Romanska is an Associate Professor of Theatre Studies and Dramaturgy at Emerson College in Boston, MA, and the Executive Director and Editor-in-Chief of TheTheatreTimes.com, the largest global digital theatre portal. Her research focuses on theatre, transmedia, new media dramaturgy, and posthumanism. She has taught at Harvard University, Yale School of Drama, Cornell University, and Emerson College. Romanska is the author or editor of four critically acclaimed theatre books, including The Post-traumatic Theatre of Grotowski and Kantor, Reader in Comedy: An Anthology of Theory and Criticism; and The Routledge Companion to Dramaturgy, a leading handbook of dramaturgy. Her fifth book, an edited anthology, TheatreMachine: Tadeusz Kantor in Context is forthcoming from NUP. She is currently completing two book projects: The Bionic Body: Technology, Disability and Posthumanism, and Transmedia Dramaturgy: Multiplatform and Networked Performance. She is the sole editor of a ten-volume series on dramaturgy to be released within the next two years from Routledge. Her research has been recognized with two international awards from the American Society for Theatre Research and the Polish Studies Association. She is a playwriting fellow at Lark Theatre in NYC and a Research Associate at the Center for European Studies at Harvard University. She graduated with honors from Stanford University and earned her Ph.D. from Cornell University’s Department of Theatre and Film.
Romanska and Ackerman’s Reader in Comedy is a very ambitious project, which draws on a range of sources from antiquity to the twenty-first century to compile an authoritative volume of works about comedy. The editors have created [anthology] with remarkable breadth.
An impressive cast of notable contributors offers their definitions of comedy and its historical contexts, themes, narrative structures, plots, character types and tropes. As a valuable precis of historical writings on comedy, Reader in Comedy is a full, rich and highly informative anthology that can be dipped into time and time again.
The editors of Reader in Comedy: An Anthology of Theory and Criticism have created a temporally expansive analysis of western comic theory. It is a substantial anthology that interweaves performance studies, drama, literature, and critical theory. Romanska and Ackerman have curated a collection that charts continuity in comic theory without diluting historical specificities. Each introduction to the chapters succinctly contextualizes the comic theory of its time and also links the annotated texts to previous chapters.
It is not overstating the case to say that this volume will for sure be the book of reference for students, scholars, and dramaturgs in the fields named above if it comes to questions of dramaturgy. The Routledge Companion to Dramaturgy goes far beyond a conventional handbook on dramaturgy as a way to structure a text to be staged.
The Routledge Companion to Dramaturgy honours the diverse and varied nature of dramaturgical practice. The range of this book is, as stated, quite extensive: its depth is impressive. Romanska’s collection is a statement as to where contemporary dramaturgical practice is at present, whilst also envisioning its future(s). It is a singular, vital, and necessary contribution to the dramaturgical practice is at present, whilst also envisioning its future(s).
The Routledge Companion to Dramaturgy is an indispensable resource for anyone serious about dramaturgy.
With eighty-five essays, The Routledge Companion to Dramaturgy offers comprehensive coverage of dramaturgical theory and practice.
Richly documented chapters interweave primary sources, critical commentary, and contemporary theory (for example, Adorno, Agamben, Bettelheim, Améry) on each topic. Through its argumentation and design, The Post-traumatic Theatre of Grotowski and Kantor demonstrates a sophisticated dramaturgical strategy for re-historicizing and recontextualizing theatre and performance events
A timely gift to the world of contemporary theatre. The Routledge Companion is a testament to this much-misunderstood practice, and will greatly assist the recognition and consolidation of dramaturgy as an art.This impressively varied volume includes, in its 8 parts, 85 essays that shine different forms of light on dramaturgical theory and practice. Romanska’s intro is magisterial, managing to address, with astuteness and depth, what dramaturgy was, is, and can be.
Non-Polish-speaking scholars of Grotowski and Kantor will be grateful for Romanska’s work. She opens up areas of these two productions which have been unavailable.
[With The Post-traumatic Theatre of Grotowski and Kantor] the task, which the author sets out and performs, starting from such a clearly defined research perspective, is both remarkable and impressive in its momentum and size.
TheTheatreTimes.com is the largest and the most diverse global theatre portal. Since launching in 2016, ThetheatreTimes.com has developed 20 thematic sections. With over 140 Regional Managing Editors around the world, covering theatre in over 75 countries, TheTheatreTimes.com published 1,500 articles so far. In addition to its original content, TheTheatreTimes.com filters through more than eighty sources, around six hundred articles and thousands of pages of theatre news every day. TheTheatreTimes.com is the brainchild of Magda Romanska, a writer and dramaturg from Boston, and Beatriz Cabur, a theatre director and playwright living in London and working worldwide.Visit TheTheatreTimes.com
A Site-Specific Conference at Cornell University and The Cherry Artspace, May 11–12, 2018
Guest lecture: “The Bionic Body: Technology, Disability and Humanism” - Fall 2018
Discussant: Justice, Guilt, and the Law Panel The Research Network for Postsocialist Cultural Studies - March 2018
Plenary session: Bodies and Theories of Performance - November 2017
The Apothetae and Lark Playwriting Fellowship for writers with a disability, supported by the Time Warner Foundation September 2017
Guest panelist: Evolving Perspectives and Practice Symposium - April 2017
Negotiating the Reception of Marked Bodies in Performance - April 2016
Guest panelist: Jesters and Fools: A History of Wit and Whimsy - April 2016
Guest panelist: The Rosenbergs – Studio Series panel on a new opera - April 2016
Northeastern MFA Dramaturgy Retreat - January 2015
Podcast on The Post-Traumatic Theatre of Grotowski and Kantor - June 2015
“What Gets Performed: The Life of the Dramatic Repertoire." Invited panelist: Dramaturgy Round-Table - June 2015
LMDA held its 2014 annual international conference was located in Boston’s historic theatre district and hosted by Emerson College and Suffolk University - June 2014
Invited Guest Lecture: “Of Drammatology: The Post-traumatic Sign in the Works of Tadeusz Kantor” - 2013
Invited Guest Lecture: “Of Drammatology: Form and Content in Performative Exchange” - 2013
"This was an incredibly powerful representation of the human experience." – The Boston Musical Intelligencer
"The Rosenbergs is small in scope but large in ambition; it is an accomplished and moving work that demands attention." – The Arts Fuse
Music: Joachim Holbek
Libretto: Rhea Leman
Directed by Dmitry Troyanovsky
Musical Direction by Cristi Catt
Dramaturg: Magda Romanska