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  • Twitter Chat: Ferguson & What Can Artists Effectively Do In the Context of Social Justice Issues, Crises, & Conflicts?—#newplay—Thurs, Sept 18 HowlRound
    This week's Twitter conversation topic is "Ferguson and What Can Artists Effectively Do In the Context of Social Justice Issues, Crises, & Conflicts?" and will be co-moderated/prompted in open collaboration with anyone participating by Claudia Alick @claudiaalick and Danny Bryck @DannyBryck. This hour-long Howl will take place on Thursday, September 18 on hashtag #newplay at 11am PDT (Vancouver) / 1pm CDT (Ferguson) / 2pm EDT (New York) / 18:00 GMT / 7pm BST (London).
  • Livestreaming Sliver of a Full Moon by Cherokee playwright Mary Kathryn Nagle—Sun, Sept 21 HowlRound TV
    The National Indigenous Women's Resource Center, the Indian Law Resource Center, and the National Congress of American Indians present "Sliver of a Full Moon", a powerful new play by Cherokee playwright Mary Kathryn Nagle as part of the United Nations’ World Conference on Indigenous Peoples. "Sliver of a Full Moon" documents the grassroots movement that led to the historic reauthorization of the Violence Against Women Act (“VAWA”) in March 2013, complete with a new provision restoring tribal jurisdiction over non-native offenders who commit crimes against Native women. Livestreaming twice on the global, commons-based peer produced HowlRound TV network at howlround.tv on Sunday, September 21 at 1pm EDT from the Church Center for the United Nations Chapel and again from Joe's Pub at The Public Theater at 7pm EDT.
  • Your Guide to Theater Education: Steppenwolf David Dudley
    Since 1984, Steppenwolf Theatre Company has offered internships to students, graduates, and others to experience the inner workings of a professional theater from every angle. The company has developed a collection of programs purposed to identify, train and mentor a diverse group of students, graduates and early-career professionals in arts administration, stage management and production.
  • Playwrights, Rewrites, Multiple Productions: End Days Deborah Zoe Laufer
    What I imagine the greatest impact of the National New Play Network Rolling World Premiere was to "End Days" was the buzz, publicity, approval it got before it even started. I do think it's a play with broad appeal, but I can't flatter myself that it would have had over fifty productions world-wide without that kind of launch.
  • Youth on Youth: Free Street Theater’s Youth Ensemble and The Young Fugitives Morgan Greene
    When it was founded in 1969, Free Street Theater (FST) was one of Chicago’s first racially integrated ensembles and since its inception has taken its art and activism to the streets, making theater for, with, and by the people. When I asked about the art they’d like to create, Patches summed it up: “We’re already making it.”
  • Livestreaming Playwrights Horizons’ Bootycandy Symposium moderated by Robert O’Hara—Mon, Sept 15 HowlRound TV
    Playwrights Horizons in New York City presents the Bootycandy Symposium livestreaming on the global, commons-based peer produced HowlRound TV network at howlround.tv on Monday, September 15 at 6:30pm EDT / 5:30pm CDT / 3:30pm PDT. Moderated by Bootycandy Obie Award-winning author and director Robert O'Hara. Featuring Carmen Neely (President of Harlem Pride), Tony Award Winner Billy Porter (Kinky Boots), and Yoruba Richen (Director of The New Black). Use #newplay and follow @HowlRoundTV in Twitter.
  • Livestreaming Creating Inclusivity in the American Theatre—Oregon Shakespeare Festival—Fri, Sept 12 HowlRound TV
    Oregon Shakespeare Festival's CultureFest presents a livestreaming conversation "Creating Inclusivity in the American Theatre: A Conversation with Carmen Morgan, Sarah Bellamy (Penumbra Theatre), David Henry Hwang (playwright, "M.Butterfly") and Bill Rauch" on the global, commons-based peer produced HowlRound TV network at howlround.tv on Friday, September 12 at 10am PDT/ 12pm CDT/ 1pm EDT/ 17:00 GMT. In Twitter, use #CultureFest, #newplay and direct your questions @osfashland.
  • Bardcore Will Never Die, But You Will Ira Gamerman
    I feel fairly confident that if some sort of census was to be taken from the last decade of American theatermaking, counting up the total number of productions by playwrights who are dead versus playwrights who are alive, The Zombies would outnumber those of us with pulses by a large margin. Which sincerely begs to question: Do artistic directors have a bias against playwrights who are alive? Are they “Life-ist?” “Pulse-Phobic?” Do they hate my heartbeat?
  • On Mentoring and Paying It Forward Marisela Orta
    There is so much that we, the new Latina/o playwrights, can learn from those who came before us. And if we as a cultural community are to keep working at diversifying the American stage, we need to be looking behind us as often as looking ahead. Mentorship is about paying it forward.
  • The Mathematical Constant Grief (g!) as a By-Product of (Time)(Work) + Lorca Melinda Lopez
    I wrote this summer, but all channeled through the Lorca lens. Translating when you are sad, I can say, is a very good thing to do. You can experience wild creativity within very safe margins. It’s Lorca’s play. But I get to stand in his skin, and pretend. I get to leave the sad couch of my mind, and go somewhere else. Lorca is my Virgil.

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