Magda Romanska is a writer, dramaturg and theatre scholar.  In addition to teaching at Emerson, she is Dramaturg for Boston Lyric Opera, and research Associate at Harvard University’s Davis Center.  Her books include The Post-traumatic Theatre of Grotowski and Kantor (2012), Boguslaw Schaeffer: An Anthology (2012), The Routledge Companion to Dramaturgy (2014), and Comedy: An Anthology of Theory and Criticism (forthcoming in 2015). In 2014, Romanska was a Visiting Associate Professor of Slavic Languages and Literatures at Harvard University, and she chaired the Literary Managers and Dramaturgs of the Americas (LMDA) conference in Boston. A former exchange scholar at the Yale School of Drama and fellow at the Mellon School of Theatre and Performance Research at Harvard University, Romanska graduated with honors from Stanford University and holds a Ph.D. in Theatre and Film from Cornell University.



Alyssa Schmidt

Alyssa Schmidt is an educator, dramaturg, and ecotheatre scholar. In addition to her role at Emerson Stage, she teaches Theatre History, Eco-Performance, and Dramatic Literature at the Boston Conservatory, where she also serves as the dramaturg for the M.F.A. capstone cabarets. Alyssa is the Dramaturgy and Connectivity Associate for the Nora and the Underground Railway Theater at Central Square Theater, focusing on new play development as well as productions supported by the Catalyst Collaborative grant. Her interest in community-based theatre originated in her work at Cal Shakes in the Bay Area of CA, where she worked as an Artistic Associate.  Alyssa has taught previously at Tufts University and Northeastern University. Schmidt graduated with honors from Willamette University and holds a Ph.D. in Drama from Tufts University.



robert duffley photoRobert Duffley is an MFA candidate in Dramaturgy at the ART/MXAT Institute for Advanced Theater Training at Harvard University (BA in English, Georgetown University). Among his interests are the boundaries between literary studies and new drama production, and theater as cultural diplomacy. Recent theatre credits include productions at the Moscow Art Theater, the American Repertory Theater (Boston), and Theater J (Washington, DC). Publications include The Cornell International Affairs Review,Georgetown Outlook Asia, and DC Theatre Scene.





AMAmissa Miller is a dramaturg, writer, and educator. She is interested in explorations of identity and culture, questions of access and inclusion, and the fostering of creative and pedagogical spaces that allow participants to collaboratively construct knowledge. Her dramaturgy background is rooted in an interest in new play development, collaborating with writers and directors on developmental workshops and productions at companies like The Huntington Theatre Company, The Women’s Project, Ars Nova, and the Movement Theatre Company. As a writer, her work includes the interview-theatre piece What Do You Do?, a translation of Francisco Arrivi’s Vejigantes, and the short screenplay The Big Chop, a finalist at the 2014 Black Star Film Festival. She has worked in community-based arts education and administration with organizations like Wide Angle Youth Media, Opening Act New York, Maysles Institute, Brooklyn Young Mothers’ Collective, and the Dwyer Cultural Center. Amissa holds a B.A. in Drama and Spanish from Spelman College (2006) and an M.F.A. in Dramaturgy and Script development from Columbia University.




WhitneyWhitney Dibo received her MFA in dramaturgy from the Yale School of Drama, where her credits include Fox Play, No More Sad Thing, Romeo and Juliet, andCardboard Piano. She was also one of the Co-Artistic Directors of the Yale Cabaret, where her credits include The Twins Would Like to Say (co-director) and The Yiddish King Lear (co-creator, director). Prior to Yale, she worked in the education and literary departments at Steppenwolf Theatre Company, where she served as the program assistant on First Look Repertory of New Work. She has also worked in artistic capacities at The Gift Theatre, Chicago Dramatists and TimeLine Theatre, among others. Her writing has appeared in Time Out ChicagoNewcity: Street Smart ChicagoWomen in Theatre Magazine, and The Blood Orange Review.

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