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About Magda Romanska
A graduate of Stanford's honors program, and of Cornell's doctoral program in Theatre, Film and Dance, Romanska is an Associate Professor of Theatre and Dramaturgy at Emerson College in Boston, MA, a Research Associate at the Center for European Studies at Harvard University, the Chair of Transmedia Arts seminar at Harvard University Mahindra Humanities Center, and the Executive Director and Editor-in-Chief of TheTheatreTimes.com, the largest global digital theatre portal, for which she won the 2018 Elliott Hayes Award for Outstanding Achievement in Dramaturgy. In this capacity, she leads a team of over 140 Regional Managing Editors around the world, covering theatre in over 90 countries and regions.
Her research has been recognized with two international awards from the American Society for Theatre Research and from the Polish Studies Association. Her past publications cover the areas of post-traumatic theatre, a theory of comedy, and dramaturgy. She 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 (co-edited with Alan Ackerman); and The Routledge Companion to Dramaturgy, a leading handbook of dramaturgy, and Boguslaw Schaeffer: An Anthology. Her fifth book, TheaterMachine: Tadeusz Kantor in Context (co-edited with Kathleen Cioffi) is forthcoming from NUP. She is also the sole editor of a ten-volume series Focus on Dramaturgy from Routledge.
Her book chapters and articles have been published in anthologies and journals: Postdramatic Theatre and Form; Diversity, Inclusion, and Representation in Contemporary Dramaturgy: Case Studies from the Field (forthcoming); International Women Stage Directors; Adapting Chekhov: The Text and Its Mutations; The Sacred Tropes; The Cultural Politics of Heiner Muller; and Ghosts, Stories, Histories; Theatre Survey; TDR: The Drama Review; Performance Research: A Journal of the Performing Arts; Alif: Journal of Comparative Poetics; Mercurian: A Theatrical Translation Review; Gender Forum; Women's Studies: An Interdisciplinary Journal; and Toronto Slavic Quarterly.
In the past, she has served on the editorial boards of Theater magazine, the Yale Journal of Law and Humanities, Diacritics: A Review Journal of Criticism and Theory, Journal of Law and Theatre, and Polish Theatre Perspectives. She was also a founding editor of Palimpsest: Yale Literary and Arts Magazine, which was featured in Print Magazine's Regional Design Annual and chosen from among over twenty thousand entries. Her editorials and theatre reviews have been published in The LA Review of Books, The Boston Globe, Hot Review, The Theatre Times, and The Cosmopolitan Review.
She has taught at Harvard University, Yale School of Drama, Cornell University, and Emerson College. She has also worked on over 30 theatre and opera productions as either dramaturg, playwright, or director, and she has served as the resident dramaturg for the Boston Lyric Opera.
Personal website: http://www.magdaromanska.com/
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Reader in Comedy is arranged in five sections, each featuring an introduction providing concise and informed historical and theoretical frameworks for the texts from the period:
* Antiquity and the Middle Ages
* The Renaissance
* Restoration to Romanticism
* The Industrial Age
* The Twentieth and Early Twenty-First Centuries
Among the many authors included are: Plato, Aristotle, Horace, Donatus, Dante Alighieri, Erasmus, Trissino, Sir Thomas Elyot, Thomas Wilson, Sir Philip Sidney, Ben Jonson, Battista Guarini, Molière, William Congreve, John Dryden, Henry Fielding, Samuel Johnson, Oliver Goldsmith, Jean Paul Richter, William Hazlitt, Charles Lamb, Søren Kierkegaard, Charles Baudelaire, Bernard Shaw, Mark Twain, Henri Bergson, Constance Rourke, Northrop Frye, Jacques Derrida, Mikhail Bakhtin, Georges Bataille, Simon Critchley and Michael North.
As the selection demonstrates, from Plato and Aristotle to Henri Bergson and Sigmund Freud, comedy has attracted the attention of serious thinkers. Bringing together diverse theories of comedy from across the ages, the Reader reveals that, far from being peripheral, comedy speaks to the most pragmatic aspects of human life.
In our global, mediated context of multinational group collaborations that dissolve traditional divisions of roles as well as unbend previously intransigent rules of time and space, the dramaturg is also the ultimate globalist: intercultural mediator, information and research manager, media content analyst, interdisciplinary negotiator, social media strategist.
This collection focuses on contemporary dramaturgical practice, bringing together contributions not only from academics but also from prominent working dramaturgs. The inclusion of both means a strong level of engagement with current issues in dramaturgy, from the impact of social media to the ongoing centrality of interdisciplinary and intermedial processes.
The contributions survey the field through eight main lenses:
- world dramaturgy and global perspective
- dramaturgy as function, verb and skill
- dramaturgical leadership and season planning
- production dramaturgy in translation
- adaptation and new play development
- interdisciplinary dramaturgy
- play analysis in postdramatic and new media dramaturgy
- social media and audience outreach.
This book considers the hundred years of re-writes of Anton Chekhov’s work, presenting a wide geographical landscape of Chekhovian influences in drama. The volume examines the elusive quality of Chekhov’s dramatic universe as an intricate mechanism, an engine in which his enigmatic characters exist as the dramatic and psychological ciphers we have been de-coding for a century, and continue to do so. Examining the practice and the theory of dramatic adaptation both as intermedial transformation (from page to stage) and as intramedial mutation, from page to page, the book presents adaptation as the emerging genre of drama, theatre, and film. This trend marks the performative and social practices of the new millennium, highlighting our epoch’s need to engage with the history of dramatic forms and their evolution. The collection demonstrates that adaptation as the practice of transformation and as a re-thinking of habitual dramatic norms and genre definitions leads to the rejuvenation of existing dramatic and performative standards, pioneering the creation of new traditions and expectations. As the major mode of the storytelling imagination, adaptation can build upon and drive the audience’s horizons of expectations in theatre aesthetics. Hence, this volume investigates the original and transformative knowledge that the story of Chekhov’s drama in mutations offers to scholars of drama and performance, to students of modern literatures and cultures, and to theatre practitioners worldwide.
I place Boguslaw Schaeffer's genius firmly at the centre of the European cultural heritage which expressed avant-gardism during my lifetime.' Richard Demarco
This anthology of plays by Boguslaw Schaeffer, a Polish playwright, composer, musicologist and graphic designer, includes his most frequently performed works: Scenario for a Non-Existing, but Possible Instrumental Actor (1976), Quartet for Four Actors (1979), and Scenario for Three Actors (1987). The plays are examples of Instrumental Theatre. Like Schaeffer’s microtonal compositions, they are carefully structured and employ cyclical repetitions, and codes. Schaeffer’s most famous instrumental play, the Quartet for Four Actors, has been so successful that it has been staged by practically every Polish theatre. Scenario for a Non-Existing, but Possible Instrumental Actor, opened in 1976 and has since been staged over 1,500 times around the world. During its 40-year run, it has been critically acclaimed and has won many awards, including the 1995 Grand Prix at New York’s Theatre Festival. Winner of many prestigious international awards, Scenario for Three Actors, has been a permanent fixture in many Polish theatres since its premiere. Schaeffer is a universal artist, unafraid to explore a range of fields, forms, and subject matter, and his theatre, like his music, defies previous, established conventions and techniques, surprising its audiences with innovative and invigorating form and style.
A fascinating study of women in the arts, International Women Stage Directors is a comprehensive examination of women directors in twenty-four diverse countries. Organized by country, chapters provide historical context and emphasize how social, political, religious, and economic factors have impacted women's rise in the theatre, particularly in terms of gender equity. Contributors tell the stories of their home country's pioneering women directors and profile the most influential women directors practicing today, examining their career paths, artistry, and major achievements.
Contributors are Ileana Azor, Dalia Basiouny, Kate Bredeson, Mirenka Cechová, Marié-Heleen Coetzee, May Farnsworth, Anne Fliotsos, Laura Ginters, Iris Hsin-chun Tuan, Maria Ignatieva, Adam J. Ledger, Roberta Levitow, Jiangyue Li, Lliane Loots, Diana Manole, Karin Maresh, Gordon McCall, Erin B. Mee, Ursula Neuerburg-Denzer, Claire Pamment, Magda Romanska, Avra Sidiropoulou, Margaretta Swigert-Gacheru, Alessandra Vannucci, Wendy Vierow, Vessela S. Warner, and Brenda Werth.