Dr Katerina Paramana - Dr. Katerina Paramana is an artist and scholar, and Senior Lecturer (Associate Professor) in Theatre and Performance at Brunel University London. Her performance work draws on theatre, the visuals arts, and dance and takes the form of performance, installation-, and lecture-performance. Through its consideration of the relationship between image, body, time, context, and the encounter with the spectator, her work explores the political, philosophical, social, and ethical dimensions and potentials of performance. It has been presented in theatres, studios, and galleries in the UK, US, and Europe, in venues such as Gasworks Gallery, The White Building, ]performance s p a c e [, Laban Theatre, The Place, and Toynbee Studios in London; the Institute of Design at Stanford University; the Kultuhuset in Stockholm; Galeria Boavista in Lisbon; and the Michael Cacoyannis Theatre in Athens. Katerina has also collaborated as a performer with various companies and artists in the UK and the US (e.g. Tino Sehgal, Ivana Müller, The Famous Lauren Barri Holstein, Bojana Cvejic and Christine De Smedt, Janez Janša, Liz Lerman Dance Exchange, Nejla Yatkin, Deviated Theatre, Lea Anderson, Simon Vincenzi, and Risa Jaroslow). She has performed at venues including the Barbican Theatre, National Theatre Studio, Tate Modern, Southbank Centre, Laban Theatre, and Siobhan Davies Studios in London; the Michael Cacoyannis Theatre and Duncan Dance Research Centre in Athens; the Kennedy Centre, Kogod Theatre, Greenberg Theatre, Kay Theatre, GALA Theatre at Tivoli Square, Dance Place, and the 9:30 Club in Washington, D.C.; the Chicago Cultural Centre and the Chicago Symphony Orchestra Centre in Chicago; and the Lincoln Centre in NYC.
Katerina's interdisciplinary research is concerned with the socio-political and ethical dimensions of contemporary performance. It brings into conversation performance, critical theory, political economy, continental philosophy, and cultural and social theory. Katerina was on Research Leave during the 2019-20 academic year, having been awarded the research ‘BRIEF Award’ (‘BRUNEL RESEARCH INITIATIVE AND ENTERPRISE FUND’). Her book Performance, Dance and Political Economy: Bodies at the End of the World (2021, Paramana and Gonzalez eds.) was published with Bloomsbury Academic, while the volume Art and Dance in Dialogue: Body, Space, Object(2020, Whatley, Sarah, Racz, Imogen, Paramana, Katerina, and Crawley, Marie-Louise eds.) was published with Palgrave Macmillan. Her research has also been published with refereed academic journals including Performance Research, Contemporary Theatre Review, GPS: Global Performance Studies, and Dance Research. She was an Associate Researcher with Performance Matters, an AHRC-funded creative research project and collaboration between University of Roehampton, London, Goldsmiths, University of London, and the Live Art Development Agency, investigating the cultural value of performance (directed by Adrian Heathfield, Gavin Butt, and Lois Keidan). Katerina also worked as a postdoctoral researcher at the Centre for Dance Research (C-DaRE) at Coventry University and from 2015-2018, she was a Participating Artist of Sadler’s Wells Summer University, which was led by Jonathan Burrows and Eva Martinez.
Katerina has supervised and examined BA, MA, and PhD dissertations (practice-based, practice-as-research, and fully-written) and has taught theory and practice across live art, theatre, performance, and dance at undergraduate and postgraduate levels. She is Fellow of the Higher Education Adacemy (FHEA).
Katerina is also co-founder and Series co-Editor of the new Interdisciplinary Book Series Dance in Dialogue, published with Bloomsbury Academic. She is on the techne Peer Review College (AHRC Doctoral Training Partnership) and on the Editorial Board of Body, Space, & Technology journal, and has served on the Board of Directors of Performance Studies International (PSi) and on the Executive Committee of the Society for Dance Research.
She holds a PhD in Theatre and Performance from University of Roehampton, London, an MA in Choreography from Trinity Laban Conservatoire of Music and Dance, a BA in Theatre, and a BA in Dance from University of Maryland, College Park (US). Her PhD studies, supervised by Professor Joe Kelleher and Dr Anna Pakes and examined by Professor Nicholas Ridout and Dr Stacey Prickett, were funded by the Alexander S. Onassis Public Benefit Foundation.