People

Coordination

Filipe Figueiredo
Filipe Figueiredo is a researcher at the Centre for Theatre Studies (CET/FLUL) where he coordinates the Theatre and Image Research Group. His Master’s in Art History (FCHS/UNL) focused on the work of Domingos Alvão and Portuguese Photography in the first half of the twentieth century. He has been a member of the OPSIS project — The Iconographic Theatre Database in Portugal (2008-10) (CET/FLUL) and has collaborated in several initiatives and projects in the cross-study of the image with theatre and performance studies, as well as iconographic research and analysis. He holds a PhD in Artistic Studies (2016), his thesis is dedicated to the study of the models and practices of theatre photography in Portugal — O Insustentável Desejo da Memória (1868-1974) [“The Unbearable Desire of Memory (1868-1974)”] (scholarship FCT). Filipe is currently Principal Researcher, along with Cosimo Chiarelli, for the project PERPHOTO — Performing the Gaze: Crossings Between Photography and Theatre in Portuguese and International Context (PTDC/ART-PER/31693/2017). He has been an Assistant Professor at ESTAL — the Lisbon School of Technology and Arts (till 2019) and an Assistant Professor at IADE — the European University. Recently, he was co-curator of the exhibition Amélia, on Amélia Rey Colaço’s relationship with photography (TNDM II, 2018) as also of José Marques: photographer on stage (TNDM II, 2019). He is a member of the Editorial Board of the Sinais of Cena journal (CET / APCT) and of the Organizing Committee of the international conference Stereo & Immersive Media (2018-2020) (Lusophone University of Humanities and Technologies – ULHT)

Cosimo Chiarelli
Historian of photography and visual culture, Cosimo Chiarelli is an integrated researcher at the Centre for Theatre Studies (FLUL). His research interests are mainly focused on the intersections between photography and the performing arts from the 19th century to contemporary times. Professor of History of Photography at several Italian universities (Pisa, Florence, Siena), later moved to France, invited by the Bibliothèque Nationale de France with a research project on “Photography and Mime” (Bourse Roederer pour la photographie 2008). PhD in History and Civilization by the European University Institute in Florence in 2012, he was visiting fellow at the University of Austin – Texas, USA (Harry Ransom Center Research Fellowship in the Humanities, 2013). Between 2014 and 2016 he was a postdoctoral researcher at the University of Lyon 2, where, among other results, he organized in 2015 the international conference on “Théâtre et Photographie. Croisements, échanges, écarts autour de la performance”. Since 2016 he is also an associate researcher at the University of Paris VIII. Alongside his research activity, he is also a curator of exhibitions, namely for the Uffizi Museum and the Alinari Museum in Florence, the National Museum of Modern Art in Rome, the Tokyo Museum of Photography, la Bibliothèque Nationale de France, and the National Museum of Lisbon Theater and Dance. He directed, in collaboration with Massimo Agus, the Centro per la Fotografia dello Spettacolo de San Miniato, and the International Theater Photography Festival “Occhi di Scena”. Founding member of the Italian Society for the Study of Photography (SISF), he is currently on the editorial board of the magazine RSF (Rivista di Studi di Fotografia).

Consultants

Maria Ines Aliverti
Maria Ines Aliverti, formerly Associate Professor in the Department of History of Art at the University of Pisa, lectured on History of Theatre, Theatre Iconography, History of Scenography. She was a member of the Steering committee of European Theatre Iconography Scientific Network (European Science Foundation, 1997-2000); and of Europa Triumphans (AHRC Centre for the Study of Renaissance Elites and Court Cultures at the University of Warwick 1998-2004). She contributed to Dionysos – Digital Archive on Theatre Iconography (Università di Firenze). She regularly collaborates with the Université Paris III-Sorbonne Nouvelle (Institut de Recherche en Études Théâtrales) where she was visiting professor in 2001, and with Université Paris IV Sorbonne (UFR d’Études Italiennes), both in codirecting PhD thesis and in seminars and conferences. She gave lectures in various Italian and other European Universities, and Institutes of advanced studies; she participated as a delegate in many international conferences. Her field of research is Renaissance Court Festivals, Commedia dell’Arte, French and English 18^th-century Theatre Iconography, 20^th-century mise-en-scène (mainly Edward G. Craig and Jacques Copeau). She was both editor of, and contributor to, the Genoa cluster of Festival Books in J. R. Mulryne, Helen Watanabe-O’Kelly and Margaret Shewring (gen. eds), Europa Triumphans: Court and Civic Festivals in Early Modern Europe (Aldershot UK and Burlington VT: Ashgate, 2004). In collaboration with Ronnie J. Mulryne and Anna Maria Testaverde she organised the conference of the Society for European Festival Research in Bergamo (2012): Ceremonial Entries in Early Modern Europe: The Iconography of Power, J.R. Mulryne, M.I. Aliverti, A.M. Testaverde eds., Farnham UK and Burlington VT: Ashgate 2015. She is author of pioneer essays on theatre iconography and iconology. Her publications include the following monographs: Jacques Copeau (Bari: Laterza, 1988), Poesia fuggitiva sugli attori nell’età di Voltaire (Roma: Bulzoni, 1993), La naissance de l’acteur moderne. L’acteur et son portrait au XVIIIe siècle (Paris: Gallimard, 1998), Una scena di città attribuita a Sebastiano Serlio: Breve saggio di iconologia teatrale (Pisa: ETS, 2008). She is the editor, in collaboration with Marco Consolini (Université Paris III), of the Registres of Jacques Copeau, Paris: Gallimard, vol. 7 (Aliverti ed.) and vol. 8 (Aliverti and Consolini eds.).

Joel Anderson
Joel Anderson studied at the Queen Mary University of London and Université Paris VIII and trained at the École Internationale de Théâtre Jacques Lecoq. He worked with Augusto Boal and later with numerous French theatre companies, including multiple projects with Théâtre de l’Opprimé in Paris, and across Europe, Africa, and South America. In addition to work in the professional theatre sector, He has been active in film, television and photography. He previously taught at Kingston University, Brunel University London, Queen Mary University of London, HM Prison Pentonville, and at several schools in France and Britain. He has in recent years given doctoral seminars in Germany and Chile, lectures in China, and has served as Visiting Professor at the University of London Institute Paris. He is currently an advisory committee member at the Centre for Theatre Studies at Lisbon University. He has been an invited speaker and presented research at international academic conferences, including, in recent years, in Australia, Canada, Chile, China, Czech Republic, France, Korea, and the USA. He has recently given public talks at Asia House, London, and at Santiago a Mil International Festival in Chile. He advised the Tapei Representative Office in preparation for their selection for the Edinburgh Fringe and gave specialist seminars for Chinese artistic directors in Beijing. His publications include numerous articles and chapters, and his book Theatre & Photography was published in 2014. He has translated from French various academic books and articles, including two recent books by Professor Patrice Pavis, as well as novels, graphic novels, and plays. He has been a reviewer for Fudan Journal of the Humanities and Social Sciences, Theatre Journal, Theatre Survey, Aix-Marseille Université foundation, Palgrave Macmillan, and Routledge, and served on the peer review college of the Romanian National Research Council.  He was a member of the executive committee of TaPRA from 2005-2010. He was previously external examiner at Goldsmiths and at LASALLE College of the Arts, Singapore and PhD examiner in a number of institutions.

​Margarida Medeiros
Margarida Medeiros holds a PhD in Communication Sciences and she is Assistant Professor at the Communication Sciences Department of FCSH/UNOVALisboa where she teaches Visual Culture and seminars of Contemporary Images and Photography and Cinema. She is also an Invited Assistant Professor at Faculty of Fine Arts of the University of Lisbon. Margarida is a researcher in the areas of Photography Theory, Visual Culture, Image History, Photography and Film Studies. Her work has been focused in the research field of Photography Theory. She has been publishing, doing and organizing conferences upon photographic image, namely through the possibility of working on a multidisciplinary basis, and working on different occurrences (artistic and not artistic ones). She is interested not only in the formal insight upon photography, which can be explored both by Semiotics and History of Art, but also in a psychological and cultural approach, mainly with the insight of Visual Culture. Her aim is to approach images (photography but also cinema and video) in their discursive context and as a knot of different narratives. In this sense she also looks for analogical archives mainly and their use in contemporary culture. Her research stretches a dialogue upon technical images that is mainly interdisciplinary and cross-cultural. More specifically she has been working on medical and scientific images (as X-Rays images) and their appropriation by art as well as on spirit photography and the relationship between photography and the representation of the invisible. In 2011 and 2012 integrated the panel for evaluation of Postgraduate scholarship financed by FCT in the area of Artistic Studies. In 2013 integrated the external panel for the evaluation of the applications to FCT postdoctoral contracts. She has been a member of various art and photography committees such as BesPHOTO or FNAC Photography, Image Encounters of Braga. She has published books and numerous articles in several newspapers and magazines. Among other publications, she published Fotogramas – Ensaios sobre a Fotografia (Documenta, 2015); Photography and Cinema-after 50 Years of Chris Marker’s La Jetée (Cambridge Scholars Publishers, 2015). 

Amelia Jones
Amelia Jones is Robert A. Day Professor and Vice Dean at Roski School of Art & Design at University of Southern California. Publications include Seeing Differently: A History and Theory of Identification and the Visual Arts (2012), Perform Repeat Record: Live Art in History (2012), co-edited with Adrian Heathfield, and Otherwise: Imagining Queer Feminist Art Histories, co-edited with Erin Silver (2016). The catalogue Queer Communion: Ron Athey (2020), co-edited with Andy Campbell, and which accompanies a retrospective of Athey’s work at Participant Inc. (New York) and ICA (Los Angeles), was listed among the “Best Art Books 2020” in the NY Times, and the exhibition was listed among Top Ten 2021 exhibitions in Artforum (December 2021). Her book entitled In Between Subjects: A Critical Genealogy of Queer Performance (2021) is published by Routledge Press.

Rebecca Schneider
Rebecca Schneider is Professor in the Department of Modern Culture and Media at Brown University.  Awarded a Guggenheim Fellowship in 2021, she is the author of The Explicit Body in Performance (1997); Performing Remains: Art and War in Times of Theatrical Reproduction (2011); Theatre and History (2014); and Remain (with Jussi Parikka 2018). A student of Black Feminist Thought and invested in speculative and fabulous acts for the (re)surgence of otherwise worlds,  she recently published “This Shoal Which is Not One: Island Studies, Performance Studies, and Africans Who Fly” (2020) and the award-winning essay “That the Past May Yet Have Another Future: Gesture in Times of Hand Up” (2018). She has published extensively on media and performance, and serves as a consortium editor for TDR: The Drama Review. She is currently working on two projects: a digital book on gesture across media to be titled Standing Still Moving, and a book on littoral dance in the afterlives of slavery’s capitalism to be titled Shoaling in the Sea of History.

Manuel Vason
Vason é um investigador e artista que explora as áreas de reflexão do Perphoto, nomeadamente através da sua criação de Photoperformer. A colaboração com Manual Vason verifica-se já desde o início do projecto tendo estado programado para participar nos Encontros PERPHOTO em sessão que não se realizou devido ao contacto pandémico. De qualquer modo, Vason foi sempre um interlocutor para as nossas reflexões com um importante contributo na associação da criação artística às suas reflexões académicas. Por este motivo, pretendíamos formalizar também a sua associação como consultor do projecto Perphoto.

Team member

Maria João Monteiro Brilhante – Researcher
With a Phd in French Literature by the Faculty of Humanities of Lisbon University, she is now Associate Professor at FLUL, where she teaches, since 1979, both in the Performance Studies graduation and Theatre Studies post-graduation courses.
She directed the Centro de Estudos de Teatro (CET-FLUL), in 1996-2000 and 2004-2008, and from 2017 until 2019, where she was also the Senior Researcher responsible for the projects Textos de teatro de Autores portugueses quinhentistas, and OPSIS: base de dados iconográfica de teatro em Portugal, both having received funding from the Ministry of Science and Technology. She was also responsible for the coordination in Portugal of the project Texto e imagem: perspectivas críticas para investigação em Artes Cénicas (Theatre and images: critical perspectives for the research in Theatre and performance) which gathered a group of researchers from the Federal University of Rio de Janeiro- Unirio, the São Paulo University and the Lisbon University (2008-2010). She was, from 2008 until 2011, the President of the Administration of the National Theatre D. Maria II and a member of the Prix Europe pour le Théâtre. She has published essays, organized books on literature, theatre translation, theatre iconography, Portuguese theatre history and drama.

Cláudia Maria Guerra Madeira – Researcher
Cláudia Madeira is an assistant professor and researcher at ICNOVA and an IHA collaborator at the Faculty of Social and Human Sciences of the Universidade Nova de Lisboa (NOVA FCSH), being co-responsible in the two centres for the Performance Art & Performativity in the Arts cluster. She also collaborates at the Centre for Theatre Studies (CET/FLUL) as a researcher in the Theatre and Image Research Group. Cláudia has completed a postdoctoral programme, “Arte Social. Arte Performativa?” [“Social Art. Performative Art?”] (2009-12) and holds a PhD in Sociology on “Hibridismo nas Artes Performativas em Portugal” [“Performing Arts Hybridity in Portugal”] (2007) from the Institute of Social Sciences of the University of Lisbon. In addition to several articles on new forms of hybridism and performativity in the arts, she is the author of Híbrido: Do Mito ao Paradigma Invasor? [Hybrid: From Myth to Invasive Paradigm?] (Mundos Sociais, 2010) and Novos Notáveis: Os Programadores Culturais [New Dignitaries: The Cultural Programmers] (Celta, 2002). Cláudia teaches in the Performing Arts and Communication and Arts degree and Master’s courses at the Department of Communication Sciences at NOVA FCSH. Recently, she was co-curator of the exhibitions Amélia, on Amélia Rey Colaço’s relationship with photography (TNDM II, 2018), and José Marques: fotógrafo em cena (TNDM II, 2019).

Paulo Artur Ribeiro Baptista – Researcher

Arianna Novaga – Researcher
Arianna Novaga is a photographer and photography historian. With a degree in architecture at the IUAV in Venice, she obtained a PhD in History of the Arts at the Inter-University Doctoral School at the University Cà Foscari / IUAV / University of Verona, with a research project dedicated to the role of photography in contemporary experimental theatre. His field of study includes the relationships between photography, theatre and performing arts and between photography and visual-multimedia communication, topics on which she works since 2007, with publications in Italian and international books and journals. She was a member of scientific committees and participated in numerous conferences in Italy and France dedicated to theatre, photography, and the visual and performing arts. Also involved in the multimedia theatre, she wrote the dramaturgy of Death in / of Venice 2.0, a performance that since 2017 has circulated in several Italian theatres, and of L’ora d’aria, experimentation on digital theatrical citizenship accessible on the homonymous Facebook page. She is the artistic director of Hodgepodge Imagezine and curator of the international photography festival Grenze. Arsenali fotografici. She also collaborates with the Groggia theatre in Venice as an artistic consultant and curator of photographic exhibitions. She is currently an assistant professor at the IUSVE in Verona and Venice and an invited professor at the University of Trieste-Gorizia.

Research Fellows and Internships

Raquel Montez Raimundo (Graduate fellowship – 1/04/2020 a 31/03/2021)
Mariana Pancada (Internship – 15/02/2021 a 15/05/2021) / (Graduate fellowship – Oct. 2021 – Sep. 2021)
Francisco Mota (Internship – 21/02/2022 a 13/05/2022)