Name: Magda Romanska
Title: Affiliate
Twtr:: MagdaRomanska
Port: magdaromanska.com
Email: magdaromanska@outlook.com


Magda Romanska is a writer, dramaturg and theatre, performance and media scholar. She researches issues on the intersection of theatre, media, and technology, including multiplatform dramaturgy, human/AI interaction in performance, the ethics and representation of human enhancements, and posthuman theatre and performance.

A graduate of Stanford’s interdisciplinary honors program in Modern Thought and Literature, 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 and Davis Center for Russian and Eurasian 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. In 2019, she also launched Performap.org – an interactive digital map of theatre festivals, funded through Yale Digital Humanities Lab and LMDA Innovation Grant.

She is the author or editor of four critically acclaimed theatre books, and a sole editor of a ten-volume series Focus on Dramaturgy from Routledge. In addition to her scholarly work, she published in The LA Review of Books, The Boston Globe, The Theatre Times, and The Cosmopolitan Review. She has taught 30 different courses on theatre, performance and transmedia, including at Harvard University, Yale School of Drama, Cornell University, and Emerson College; and worked on over 30 theatre and opera productions.

At metaLAB, she researches her new book project on transmediality of multiplatform, multisite, multigenre narratives, which in addition to deploying familiar plot-driven structural devices (inciting incident, climax, denouement), often incorporate multiple access points, serendipity, immersion, worldbuilding, role play, seriality, and time/space co-presence. With new technologies and new genres, transmedial dramaturgy also developed new questions: how are we to analyze, think critically, and develop narratives that use multiple structural and architectural frameworks?

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