Marin Blažević, PhD, is a dramaturge, opera stage director, theater manager, creative producer, as well as theatre and performance studies scholar based in Rijeka and Zagreb, Croatia.

As an Associate Professor he taught theory and history of theatre and drama, performance studies and dramaturgy at the Academy of Drama Arts (Department of Dramaturgy) and opera dramaturgy at the Music Academy (Department of Opera singing), University of Zagreb (1997-2016). As Adjunct Associate Professor he occasionally taught at the Columbia University School of the Arts (Theatre MFA Program, Dramaturgy Concentration), and held lectures, seminars and master classes on contemporary theater theory and practice, performance studies and dramaturgy at universities and art schools around the world, including Yale, Stanford, Utrecht, Roehampton, Northwestern, De La Salle (the Philippines, Manila), Wisconsin-Madison, Southern California: Roski, the Royal Melbourne Institute of Technology (RMIT), the Victorian College of Arts (Melbourne) and elsewhere.

In fall 2014 he began his four-year term as Artistic Director of the Opera Company of the Croatian National Theater in Rijeka. In 2016 he was appointed General Manager and Artistic Director of CNT in Rijeka for the next four years, starting on January 1, 2017. His second term began on January 1, 2021, and will continue through the end of 2024.

He has published and edited authored books, collections of essays, scientific and professional articles and thematic issues of international journals in English, Italian, Croatian and Slovenian. With Matthew Goulish (Goat Island, Every House Has a Door), he edited a special English edition of Frakcija, a performing arts magazine: Companion to Goat Island’s “When Will the September Roses Bloom?” (2004/2005) in Two Parts. With Lada Čale Feldman, he prepared an edition of Frakcija which problematized the topic of the actress/actor as author (Actor as/and Author), as well as an edition of MIS-performance for the publication Performance Research (including a DVD on the performance program of the 15th Performance Studies international conference, edited in collaboration with Una Bauer).

Marin Blažević has prepared and edited the following books: Branko Gavella: Theory of Acting – From Materials to Personalities (2005, in collaboration with academician Nikola Batušić); a collection of essays on the slovenian theatre group Via Negativa titled No! (published by Maska, Ljubljana, 2011); and the collection MISperformance, Essays on Shifting Perspectives in collaboration with Lada Čale Feldman (2014, Performance Studies international in collaboration with Maska from Ljubljana, http://www.maska.si). His authored books include Razgovore o novom kazalištu (“Conversations on the New Theatre”) (2007) and Izboren poraz: Novo kazalište u hrvatskom glumištu od Gavelle do… (A Defeat Won: New Theatre in Croatian Theatre) (2012), a scientific study that provides an overview of the theory and practice of new theatre with special reference to its unusual history in Croatia. A new book, The Breadth and Shifts of Dramaturgy, is being prepared for an international publisher.

In 2011, Marin Blažević was awarded a Fulbright Scholar Postdoctoral Grant for research within the project Dramaturgy: Shifting Concept and Practice at the Columbia University School of the Arts (Department of Theater Arts – Dramaturgy) and New York University (Department of Performance Studies).

One of Blažević’s most significant international projects, in the role of director, was the organization of the 15th Performance Studies international conference in Zagreb in 2009, which centered around the topic of MISperformance. After that, from 2012 to 2015, he worked as a dramaturge, principal organizer and director on a complex, innovative and dispersed PSi conference that took place in 2015 under the title Fluid States – Performances of UnKnowing in fifteen locations around the world, from Montreal and Panama City to the Bahamas, Copenhagen, Santorini in Greece, New Delhi, Melbourne, Tohoku in Japan, Manila and other locations. Furthermore, during his engagement within the worldwide organization Performance Studies international, he served as president of its International Committee and founded (with Peter Eckersall) a new working group called Dramaturgy and Performance Studies.

In the role of dramaturge, Marin Blažević has worked on theatre drama and opera projects such as the following collaborations: Carmen with Selma Banich (2015, CNT Zajc), Rigoletto with Lary Zappia (2016, CNT Zajc), and Bakhe with Oliver Frljić (2008, Split Summer Festival), as well as GospođicaJulija (2009, Centre for Dramatic Arts and Zagreb Youth Theatre), Aleksandra Zec (2014, Croatian Cultural Centre Rijeka), Hrvatsko glumište (2014, CNT Zajc) and Trilogija o hrvatskom fašizmu (2015, CNT Zajc). In the role of director and dramaturge he has worked on the staging of the following operas: Händel’s Giulio Cesare in Egitto (2016 and 2020), Verdi’s Shakespeare trilogy (Othello, Macbeth, Falstaff) in the Rijeka National Theatre (2017, 2018), then Aida (Summer Stage in Opatija, 2017 and Pula Arena – Summer Classics, 2018 and 2019), Gounod’s Roméo et Juliette (co-production of the CNT Rijeka and Ravenna Manifestazioni – Teatro Alighieri, 2019), Strauss’s Elektra (collaboration between the Opera of the CNT Ivan pl. Zajc, the Slovenian Philharmonic and the Cankar Centre in Ljubljana, 2019), Bizet’s Carmen (staged with Selma Banich, Sandra Dekanić and Alan Vukelić as part of the Summer Classics program in the Pula Arena in 2019 and then in the Rijeka National Theatre in the fall of 2020), and Puccini’s Tosca (2019). In 2020, he served as director and dramaturge in the realization of the play “Practicing Life – Second Time,” (Fabrio-Klarić, Ležaić, Rafaj, Blažević), and in February 2021 in the staging of Verdi’s La Traviata. Giulio Cesare in Egitto will perform as a guest at the Savonlinna Opera Festival in July 2021, and performances of Elektra are planned at the Cankar Centre, though originally canceled due to the pandemic. Verdi’s Don Carlo in international co-production is planned for fall 2022.