{"id":302,"date":"2024-07-09T13:46:54","date_gmt":"2024-07-09T11:46:54","guid":{"rendered":"https:\/\/doctorat.teatrufilm.ubbcluj.ro\/?page_id=302"},"modified":"2026-06-12T17:16:44","modified_gmt":"2026-06-12T15:16:44","slug":"","status":"publish","type":"page","link":"https:\/\/doctorat.teatrufilm.ubbcluj.ro\/en\/conducatori\/teatru-si-artele-spectacolului\/andras-visky\/","title":{"rendered":"","raw":""},"content":{"rendered":"\n<h2 class=\"wp-block-heading has-text-align-center\"><\/h2>\n\n\n\n<h2 class=\"wp-block-heading has-text-align-center\">Prof. univ. dr. habil.<br>Andr\u00e1s Visky<\/h2>\n\n\n\n<p class=\"has-text-align-center\">andras.visky@ubbcluj.ro<\/p>\n\n\n\n<p class=\"has-text-align-center\">habilitation: 4134 \/ 28.05.2019<\/p>\n\n\n\n<p class=\"has-text-align-center\">Phd. students: 5<\/p>\n\n\n\n<p class=\"has-text-align-center\"><strong>Linkuri spre profiluri academice:<\/strong><\/p>\n\n\n\n<p class=\"has-text-align-center\">Google Scholar:<\/p>\n\n\n\n<p class=\"has-text-align-center\"> <a href=\"https:\/\/scholar.google.com\/citations?user=5ncSMlwAAAAJ&amp;hl=en\">https:\/\/scholar.google.com\/citations?user=5ncSMlwAAAAJ&amp;hl=en<\/a><\/p>\n\n\n\n<p class=\"has-text-align-center\">Research Gate:<\/p>\n\n\n\n<p class=\"has-text-align-center\">Academia.edu:<\/p>\n\n\n\n<p class=\"has-text-align-center\"><a href=\"https:\/\/independent.academia.edu\/AndrasVisky\">https:\/\/independent.academia.edu\/AndrasVisky<\/a><\/p>\n\n\n\n<p class=\"has-text-align-center\"><strong><a href=\"https:\/\/doctorat.teatrufilm.ubbcluj.ro\/wp-content\/uploads\/2026\/06\/Macheta-CV_Visky.pdf\">CV full<\/a><\/strong><\/p>\n\n\n\n<p class=\"has-text-align-center\"><strong><a href=\"https:\/\/doctorat.teatrufilm.ubbcluj.ro\/wp-content\/uploads\/2026\/06\/VISKY_ANDRAS_CV.pdf\">CV_short_EN_RO<\/a><\/strong><\/p>\n\n\n\n<p class=\"has-text-align-center\"><strong><a href=\"https:\/\/doctorat.teatrufilm.ubbcluj.ro\/wp-content\/uploads\/2026\/06\/Fisa-sintetica-VISKY_2026.pdf\">FI\u0218\u0102 STANDARDE CNATDCU (punctaje)<\/a><\/strong><\/p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<div class=\"wp-block-media-text is-stacked-on-mobile\" style=\"grid-template-columns:37% auto\"><figure class=\"wp-block-media-text__media\"><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"300\" src=\"https:\/\/doctorat.teatrufilm.ubbcluj.ro\/wp-content\/uploads\/2024\/03\/andras-visky-300x300-1.png\" alt=\"\" class=\"wp-image-117 size-full\" srcset=\"https:\/\/doctorat.teatrufilm.ubbcluj.ro\/wp-content\/uploads\/2024\/03\/andras-visky-300x300-1.png 300w, https:\/\/doctorat.teatrufilm.ubbcluj.ro\/wp-content\/uploads\/2024\/03\/andras-visky-300x300-1-150x150.png 150w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" \/><\/figure><div class=\"wp-block-media-text__content\">\n<p>Andr\u00e1s Visky specializes in Hamburg theater, stage adaptation, and contemporary playwriting.<\/p>\n\n\n\n<p>He earned his Ph.D. in theater studies from the University of Theater and Film in Budapest, with a dissertation on the relationship between space and text, and the possibilities for stage adaptation of Imre Kert\u00e9sz\u2019s novel <em>K\u00e1disz for an Unborn Child<\/em>.<\/p>\n\n\n\n<p>He conducts research in the fields of theater theory (theater as an urban ritual) and the practice of stage dramaturgy in contemporary theater. He is known for coining the term \u201cbarrack dramaturgy.\u201d Jozefina Komporaly (ed.): Andr\u00e1s Visky\u2019s Barrack Dramaturgy. Memories of the Body (Bristol-Chicago, Intellect, 2017)<\/p>\n\n\n\n<p>His publications include: Mire val\u00f3 a sz\u00ednh\u00e1z (Budapest, L\u2019Harmattan \u2013 KRE, 2020); Megv\u00e1ltozhat-e egy ember. (Cluj, KOMP-PRESS Korunk, 2009); A k\u00fcl\u00f6nb\u00f6z\u0151s\u00e9g vid\u00e9k\u00e9n. (Budapest, Vigilia, 2007); \u00cdrni \u00e9s (nem) rendezni (Cluj, Koin\u00f3nia, 2002)<\/p>\n\n\n\n<p>As a renowned playwright, his plays have been staged in professional theaters in Romania, Hungary, Bulgaria, France, Germany, the United Kingdom, Serbia, and the United States (Chicago, New York, Washington, D.C.). As a playwright, he has worked with directors such as L\u00e1szl\u00f3 Bocs\u00e1rdi, Karin Coonrod, Silviu Purc\u0103rete, G\u00e1bor Tompa, Mihai M\u0103niu\u0163iu, Robert Woodruff, and David Zinder.<\/p>\n<\/div><\/div>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<h4 class=\"wp-block-heading\">Research topics for admission<\/h4>\n\n\n<div class=\"lightweight-accordion\"><details><summary class=\"lightweight-accordion-title\"><span>Research topics<\/span><\/summary><div class=\"lightweight-accordion-body\">\n\n<p><strong>Dramaturgia \u00e9s sz\u00ednh\u00e1zi praxis \/ Dramaturgie \u015fi practic\u0103 teatral\u0103:<\/strong><\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>A hamburgi dramaturgia sz\u00e9tfejl\u0151d\u00e9se&nbsp; \/ Transfigurarea tradi\u0163iei dramaturgiei hamburgiene \u00een teatrul contemopran<\/li>\n\n\n\n<li>Az irodalmi dr\u00e1ma ut\u00e1ni dr\u00e1ma eszt\u00e9tik\u00e1ja \/ Esetica scriiturii teatrale post-literare<\/li>\n\n\n\n<li>Kort\u00e1rs dr\u00e1ma \u00e9s t\u00e1rsadalmi relevancia \/ Dramaturgia contemporan\u0103 \u015fi relevan\u0163a social-politic\u0103 a actului teatral<\/li>\n\n\n\n<li>Dr\u00e1ma\u00edr\u00f3k: \u00e9letm\u0171 \u00e9s sz\u00ednh\u00e1zi recepci\u00f3 \/ Dramaturgi: opera litarar\u0103 \u015fi receptare teatral\u0103<\/li>\n\n\n\n<li>A Beckett ut\u00e1ni Beckett&nbsp; \/ Dramaturgii post-beckettiene<\/li>\n<\/ul>\n\n\n\n<p><strong>Sz\u00ednh\u00e1zi nyelvek \u00e9s besz\u00e9dm\u00f3dok \/ Estetici teatrale contemporane:<\/strong><\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Ritualit\u00e1s \u00e9s performansz \/ Ritualitate \u015fi performance<\/li>\n\n\n\n<li>Kort\u00e1rs sz\u00ednh\u00e1z \u00e9s performat\u00edv fordulat \/ \u201ePerformative shift\u201d \u015fi spectacolul de teatru contemporan<\/li>\n\n\n\n<li>Rendez\u0151i eszt\u00e9tik\u00e1k a kort\u00e1rs sz\u00ednh\u00e1zban \/ Estetici regizorale \u00een teatrul contemporan<\/li>\n<\/ul>\n\n<\/div><\/details><\/div>\n\n<div class=\"lightweight-accordion\"><details><summary class=\"lightweight-accordion-title\"><span>Recommended literature<\/span><\/summary><div class=\"lightweight-accordion-body\">\n\n<p>Abramovi\u0107, Marina: The Artist is Present, MoMA, Mew York, 2010.<\/p>\n\n\n\n<p>Allain, Paul &amp; Harvie, Jen:&nbsp;<em>Theatre and Performance<\/em>. London &amp; New York, Routledge, 2006.<\/p>\n\n\n\n<p>Artaud, Antonin:&nbsp;<em>A sz\u00ednh\u00e1z \u00e9s az istenek.&nbsp;<\/em>Orpheusz K\u00f6nyvek, Budapest, 1999.<\/p>\n\n\n\n<p>Banu, Georges:&nbsp;<em>Les m\u00e9moires du th\u00e9\u00e2tre.&nbsp;<\/em>Actes Sud, Paris, 1987.<\/p>\n\n\n\n<p>Badiou, Alain-Truong, Nicolas: Eloge du theatre. Flamarion, Paris, 2013<\/p>\n\n\n\n<p>Barba, Eugenio:&nbsp;<em>Pap\u00edrkenu. Bevezet\u00e9s a sz\u00ednh\u00e1zi antropl\u00f3gi\u00e1ba.&nbsp;<\/em>Kij\u00e1rat Kiad\u00f3, Budapest, 2001.<\/p>\n\n\n\n<p>Barba, Eugenio \u2013 Savarese, Nicola:&nbsp;<em>A Dictinory of Theatre Anthropology.&nbsp;<\/em>Routledge, London, 1991.<\/p>\n\n\n\n<p>B\u00e9csy Tam\u00e1s:&nbsp;<em>R\u00edtus \u00e9s dr\u00e1ma<\/em>. M\u00e9cs L\u00e1szl\u00f3 Lap- \u00e9s K\u00f6nyvkiad\u00f3, Budapest, 1992.<\/p>\n\n\n\n<p>Derrida, Jacques:&nbsp;<em>A kegyetlens\u00e9g sz\u00ednh\u00e1za \u00e9s a reprezent\u00e1ci\u00f3 bez\u00e1r\u00f3d\u00e1sa.&nbsp;<\/em>In: Gondolat \u2013 Jel, 1994. I-II. 3-17.<\/p>\n\n\n\n<p>Fischer- Lichte, Erika:&nbsp;<em>A dr\u00e1ma t\u00f6rt\u00e9nete.&nbsp;<\/em>Jelenkor Kiad\u00f3, P\u00e9cs, 2001.<\/p>\n\n\n\n<p>Fischer-Lichte, Erika:&nbsp;<em>A performativiit\u00e1s eszt\u00e9tik\u00e1ja.&nbsp;&nbsp;<\/em>Balassi Kiad\u00f3, Budapest, 2009.<\/p>\n\n\n\n<p>Grotowski, Jerzy:&nbsp;<em>Sz\u00ednh\u00e1z \u00e9s ritu\u00e1l\u00e9<\/em>. Kalligram, Pozsony, 1999.<\/p>\n\n\n\n<p>Komporaly, Jozefina ed.:&nbsp;<em>Andr\u00e1s Visky\u2019s Barrack Dramaturgy. Memories of the Body.<\/em>&nbsp;Intellect Bristol, UK \u2013 Chicago, US, 2017.<\/p>\n\n\n\n<p>Lehmann, Hans-Thies:&nbsp;<em>Posztdramatikus sz\u00ednh\u00e1z<\/em>. Balassi Kiad\u00f3, Budapest, 2009.<\/p>\n\n\n\n<p>Romanska, Magda:&nbsp;<em>The Routledge Companion to Dramaturgy<\/em>. Routledge, London \u2013 New York, 2015.<\/p>\n\n\n\n<p>Schechner, Richard:&nbsp;<em>A performance. Essz\u00e9k a sz\u00ednh\u00e1zi el\u0151ad\u00e1s elm\u00e9let\u00e9r\u0151l.&nbsp;<\/em>M\u00fazs\u00e1k, h.n., 1984.<\/p>\n\n\n\n<p>Turner, Victor:&nbsp;<em>A ritu\u00e1lis folyamat.&nbsp;<\/em>Osiris Kiad\u00f3, Budapest, 2002.<\/p>\n\n\n\n<p>Visky Andr\u00e1s:&nbsp;&nbsp;<em>A k\u00fcl\u00f6nb\u00f6z\u0151s\u00e9g vid\u00e9k\u00e9n<\/em>. Vigilia, Budapest, 2007.<\/p>\n\n\n\n<p>Visky Andr\u00e1s [szerk.]:&nbsp;<em>Sz\u00ednh\u00e1z \u00e9s r\u00edtus.<\/em>&nbsp;Koin\u00f3nia Kiad\u00f3, Kolozsv\u00e1r, 1997.<\/p>\n\n<\/div><\/details><\/div>\n\n\n<p><\/p>\n","protected":false,"raw":"<!-- wp:heading {\"textAlign\":\"center\"} -->\n<h2 class=\"wp-block-heading has-text-align-center\"><\/h2>\n<!-- \/wp:heading -->\n\n<!-- wp:heading {\"textAlign\":\"center\"} -->\n<h2 class=\"wp-block-heading has-text-align-center\">Prof. univ. dr. habil.<br>Andr\u00e1s Visky<\/h2>\n<!-- \/wp:heading -->\n\n<!-- wp:paragraph {\"align\":\"center\"} -->\n<p class=\"has-text-align-center\">andras.visky@ubbcluj.ro<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph {\"align\":\"center\"} -->\n<p class=\"has-text-align-center\">habilitation: 4134 \/ 28.05.2019<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph {\"align\":\"center\"} -->\n<p class=\"has-text-align-center\">Phd. students: 5<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph {\"align\":\"center\"} -->\n<p class=\"has-text-align-center\"><strong>Linkuri spre profiluri academice:<\/strong><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph {\"align\":\"center\"} -->\n<p class=\"has-text-align-center\">Google Scholar:<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph {\"align\":\"center\"} -->\n<p class=\"has-text-align-center\"> <a href=\"https:\/\/scholar.google.com\/citations?user=5ncSMlwAAAAJ&amp;hl=en\">https:\/\/scholar.google.com\/citations?user=5ncSMlwAAAAJ&amp;hl=en<\/a><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph {\"align\":\"center\"} -->\n<p class=\"has-text-align-center\">Research Gate:<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph {\"align\":\"center\"} -->\n<p class=\"has-text-align-center\">Academia.edu:<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph {\"align\":\"center\"} -->\n<p class=\"has-text-align-center\"><a href=\"https:\/\/independent.academia.edu\/AndrasVisky\">https:\/\/independent.academia.edu\/AndrasVisky<\/a><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph {\"align\":\"center\"} -->\n<p class=\"has-text-align-center\"><strong><a href=\"https:\/\/doctorat.teatrufilm.ubbcluj.ro\/wp-content\/uploads\/2026\/06\/Macheta-CV_Visky.pdf\">CV full<\/a><\/strong><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph {\"align\":\"center\"} -->\n<p class=\"has-text-align-center\"><strong><a href=\"https:\/\/doctorat.teatrufilm.ubbcluj.ro\/wp-content\/uploads\/2026\/06\/VISKY_ANDRAS_CV.pdf\">CV_short_EN_RO<\/a><\/strong><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph {\"align\":\"center\"} -->\n<p class=\"has-text-align-center\"><strong><a href=\"https:\/\/doctorat.teatrufilm.ubbcluj.ro\/wp-content\/uploads\/2026\/06\/Fisa-sintetica-VISKY_2026.pdf\">FI\u0218\u0102 STANDARDE CNATDCU (punctaje)<\/a><\/strong><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:separator -->\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n<!-- \/wp:separator -->\n\n<!-- wp:media-text {\"mediaId\":117,\"mediaLink\":\"https:\/\/doctorat.teatrufilm.ubbcluj.ro\/en\/conducatori\/teatru-si-artele-spectacolului\/andras-visky-300x300-1\/\",\"mediaType\":\"image\",\"mediaWidth\":37} -->\n<div class=\"wp-block-media-text is-stacked-on-mobile\" style=\"grid-template-columns:37% auto\"><figure class=\"wp-block-media-text__media\"><img src=\"https:\/\/doctorat.teatrufilm.ubbcluj.ro\/wp-content\/uploads\/2024\/03\/andras-visky-300x300-1.png\" alt=\"\" class=\"wp-image-117 size-full\"\/><\/figure><div class=\"wp-block-media-text__content\"><!-- wp:paragraph {\"placeholder\":\"Con\u021binut...\"} -->\n<p>Andr\u00e1s Visky specializes in Hamburg theater, stage adaptation, and contemporary playwriting.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>He earned his Ph.D. in theater studies from the University of Theater and Film in Budapest, with a dissertation on the relationship between space and text, and the possibilities for stage adaptation of Imre Kert\u00e9sz\u2019s novel <em>K\u00e1disz for an Unborn Child<\/em>.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>He conducts research in the fields of theater theory (theater as an urban ritual) and the practice of stage dramaturgy in contemporary theater. He is known for coining the term \u201cbarrack dramaturgy.\u201d Jozefina Komporaly (ed.): Andr\u00e1s Visky\u2019s Barrack Dramaturgy. Memories of the Body (Bristol-Chicago, Intellect, 2017)<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>His publications include: Mire val\u00f3 a sz\u00ednh\u00e1z (Budapest, L\u2019Harmattan \u2013 KRE, 2020); Megv\u00e1ltozhat-e egy ember. (Cluj, KOMP-PRESS Korunk, 2009); A k\u00fcl\u00f6nb\u00f6z\u0151s\u00e9g vid\u00e9k\u00e9n. (Budapest, Vigilia, 2007); \u00cdrni \u00e9s (nem) rendezni (Cluj, Koin\u00f3nia, 2002)<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>As a renowned playwright, his plays have been staged in professional theaters in Romania, Hungary, Bulgaria, France, Germany, the United Kingdom, Serbia, and the United States (Chicago, New York, Washington, D.C.). As a playwright, he has worked with directors such as L\u00e1szl\u00f3 Bocs\u00e1rdi, Karin Coonrod, Silviu Purc\u0103rete, G\u00e1bor Tompa, Mihai M\u0103niu\u0163iu, Robert Woodruff, and David Zinder.<\/p>\n<!-- \/wp:paragraph --><\/div><\/div>\n<!-- \/wp:media-text -->\n\n<!-- wp:separator -->\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n<!-- \/wp:separator -->\n\n<!-- wp:heading {\"level\":4} -->\n<h4 class=\"wp-block-heading\">Research topics for admission<\/h4>\n<!-- \/wp:heading -->\n\n<!-- wp:lightweight-accordion\/lightweight-accordion {\"title\":\"Research topics\"} -->\n<!-- wp:paragraph -->\n<p><strong>Dramaturgia \u00e9s sz\u00ednh\u00e1zi praxis \/ Dramaturgie \u015fi practic\u0103 teatral\u0103:<\/strong><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:list -->\n<ul class=\"wp-block-list\"><!-- wp:list-item -->\n<li>A hamburgi dramaturgia sz\u00e9tfejl\u0151d\u00e9se&nbsp; \/ Transfigurarea tradi\u0163iei dramaturgiei hamburgiene \u00een teatrul contemopran<\/li>\n<!-- \/wp:list-item -->\n\n<!-- wp:list-item -->\n<li>Az irodalmi dr\u00e1ma ut\u00e1ni dr\u00e1ma eszt\u00e9tik\u00e1ja \/ Esetica scriiturii teatrale post-literare<\/li>\n<!-- \/wp:list-item -->\n\n<!-- wp:list-item -->\n<li>Kort\u00e1rs dr\u00e1ma \u00e9s t\u00e1rsadalmi relevancia \/ Dramaturgia contemporan\u0103 \u015fi relevan\u0163a social-politic\u0103 a actului teatral<\/li>\n<!-- \/wp:list-item -->\n\n<!-- wp:list-item -->\n<li>Dr\u00e1ma\u00edr\u00f3k: \u00e9letm\u0171 \u00e9s sz\u00ednh\u00e1zi recepci\u00f3 \/ Dramaturgi: opera litarar\u0103 \u015fi receptare teatral\u0103<\/li>\n<!-- \/wp:list-item -->\n\n<!-- wp:list-item -->\n<li>A Beckett ut\u00e1ni Beckett&nbsp; \/ Dramaturgii post-beckettiene<\/li>\n<!-- \/wp:list-item --><\/ul>\n<!-- \/wp:list -->\n\n<!-- wp:paragraph -->\n<p><strong>Sz\u00ednh\u00e1zi nyelvek \u00e9s besz\u00e9dm\u00f3dok \/ Estetici teatrale contemporane:<\/strong><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:list -->\n<ul class=\"wp-block-list\"><!-- wp:list-item -->\n<li>Ritualit\u00e1s \u00e9s performansz \/ Ritualitate \u015fi performance<\/li>\n<!-- \/wp:list-item -->\n\n<!-- wp:list-item -->\n<li>Kort\u00e1rs sz\u00ednh\u00e1z \u00e9s performat\u00edv fordulat \/ \u201ePerformative shift\u201d \u015fi spectacolul de teatru contemporan<\/li>\n<!-- \/wp:list-item -->\n\n<!-- wp:list-item -->\n<li>Rendez\u0151i eszt\u00e9tik\u00e1k a kort\u00e1rs sz\u00ednh\u00e1zban \/ Estetici regizorale \u00een teatrul contemporan<\/li>\n<!-- \/wp:list-item --><\/ul>\n<!-- \/wp:list -->\n<!-- \/wp:lightweight-accordion\/lightweight-accordion -->\n\n<!-- wp:lightweight-accordion\/lightweight-accordion {\"title\":\"Recommended literature\"} -->\n<!-- wp:paragraph -->\n<p>Abramovi\u0107, Marina: The Artist is Present, MoMA, Mew York, 2010.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Allain, Paul &amp; Harvie, Jen:&nbsp;<em>Theatre and Performance<\/em>. London &amp; New York, Routledge, 2006.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Artaud, Antonin:&nbsp;<em>A sz\u00ednh\u00e1z \u00e9s az istenek.&nbsp;<\/em>Orpheusz K\u00f6nyvek, Budapest, 1999.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Banu, Georges:&nbsp;<em>Les m\u00e9moires du th\u00e9\u00e2tre.&nbsp;<\/em>Actes Sud, Paris, 1987.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Badiou, Alain-Truong, Nicolas: Eloge du theatre. Flamarion, Paris, 2013<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Barba, Eugenio:&nbsp;<em>Pap\u00edrkenu. Bevezet\u00e9s a sz\u00ednh\u00e1zi antropl\u00f3gi\u00e1ba.&nbsp;<\/em>Kij\u00e1rat Kiad\u00f3, Budapest, 2001.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Barba, Eugenio \u2013 Savarese, Nicola:&nbsp;<em>A Dictinory of Theatre Anthropology.&nbsp;<\/em>Routledge, London, 1991.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>B\u00e9csy Tam\u00e1s:&nbsp;<em>R\u00edtus \u00e9s dr\u00e1ma<\/em>. M\u00e9cs L\u00e1szl\u00f3 Lap- \u00e9s K\u00f6nyvkiad\u00f3, Budapest, 1992.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Derrida, Jacques:&nbsp;<em>A kegyetlens\u00e9g sz\u00ednh\u00e1za \u00e9s a reprezent\u00e1ci\u00f3 bez\u00e1r\u00f3d\u00e1sa.&nbsp;<\/em>In: Gondolat \u2013 Jel, 1994. I-II. 3-17.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Fischer- Lichte, Erika:&nbsp;<em>A dr\u00e1ma t\u00f6rt\u00e9nete.&nbsp;<\/em>Jelenkor Kiad\u00f3, P\u00e9cs, 2001.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Fischer-Lichte, Erika:&nbsp;<em>A performativiit\u00e1s eszt\u00e9tik\u00e1ja.&nbsp;&nbsp;<\/em>Balassi Kiad\u00f3, Budapest, 2009.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Grotowski, Jerzy:&nbsp;<em>Sz\u00ednh\u00e1z \u00e9s ritu\u00e1l\u00e9<\/em>. Kalligram, Pozsony, 1999.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Komporaly, Jozefina ed.:&nbsp;<em>Andr\u00e1s Visky\u2019s Barrack Dramaturgy. Memories of the Body.<\/em>&nbsp;Intellect Bristol, UK \u2013 Chicago, US, 2017.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Lehmann, Hans-Thies:&nbsp;<em>Posztdramatikus sz\u00ednh\u00e1z<\/em>. Balassi Kiad\u00f3, Budapest, 2009.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Romanska, Magda:&nbsp;<em>The Routledge Companion to Dramaturgy<\/em>. Routledge, London \u2013 New York, 2015.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Schechner, Richard:&nbsp;<em>A performance. Essz\u00e9k a sz\u00ednh\u00e1zi el\u0151ad\u00e1s elm\u00e9let\u00e9r\u0151l.&nbsp;<\/em>M\u00fazs\u00e1k, h.n., 1984.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Turner, Victor:&nbsp;<em>A ritu\u00e1lis folyamat.&nbsp;<\/em>Osiris Kiad\u00f3, Budapest, 2002.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Visky Andr\u00e1s:&nbsp;&nbsp;<em>A k\u00fcl\u00f6nb\u00f6z\u0151s\u00e9g vid\u00e9k\u00e9n<\/em>. Vigilia, Budapest, 2007.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Visky Andr\u00e1s [szerk.]:&nbsp;<em>Sz\u00ednh\u00e1z \u00e9s r\u00edtus.<\/em>&nbsp;Koin\u00f3nia Kiad\u00f3, Kolozsv\u00e1r, 1997.<\/p>\n<!-- \/wp:paragraph -->\n<!-- \/wp:lightweight-accordion\/lightweight-accordion -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->"},"excerpt":{"rendered":"","protected":false,"raw":""},"author":1,"featured_media":0,"parent":16,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_ro_post_content":"<!-- wp:heading {\"textAlign\":\"center\"} -->\n<h2 class=\"wp-block-heading has-text-align-center\">Prof. univ. dr. habil.<br>Andr\u00e1s Visky<br><\/h2>\n<!-- \/wp:heading -->\n\n<!-- wp:paragraph {\"align\":\"center\"} -->\n<p class=\"has-text-align-center\">andras.visky@ubbcluj.ro<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph {\"align\":\"center\"} -->\n<p class=\"has-text-align-center\">dat\u0103 abilitare: 4134 \/ 28.05.2019<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph {\"align\":\"center\"} -->\n<p class=\"has-text-align-center\">doctoranzi \u00een stagiu: 5<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph {\"align\":\"center\"} -->\n<p class=\"has-text-align-center\"><strong>Linkuri spre profiluri academice:<\/strong><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph {\"align\":\"center\"} -->\n<p class=\"has-text-align-center\">Google Scholar:<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph {\"align\":\"center\"} -->\n<p class=\"has-text-align-center\"><a href=\"https:\/\/scholar.google.com\/citations?user=5ncSMlwAAAAJ&amp;hl=en\">https:\/\/scholar.google.com\/citations?user=5ncSMlwAAAAJ&amp;hl=en<\/a><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph {\"align\":\"center\"} -->\n<p class=\"has-text-align-center\">Research Gate:<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph {\"align\":\"center\"} -->\n<p class=\"has-text-align-center\">Academia.edu:<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph {\"align\":\"center\"} -->\n<p class=\"has-text-align-center\"><a href=\"https:\/\/independent.academia.edu\/AndrasVisky\">https:\/\/independent.academia.edu\/AndrasVisky<\/a><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph {\"align\":\"center\"} -->\n<p class=\"has-text-align-center\"><strong><a href=\"https:\/\/doctorat.teatrufilm.ubbcluj.ro\/wp-content\/uploads\/2026\/06\/Macheta-CV_Visky.pdf\">CV detaliat<\/a><\/strong><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph {\"align\":\"center\"} -->\n<p class=\"has-text-align-center\"><strong><a href=\"https:\/\/doctorat.teatrufilm.ubbcluj.ro\/wp-content\/uploads\/2026\/06\/VISKY_ANDRAS_CV.pdf\">CV_scurt_EN_RO<\/a><\/strong><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph {\"align\":\"center\"} -->\n<p class=\"has-text-align-center\"><strong><a href=\"https:\/\/doctorat.teatrufilm.ubbcluj.ro\/wp-content\/uploads\/2026\/06\/Fisa-sintetica-VISKY_2026.pdf\">FI\u0218\u0102 STANDARDE CNATDCU (punctaje)<\/a><\/strong><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:separator -->\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n<!-- \/wp:separator -->\n\n<!-- wp:media-text {\"mediaId\":117,\"mediaLink\":\"https:\/\/doctorat.teatrufilm.ubbcluj.ro\/conducatori\/teatru-si-artele-spectacolului\/andras-visky-300x300-1\/\",\"mediaType\":\"image\",\"mediaWidth\":30} -->\n<div class=\"wp-block-media-text is-stacked-on-mobile\" style=\"grid-template-columns:30% auto\"><figure class=\"wp-block-media-text__media\"><img src=\"https:\/\/doctorat.teatrufilm.ubbcluj.ro\/wp-content\/uploads\/2024\/03\/andras-visky-300x300-1.png\" alt=\"\" class=\"wp-image-117 size-full\"\/><\/figure><div class=\"wp-block-media-text__content\"><!-- wp:paragraph -->\n<p><strong>Andr\u00e1s Visky<\/strong> este specializat \u00een dramaturgia hamburgian\u0103, adaptare scenic\u0103 \u015fi dramaturgii contemporane.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>\u015ei-a ob\u0163inut titlul de doctor \u00een domeniul teatrologie la Universitatea de Teatru \u015fi Film din Budapesta, cu o tem\u0103 despre rela\u0163ia spa\u0163iu \u015fi text, posibilit\u0103\u0163ile adapt\u0103rii scenice ale romanului&nbsp;<em>Cadi\u015f pentru un copil nen\u0103scut<\/em>, de Imre Kert\u00e9sz.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Cerceteaz\u0103 \u00een domeniile teoriei teatrului (teatrul ca ritual urban),&nbsp; \u015fi a practicii dramaturgiei de scen\u0103 \u00een teatrul contemporan.&nbsp; Este cunoscut pentru creerea no\u0163iunii de \u201ebarrack dramaturgy\u201d. Jozefina Komporaly&nbsp; ed.:&nbsp;<em>Andr\u00e1s Visky\u2019s Barrack Dramaturgy. Memories of the Body<\/em>&nbsp;(Bristol-Chicago, Intellect, 2017)<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Printre publica\u0163iile sale se num\u0103r\u0103:&nbsp;<em>Mire val\u00f3 a sz\u00ednh\u00e1z &nbsp;<\/em>(Budapest, L\u2019Harmattan \u2013 KRE, 2020);<em>&nbsp;Megv\u00e1ltozhat-e egy ember.&nbsp;<\/em>(Cluj, KOMP-PRESS Korunk, 2009);&nbsp;<em>A k\u00fcl\u00f6nb\u00f6z\u0151s\u00e9g vid\u00e9k\u00e9n.&nbsp;<\/em>(Budapest, Vigilia, 2007);&nbsp;<em>\u00cdrni \u00e9s (nem) rendezni&nbsp;<\/em>(Cluj, Koin\u00f3nia, 2002)<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Fiind un dramaturg reputat, piesele sale au fost montate \u00een teatrele profesioniste din Rom\u00e2nia, Ungaria, Bulgaria, Fran\u0163a, Germania, Marea Britanie, Serbia, SUA (Chicago, New York, Washington DC).&nbsp; \u00cen calitate de dramaturg de scen\u0103 a lucrat cu regizori precum L\u00e1szl\u00f3 Bocs\u00e1rdi, Karin Coonrod,&nbsp; Silviu Purc\u0103rete, G\u00e1bor Tompa, Mihai M\u0103niu\u0163iu, Robert Woodruff, David Zinder.<\/p>\n<!-- \/wp:paragraph --><\/div><\/div>\n<!-- \/wp:media-text -->\n\n<!-- wp:separator -->\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n<!-- \/wp:separator -->\n\n<!-- wp:heading {\"level\":4} -->\n<h4 class=\"wp-block-heading\">Tematic\u0103 \u0219i bibliografie pentru admitere<\/h4>\n<!-- \/wp:heading -->\n\n<!-- wp:lightweight-accordion\/lightweight-accordion {\"title\":\"\\u003cstrong\\u003eArii tematice\\u003c\/strong\\u003e\"} -->\n<!-- wp:paragraph -->\n<p><strong>Dramaturgia \u00e9s sz\u00ednh\u00e1zi praxis \/ Dramaturgie \u015fi practic\u0103 teatral\u0103:<\/strong><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:list -->\n<ul class=\"wp-block-list\"><!-- wp:list-item -->\n<li>A hamburgi dramaturgia sz\u00e9tfejl\u0151d\u00e9se&nbsp; \/ Transfigurarea tradi\u0163iei dramaturgiei hamburgiene \u00een teatrul contemopran<\/li>\n<!-- \/wp:list-item -->\n\n<!-- wp:list-item -->\n<li>Az irodalmi dr\u00e1ma ut\u00e1ni dr\u00e1ma eszt\u00e9tik\u00e1ja \/ Esetica scriiturii teatrale post-literare<\/li>\n<!-- \/wp:list-item -->\n\n<!-- wp:list-item -->\n<li>Kort\u00e1rs dr\u00e1ma \u00e9s t\u00e1rsadalmi relevancia \/ Dramaturgia contemporan\u0103 \u015fi relevan\u0163a social-politic\u0103 a actului teatral<\/li>\n<!-- \/wp:list-item -->\n\n<!-- wp:list-item -->\n<li>Dr\u00e1ma\u00edr\u00f3k: \u00e9letm\u0171 \u00e9s sz\u00ednh\u00e1zi recepci\u00f3 \/ Dramaturgi: opera litarar\u0103 \u015fi receptare teatral\u0103<\/li>\n<!-- \/wp:list-item -->\n\n<!-- wp:list-item -->\n<li>A Beckett ut\u00e1ni Beckett&nbsp; \/ Dramaturgii post-beckettiene<\/li>\n<!-- \/wp:list-item --><\/ul>\n<!-- \/wp:list -->\n\n<!-- wp:paragraph -->\n<p><strong>Sz\u00ednh\u00e1zi nyelvek \u00e9s besz\u00e9dm\u00f3dok \/ Estetici teatrale contemporane:<\/strong><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:list -->\n<ul class=\"wp-block-list\"><!-- wp:list-item -->\n<li>Ritualit\u00e1s \u00e9s performansz \/ Ritualitate \u015fi performance<\/li>\n<!-- \/wp:list-item -->\n\n<!-- wp:list-item -->\n<li>Kort\u00e1rs sz\u00ednh\u00e1z \u00e9s performat\u00edv fordulat \/ \u201ePerformative shift\u201d \u015fi spectacolul de teatru contemporan<\/li>\n<!-- \/wp:list-item -->\n\n<!-- wp:list-item -->\n<li>Rendez\u0151i eszt\u00e9tik\u00e1k a kort\u00e1rs sz\u00ednh\u00e1zban \/ Estetici regizorale \u00een teatrul contemporan<\/li>\n<!-- \/wp:list-item --><\/ul>\n<!-- \/wp:list -->\n<!-- \/wp:lightweight-accordion\/lightweight-accordion -->\n\n<!-- wp:lightweight-accordion\/lightweight-accordion {\"title\":\"\\u003cstrong\\u003eBibliografie\\u003c\/strong\\u003e\"} -->\n<!-- wp:paragraph -->\n<p>Abramovi\u0107, Marina: The Artist is Present, MoMA, Mew York, 2010.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Allain, Paul &amp; Harvie, Jen: <em>Theatre and Performance<\/em>. London &amp; New York, Routledge, 2006.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Artaud, Antonin: <em>A sz\u00ednh\u00e1z \u00e9s az istenek. <\/em>Orpheusz K\u00f6nyvek, Budapest, 1999.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Banu, Georges: <em>Les m\u00e9moires du th\u00e9\u00e2tre. <\/em>Actes Sud, Paris, 1987.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Badiou, Alain-Truong, Nicolas: Eloge du theatre. Flamarion, Paris, 2013<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Barba, Eugenio: <em>Pap\u00edrkenu. Bevezet\u00e9s a sz\u00ednh\u00e1zi antropl\u00f3gi\u00e1ba. <\/em>Kij\u00e1rat Kiad\u00f3, Budapest, 2001.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Barba, Eugenio \u2013 Savarese, Nicola: <em>A Dictinory of Theatre Anthropology. <\/em>Routledge, London, 1991.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>B\u00e9csy Tam\u00e1s: <em>R\u00edtus \u00e9s dr\u00e1ma<\/em>. M\u00e9cs L\u00e1szl\u00f3 Lap- \u00e9s K\u00f6nyvkiad\u00f3, Budapest, 1992.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Derrida, Jacques: <em>A kegyetlens\u00e9g sz\u00ednh\u00e1za \u00e9s a reprezent\u00e1ci\u00f3 bez\u00e1r\u00f3d\u00e1sa. <\/em>In: Gondolat - Jel, 1994. I-II. 3-17.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Fischer- Lichte, Erika: <em>A dr\u00e1ma t\u00f6rt\u00e9nete. <\/em>Jelenkor Kiad\u00f3, P\u00e9cs, 2001.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Fischer-Lichte, Erika: <em>A performativiit\u00e1s eszt\u00e9tik\u00e1ja.&nbsp; <\/em>Balassi Kiad\u00f3, Budapest, 2009.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Grotowski, Jerzy: <em>Sz\u00ednh\u00e1z \u00e9s ritu\u00e1l\u00e9<\/em>. Kalligram, Pozsony, 1999.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Komporaly, Jozefina ed.: <em>Andr\u00e1s Visky\u2019s Barrack Dramaturgy. Memories of the Body.<\/em> Intellect Bristol, UK \u2013 Chicago, US, 2017.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Lehmann, Hans-Thies: <em>Posztdramatikus sz\u00ednh\u00e1z<\/em>. Balassi Kiad\u00f3, Budapest, 2009.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Romanska, Magda: <em>The Routledge Companion to Dramaturgy<\/em>. Routledge, London \u2013 New York, 2015.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Schechner, Richard: <em>A performance. Essz\u00e9k a sz\u00ednh\u00e1zi el\u0151ad\u00e1s elm\u00e9let\u00e9r\u0151l. <\/em>M\u00fazs\u00e1k, h.n., 1984.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Turner, Victor: <em>A ritu\u00e1lis folyamat. <\/em>Osiris Kiad\u00f3, Budapest, 2002.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Visky Andr\u00e1s:&nbsp; <em>A k\u00fcl\u00f6nb\u00f6z\u0151s\u00e9g vid\u00e9k\u00e9n<\/em>. Vigilia, Budapest, 2007.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Visky Andr\u00e1s [szerk.]: <em>Sz\u00ednh\u00e1z \u00e9s r\u00edtus.<\/em> Koin\u00f3nia Kiad\u00f3, Kolozsv\u00e1r, 1997.<\/p>\n<!-- \/wp:paragraph -->\n<!-- \/wp:lightweight-accordion\/lightweight-accordion -->","_ro_post_name":"andras-visky","_ro_post_excerpt":"","_ro_post_title":"Andr\u00e1s Visky","_en_post_content":"<!-- wp:heading {\"textAlign\":\"center\"} -->\n<h2 class=\"wp-block-heading has-text-align-center\"><\/h2>\n<!-- \/wp:heading -->\n\n<!-- wp:heading {\"textAlign\":\"center\"} -->\n<h2 class=\"wp-block-heading has-text-align-center\">Prof. univ. dr. habil.<br>Andr\u00e1s Visky<\/h2>\n<!-- \/wp:heading -->\n\n<!-- wp:paragraph {\"align\":\"center\"} -->\n<p class=\"has-text-align-center\">andras.visky@ubbcluj.ro<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph {\"align\":\"center\"} -->\n<p class=\"has-text-align-center\">habilitation: 4134 \/ 28.05.2019<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph {\"align\":\"center\"} -->\n<p class=\"has-text-align-center\">Phd. students: 5<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph {\"align\":\"center\"} -->\n<p class=\"has-text-align-center\"><strong>Linkuri spre profiluri academice:<\/strong><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph {\"align\":\"center\"} -->\n<p class=\"has-text-align-center\">Google Scholar:<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph {\"align\":\"center\"} -->\n<p class=\"has-text-align-center\"> <a href=\"https:\/\/scholar.google.com\/citations?user=5ncSMlwAAAAJ&amp;hl=en\">https:\/\/scholar.google.com\/citations?user=5ncSMlwAAAAJ&amp;hl=en<\/a><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph {\"align\":\"center\"} -->\n<p class=\"has-text-align-center\">Research Gate:<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph {\"align\":\"center\"} -->\n<p class=\"has-text-align-center\">Academia.edu:<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph {\"align\":\"center\"} -->\n<p class=\"has-text-align-center\"><a href=\"https:\/\/independent.academia.edu\/AndrasVisky\">https:\/\/independent.academia.edu\/AndrasVisky<\/a><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph {\"align\":\"center\"} -->\n<p class=\"has-text-align-center\"><strong><a href=\"https:\/\/doctorat.teatrufilm.ubbcluj.ro\/wp-content\/uploads\/2026\/06\/Macheta-CV_Visky.pdf\">CV full<\/a><\/strong><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph {\"align\":\"center\"} -->\n<p class=\"has-text-align-center\"><strong><a href=\"https:\/\/doctorat.teatrufilm.ubbcluj.ro\/wp-content\/uploads\/2026\/06\/VISKY_ANDRAS_CV.pdf\">CV_short_EN_RO<\/a><\/strong><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph {\"align\":\"center\"} -->\n<p class=\"has-text-align-center\"><strong><a href=\"https:\/\/doctorat.teatrufilm.ubbcluj.ro\/wp-content\/uploads\/2026\/06\/Fisa-sintetica-VISKY_2026.pdf\">FI\u0218\u0102 STANDARDE CNATDCU (punctaje)<\/a><\/strong><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:separator -->\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n<!-- \/wp:separator -->\n\n<!-- wp:media-text {\"mediaId\":117,\"mediaLink\":\"https:\/\/doctorat.teatrufilm.ubbcluj.ro\/en\/conducatori\/teatru-si-artele-spectacolului\/andras-visky-300x300-1\/\",\"mediaType\":\"image\",\"mediaWidth\":37} -->\n<div class=\"wp-block-media-text is-stacked-on-mobile\" style=\"grid-template-columns:37% auto\"><figure class=\"wp-block-media-text__media\"><img src=\"https:\/\/doctorat.teatrufilm.ubbcluj.ro\/wp-content\/uploads\/2024\/03\/andras-visky-300x300-1.png\" alt=\"\" class=\"wp-image-117 size-full\"\/><\/figure><div class=\"wp-block-media-text__content\"><!-- wp:paragraph {\"placeholder\":\"Con\u021binut...\"} -->\n<p>Andr\u00e1s Visky specializes in Hamburg theater, stage adaptation, and contemporary playwriting.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>He earned his Ph.D. in theater studies from the University of Theater and Film in Budapest, with a dissertation on the relationship between space and text, and the possibilities for stage adaptation of Imre Kert\u00e9sz\u2019s novel <em>K\u00e1disz for an Unborn Child<\/em>.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>He conducts research in the fields of theater theory (theater as an urban ritual) and the practice of stage dramaturgy in contemporary theater. He is known for coining the term \u201cbarrack dramaturgy.\u201d Jozefina Komporaly (ed.): Andr\u00e1s Visky\u2019s Barrack Dramaturgy. Memories of the Body (Bristol-Chicago, Intellect, 2017)<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>His publications include: Mire val\u00f3 a sz\u00ednh\u00e1z (Budapest, L\u2019Harmattan \u2013 KRE, 2020); Megv\u00e1ltozhat-e egy ember. (Cluj, KOMP-PRESS Korunk, 2009); A k\u00fcl\u00f6nb\u00f6z\u0151s\u00e9g vid\u00e9k\u00e9n. (Budapest, Vigilia, 2007); \u00cdrni \u00e9s (nem) rendezni (Cluj, Koin\u00f3nia, 2002)<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>As a renowned playwright, his plays have been staged in professional theaters in Romania, Hungary, Bulgaria, France, Germany, the United Kingdom, Serbia, and the United States (Chicago, New York, Washington, D.C.). As a playwright, he has worked with directors such as L\u00e1szl\u00f3 Bocs\u00e1rdi, Karin Coonrod, Silviu Purc\u0103rete, G\u00e1bor Tompa, Mihai M\u0103niu\u0163iu, Robert Woodruff, and David Zinder.<\/p>\n<!-- \/wp:paragraph --><\/div><\/div>\n<!-- \/wp:media-text -->\n\n<!-- wp:separator -->\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n<!-- \/wp:separator -->\n\n<!-- wp:heading {\"level\":4} -->\n<h4 class=\"wp-block-heading\">Research topics for admission<\/h4>\n<!-- \/wp:heading -->\n\n<!-- wp:lightweight-accordion\/lightweight-accordion {\"title\":\"Research topics\"} -->\n<!-- wp:paragraph -->\n<p><strong>Dramaturgia \u00e9s sz\u00ednh\u00e1zi praxis \/ Dramaturgie \u015fi practic\u0103 teatral\u0103:<\/strong><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:list -->\n<ul class=\"wp-block-list\"><!-- wp:list-item -->\n<li>A hamburgi dramaturgia sz\u00e9tfejl\u0151d\u00e9se&nbsp; \/ Transfigurarea tradi\u0163iei dramaturgiei hamburgiene \u00een teatrul contemopran<\/li>\n<!-- \/wp:list-item -->\n\n<!-- wp:list-item -->\n<li>Az irodalmi dr\u00e1ma ut\u00e1ni dr\u00e1ma eszt\u00e9tik\u00e1ja \/ Esetica scriiturii teatrale post-literare<\/li>\n<!-- \/wp:list-item -->\n\n<!-- wp:list-item -->\n<li>Kort\u00e1rs dr\u00e1ma \u00e9s t\u00e1rsadalmi relevancia \/ Dramaturgia contemporan\u0103 \u015fi relevan\u0163a social-politic\u0103 a actului teatral<\/li>\n<!-- \/wp:list-item -->\n\n<!-- wp:list-item -->\n<li>Dr\u00e1ma\u00edr\u00f3k: \u00e9letm\u0171 \u00e9s sz\u00ednh\u00e1zi recepci\u00f3 \/ Dramaturgi: opera litarar\u0103 \u015fi receptare teatral\u0103<\/li>\n<!-- \/wp:list-item -->\n\n<!-- wp:list-item -->\n<li>A Beckett ut\u00e1ni Beckett&nbsp; \/ Dramaturgii post-beckettiene<\/li>\n<!-- \/wp:list-item --><\/ul>\n<!-- \/wp:list -->\n\n<!-- wp:paragraph -->\n<p><strong>Sz\u00ednh\u00e1zi nyelvek \u00e9s besz\u00e9dm\u00f3dok \/ Estetici teatrale contemporane:<\/strong><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:list -->\n<ul class=\"wp-block-list\"><!-- wp:list-item -->\n<li>Ritualit\u00e1s \u00e9s performansz \/ Ritualitate \u015fi performance<\/li>\n<!-- \/wp:list-item -->\n\n<!-- wp:list-item -->\n<li>Kort\u00e1rs sz\u00ednh\u00e1z \u00e9s performat\u00edv fordulat \/ \u201ePerformative shift\u201d \u015fi spectacolul de teatru contemporan<\/li>\n<!-- \/wp:list-item -->\n\n<!-- wp:list-item -->\n<li>Rendez\u0151i eszt\u00e9tik\u00e1k a kort\u00e1rs sz\u00ednh\u00e1zban \/ Estetici regizorale \u00een teatrul contemporan<\/li>\n<!-- \/wp:list-item --><\/ul>\n<!-- \/wp:list -->\n<!-- \/wp:lightweight-accordion\/lightweight-accordion -->\n\n<!-- wp:lightweight-accordion\/lightweight-accordion {\"title\":\"Recommended literature\"} -->\n<!-- wp:paragraph -->\n<p>Abramovi\u0107, Marina: The Artist is Present, MoMA, Mew York, 2010.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Allain, Paul &amp; Harvie, Jen:&nbsp;<em>Theatre and Performance<\/em>. London &amp; New York, Routledge, 2006.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Artaud, Antonin:&nbsp;<em>A sz\u00ednh\u00e1z \u00e9s az istenek.&nbsp;<\/em>Orpheusz K\u00f6nyvek, Budapest, 1999.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Banu, Georges:&nbsp;<em>Les m\u00e9moires du th\u00e9\u00e2tre.&nbsp;<\/em>Actes Sud, Paris, 1987.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Badiou, Alain-Truong, Nicolas: Eloge du theatre. Flamarion, Paris, 2013<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Barba, Eugenio:&nbsp;<em>Pap\u00edrkenu. Bevezet\u00e9s a sz\u00ednh\u00e1zi antropl\u00f3gi\u00e1ba.&nbsp;<\/em>Kij\u00e1rat Kiad\u00f3, Budapest, 2001.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Barba, Eugenio \u2013 Savarese, Nicola:&nbsp;<em>A Dictinory of Theatre Anthropology.&nbsp;<\/em>Routledge, London, 1991.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>B\u00e9csy Tam\u00e1s:&nbsp;<em>R\u00edtus \u00e9s dr\u00e1ma<\/em>. M\u00e9cs L\u00e1szl\u00f3 Lap- \u00e9s K\u00f6nyvkiad\u00f3, Budapest, 1992.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Derrida, Jacques:&nbsp;<em>A kegyetlens\u00e9g sz\u00ednh\u00e1za \u00e9s a reprezent\u00e1ci\u00f3 bez\u00e1r\u00f3d\u00e1sa.&nbsp;<\/em>In: Gondolat \u2013 Jel, 1994. I-II. 3-17.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Fischer- Lichte, Erika:&nbsp;<em>A dr\u00e1ma t\u00f6rt\u00e9nete.&nbsp;<\/em>Jelenkor Kiad\u00f3, P\u00e9cs, 2001.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Fischer-Lichte, Erika:&nbsp;<em>A performativiit\u00e1s eszt\u00e9tik\u00e1ja.&nbsp;&nbsp;<\/em>Balassi Kiad\u00f3, Budapest, 2009.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Grotowski, Jerzy:&nbsp;<em>Sz\u00ednh\u00e1z \u00e9s ritu\u00e1l\u00e9<\/em>. Kalligram, Pozsony, 1999.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Komporaly, Jozefina ed.:&nbsp;<em>Andr\u00e1s Visky\u2019s Barrack Dramaturgy. Memories of the Body.<\/em>&nbsp;Intellect Bristol, UK \u2013 Chicago, US, 2017.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Lehmann, Hans-Thies:&nbsp;<em>Posztdramatikus sz\u00ednh\u00e1z<\/em>. Balassi Kiad\u00f3, Budapest, 2009.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Romanska, Magda:&nbsp;<em>The Routledge Companion to Dramaturgy<\/em>. Routledge, London \u2013 New York, 2015.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Schechner, Richard:&nbsp;<em>A performance. Essz\u00e9k a sz\u00ednh\u00e1zi el\u0151ad\u00e1s elm\u00e9let\u00e9r\u0151l.&nbsp;<\/em>M\u00fazs\u00e1k, h.n., 1984.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Turner, Victor:&nbsp;<em>A ritu\u00e1lis folyamat.&nbsp;<\/em>Osiris Kiad\u00f3, Budapest, 2002.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Visky Andr\u00e1s:&nbsp;&nbsp;<em>A k\u00fcl\u00f6nb\u00f6z\u0151s\u00e9g vid\u00e9k\u00e9n<\/em>. Vigilia, Budapest, 2007.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Visky Andr\u00e1s [szerk.]:&nbsp;<em>Sz\u00ednh\u00e1z \u00e9s r\u00edtus.<\/em>&nbsp;Koin\u00f3nia Kiad\u00f3, Kolozsv\u00e1r, 1997.<\/p>\n<!-- \/wp:paragraph -->\n<!-- \/wp:lightweight-accordion\/lightweight-accordion -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->","_en_post_name":"","_en_post_excerpt":"","_en_post_title":"","edit_language":"en","footnotes":""},"class_list":["post-302","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/doctorat.teatrufilm.ubbcluj.ro\/en\/wp-json\/wp\/v2\/pages\/302","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/doctorat.teatrufilm.ubbcluj.ro\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/doctorat.teatrufilm.ubbcluj.ro\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/doctorat.teatrufilm.ubbcluj.ro\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/doctorat.teatrufilm.ubbcluj.ro\/en\/wp-json\/wp\/v2\/comments?post=302"}],"version-history":[{"count":7,"href":"https:\/\/doctorat.teatrufilm.ubbcluj.ro\/en\/wp-json\/wp\/v2\/pages\/302\/revisions"}],"predecessor-version":[{"id":835,"href":"https:\/\/doctorat.teatrufilm.ubbcluj.ro\/en\/wp-json\/wp\/v2\/pages\/302\/revisions\/835"}],"up":[{"embeddable":true,"href":"https:\/\/doctorat.teatrufilm.ubbcluj.ro\/en\/wp-json\/wp\/v2\/pages\/16"}],"wp:attachment":[{"href":"https:\/\/doctorat.teatrufilm.ubbcluj.ro\/en\/wp-json\/wp\/v2\/media?parent=302"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}