Seite 284 [284]
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 +