Ewa Bal is Professor in the Department of Performativity Studies at Jagellonian University in Kraków, Poland, and a visiting professor at Italian and Spanish universities. She is a member of EASTAP and IFTR, and the author of two monographs: Corporeality in Drama: The Theatre of Pier Paolo Pasolini and its Legacy (2006), In the Footsteps of Harlequin and Pulcinella. Cultural Mobility and Localness of the Theatre (2017, soon to be published in English) and over forty papers in scientific journals. She has also edited Performance, Performativity, Performer: Definitions and Critical Analysis (2013), and Performance Studies: Territories (2017). She has translated and edited several Italian and Polish plays by Pier Paolo Pasolini, Emma Dante, Davide Enia, Annibale Ruccello, Enzo Moscato, Fausto Paravidino, Jan Klata and Michał Walczak. Her major academic interests are the cultural mobility of performance and theatre, minority language theatre and performance, translation studies, gender and queer studies, and (de)postcolonial studies.Mateusz Chaberski has a PhD from the Department for Performativity Studies at the Jagiellonian University, Kraków, Poland. In 2016, he won a Foundation for Polish Science scholarship for innovative research in Humanities. His academic interests range from performance studies, affect and assemblage theories to Anthropocene studies. He is also Deputy Managing Director at the Jagiellonian University Press. In 2015 he published Doświadczenie (syn)estetyczne. Performatywne aspekty przedstawień and in 2019 Asamblaże, Asamblaże. Doświadczenie w zamglonym antropocenie.

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• Introduction: Situated Knowing: From Performance Art to the Laboratory of Knowledge-Making, Ewa Bal and Mateusz ChaberskiPart 1. Knowing and Alternative Genealogies – introduction by Ewa BalChapter 1. Slough Media, Rebecca SchneiderChapter 2. The Performing Arts as ‘Cognitive Hybrids’: The Power of the Performatic Spiel-Raum, Fabrizio DeriuPart 2. Knowing with Performative Arts – introduction by Mateusz ChaberskiChapter 3. Dead Capital, Diana TaylorChapter 4. Beyond Presence: Performing the Limits of Knowing, Małgorzata SugieraChapter 5. Performative Approaches to the Cultural Policy Field, Fabiola CamutiPart 3. Knowing in Contact Zones – introduction by Ewa BalChapter 6. Decolonizing Documentary: Wojtek Doroszuk’s Sape and Prince, Mateusz BorowskiChapter 7. Beyond Ethnicity? New Architectures of Access to Local Cultures in Dorota Nieznalska’s Memory and Violence (2019), Ewa BalPart 4. Knowing Beyond the Human – introduction by Mateusz ChaberskiChapter 8. The Shadow of a Pine Tree: Authorship, Agency and Performing Beyond the Human, Annette Arlander Chapter 9. What Performativity Scholars Can Learn from Mushrooms: Situated Knowing in Polyphonic Assemblages, Mateusz Chaberski

Ewa Bal is Professor in the Department of Performativity Studies at Jagellonian University in Kraków, Poland, and a visiting professor at Italian and Spanish universities. She is a member of EASTAP and IFTR, and the author of two monographs: Corporeality in Drama: The Theatre of Pier Paolo Pasolini and its Legacy (2006), In the Footsteps of Harlequin and Pulcinella. Cultural Mobility and Localness of the Theatre (2017, soon to be published in English) and over forty papers in scientific journals. She has also edited Performance, Performativity, Performer: Definitions and Critical Analysis (2013), and Performance Studies: Territories (2017). She has translated and edited several Italian and Polish plays by Pier Paolo Pasolini, Emma Dante, Davide Enia, Annibale Ruccello, Enzo Moscato, Fausto Paravidino, Jan Klata and Michał Walczak. Her major academic interests are the cultural mobility of performance and theatre, minority language theatre and performance, translation studies, gender and queer studies, and (de)postcolonial studies.Mateusz Chaberski has a PhD from the Department for Performativity Studies at the Jagiellonian University, Kraków, Poland. In 2016, he won a Foundation for Polish Science scholarship for innovative research in Humanities. His academic interests range from performance studies, affect and assemblage theories to Anthropocene studies. He is also Deputy Managing Director at the Jagiellonian University Press. In 2015 he published Doświadczenie (syn)estetyczne. Performatywne aspekty przedstawień and in 2019 Asamblaże, Asamblaże. Doświadczenie w zamglonym antropocenie.

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• Introduction: Situated Knowing: From Performance Art to the Laboratory of Knowledge-Making, Ewa Bal and Mateusz ChaberskiPart 1. Knowing and Alternative Genealogies – introduction by Ewa BalChapter 1. Slough Media, Rebecca SchneiderChapter 2. The Performing Arts as ‘Cognitive Hybrids’: The Power of the Performatic Spiel-Raum, Fabrizio DeriuPart 2. Knowing with Performative Arts – introduction by Mateusz ChaberskiChapter 3. Dead Capital, Diana TaylorChapter 4. Beyond Presence: Performing the Limits of Knowing, Małgorzata SugieraChapter 5. Performative Approaches to the Cultural Policy Field, Fabiola CamutiPart 3. Knowing in Contact Zones – introduction by Ewa BalChapter 6. Decolonizing Documentary: Wojtek Doroszuk’s Sape and Prince, Mateusz BorowskiChapter 7. Beyond Ethnicity? New Architectures of Access to Local Cultures in Dorota Nieznalska’s Memory and Violence (2019), Ewa BalPart 4. Knowing Beyond the Human – introduction by Mateusz ChaberskiChapter 8. The Shadow of a Pine Tree: Authorship, Agency and Performing Beyond the Human, Annette Arlander Chapter 9. What Performativity Scholars Can Learn from Mushrooms: Situated Knowing in Polyphonic Assemblages, Mateusz Chaberski

Ewa Bal is Professor in the Department of Performativity Studies at Jagellonian University in Kraków, Poland, and a visiting professor at Italian and Spanish universities. She is a member of EASTAP and IFTR, and the author of two monographs: Corporeality in Drama: The Theatre of Pier Paolo Pasolini and its Legacy (2006), In the Footsteps of Harlequin and Pulcinella. Cultural Mobility and Localness of the Theatre (2017, soon to be published in English) and over forty papers in scientific journals. She has also edited Performance, Performativity, Performer: Definitions and Critical Analysis (2013), and Performance Studies: Territories (2017). She has translated and edited several Italian and Polish plays by Pier Paolo Pasolini, Emma Dante, Davide Enia, Annibale Ruccello, Enzo Moscato, Fausto Paravidino, Jan Klata and Michał Walczak. Her major academic interests are the cultural mobility of performance and theatre, minority language theatre and performance, translation studies, gender and queer studies, and (de)postcolonial studies.Mateusz Chaberski has a PhD from the Department for Performativity Studies at the Jagiellonian University, Kraków, Poland. In 2016, he won a Foundation for Polish Science scholarship for innovative research in Humanities. His academic interests range from performance studies, affect and assemblage theories to Anthropocene studies. He is also Deputy Managing Director at the Jagiellonian University Press. In 2015 he published Doświadczenie (syn)estetyczne. Performatywne aspekty przedstawień and in 2019 Asamblaże, Asamblaże. Doświadczenie w zamglonym antropocenie.

Select Guide Rating

• Introduction: Situated Knowing: From Performance Art to the Laboratory of Knowledge-Making, Ewa Bal and Mateusz ChaberskiPart 1. Knowing and Alternative Genealogies – introduction by Ewa BalChapter 1. Slough Media, Rebecca SchneiderChapter 2. The Performing Arts as ‘Cognitive Hybrids’: The Power of the Performatic Spiel-Raum, Fabrizio DeriuPart 2. Knowing with Performative Arts – introduction by Mateusz ChaberskiChapter 3. Dead Capital, Diana TaylorChapter 4. Beyond Presence: Performing the Limits of Knowing, Małgorzata SugieraChapter 5. Performative Approaches to the Cultural Policy Field, Fabiola CamutiPart 3. Knowing in Contact Zones – introduction by Ewa BalChapter 6. Decolonizing Documentary: Wojtek Doroszuk’s Sape and Prince, Mateusz BorowskiChapter 7. Beyond Ethnicity? New Architectures of Access to Local Cultures in Dorota Nieznalska’s Memory and Violence (2019), Ewa BalPart 4. Knowing Beyond the Human – introduction by Mateusz ChaberskiChapter 8. The Shadow of a Pine Tree: Authorship, Agency and Performing Beyond the Human, Annette Arlander Chapter 9. What Performativity Scholars Can Learn from Mushrooms: Situated Knowing in Polyphonic Assemblages, Mateusz Chaberski