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.

Her performances and workshops have been programmed by University of Oxford, Jawaharlal Nehru University, Sophiensale, Serendipity Arts Festival, National Centre for Biological Sciences, Forum Transregionale —ZMO, among others. Anuja is the co-curator of the international workshop series on Documentary Theatre with Kai Tuchmann—that programmed artists like Gobsquad Collective, Boris Nikitin, Rimini Protokoll, Zhao Chuan. She co-curated VR based performances for the Serendipity Arts Virtual 2020.

As visiting faculty at Srishti Institute of Art, Design and Technology she leads practice-based pedagogy. She has written on film and performance for Nang Magazine, Art India Bioscope, and Hakara.

Her recent work The Lonely Hearts Club, started as an instagram handle in March 2020, is now an online show about voyeurism,  relationships with screens and erotica. Her newest live performance premiered at Sophiensale, Berlin in November 2021— I Promise the Bearer frames questions about art, funding and theatre. She is the 2022 research fellow at the archives of the National Centre for Biological Studies.

Kai Tuchmann graduated in directing from Hochschule für Schauspielkunst Ernst Busch in Berlin. He works as a dramaturg, director and academic. In his internationally shown documentary theater works, Kai has explored the afterlife of the Cultural Revolution in contemporary China, the impact of urbanization on migrant workers in Europe and Asia, and the role of the body in the face of digital technologies. 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 and documenta-institute.

As a visiting professor at the Central Academy of Drama in Beijing, he helped develop the curriculum for the BA Dramaturgy program there. Kai has also researched the history of dramaturgy as a Fulbright Scholar at the Graduate Center of the City University New York, and in 2024 he has been a curator for the Ludics Seminar at Harvard University.

He is the co-translator of Li Yinan`s 当代剧场访谈录. Juchang Performance in Contemporary Chinese Society (1980–2020). His recent publication is the edited volume Postdramatic Dramaturgies — Resonances between Asia and Europe (transcript, 2022).