Participants

Speakers:

Amelie Deuflhard was the artistic director of the Sophiensæle (Berlin) from 2000 to 2007. In 2004/05 she was part of the artistic direction of “Volkspalast”, a festival-like performance of the deconstructed Palace of the Republic. Since 2007 she has been the artistic director of Kampnagel (Hamburg), Europe’s largest production center for the independent performing arts. With EcoFavela Lampedusa Nord, she initiated a living and action space for refugees in 2014. The project has found its extension at Kampnagel in the award-winning encounter space Migrantpolitan. Amelie Deuflhard was part of the four-member curatorial team of Theatre der Welt 2017. She is the author of numerous publications and regularly holds teaching positions at universities. For her work, she was awarded the Caroline-Neuber Prize in 2012 and the Insignien des Chevaliers des Arts et Lettres in 2013. In 2018 she received the European Cultural Manager of the Year award, and in 2022 she was awarded the Theatrepreis Berlin for her life’s work.

Nurkan Erpulat was born in Ankara and studied acting in Izmir then directing at the Ernst Busch Academy of Dramatic Arts in Berlin. His early projects include Jenseits – Bist Du schwul oder Bist Du Türke? (Beyond – Are you Gay or Are you Turkish?) at Berlin’s HAU theatres. He then went on to direct, among others, an adaptation of Franz Kafka’s The Castle at Berlin’s Deutsches Theatre and Maxim Gorky’s Children of the Sun at Vienna’s Volksstheatre. His productions and projects – some in the field of youth theatre – have been invited to festivals and guest performances around the world, and have received numerous awards. These include an invitation to the Theatretreffen der Jugend youth theatre festival for his play Clash, produced at Berlin’s Deutsches Theatre. Together with Jens Hillje he developed the play MAD BLOOD, which he then directed at Berlin’s Ballhaus Naunynstraße in 2011. The piece was then invited to the Theatretreffen and Mülheimer Theatretagen festivals and was honored by the journal Theatre heute as the play of the year for 2011. That same year Erpulat was also awarded the title of young director of the year by Theatre heute. From 2011 to 2013 he was the resident director at Düsseldorf’s Schauspielhaus. At the Maxim Gorki Theatre, he staged Chekhov’s THE CHERRY ORCHARD as the opening production for the 2013/2014 season. Since then he has been a resident director at the Gorki. In that time his productions have included Joe Orton’s ENTERTAINING MR. SLOANE, Olga Grjasnowa’s DIE JURISTISCHE UNSCHÄRFE EINER EHE (The Legal Haziness of a Marriage), LOVE IT OR LEAVE IT!, JUGEND OHNE GOTT as well as STREULICHT. In season 22/23 he brings Dschinns by Fatma Aydemir to the stage of the Gorki. Since the 2019/2020 season, he has been a member of the newly founded Artistic Advisory Board of the Gorki Theatre.

Kyoko Iwaki is an Associate Professor of Theatre and Performance Studies at the University of Antwerp. Her research focuses on Japanese and European theatre of non-humanistic philosophy. Kyoko obtained a Ph.D. in Theatre and Performance from Goldsmiths, the University of London in 2017. After the completion of her Ph.D., she received Asian Cultural Council funding and became a Visiting Scholar at  The Segal Center, City University of New York. Prior to entering academia, she worked for over a decade as an international theatre critic contributing to Asahi Shimbun Newspaper. From 2014, she was the Chief Director of the pan-Asian performance research platform Scene/Asia. Kyoko is the author of Japanese Theatre Today: Theatrical Imaginations of Eight Contemporary Practitioners (Film Art, 2018) and has also contributed a chapter (chapters) to Fukushima and the Arts: Negotiating Nuclear Disaster (Rout-ledge, 2016), A History of Japanese Theatre (Cambridge University Press, 2016), and The Routledge Companion to Butoh Performance (2018) among others. She is an Associate Editor of Performance Research since 2021. She was also appointed as the Chief Dramaturge for Theatre der Welt 2023 in Frankfurt-Offenbach.

Xavier Le Roy graduated from the University of Montpellier with a degree in molecular biology and subsequently a Ph.D. He has devoted himself to dance since 1988. From 1991 to 1995 he joined the Compagnie del’ Alambic in Paris and has been working as a dancer and choreographer ever since. He has been an artist in residence several times. His pieces are characterized by conceptual rigor, a spirit of discursive research, and subtle humor. His solo works Self Unfinished (1998) and Product of Circumstances (1999) have toured continuously since their creation. Self Unfinished made Le Roy internationally known. He shows configurations of the body that had not previously been seen in dance: a laboratory-like experimental arrangement, in a white room with bright neon lights, in which the performer’s body is in a ceaseless state of metamorphosis, generating body images that at times reminiscent of amphibious creatures or insects. Xavier Le Roy works with various dancers and choreographers, including Alexander Birntraum, Mårten Spångberg, Meg Stuart, Christine De Smedt, David Hernandez, Yvonne Rainer, and Bojana Cvéjic. In 2015 he performed Excerpts of Low Pieces and Title in Process with Scarlet Yu (b. 1978, Hong Kong) at the Venice Biennale. Since May 2018, Le Roy has succeeded Heiner Goebbels as Professor of Applied Theater Studies with a focus on the practice of performing arts at Justus Liebig University in Giessen. 

Xiaoyi LIU is the Artistic Director of the Singapore art group Emergency Stairs. A committed practitioner with a desire to push artistic boundaries, he is regarded as a promising figure at the forefront of the experimental theatre scene in Asia. Xiaoyi received the Young Artist Award awarded by the National Arts Council of Singapore in 2016. A multi-talented artist, Xiaoyi was involved in over 70 theatre productions as a director, playwright, and actor over the past two decades. As a director, the cornerstones of Xiaoyi’s oft-lauded but controversial work are unsurprisingly experimentation, introspection, and poetry. Between 2017 and 2019, he created three new works under his Postdramatic Series that challenged the often-sacred theatre traditions here by introducing a new exploratory theatre format to the discomfort of his audiences. Xiaoyi has also been actively promoting dialogues and creation across cultural and geographical lines for many years, particularly the exchange between traditional and contemporary art forms. As the Artistic Director, Xiaoyi has curated the Southernmost Project, an annual, first-of-its-kind “arts festival for the future” in Singapore since 2017. The inter-cultural festival has regularly brought prominent artists across the region to Singapore for exchange. An educator at heart, Xiaoyi has started and helmed several talent development platforms- the Practice Lab, Emergency Shelter, and most recently, the Emergency Academy. He also founded the first Chinese theatre review platform, the Re-Viewers, in a response to the dearth of critical writing in Singapore.

Aine Nakamura is an awardee of the Fulbright Fellowship in 2021-2022 (Berlin) and The Leo Bronstein  Homage Award from New York University. She is currently in a Doctoral program at the University of California, Berkeley. Nakamura’s recent solo performances include a winning work of Site-Specific Performance at the 2022 Venice Biennale at its 50th International Theatre Festival and her performance project at Berliner Festspiele’s Theatertreffen 2022. She has presented her one-woman exhibition at the Gallatin Galleries in NYC, her performances, installations, and compositions at HfM Hanns Eisler Berlin, Errant Sound, A Concert of Electronic Music in honor of Mario Davidovsky, Dias de Música Electroacústica, New York City Electroacoustic Music Festival performed with Madeleine Shapiro, October New Music Festival in Finland performed with MikroEnsemblen and Abrons Arts Center with the International Contemporary Ensemble. Her other appearances include The Two directed by Dmitry Krymov. Nakamura recently focuses on the Orality and movements of the body. Her theatricality is represented in the weaving of stories and imageries through her embodiment and sometimes objects. Her artistic quest began as a search for her own language to embrace and express herself, which cannot be told simply through one disciplinary or cultural frame. She moved closer to her woman artist identity, acknowledging her transnational complexity and ambiguity. She crosses boundaries within and outside of her body for her to be a song for inner, beings and relations. Defying traditional power structures that preclude new ways of feeling, she nurtures spiritual, artistic, and intellectual space, and multiple delicate stories in a new art she investigates as a way of showing resilience and resistance. Her research interests are voice and body; stories, theatricality, and movements; war and peace; and gender and sexuality.

Dan Thy Nguyen is a director, performer, writer, and producer in Hamburg. He worked in several productions at i.e. Ballhaus Naunynstraße, Kampnagel, Mousonturm Frankfurt, MDR, and the Deutsche Kammerphilharmonie Bremen. In 2014 he developed the piece “Sonnenblumenhaus” which was awarded the “Hörnixe” for the radio version. Since 2020 he and his production office “Studio Marshmallow” organize the international festival “fluctoplasma” and he is part of the board of the LAG Kinder und Jugendkultur Hamburg. In 2021 he was awarded the “Deutsche Hörspielpreis” for his performance in the audio play “Atlas”.

Ming Poon is a Berlin-based choreographer who began his career as a professional dancer in 1993 and started to develop his choreographic practice in 2010. He works with applied choreography as a tool to question, disrupt and reorganize the social and political relationality of the body in time and space. In particular, he works with the potential within the body of the vulnerable/periphery to resist and disrupt hegemonic structures, using choreographic strategies that involve decolonization, vulnerability, care, queerness, and failure. Besides Asian Performance Artists Lab (APAL), he is also a member of Urgent Bodies, a newly formed collective whose goal is to bring dance and activism together and is a fellow of the Berlin funding program Artistic Research (2022-23). Through these projects, he wants to bring his choreographic practice beyond the question of how we want to make work, and how we can create community instead. His practice is inspired by the Buddhist concepts of interdependence and caring, Judith Butler’s resistance in vulnerability, Jack Halberstam’s queer art of failure, Augusto Boal’s theatre of the oppressed, and Nicolas Bourriaud’s micro-utopias. His works have been presented at Esplanade – Theatres on the Bay (Singapore), The Substation (Singapore), English Theatre Berlin | International Performing Arts Center (Berlin, Germany), Hebbel am Ufer (Berlin, Germany), Scenario Pubblico | Centro Nazionale di Produzione della Danza (Catania, Italy) and Südpol (Luzern, Switzerland).

Octavian Saiu is a scholar as well as a professional cultural and academic consultant. He is the President of the International Association of Theatre Leaders (IATL), a global alliance that gathers prominent figures in the field of performing arts, represented in more than fifty countries. He holds a Ph.D. in Theatre Studies from the National University of Theatre and Film (NUTF) in Romania, with a thesis about theatrical space, and another Ph.D. in Comparative Literature from the University of Otago in New Zealand, with a thesis about Samuel Beckett and Eugène Ionesco. His Post-Doctoral Fellowship in Modern Literature at the University of Otago was funded by the Royal Society of New Zealand, and he was subsequently awarded his European Habilitation(Higher Doctorate) in Theatre and Performing Arts. He is a Ph.D. Research Professor at the Doctoral School of Sibiu University and has been Visiting Professor at universities in Tokyo, Hong Kong, Beijing, and Lisbon. He was twice a Visiting Fellow at the University of London (SOAS) and he offered Master Classes and workshops at academic institutions in Europe, Africa, Asia, and the Middle East. He has been actively involved, as Conference Chair and Invited Speaker, in several major theatres and academic events around the world, including the Theatre Olympics and Edinburgh International Festival, where he was Chair of the Samuel Beckett Conference in 2013. Since 2004 he has been the Chair of the Conferences of the Sibiu International Theatre Festival, the largest curated performing arts event in the world. Throughout the years, he has hosted dialogues and conferences with hundreds of renowned theatre artists, from Sasha Waltz, Ohad Naharin, and Akram Khan to Robert Wilson, Robert Lepage, Thomas Ostermeier, and Ivo van Hove. He is constantly engaged in platforms of cultural exchange between China and Europe, particularly the Cultural Silk Road and the Wuzhen Theatre Festival. He is a Founding Member of the International Theatre Town Alliance (ITTA) and the Yue Opera Town in Shengzhou. He has published academic articles in several international journals, as well as fourteen books on theatre. He serves on the editorial boards of various journals and publishing houses. His most recent book publication is Phèdre. D’Euripide à Racine, de Sénèque à Sarah Kane (Lansman Editeur, Bruxelles). He received the Critics’ Award in 2010 and the Award of the Union of Theatre Artists (UNITER) in 2013. In 2020, on the National Day of Culture, the President of Romania awarded him the Order of Cultural Merit.

Deepan Sivaraman is the founding Artistic Director of Oxygen Theatre Company Kerala and Performance Studies Collective Delhi. He was trained at the School of Drama Thrissur, Central Saint Martin’s College of Art and Design, and Wimbledon College of Art London. During the last 20 years of his theatre career, he has designed and directed more than 70 theatre productions for various companies and academic institutions in India and Europe. Some of his notable works have been performed in several important theatre festivals around the world including Avignon, Alameda, Edinburgh, Krakow, Shanghai – Wuzhen, Prithvi, ITFOK, META, and Bharat Rang Mahotsav. He was awarded Charles Wallace India Trust Scholarship in 2003, The Kerala Sangeet Nataka Academy Award for theatre direction in 2012, and the Mahindra Excellence National Theatre Awards in 2010 and 2018 for Spinal Cord and The Cabinet of Dr. Caligari respectively. Deepan’s works represented Indian scenography at Prague Quadrennial in 2011 and he served as the artistic director of the International Theatre Festival of Kerala in 2013. His notable works are Khasakkinte Ithihasam, Spinal Cord, Peer Gynt, Dark Things, The Cabinet of Dr. Caligari, Nationalism Project, and Ubu Roi. Recently published 21st Century Performance Reader by Routledge discusses Sivaraman’s work as one of the 70 key theatre practitioners of this century who made a substantial contribution to the language of theatre. Presently he teaches theatre and performance studies at the School of Culture and Creative Expressions, Ambedkar University Delhi. 

WANG Chong is the founder and artistic director of Beijing-based performance group Théâtre du Rêve Expérimental. He is one of the most internationally commissioned Chinese theatre directors. His works have been performed in 20 countries. Wang Chong’s productions include: The Warfare of Landmine 2.0, winning the Festival/Tokyo Award; Lu Xun, noted by The Beijing News as The Best Chinese Performance of the Year; Teahouse 2.0, winning One Drama Award; Waiting for Godot, a live online performance that had 290,000 audiences; and The Plague, a live online performance with artists working from 6 continents. Wang Chong is currently creating a solo performance Made in China 2.0, which will be touring the U.S., Australia, and Norway, among other countries in 2023.

Ronja von Wurmb-Seibel works as an author, filmmaker, and journalist. She studied political science in Munich. She worked as an editor in the politics department of Die Zeit before she moved to Kabul in 2013 –  as the only German journalist at the time. From there she wrote the weekly column “Local Time Kabul” for Die Zeit, the blog “Kabul, 2014” for Zeit Online, and reports for various magazines. Together with her partner Niklas Schenck she produced documentaries about Afghanistan for NDR. Her work has received several awards. Ronja von Wurmb-Seibel returned to Germany in December 2014. In 2022, her book Wie wir die Welt sehen (How we see the world) was published and landed on the Spiegel bestseller list in the first week. In her book, she explores how the negative bias of the news affects our thinking and behavior and how we can change that. The Korean version of the book will be published in 2023. In addition to her work as an author, Ronja von Wurmb-Seibel works as a producer and director at the production company BROT + ZWIEBEL. She produced the award-winning documentary film True Warriors in 2017. The documentary tells the story of the actors and musicians who took the stage on December 11, 2014, in Kabul, where a 17-year-old boy blew himself up at the premiere of a play about suicide bombings. In 2020, she released the film Wir sind Jetzt Hier (We are now here) which tells the story of seven young men who dare to make a new start in Germany after fleeing. 

Rongjun YU, also known as Nick, Doctor of Arts, is China’s most-produced living playwright, an award-winning playwright, as well as the artistic director of Shanghai Dramatic Arts Centre, the Vice President of Shanghai Performing Arts Group, the director of Shanghai International Comedy Festival and Shanghai ACT festival. He has about 80 plays, musicals, and operas produced in China and oversea including Behind the Lie, Perfume, 1977, Captain, Das Kapital, The Insane Asylum Next to Heaven, The Crowd, House Guest, and WWW.COM. His writing has been staged and published in English, Turkish, Spanish, German, Japanese Italian, Hebrew, and other languages and dialects. Nick has also translated and/or adapted foreign-language works into Chinese that have been performed in China and abroad. He has written dance theatre, physical theatre, and screenplays for film and television as well. As the manager of the Shanghai Dramatic Arts Center, he hosted more than 400 projects for three stages in Shanghai. Nick received Asian Cultural Council Fellowships in 2004 and 2007 to conduct research on cultural exchange programs in the United States and was a fellow for International Residency of the Royal Court Theatre in 2008. Received the 7th Fellowship in Russia Program by the Likhachev Foundation of the First President of Russia Boris N. Yeltsin. He participated in Iowa IWP (International Writing Program) in 2019.

Scarlet YU is a Hong Kong-born Berlin-based dance artist. Scarlet navigates the in-betweenness of the politic and the poetic of listening and telling. Using Autobiography and Kinetic Memory as a tool to reexamine private/public embodied narration. Her works have been presented in various contexts in museums, galleries, theaters, and Public Spaces. Yu was a jury member for Tanzplattform Germany 2018, an artist in residency at Hombroich Summer Fellows and ADAM-Asia Discovers Asia Meeting for Contemporary Performance in 2017.

Miao ZHAO, the founder of Theatre SanTuoQi, is also a theatre writer and director. He graduated with a master’s degree in Theatre Directing from the Central Academy of Drama in Beijing. He has been a proponent and practitioner of physical theatre for over two decades. The “sad humor” and “fantastic imagination” build the unique trait of Zhao Miao’s stage works. To set out “the moving body” is his quest and pursuit. He focuses on traditional Chinese folklore and myths, combining the forms of ancient folk theatre and sacrificial rites with contemporary physical theatre methods. His works are profoundly influenced by the French theatrical master Jacques Lecoq. Zhao Miao’s works are receiving more and more approving and praising voices from audiences. His major stage works from 1996 to 2012 include The soul, War and Human Beings, Equus, 6:3(Ⅰ, Ⅱ, Ⅲ), Doudou’s Magic Moment, Love Tales, 2008 Romeo and Juliet, On the Road, Light, Block, Inexistent moment, Aquatic, Hymne à la disparition, Luocha Land, etc. He published articles “Jacques Lecoq and Physical Theatre”, “The Moving Body: Tribute to Jacques Lecoq” and “Jacques Lecoq’s Physical Theatre”.

Symposium Chair:

Yumin AO received her Ph.D. in Chinese literature and theatre from the University of Otago in New Zealand. She is currently a researcher affiliated with the Department of East Asian Studies at the University of Göttingen. She worked as a research fellow at the University of Tokyo and Taiwan Academia Sinica. She held faculty positions at George Mason University and Kennesaw State University. In Göttingen, she is the editor-in-chief of the Journal of Ying Ming Theatre. She has coordinated the “Contemporary Theatre Arts” online Seminar series to bring theatre artists, critics, and scholars to discuss Asian theatre since 2020. She published her monograph on the thematic, narrative, and musical structures of Yuan zaju drama in 2015. Her research topic is the Theatre Arts of China within the Social Conditions of their Production, Circulation, and Consumption. She observes and reflects on the shifts in the landscape of contemporary Chinese theatre, with a focus on the avant-garde drama and theatre in the People’s Republic of China since the start of the post-Mao era (after 1976) in the context of China confronting its modernity. In addition, she produced radio drama and theatre performances in Göttingen and Frankfurt. Her directorial works include Tough, The Last Laugh, Sound Topography in GöttingenLove Letters, Plärren, and Hello Strangers. 

Shorts Bios of Artist Forum Coordinators:

Yinfu GAO, born in China, Germany-based performer, director, dramaturgy, and dancer. M.A Applied Theater Studies in University Gießen. She works as a research-based solo performer, who likes to explore the poetic relation between self-written texts and her own body movement. Her recent solo performance “Mulans” is based on the research of feminism history in China and self-exploration of the body movements, which opens a dialog between her and those Mulans: How do I emancipate myself as a woman?

Wei Arianne WANG, theatre composer, translator, and founder of Erised Theatre Laboratorium. Wang started to pursue her passion for performing arts in 2010 when she majored in Theatre Studies and was qualified with a gold medal in Acting Solo by LAMDA. In 2013, Wang returned to China for being a protégé of the Kun Opera actrice, Yu Wen ZHANG, studying the crafts of Gui Men Dan roles. In 2014, she performed Li Niang DU in the Peony Pavillon (Xian Zu TANG, 1598) at Northern Theatre of Kunqu in Beijing. She then became an undergraduate in the Directing programme at Shanghai Theatre Academy in 2015. One year later, she performed Green Snake (Bi Hua LI, 1986) at Asia  Pacific Theatre Festival. In 2018, she was invited to be the playwright of the theatrical production of the Tibetan Book of the Dead for Reading Aloud (J. -C. Italie, 1983) at Taipei Art University. In the same year, she performed the monologue of Sarah Kane’s 4.48 Psychosis in the exhibition Her Story at the Shanghai Himalayas Art Museum. Since 2018, Wang has started her training at Odin Teatret in Denmark. She was in In Names of Shakespeare (Ke ZHOU, 2018) and Beckett’s Play of Non-plays (W. WANG, 2018) as actrice and director. In 2019, Wang worked at Shanghai Fu Dan University Lu Wan School for Students with Disabilities where she collaborated closely with eight autistic students to create a performance as means of drama therapy. In 2022, her textual composition Letter to A Child Never Born (O. Fallaci, 1976) debuted at Shanghai Dramatic Art Centre. As a composer, Wang has centred theatrical montage and physical scores in her practice (Commemoration: Blow! Blow the kite! 2021). She has been composing theatre in places where no playhouse existed (Yet This Has Never Been a Story of Bunnies, 2022) in order to reach a broader public, notably those with scarce access to a playhouse. In Wang’s works, there has been a consistency in putting the intimacy of individuals at stake in the prism of fierce political interrogation so that it engages each spectator to compose their own poetry, and so, her laboratorium aims for the goal that “theatre is a tunnel leading us towards the truth and conscience”. Wang is currently pursuing her postgraduate studies at Sorbonne Nouvelle University in Paris under Professor Pierre Longuenesse.

Short bios of workshop coordinators: 

Aine Nakamura is an awardee of the Fulbright Fellowship in 2021-2022 (Berlin) and The Leo Bronstein  Homage Award from New York University. She is currently in a Doctoral program at the University of California, Berkeley. Nakamura’s recent solo performances include a winning work of Site-Specific Performance at the 2022 Venice Biennale at its 50th International Theatre Festival and her performance project at Berliner Festspiele’s Theatertreffen 2022. She has presented her one-woman exhibition at the Gallatin Galleries in NYC, her performances, installations, and compositions at HfM Hanns Eisler Berlin, Errant Sound, A Concert of Electronic Music in honor of Mario Davidovsky, Dias de Música Electroacústica, New York City Electroacoustic Music Festival performed with Madeleine Shapiro, October New Music Festival in Finland performed with MikroEnsemblen and Abrons Arts Center with the International Contemporary Ensemble. Her other appearances include The Two directed by Dmitry Krymov. Nakamura recently focuses on the Orality and movements of the body. Her theatricality is represented in the weaving of stories and imageries through her embodiment and sometimes objects. Her artistic quest began as a search for her own language to embrace and express herself, which cannot be told simply through one disciplinary or cultural frame. She moved closer to her woman artist identity, acknowledging her transnational complexity and ambiguity. She crosses boundaries within and outside of her body for her to be a song for inner, beings and relations. Defying traditional power structures that preclude new ways of feeling, she nurtures spiritual, artistic, and intellectual space, and multiple delicate stories in a new art she investigates as a way of showing resilience and resistance. Her research interests are voice and body; stories, theatricality, and movements; war and peace; and gender and sexuality.

Jing Wang Thomas is an award-winning artist and scenographer based in the UK, graduated from Arts, Creativity, and Education at St John’s College of the University of Cambridge (Distinction). She received a  MA in Scenography from the Royal Central School of Speech and Drama of the University of London with a scholarship from Prof. Gavin Henderson (CBE) in 2012. As a theatre practitioner and artist, her practice is informed by several important scientific thinkers, such as Niles Bohr’s philosophy-physics, Donna Haraway’s diffraction, and Karen Barad’s agential realism. Her diffractive theatre Copenhagen seeks to test whether ‘waves’ of artistic practice and theatrical discourse resonate, interfere, and align with scientists’ understanding of philosophy. In recent years her research focuses on XR (extended reality) performance and explores how scenography can work in two-fold realities. Her recent virtual reality project Life of Galileo (2022) was part of a digital research project at Cambridge University. Ballad of the Pipa (2021) is an intra-active VR piece exploring the relationship between human beings and digital scenography. Over the past 20 years, she has designed for many of the most prominent scenographies in China, the UK, and Europe, including The Diaries of John Rabe (2019) at the Berlin State Opera and Vienna Ronacher Theatre, Lao Can Impression (2019) at London Southbank Centre, Memory (2019) at the Beijing Stage Design Invitation Exhibition, The Tenant (2017) at National Portrait Gallery, 170 Days in Nanking (2017) at Jiangsu Centre for Performing Arts, Hamlet (2016) at the National Centre for Performing Arts, Beijing, Normal Love (2014) at Sadler‘s Wells Theatre in London, 27 Wagons Full of Cotton (2014) at The 1st Toga Asian Theatre Director Festival in Japan. 170 Days in Nanking (2017) was nominated as a finalist of the International Opera Awards 2018 in the UK.

Xiaoxin WANG_ERB, a PMD-licensed film and TV producer in German-speaking areas, the managing curator of the Greenmotion Film Festival, the Guest Professor at Nanjing University of the Arts, and the executive director of China Animation Art Archive Museum. Starting her profession as a showcase director at Beijing TV in 2002, she has been certified as China’s Senior Playwright License and taught at various institutions or universities: Peking University Theatre Research Institute (2004-2008), employed Playwright at China National Peking Opera Troupe (2008-2012), Lecturer at Shanghai Theatre Academy (2012-2016), Invited Professor at St Martin’s University (2016-2022), Special Fellow at Yale University Drama School (2006) and the Visiting Scholar at Beijing Film Academy(2015). She currently lives around Heidelberg, Germany, and Basel, Switzerland, focusing on the digital distribution and virtualization of Asian contemporary video arts and arthouse films, the films produced by her have received several Grand Prix awards at international film festivals and won German Film Funds.