Sebastián Kalt (Buenos Aires, 1974) obtiene su
Licenciatura en Teatro y Literatura Inglesa con honores en la Universidad de
Bristol (1996) y su Maestría en Métodos de Investigación en Inglés con
distinción en la Universidad de Oxford (2000), donde realiza una investigación
académica sobre William Blake y la anatomía pintoresca del siglo XVIII. En 1999 funda
Artifact Theatre Company y presenta Quartett de Heiner Müller en el Old Fire Station Theatre, Oxford. Ese mismo año asiste a René Pollesch con su puesta de The Hype of Common Life en el
Burton/Taylor Theatre, Oxford y pone en escena Judith: A Parting from the Body de Howard Barker en el Zerbrochene
Fenster, Berlín, por encargo del Laboratorio Teatro Tra Le Righe. En 2001 es
invitado a codirigir Voicing Europe,
una serie de workshops experimentales en Volterra,
Italia, junto a Andrzej Wirth y luego es designado asistente de dirección de
Jurek Sawka, del Teater Replica, Estocolmo, con quien crea el performance Aside – Un homenaje al ‘escritor’ Pablo
Picasso. Entre 2004 y 2006 trabaja en dos proyectos de performance: L á g r i m a s—25 ml. y Habitaciones escogidas que presenta a
manera de conferencias performáticas en Oxford. En 2009
estrena en la Argentina La disputa de
Marivaux en el Teatro del Sur. En 2012 presenta Pornografía ambiente en la Galería Pasaje 17, para quien en 2015 cura el II Ciclo de Performance bajo el lema Ensamblajes violentos que incluyó sus des.con.figuración y Decime qué se siente: LTA (pasión de
multitudes) y en 2016 el III Ciclo dedicado a la coreografía
expandida que incluyó su -RRAGIA, una video instalación performática en
homenaje a los 100 años del nacimiento del dadaísmo. En 2017 estrena una
puesta multimedia de El empapelado
amarillo, basado en el cuento homónimo de Charlotte Perkins Gilman, en el
Centro Cultural San Martín y cura Anatomías,
el IV Ciclo de Performance en Pasaje
17 dedicado a la construcción social del cuerpo humano.
En 2018 es convocado para dirigir El
fantasma de la normalidad de Saara Turunen en el marco del Festival
Internacional de Dramaturgia curado por Matías Umpierrez. En 2020 vuelve a curar un Ciclo de Performance en Pasaje 17, esta vez dedicado a la videoperformance.
Sebastián Kalt (Buenos Aires, 1974) obtained a Bachelor of Arts degree in Drama and English Literature with honours from Bristol University and a Master in Research Methods in English with distinction from Oxford University, where he worked on William Blake and eighteenth-century picturesque anatomy. In 1999 he creates Artifact Theatre Company with which he presents Heiner Müller’s Quartett at the Old Fire Station, Oxford. That same year he assists René Pollesch in his staging of The Hype of Common Life at the Burton/Taylor Theatre, Oxford, and directs Howard Barker’s Judith: A Parting from the Body at Zerbrochene Fenster, Berlin, a commission from Laboratorio Teatro Tra Le Righe. In 2001 he is invited to codirect Voicing Europe, a series of experimental workshops in Volterra, Italy, with Andrzej Wirth and is then appointed assistant director to Jurek Sawka from Teater Replica, Stockholm, with whom he creates the performance Aside – An Hommage to the “writer” Pablo Picasso. Between 2004 and 2006 he works on two performance projects: L á g r i m a s—25 ml. and Habitaciones escogidas which he presents as performative conferences in Oxford. In 2009 he staged Marivaux’s The Dispute in Teatro del Sur, Buenos Aires. In 2012 he presented his Pornografía ambiente at the contemporary art gallery Pasaje 17. In 2015 he curated for the gallery the II Ciclo de Performance on the theme of Ensamblajes Violentos, which included his own des.con.figuración and Decime qué se siente: LTA (pasión de multitudes), and in 2016 the III Ciclo de Performance dedicated to expanded choreography, for which he created –RRAGIA, a seven-screen video installation, to mark the centenary of the birth of Dadaism. In 2017 he premiered his multimedia stage version of Charlotte Perkins Gilman’s The Yellow Wallpaper at the Centro Cultural San Martín, Buenos Aires, and also curated the IV Ciclo de Performance at Pasaje 17 dedicated to the social construction of the human body.
In 2018 he is chosen to direct Saara Turunen’s The Phantom of Normality as part of the International Festival of Dramaturgy curated by Matías Umpierrez. In 2020 he curates a new Ciclo de Performance in Pasaje 17, this time dedicated to videoperformance.
Sebastián Kalt (Buenos Aires, 1974) obtained a Bachelor of Arts degree in Drama and English Literature with honours from Bristol University and a Master in Research Methods in English with distinction from Oxford University, where he worked on William Blake and eighteenth-century picturesque anatomy. In 1999 he creates Artifact Theatre Company with which he presents Heiner Müller’s Quartett at the Old Fire Station, Oxford. That same year he assists René Pollesch in his staging of The Hype of Common Life at the Burton/Taylor Theatre, Oxford, and directs Howard Barker’s Judith: A Parting from the Body at Zerbrochene Fenster, Berlin, a commission from Laboratorio Teatro Tra Le Righe. In 2001 he is invited to codirect Voicing Europe, a series of experimental workshops in Volterra, Italy, with Andrzej Wirth and is then appointed assistant director to Jurek Sawka from Teater Replica, Stockholm, with whom he creates the performance Aside – An Hommage to the “writer” Pablo Picasso. Between 2004 and 2006 he works on two performance projects: L á g r i m a s—25 ml. and Habitaciones escogidas which he presents as performative conferences in Oxford. In 2009 he staged Marivaux’s The Dispute in Teatro del Sur, Buenos Aires. In 2012 he presented his Pornografía ambiente at the contemporary art gallery Pasaje 17. In 2015 he curated for the gallery the II Ciclo de Performance on the theme of Ensamblajes Violentos, which included his own des.con.figuración and Decime qué se siente: LTA (pasión de multitudes), and in 2016 the III Ciclo de Performance dedicated to expanded choreography, for which he created –RRAGIA, a seven-screen video installation, to mark the centenary of the birth of Dadaism. In 2017 he premiered his multimedia stage version of Charlotte Perkins Gilman’s The Yellow Wallpaper at the Centro Cultural San Martín, Buenos Aires, and also curated the IV Ciclo de Performance at Pasaje 17 dedicated to the social construction of the human body.
In 2018 he is chosen to direct Saara Turunen’s The Phantom of Normality as part of the International Festival of Dramaturgy curated by Matías Umpierrez. In 2020 he curates a new Ciclo de Performance in Pasaje 17, this time dedicated to videoperformance.