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OCR
POETIC RITUALITY IN THE THEATER AND LITERATURE also took part in the Ars Omnis Cultural Association’s Italian program. She was awarded her master’s degree in theater studies in 2019, also at the Karoli Gaspar University of the Reformed Church in Hungary. She has been looking for adventures in the world ever since. Anna Lenz studied comparative literature, English, and pictorial science at the universities of Saarbriicken, Bergamo, and Bielefeld. She is currently a research assistant in the Department of Literature at Bielefeld University and is writing her doctoral thesis on Elfriede Jelinek’s history plays. Anikó Lukács began her university studies in 2011 and was awarded her BA degree in Literature and Iheater History. In 2015 she continued her studies at the Károli Gáspár University of the Reformed Church. During the two years of her Theater Studies master, she turned her attention to modern American dramas, especially to Edward Albees play Whos Afraid of Virginia Woolf? and its possible connection with Antonin Artaud’s vision of the Theater of Cruelty, at the center of rituality, which became the subject of her PhD thesis. Currently she is a student at Pazmany Péter Catholic University. Enikő Sepsi is a university professor at the Károli Gáspár University of the Reformed Church in Hungary, Director of the Institute of Arts Studies and General Humanities, Director of the Benda Kálmán College of Excellence in Humanities and Social Sciences, guest professor and research fellow in foreign institutions (Sorbonne, ENS de Paris, EPHE, Lyon 3, Université de Lille, Paris XII). She holds a PhD from Sorbonne University and a habilitated doctor degree from Pázmány Péter Catholic University. Research areas: modern and contemporary theater and poetry, religious studies. List of most important publications in foreign languages related to the topic: Theatrum philosophicum du dépassement du moi, in G. Gutbrod — J. Janiaud — E. Sepsi (eds.): Simone Weil - philosophie, mystique, esthétique, Paris, Archives Karéline, 2012, 35-53; Enikő Sepsi (ed.): Le theätre et le sacre - autour de l’oeuvre de Valère Novarina, Budapest, Racié Kiad6, 2009; “On Bearing Witness to a Poetic Ritual: Robert Wilson’s Deafman Glance as seen by Janos Pilinszky,” in Jay Malarcher (ed.): Text & Presentation, 2017, The Comparative Drama Conference Series, 14, Jefferson (N.C.), McFarland, 2018, 167-179; Ritudlék Valère Novarina miiveiben, in E. Sepsi — T. Sára (eds.): Mellékzörej. Írások Visky András 60. születésnapjára, Budapest/Kolozsvär, KRE — LHarmattan — Koinónia, Károli Könyvek, 2017, 177-187; « Lespace est la matrice du texte. s A propos du théátre de Valere Novarina, in S. Kalla (ed.): Espace-temps & mémoire de l'œuvre d'art. Esthétique & herméneutique, frontières de l’image & du sens, Chine-France 2, Paris, L'Harmattan, Collection EIDOS, Série RETINA, 2016, 69-84; Enik6 Sepsi: Theatrical Approaches to Mystery: “Kenosis” in Valère Novarina’s Works, in + 282 +
