Associate Professor of Theatre and Dramaturgy, EMERSON COLLEGE
Executive Director and Editor-in-Chief, THETHEATRETIMES.COM
Playwriting Fellow, APOTHETAE AND LARK THEATRE, NYC
Research Associate, The Minda de Gunzburg Center for European Studies, HARVARD UNIVERSITY
Research Associate, Davis Center for Russian and Eurasian Studies, HARVARD UNIVERSITY
The Post-traumatic Theatre of Grotowski and Kantor was chosen by The Knowledge Unlatched Selection Committee, which consists of more than 150 librarians across the world, as one of the titles they deem most interesting for libraries and readers worldwide for open access - May 2019.
Reader in Comedy: An Anthology of Theory and Criticism now available in ebook format on GooglePlay - May 2019.
TheTheatreTimes.com at the Digital Humanities and Theatre Research (IFTR Working Group) at the New York Public Library for the Performing Arts - May, 2019.
NY Posthuman Spring Summit - April 2019.
"Kantor and the Posthuman Stage" published in The Postdramatic Theatre and Form - March, 2019.
SharpWeb reviews Reader in Comedy: Anthology of Theory and Criticism from @BloomsburyBooks as "a superb selection of texts" - March, 2019.
Article on comedy, totalitarianism, and the Polish playwright, Slawomir Mrozek published in the LA Review of Books - August 2018.
Winner of the Elliott Hayes Award for Outstanding Achievement in Dramaturgy for TheTheatreTimes.com - August 2018.
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.
A Site-Specific Conference at Cornell University and The Cherry Artspace, May 11–12, 2018
Guest lecture: “Performances of Dignity: In Law, Medicine, and Theatre” - September 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