à la rentrée de trouver un amphithéâtre assez spacieux, un théâtre assez ouvert pour accueillir celles et ceux qui voudront en témoigner et lui rendre hommage. Ça fera du monde.

Il est trop tôt aussi pour dresser l’inventaire de son œuvre, considérable: pas moins de 125 ressources sur data.bnf.fr. Parmi les ouvrages publiés sous son nom, dirigés ou codirigés, les dossiers de revue coordonnés, les conférences et cours à l’étranger – depuis longtemps il entamait l’automne par un séjour à New York University –, les recueils de textes commentés, les actes de colloque, l’interminable nomenclature des articles, la collection dirigée aux classiques Garnier, on s’arrêtera ici sur un seul titre. À la question faussement naïve Qu’est-ce que le théâtre ?, Christian Biet a répondu en compagnie de notre collègue Christophe Triau dans un volume de plus de mille pages (Folio Essais, 2006, traduit en japonais, en cours de traduction en portugais du Brésil), aussi dense en science et pétillant d’esprit qu’abordable par le style et par le prix, que les étudiants et les amoureux de la scène n’ont pas fini de consulter comme une bible profane.

Le fil conducteur de cet opus, le motif qui court dans tout son travail, qu’il s’agisse d’étudier les rapports du théâtre du grand siècle et des suivants à la loi, à la justice, à l’argent, à la guerre, de collecter les Tragédies et récits de martyre (France, fin XVIe-début XVIIe siècle avec Marie-Madeleine Fragonard, Classiques Garnier, 2009) ou bien de rassembler, faire traduire et présenter les écrits de Richard Schechner, praticien et théoricien de la performance (Performance, Expérimentation et théorie du théâtre aux USA, Théâtrales, 2008), c’est la conviction éprouvée par l’expérience et vérifiée par les archives que le théâtre ne se réduit jamais à un texte ni même aux formes d’une mise en scène, mais qu’il est d’abord l’événement de la représentation, de la séance comme il a pris habitude de le dire, dont chaque occurrence, appréhendée dans son époque, son contexte et son moment singulier, implique autant celles et ceux qui jouent ou performent – l’écriture inclusive n’était pas son truc, mais un anglicisme bien apprivoisé ne le rebutait pas -– que leurs spectateurs dans la salle (ou sur le champ de foire).

Cette année, la COVID-19, tôt contractée sous une forme atypique mais pas asymptomatique, l’avait éreinté, freiné certes, mais pas arrêté. Le séminaire expérimental en Humanités numériques qu’il animait pour le master de l’EUR ArTec a passionné les étudiants, aimantés par son aisance à traiter du passé au présent. Ses anciens doctorants (près d’une cinquantaine !), dont beaucoup font déjà de belles carrières et dont quelques uns sont encore en cours de recherche, ont fêté au soir du 4 juillet ce directeur qui leur a procuré autant de rigueur que de liberté et n’a cessé de prodiguer ses conseils pour valoriser leurs travaux, bien des années après la soutenance, parfois. Il siégea encore – fût-ce à distance – au jury de l’une d’entre elles ce 8 juillet. Le lendemain même, attentif au devenir d’une université dont il défendait les mérites avec ce mélange de fougue et de bonhommie qui n’appartient qu’à lui, il s’est réjoui de la validation longuement attendue et débattue des maquettes de nos formations. Il avait tenu à suivre pas à pas l’élaboration, tout en sachant qu’il reviendrait à d’autres de les mettre en œuvre à la prochaine rentrée.

Tout cela ne restitue pas le charme de l’ami, du camarade, sa chaleur et sa faconde. Les épithètes défileront: caractère entier, volonté tenace, tempérament batailleur, humour ravageur. D’aucuns murmureront qu’il pouvait avoir la dent dure dans la défense d’une cause à laquelle il tenait, d’une université qu’il aimait – le mot est de Sophie: il n’est pas trop fort – par delà ses défauts. Ainsi s’était-il résolument engagé dans les mouvements contre les lois Pécresse et Fioraso, et cette année contre la loi de programmation pluriannuelle de la recherche (LPPR), parce qu’il y décelait le vœu de mise sous tutelle de ces espaces de savoir et de critique auxquels tout l’attachait.

Mandarin ? Mais alors mandarin merveilleux. Béla Bartók ne sera pas de trop pour traduire notre émotion.

La cérémonie aura lieu à Paris une fois l’autorisation donnée. Nous vous en informerons.

À Sophie sa compagne, à sa fille Flore et son fils David, ainsi qu’à leur mère vont toutes nos pensées en ce temps de déchirement.

À ses amis de partout, à ses collègues des cinq continents, de New York à Shanghai et de Sao Paulo à Tokyo, à ses doctorants d’hier et d’aujourd’hui, à ses éternels étudiants que plusieurs d’entre nous resteront, affection et solidarité.

Pour les enseignant-e-s en Arts du spectacle,

Emmanuel Wallon
Professeur de sociologie politique
Université Paris Nanterre

Co-directeur du Département des arts du spectacle



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INTERNATIONAL ARCHIVE OF THEATRE JOURNALS PROJECT http://www.iatj-journals.org/ The database has been designed with the purpose of making any scientific journal on theatre quickly and extensively accessible. The archive includes both…



The database has been designed with the purpose of making any scientific journal on theatre quickly and extensively accessible. The archive includes both journals that are still being edited and journals that have been discontinued from the year 2000 onwards.

This initiative stems from the pilot project on Italian journals promoted and co-financed by CUT and FIRT-IFTR, thanks to the efforts and commitment of Prof. Christopher Balme and Prof. Franco Perrelli, presidents of the two associations at that time.

It now provides an online international archive which includes – for each catalogued journal – the following data: title, description (history, director, projects) creation date (and closure date, where applicable) frequency of publication, name of the publisher and/or on-line print indication, language, country, peer reviews, URL and ISSN.

The structure of the database and the data related to Italian journals are the result of the collective work carried out by the “Commissione riviste e internazionalizzazione” (Journals and internationalization committee) of the CUT. The scope of the database is international. It connects theatre journals from different countries, and allows users to access their official websites, as well as relevant editorial contents – such as history, indexes and possibly texts – by providing their URL.

This initiative, now renewed and further developed by both CUT and EASTAP, aims to complete and update the census of European and international theatre journals.

Gerardo Guccini and Daniele Vianello

This project is cofinanced by EASTAP- CUT- IFTR


Postdoctoral Fellow in Dramaturgy – 2047 – Deadline 28 November 2019

Aarhus University, School of Communication and Culture – Dramaturgy – Faculty: Arts Published 17 Oct 2019 Deadline 28 Nov 2019 Expected start date 1 Mar 2020 School of Communication and Culture – Dramaturgy, Langelandsgade…

Aarhus University, School of Communication and Culture – Dramaturgy – Faculty: Arts

Published 17 Oct 2019

Deadline 28 Nov 2019

Expected start date 1 Mar 2020

School of Communication and Culture – Dramaturgy, Langelandsgade 139, 8000 Aarhus C

Fixed term full-time position 1 Mar 2020 – 31 Aug 2022


Job profile

The Department of Dramaturgy and Musicology within the School of Communication and Culture invites applications for a fixed-term, 30-month postdoctoral fellowship, connected to the research project “Reconfiguring Dramaturgy for a Global Culture: Changing Practices in 21st Century European Theatre” under Professor Peter M. Boenisch (project manager), funded by the Aarhus University Research Foundation.

The position is full-time, and available from 1 March 2020, or as soon as possible thereafter.

The place of employment is the Department of Dramaturgy and Musicology, Langelandsgade 139, DK-8000 Aarhus C.

The School of Communication and Culture is committed to diversity and welcomes applications from all candidates regardless of their personal background.

Research context

The project “Reconfiguring Dramaturgy for a Global Culture: Changing Practices in 21st Century European Theatre” interrogates the fundamental reconfiguration of the field of European theatre (and the arts more widely), as arts institutions and artistic practices lose their traditional grounding within a predominantly middle-class ‘enlightenment’ culture of Bildung. The challenges posed by globalisation and digitalisation, by demographic changes, but also by ecological threats, societal ruptures, the relativisation of a fact-based ethics of knowledge and community and the spread of populism also require a new approach to the research of dramaturgic practice that is responsive to the debates and issues in the profession. The research team, consisting of the postdoctoral researcher described in this advertisement, a PhD student and a student helper, and headed by Professor of Dramaturgy Peter M. Boenisch, will investigate the resulting transformations at institutional and aesthetic level through trans-European comparative studies. A specific focus will be placed on the contextual analysis of ‘second cities’, such as Aarhus, where the situation poses notably different issues and challenges compared to global cosmopolitan centres such as London, Paris, Berlin and Copenhagen, which typically are at the forefront of academic attention. The project’s three work strands are dedicated to reconfigurations of institutional dramaturgies, of dramaturgies of production, and of dramaturgic pedagogy. The project team will also lead a newly formed research group within Aarhus University’s “Cultural Transformations” programme, an interdisciplinary research cluster within the School of Communication and Culture that comprises 16 research groups which examine aspects of the changing social roles of the arts and culture. The working language is English.

Research profile – purpose and tasks of the position:

Within the context detailed above, the postdoctoral researcher will work as a key member of the small project team. S/he will take on the self-directed responsibility to define and lead a specific sub-project concentrating on the intersection of institutional dramaturgy and aesthetic practices of creation. The successful applicant will undertake empirical research on a comparative, European dimension. S/he will scope, document and present relevant current case studies, and critically analyse them with a view to modelling adequate, innovative theoretical and conceptual frameworks as well as their pedagogic implementation. The researcher will interact with theatre institutions, artists and various publics locally as well as abroad. S/he will generate primary case study material through interviews, on-site visits and analysis, and archival work and documentation. The researcher will be supported in publishing their research findings in essays, book chapters and possibly a monograph, as well as representing the research group at national and international conferences. The researcher will also contribute to the organisation of public events, symposia and the publication of an edited book collection, as well as playing a central role in the generation of knowledge transfer and public engagement materials, initiatives and activities.


Applicants must have a PhD degree or must document equivalent qualifications in theatre studies, dramaturgy, or a cognate discipline.

Applicants must be able to document expertise in the following areas:

  • The interdependence of artistic creation and its institutional production.
  • Current discourses and critical approaches in theatre studies, institutional critique, and the wider field of art and culture.
  • The productive exchange between academic research and artistic work.
  • The articulation and communication of original ideas and methodologies, demonstrated above all by an outstanding and innovative doctoral dissertation, ideally in an area related to and relevant for the project, and potentially a track record of research publications of a high international standard, as commensurate with the length of the applicant’s academic career.
  • The successful applicant will demonstrate experience in the self-directed management of research projects, preferably including fieldwork.
  • S/he will also demonstrate excellent communication and interpersonal skills, in order to engage productively both within the research team and with external organisations and institutions.

Applicants should also have experience in engaging in their research with comparative, trans-cultural and/or trans-national contexts in the performing arts. It will also be regarded as an advantage if applicants can document:

  • Experience of knowledge transfer, public engagement, and the use of digital dissemination media.

In addition to the standard application documents, applicants must submit the following documents:

  • A concise description of their research profile and experience (max. two pages).
  • A research proposal for a sub-project to be undertaken within the stated framework of the funded research project (max. three pages).

The researcher will be based at the Department of Dramaturgy and Musicology at Aarhus University. On-site presence and engagement with the research team is a requirement. While undertaking periods of fieldwork abroad, the applicant will also be expected to engage with local, regional and national partners and stakeholders in Denmark. Proficiency in academic English is a prerequisite; and if the successful applicant does not speak Danish, s/he must be willing to acquire a working knowledge of this language. It will also be regarded as an advantage if applicants have additional language skills and proficiency in at least one other European language. This is with a view to undertaking comparative, trans-European case study work.

For further information about the position, please contact the project manager, Professor Peter M. Boenisch, e-mail peter.boenisch@cc.au.dk

Institutional context

The Faculty of Arts at Aarhus University is one of the largest environments for interdisciplinary research and education in the humanities in Northern Europe, dedicated to the investigation of cultural and social forms of expression and practice. Situated within the Department of Dramaturgy and Musicology, part of the School of Communication and Culture, and based on the AU Kasernen Arts campus, the dramaturgy programme, with its dedicated BA and MA courses in dramaturgy (as distinct from purely theoretical theatre studies), celebrated its 60th anniversary in September 2019. It has developed a distinct profile in research and education combining theoretical and practical exploration with strict scientific rigour. The programmes cover all aspects of dramaturgic education, from theatre history to performance analysis, arts management, theatre pedagogy and community work, with ample opportunities for students to ‘do’ dramaturgy in the department’s own theatre facilities as well as to engage with professional partners as part of their education. The dramaturgy programme benefits from many long-standing partnerships with local, national and international artists and institutions, not least Eugenio Barba’s Odin Teatret, based in nearby Holstebro, and the vibrant local theatre, dance and performance scene in Aarhus. It was recently closely involved in the delivery and evaluation of the Aarhus European City of Culture 2017 programme. Core research topics address immersive and participatory dramaturgies and institutional dramaturgy. Since 2019, and alongside the Royal Central School of Speech and Drama, University of London and the University of Kent at Canterbury, the department has been a managing partner of the European Theatre Research Network (ETRN), to whose activities the department has contributed as an affiliated partner for many years.

Qualification requirements

Applicants should hold a PhD or equivalent academic qualifications.


Faculty of Arts refers to the Ministerial Order on the Appointment of Academic Staff at Danish Universities (the Appointment Order).

All interested candidates are encouraged to apply, regardless of their personal background.

Aarhus University also offers a Junior Researcher Development Programme targeted at career development for postdocs at AU. You can read more about it here: http://talent.au.dk/junior-researchers-at-aarhus-university/the-junior-researcher-development-programme/

Faculty of Arts

The Faculty of Arts is one of four main academic areas at Aarhus University.
The faculty contributes to Aarhus University’s research, talent development, knowledge exchange and degree programmes.

With its 500 academic staff members, 260 PhD students, 10,500 BA and MA students, and 1,500 students following continuing/further education programmes, the faculty constitutes a strong and diverse research and teaching environment. The Faculty of Arts consists of the School of Communication and Culture, the School of Culture and Society, the Danish School of Education, and the Centre for Teaching Development and Digital Media. Each of these units has strong academic environments and forms the basis for interdisciplinary research and education. The faculty’s academic environments and degree programmes engage in international collaboration and share the common goal of contributing to the development of knowledge, welfare and culture in interaction with society.

Read more at arts.au.dk/en

The application must be submitted via Aarhus University’s recruitment system, which can be accessed under the job advertisement on Aarhus University’s website.


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Casting Call – EROSANTEROS, Confini // Deadline 3 november 2019

Appel en Français The Italian theater company ErosAntEros is looking for actors to complete the cast of its new show CONFINI, an international co-production of ErosAntEros with Fondazione Luzzati –…

Appel en Français

The Italian theater company ErosAntEros is looking for actors to complete the cast of its new show CONFINI, an international co-production of ErosAntEros with Fondazione Luzzati – Teatro della Tosse, TNL – Théâtre National du Luxembourg, Ravenna Festival and other partners to be defined.

The work will investigate the theme of the foundation of the European Union, starting from the Italian migrations in the mining basins of northern Europe, collaborating with the Italian-Luxembourgish author Ian De Toffoli.

The auditions will take place in Luxembourg, at the TNL – Théâtre National du Luxembourg, on 13 and 14 November 2019.


3 black professional actors, speaking one of the following languages: French, German or Flemish

+ Italian or English to communicate with the director.

available indicatively in the following work periods:
– 20 January to 2 February 2020
– 1-30 June 2020
– 1 to 15 July 2020 debut and replies
– at least 2 weeks in the 2020/2021 season.


Send an email with personal contacts, C.V. and two photos (close-up and full body) at
casting@erosanteros.org before November 3rd, 2019.
Video links from previous works are welcome.

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