Ewa Bal – författare

Situated Knowing aims to critically examine performance studies’ ideological and socio-political underpinnings while also challenging the Anglo-centrism of the discipline. This book reworks the concept of situated knowledges put forward over thirty years ago by American biologist and philosopher Donna Haraway in order to challenge the Enlightenment paradigm of objectivity in sciences by emphasising the role of the embodied and partial socio-cultural perspective of the scholar in the production of knowledge. Through carefully selected case studies of contemporary natural, cultural and technological performances, contributors to this volume show that the proposed approach requires new genealogies of traditional concepts, emerges from encounters with contemporary performative arts or contact zones and may potentially go beyond the human in order to include non-human ways of being in the world. It will be of great interest to students and scholars of performance studies, cultural studies, media studies and theatre studies.

Situated Knowing aims to critically examine performance studies’ ideological and socio-political underpinnings while also challenging the Anglo-centrism of the discipline. This book reworks the concept of situated knowledges put forward over thirty years ago by American biologist and philosopher Donna Haraway in order to challenge the Enlightenment paradigm of objectivity in sciences by emphasising the role of the embodied and partial socio-cultural perspective of the scholar in the production of knowledge. Through carefully selected case studies of contemporary natural, cultural and technological performances, contributors to this volume show that the proposed approach requires new genealogies of traditional concepts, emerges from encounters with contemporary performative arts or contact zones and may potentially go beyond the human in order to include non-human ways of being in the world. It will be of great interest to students and scholars of performance studies, cultural studies, media studies and theatre studies.

This Element explores how women theatre artists in Ukraine and Poland - separately and together - respond to their dynamically shifting socio-political realities after the early 2010s events: the pro-European Maidan Revolution in Ukraine and the traditionalist, anti-European governance in Poland, both of which ignited mass women's protests. Engaging with diverse works - new writing, adaptations of classics, musicals, puppetry, and devised productions - Feminist Imagining features artists that explore the connections between patriarchy-rooted violence, gendered nationalism, women's reproductive rights, and decolonial critique. These underpin their transcultural and intersectional alliances and their proposals for concrete scenarios that redefine the past, present, and future, creating specific feminist imaginaries and epistemologies situated in Central-Eastern Europe. The Element captures the feminist turns in Polish and Ukrainian theatres, highlighting the practices of women artists from the so-called Eastern Europe, whose voices have long been nationally and internationally silenced.

This Element explores how women theatre artists in Ukraine and Poland - separately and together - respond to their dynamically shifting socio-political realities after the early 2010s events: the pro-European Maidan Revolution in Ukraine and the traditionalist, anti-European governance in Poland, both of which ignited mass women's protests. Engaging with diverse works - new writing, adaptations of classics, musicals, puppetry, and devised productions - Feminist Imagining features artists that explore the connections between patriarchy-rooted violence, gendered nationalism, women's reproductive rights, and decolonial critique. These underpin their transcultural and intersectional alliances and their proposals for concrete scenarios that redefine the past, present, and future, creating specific feminist imaginaries and epistemologies situated in Central-Eastern Europe. The Element captures the feminist turns in Polish and Ukrainian theatres, highlighting the practices of women artists from the so-called Eastern Europe, whose voices have long been nationally and internationally silenced.