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Emma Joy Hill is a writer, performer, dramaturg, and theatre artist. Her passion for writing plays extends into a deep love for grotesque performance art, devised theatre, and sexual violence activism. She has a BA in Theatre Studies/Playwriting from the University of Connecticut where she has had multiple workshops and staged readings of her plays including The Fit of the Coastlines, In Other Gardens, Trudy Tries to Say I Love You But Runs Out of Breath, Women Have Teeth Tongue Eyes TooVarious Levels of Hell, and Those Hollow Bodies which was awarded a full production at the University. In the past, she has been commissioned by the Natural Resources Conservation Academy to develop work that addresses climate change in communities. Additionally, she was a recipient of the Bushwick Starr's Pet Project Grant and the Foundation of the Arts Playwriting Grant in 2020. As a professional playwright, she has developed theatre throughout Connecticut, New York City, Philadelphia, and Chicago. She has experience working with companies such as The Brick, Women's Theatre Festival, Deviant Theatre, 59E59 Theatre, Studio 570, Theatre L'Acadie, Cinnamon Summer Series, Bated Breath Theatre Company, Connecticut Repertory Theatre, Jorgensen Theatre, and Out of Chaos Theatre in the United Kingdom. In addition to her work as an artist, she works as an educator and advocate. She has experience teaching theatre, acting, and creative writing to children ages 5-18. In tandem with her interest in education, she is the Chief Creative Officer of the organization Brave Embrace, which works to prevent sex trafficking and empower young girls. She also volunteers with Tanzania Development Trust to combat female genital mutilation (FGM) in the country. At the present, she is devising a female-ensemble piece rooted in the Helen of Troy myth. She is currently based in Connecticut.

I believe that our

theatre

dare not do the walk of shame. I believe that our theatre put its manners on the back burner. I believe that our theatre be honest. I believe that our theatre be screaming. I believe that silence is dangerous. I believe in always calling out. I believe we make work for people who hate it. I believe that work will be the work that changes the world. I believe in a world that's interesting because of theatre that's interesting. I believe in a theatre that's interesting only if it interests us. I am only interested in sitting if I can't stand myself. I am only interested in starving and being starved. I am only interested in being uncomfortable. I am only interested in being pinned against the wall. I am only interested in really hot sex. In really loud voices. In big booms. In time bombs. In bright lights. In convulsions. In kissing gross. In impolite. In honest. In gorging myself. In leaving the pots and pans in the sink. In making a wild mess. In eating more. Making more. Even if it means being sick in the morning. 

manifesto