Emma Plotkin

Emma Plotkin is a writer, director, and theater-maker originally from upstate NY. Two years ago she began a theater blog that examined social mission, pay, funding, technique, collaboration and aesthetic within the context of history, art, culture and the current political climate. In addition to journalism, Emma has a firm grounding in social activism and has studied global and local intersectional gender studies and community action. Her work emphasizes diverse voices and the complexities of representation as holistic characters. She is an avid learner whose interests span neuroscience, synesthesia, modern Chinese affairs, artificial intelligence, virtual reality, music, dance and environmental issues. She has participated in the Sackler Conference on “Love and Neuroscience”, written about the synesthetic brain for an upcoming issue of Sony Magazine, collaborated on digital theater with researcher Pat Paranutaporn from Freak Lab and MIT Media Labs, written on failure, art and collaboration for the Ford Foundation and written a play on modern dancer and choreographer Pina Bausch with NOplays, 365 Women a Year and Hubbard Hall. Her love for reading, art, and cultural activities informs her writing. Emma is also an active theater, dance and music artist who has worked with major directors like Robert Wilson, Ann Bogart, Liz Lerman, CocoRosie and Kristin Hanggi. As a theater artist, Emma has worked with Beth Morrison Projects, Siti Company, The Watermill Center, The Hangar Theater, HERE Arts Center, The Eugene O’Neill and The National Theater Institute. She is trained in a wide variety of styles including many physical forms of theater, dance, puppetry, masks, Alexander, Meisner, Suzuki, and Viewpoints.

Recent reviews:

Review: Like Orpheus

Queer club culture and surreal movement are married in this rave ridden soliloquy of love in the margins

Review: All I See Is You

Funny, upsetting and with just the right amount of teenage angst - it’s 1960’s UK. This is a coming of age story where queer men are never truly permitted to come of age.

Review: Billy

Billy is a listicle advert for useless misogyny, a constructivist nightmare, an IKEA bookcase and a durational comedy. GET IT? Good!

Review: Infinity

Between confessions and spacesuits is a dynamic and moving play that will reveal why we all need each other so very, very much.

Review: Drip Feed

Complex, imperfect and very human, a moving story about a queer woman living in Cork during the 1990s