Romanska's scholarship in Theatre Studies has been recognized with two international awards: the Aquila Polonica Article Prize from the Polish Studies Association, and the Gerald Kahan Scholar’s Prize from the American Society for Theatre Research. Her current research project, The Bionic Body: Technology, Disability and Humanism, draws on interdisciplinary research from cognitive science, art, film and theatre, and investigates how the concept of the 'posthuman' body affects representations of the disabled in modern culture, and how these in turn alter our perceptions of what is and isn’t a ‘human’ – and challenge even the very need for such a category.
In addition to her scholarship and dramaturgy, Romanska is a translator and critically acclaimed experimental playwright. Most recently, her play, Opheliamachine, had its world premiere in Los Angeles. In 2014, Romanska was a Visiting Associate Professor at Harvard University, and in 2002, she was a visiting scholar at the Yale School of Drama. In 2014 she chaired the Literary Managers and Dramaturgs of the Americas (LMDA) conference in Boston. The conference brought together over 160 international dramaturgs, who participated in a total of 21 panels and discussions. Romanska graduated with honors from Stanford University and holds a Ph.D. in Theatre and Film from Cornell University.
Conductor: David Angus Director: David Schweizer Set Designer: James Noone Dramaturgy: Magda Romanska
Written by Switzerland’s greatest composer, Frank Martin (1890–1974), in the late 1930s, Le Vin Herbé was initially conceived as a 30-minute piece. Wanting to distance himself from Wagner, Martin based the story instead on Joseph Bédier’s 1900 philological novel, The Romance of Tristan and Iseult.
Conductor: Arthur Fagen Director: Chas Rader-Shieber Set Designer: Julia Noulin-Mérat Dramaturgy: Magda Romanska
Giuseppe Verdi’s La Traviata, not seen at BLO in nearly a decade, returns in a glorious new production. The tale of Violetta, a worldly courtesan with all the men of Paris at her feet, takes a wrenching turn when she risks all for a chance at enduring love.
Conductor: David Angus Director: Crystal Manich Set Designer: John Concklin Dramaturgy: Magda Romanska
I Puritaniis set in the Puritan fortress at Plymouth during the English Civil War. The Puritans, led by Oliver Cromwell, have inflicted a crushing defeat on troops loyal to Charles I (the Cavaliers) and taken parliamentary power. Although the King has been tried and executed (his widow, Henrietta, plays a significant role in the opera) the Cavaliers fight on.
Conductor: Christopher Franklin Director: Tomer Zvulvun Set Designer: John Concklin Dramaturgy: Magda Romanska
Verdi's Rigoletto is set in the Renaissance Italian city-state of Mantua ruled by an all-powerful Duke. The opera's original title, La maledizione (The Curse), refers to the curse placed on both the Duke and Rigoletto, his court jester. The curse comes to fruition when Rigoletto's daughter falls in love with the Duke and eventually sacrifices her life to save him. DRAMATURGY BLOG SERIES
Conductor: David Angus Director: Leon Major Set Designer: John Concklin Dramaturgy: Magda Romanska
Tommy, Pamela, Patrick, and Monty, four contemporary university students, are on an archeological visit to the Mayan ruins. Tommy (Tamino) is bitten by a snake, and as the venom enters his veins, he begins to hallucinate—the power of his altered state draws his companions into his dream, and they are suddenly and violently swept up into the pyramid they have come to visit.
A Chamber Version in Seven Scenes Music by Jack Beeson; Libretto by Kenward Elmslie Based on a Scenario by Richard Plant Realized by Todd Bashore and John Conklin Dramaturgy: Magda Romanska
Fall River, Massachusetts has never forgotten the infamous crime. When Lizzie Borden was arrested for the brutal murder of her father and stepmother, the New England village became the focus of the nation. The jurors at Lizzie’s trial did not deliberate long, but in the court of public opinion, debate still rages about her guilt or innocence.