Anuja Ghosalkar is the founder of Drama Queen—a Documentary theatre company, evolving a unique form of theatre in India since 2015. Her practice focuses on personal histories, archival absences and blurring the hierarchies between audience and performer—to extend the idea of theatre to create audacious work.

Iterations around form and process, modes of (social) media, sites, technologies, reclaiming narratives on gender and intimacy are critical to her performance making and pedagogy.

As artist-in-residence at Art Lab Gnesta, Sweden she created her debut show, Lady Anandi which travelled extensively across India, and showcased independently in Berlin and Stockholm. Her performances and workshops have been programmed by University of Oxford, Jawaharlal Nehru University, Serendipity Arts Festival, National Centre for Biological Sciences, Forum Transregionale –ZMO, First Post, Kerala Museum, FLAME University among others. Anuja is the co-curator of the international workshop series on Documentary Theatre with her German collaborator—that programmed artists like Boris Nikitin, Rimini Protokoll, Zhao Chuan and Gobsquad. As visiting faculty at Srishti Institute of Art, Design and Technology since 2016, she leads practice based pedagogy. In the past, she was programme officer at India Foundation for the Arts, film programmer for Experimenta and India researcher for University of Westminster. She is an Art Think South Asia Fellow (2017-18) and has written on film and performance for Nang Magazine, Art India, Bioscope, Hakara, Scroll, and Ladies Finger.

Kai Tuchmann is a director and dramaturge whose theatre works circle around the very specific relationship that theatre claims with events in the real world. In this context Kai is interested in theatre’s division between spectators and performers—which turns theatre into a paradigmatic site of reality construction. His works engage in particular with the question of how technologies of theatre, ranging from acting techniques to the utilization of new media in performance, contribute to the production of truth claims and reality effects. Kai is developing his approach of theatre in close collaboration with artists from China and India. His stagings and dramaturgies were invited, among others, to I Dance Hong Kong, Seoul Marginal Theatre Festival, Zürcher Theaterspektakel, Kunstfest Weimar, Festival d’Automne à Paris, Wuzhen Theatre Festival, Asia Society New York, and OCAT Shenzhen. Thematically, these works examine, among other things, the afterlife of the Cultural Revolution in present-day China, the effects of urban development on the population of migrant workers, and the application of digital technologies.

Kai studied Directing at Drama Academy Ernst Busch, Berlin. He is a member of Beijing’s Central Academy of Drama – Dramaturgy Faculty, where he develops, together with Li Yinan, the curriculum for the first Dramaturgy program in Asia. He has taught and lectured at Beijing University, University of California Santa Cruz, Jawaharlal Nehru University New Delhi. Currently he is a Fulbright Scholar at The Graduate Center, City University New York. Kai published articles and chapter contributions on dramaturgy and documentary theatre in several books (e.g. for Routledge and the Brecht Yearbook) and he has written for Theatre Times and the German weekly Der Freitag.