舞踊評論家
ニューヨーク大学（NYU）演劇科ブライト研究員・同パフォーマンス研究科ACLS研究員などを経て慶応大学名誉教授、愛知県立芸大非常勤講師。関心領域として、サーカス、アジアの身体文化、ポストモダンダンス、ジェンダー／セクシュアリティとパフォーマンス。著書に『身体の臨界点』『男装論』『ポリセクシュアル・ラヴ』『アクロバットとダンス』『サーカスのフィルモロジー』『異装のセクシュアリティ』ほか。

Basile Doganis is a Greek director-screenwriter who grew up in France. During his studies in Philosophy, he spent 3 years in Tokyo where he made a documentary on a Japanese rap band (Kami Hito E – On the Edge) and was 1st AD on Limosin’s documentary Young Yakuza (Cannes 2007). In 2011, after attending the Binger Filmlab (Directors Lab), he directed his first fiction short film, His Brother’s Keeper (Le Gardien de son frère, 20’, 2012) which was selected at the 2012 Angers ‘First Shots’ Film Festival. He followed the screenwriting course (Atelier scénario) of La Fémis in 2013 and directed his second short film Citizen Day (Journée d’appel, 20’, 2014) which was selected in over 50 festivals worldwide. He is finishing a 10-year-long documentary on late dancer Ko Murobushi started in 2006 and is currently in pre-production of his first feature film, Meltem (Elzévir Films).

ヴェネツィア大学東洋学科卒。専門は日本の舞台芸術（舞踏、コンテンポラリーダンス）。99年から2003年までヴェネツィア大学東洋学科非常勤講師、2005年から2009年までカラブリア大学非常勤講師。国際交流基金2009年度日本研究フェローとして早稲田大学演劇博物館にて「身体論と技術：舞台芸術から土方巽の舞踏へ―パフォーマンスとテキストにおける身体とメディアをめぐって」をテーマに研究。現在、早稲田大学学術院非常勤講師、早稲田大学演劇博物館招聘研究員、トリアー大学（ドイツ）博士課程。編著書に“Avant-Gardes in Japan、Anniversary of Futurism and Butō: Performing Arts and Cultural Practices between Contemporariness and Tradition”（2010年、Cafoscarina）など。

He was born in Mexico City. Entitled as a Bachelor’s degree in philosophy and Master in knowledges about subjectivity and violence by the Colegio de Saberes; He is currently doing doctoral studies in philosophy at the Universidad Iberoamericana. Carries out research on the relationship between the arts and the critical construction of subjectivity, mainly in the dance-centric butoh; to investigate such a form of dance made research stays in Tokyo at the Ko Murobushi’s Archive and the Hijikata’s archive of Keio University also. He is also theatre actor since 15 years ago.

He has published several articles, among them: thus spoke Ko Murobushi and Ritual and violence in Greek tragedy in Murmullos filosóficos magazine, as well as also the book body, cruelty and difference in dance butoh, a philosophical look. Edited by Plaza y Valdez. Also published in the Reflexiones Marginales online magazine article: subject, law and desire, in the psychoanalytic knowledge. It is general director of the scenic laboratory Athanor. He currently works as a teacher in the interdisciplinary seminar on artistic education (SEMINEA), at the Centro Nacional de las Artes (CENART) and is part of the collective Hydra, transfilosofia escénica.

1981年生まれ。早稲田大学坪内博士記念演劇博物館招聘研究員。
日本学術振興会特別研究員、パリ第 8 大学客員研究員を経て現職。専門はフランスを中心としたコンテンポラリー ダンスに関する歴史、文化政策、美学研究。早稲田大学演劇博物館においてコンテンポラリーダンスに関する展示「Who Dance? 振付のアクチュアリティ」(2015-2016)のキュレーションを担当。
編著に同展覧会の図録『Who Dance? 振付のアクチュアリティ』がある。
論文に「ジェローム・ベル《The Show Must Go On》分析」（2011）、「共存のためのコレオグラフィ : グザヴィエ・ル・ロワ振付作品における「関係性」の問題について」（2014）などがある。

Ms. Volij has been self-directing and producing her own work in Argentina since 1999, creating the following full length shows: Sand Flowers, Immovable Bolero, Print of  Foam, Shine-Blood, Tolovethefiregirl, Dream of the Ginkgo, and Cassandra Speaks, the latter  based on the Greek myth of the prophetess cursed with never being believed by anyone. Her work, performed internationally, has been recognized by numerous state grants. She has directed more than a dozen other pieces for various dance companies, and has numerous collaborations with some of Argentina’s critically acclaimed theatre directors. Most recently she directed Isabel Beteta in Mexico and two performances in Quito, Ecuador, Bologna, Italy. She participated of the “Outside 1001”,  organized by Ko&Edge and  Finally, she has organized and co-produced multiple seminaries in Argentina for Ko Murobushi.