“THE BODY DISMEMBERED: ALLEGORY AND MODERNITY IN GERMAN TRAUERSPIEL.” Theatre and The Macabre. Eds. Kevin J. Wetmore and Meredith Conti (Cardiff: University of Wales, forthcoming 2022).
“THE THEATRE OF CRUELTY AND THE LIMITS OF REPRESENTATION: SADE/SALO.” Journal of Adaptation in Film & Performance, Vol. 13, No. 3: 259-284 (1 Dec. 2020).
“TADEUSZ KANTOR AND THE POSTHUMAN STAGE.” Postdramatic Theatre and Form (Bloomsbury Press, 2019).
“In Magda Romanska’s enlightening chapter, ‘Body: Tadeusz Kantor and the Posthuman Stage,’ Kantor’s practice, in which “the body no longer belongs to the character but to the interconnected landscape of mapped signs and symbols” (86) of the theatrical event, demonstrates the potential to further move away from dramatic form by rejecting the body as the source of theatrical representation entirely. Romanska argues that posthuman theatre might be a more appropriate third stage in Szondi and Lehmann’s Hegelian methodology, as it is a clearer break from modern drama and fully reverses the human body-centric pre-drama.” – Journal of Dramatic Theory and Criticism
“COMEDY: INTRODUCTION.” Reader in Comedy: An Anthology of Theory and Criticism (Boomsbury Press, 2016).
“DISABILITY IN TRAGIC AND COMIC FRAME.” Reader in Comedy: An Anthology of Theory and Criticism (Boomsbury Press, 2016).
“INTRODUCTION TO THE ROUTLEDGE COMPANION TO DRAMATURGY.” The Routledge Companion to Dramaturgy (New York: Routledge, 2014).
“DRAMETRICS: WHAT DRAMATURGS SHOULD LEARN FROM MATHEMATICIANS.” The Routledge Companion to Dramaturgy (New York: Routledge, 2014).
“WOMEN DIRECTORS IN POLAND.” International Women Stage Directors. Eds. Anne Fliotsos and Wendy Vierow (Champagne, IL.: The University of Illinois Press, 2013).
“GROTOWSKI AND KANTOR: THEATRE AND THEORY.” Grotowski: L’eredità vivente. Ed. Antonio Attisani (Italy: Accademia University Press, 2013).
“CHEKHOV IN THE AGE OF GLOBALIZATION: JANUSZ GLOWACKI’S ‘THE FOURTH SISTER.'” Adapting Chekhov: The Text and Its Mutations. Eds. Yana Meerzon and Douglas Clayton (New York: Routledge, 2012).
“TRAUMA AND TESTIMONY IN HEATHER RAFFO’S ‘NINE PARTS OF DESIRE.'” Alif: Journal of Comparative Poetics, No. 31: 211-239 (2010).
“BETWEEN HISTORY AND MEMORY: AUSCHWITZ IN ‘AKROPOLIS,’ ‘AKROPOLIS’ IN AUSCHWITZ.'” Theatre Survey, Vol. 50, No. 2: 223-250 (2009).
Magda Romanska’s essay “offers an excellent unpacking of both Stanislaw Wyspianski’s 1904 drama, Akropolis, and its production history. Romanska’s essay makes extensive use of sources to tell a complicated story, layering text, performance, and context, and paying attention to the original script as well as performances, especially that of Jerzy Grotowski. Indeed, Romanska’s essay provides a missing, though essential analysis of a production that is often cited, but perhaps rarely understood in its full context. The methods of historiography and documentary analysis are excellent and provide an instructive model for future performance scholarship.” – ASTR Selection Committee