After completing a Doctorate in Literary Sudies in Berlin, Stefanie Carp worked as a dramaturg for a number of theatres: Düsseldorfer Schauspielhaus, Theater Basel, Deutsches Schauspielhaus in Hamburg. For twelve years she belonged to the creative team working with Artistic Director Frank Baumbauer. During this time she developed a close artistic collaboration with the artist Christoph Marthaler and the stage and costume designer Anna Viebrock.
During Christoph Marthaler’s term as Artistic Director of the Zürcher Schauspielhaus, Stefanie Carp was his Co-Artistic Director and Chief Dramaturg. She spent two years as Chief Dramaturg of the Volksbühne am Rosa Luxemburg Platz under Artistic Director Frank Castorf and seven years as Theatre Director of the Wiener Festwochen (Artistic Director: Luc Bondy).
Stefanie Carp works as a dramaturg on individual productions (with Christoph Marthaler, Nicolas Stemann and others), holds a Visiting Professorship at the Deutsches Literaturinstitut in Leipzig and regularly publishes articles in a range of magazines. Since 1st November 2017 she has been Artistic Director of the Ruhrtriennale for the years 2018–2020.
He studied visual arts at the Royal Academy of Fine Arts (KASK) in Ghent and followed the preparatory programme for Master in Philosophy at the Vrije Universiteit Brussel (VUB). Since 2017 he has been programmer (performing arts) at the Beursschouwburg (Brussels), where he also conceptualises and organises focus programmes and mini-festivals (a.o. “The Future is Feminist”, “Mine The Gap”, “Poetic Practices”). Since 2012 he has been co-programmer and curator of Bâtard Festival, supporting young European makers in their artistic development. In recent years he was involved in numerous artistic projects and productions, both as a curator (“Lesfest”, “INFINI 1-15”) and as a dramaturge (“In many hands” – Kate McIntosh, “Mikado Remix” – Louis Vanhaverbeke, “Cuckoo” – Jaha Koo). Since October 2018 he became part of the new direction of Kunstenfestivaldesarts. Helives and works in Brussels.
Graduated in painting from the Tianjin Academy of Fine Arts, and in 2001–11 studied at the National Development Institute at the University of Beijing, which he graduated with an MBA. In 1990, he started and managed the Gallery of Art in Beijing Philharmonic, to become its director in 1994. The Philharmonic was China’s first theatre to reject entirely management through the administration and base it on marketing. Thanks to Qing Zhang, the Beijing Philharmonic became the pioneer of the Chinese performative arts market.
In 1999 he took the care of the Concert Hall of the Forbidden City in Beijing and later the Opera of the Centre for Culture and Art in Nanjing, establishing and implementing the idea of “performative centres network” for the first time. In 2000 the Ministry of Culture of the People’s Republic of China appointed Qing Zhang deputy director of the Chinese Symphony Orchestra. In 2006 he set up Propel Performing Arts & Media, and received the governmental nomination for the director of Tianjin Philharmonic and turned it into the cultural symbol of the city.
With plenty of experience in theatre management and brand building, he started the Lin Zhaohua Theatre Review in Beijing, for which he selected the best and most progressive dramas from China and abroad. Held six times, it attracted the greatest names in world theatre, notably Peter Brook, Krystian Lupa and Thomas Ostermeier, and their works.
In 2012, Qing Zhang won the governmental competition for running the Grand Theatre in Tianjin. With over 500 performances a year, it attracted the key representatives of the world’s theatre, which resulted in nicknaming Tianjin “the opera city”. In 2013 International Opera and Ballet Festival, and the Cao Yu International Theatre Festival, initiated by Qing Zhang, were held for the first time and three years ago Qing Zhang stood at the helm of the newly established Harbin Opera, quickly elevating it to the highest artistic level.
Recently Qing Zhang introduced an entirely new model of theatre into his country again, namely, production of top quality performances that are Chinese by their nature and content, in cooperation with the best theatres from all over the world. So far, two productions have been completed: Mo Fei, directed by Krystian Lupa and The Forging of Swords, directed by Grzegorz Jarzyna in cooperation with the TR Warszawa Theatre.
Glyn Roberts is the Festival Director of Castlemaine State Festival, Australia's largest regional arts festival. Previous to this Glyn was Creative Producer at La Boite Theatre Company and Curator of Brisbane Festival’s Theatre Republic. In 2017 Glyn co-founded Supercell Dance Festival in Brisbane. Australia's first annual international contemporary dance festival. Glyn holds a BA from Monash University and an MA from the Victorian College of the Arts. He is a graduate of the British Council’s International Festivals Academy (Edinburgh, 2016) and the Atelier for Young Festival Managers (Gwangju, 2015) and the Asialink Business Leader’s program.
Kristina Savickienė is Lithuanian theatre manager and producer. She is Vilnius University (BA in English Philology) and Vilnius Academy of Fine Arts (MA in Culture Management) graduate. She has been a lecturer on arts management at Lithuania Music and Theatre Academy and Vilnius Fine Arts Academy for the years 2013–2015. During the same time, she was Theatre Manager of the Theatre Company Cezaris Group, combining management skills and artistic vision successfully.
Since 2017, Savickienė has been Head of Artistic Department in the prestigious Lithuanian National Drama Theatre, taking care not only of artistic planning, but also educational programmes and international cooperation. One year later, she was selected as new Artistic Director of the Vilnius International Theatre Festival Sirenos with which she was connected professionally since 2012.
Her other activities include translating books and articles, but also – taking part in many organised programmes for volunteers in which she has been separated from her theatrical roots but she has been using her social and coordinating experiences.
He studied History at St. Andrews University in Scotland. He left Great Britain and has lived and worked in Germany, Belgium, or France since 1985. Initially starting out as a comic actor, specialising in public and found spaces, from the 1990s he branched out into freelance directing, writing and producing.
Since 2001, Mark Yeoman has been Artistic Director of the Noorderzon Performing Arts Festival in the Netherlands, one of a growing number of key European festivals pioneering new ways of presenting contemporary theatre and dance, within a broad-base accessible environment. Since 2016, he is also Artistic Director of the Grand Theatre in Groningen, a mid-size producing theatre focusing mainly on younger independent theatre and dance makers.
Outside his regular activities, Yeoman was also the first Intendant (2014–2016) on the “Fast Forward” programme at the Fonds Podiumkunsten/Dutch Arts Council, establishing international co-producing opportunities for outstanding younger generation artists; and was a mentor for international programmers on the EU-funded “Space”programme.