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  • Livestreaming Forum on Canadian Theatre hosted by The National Theatre School of Canada—#CdnCult—Sat, Oct 4 HowlRound TV
    The National Theatre School of Canada in Montreal and the Spider Web Show present "From Where I Stand, A Forum of Perspectives on Canadian Theatre" livestreaming on the global, commons-based peer produced HowlRound TV network at on Saturday, October 4 at 10am-1pm EDT (Montreal) / 8am-11am MDT (Calgary) / 7am-10am PDT (Vancouver) / 14:00 GMT / 3pm BST (London, UK). Taking place in Montreal, this is a forum designed to reflect on Canadian theatre through the eyes of current practitioners. Join an interactive discussion about Canada’s theatrical landscape bringing together professionals with diverse generational and stylistic backgrounds. In Twitter, use hashtag #CdnCult to participate in online conversation. Additionally, follow @HowlRoundTV and hashtag #newplay.
  • Artists’ Entrance: A Homegrown Artist Colony Emma Wiseman
    Today Westport has one of the wealthiest zip codes in the United States. A hedge fund responsible for $120 billion of the world’s money is nestled in the woods there. In this gilded environment, my family has always been slightly out of place. Though now winterized and expanded, our house is one of a dwindling number of non-mansions on the street. Recently, my parents and I decided to experiment with sharing that resource, thinking other artists might also benefit from the opportunity to get away and spread out.
  • Playwrights, Rewrites, Multiple Productions: Pluto Steve Yockey
    The nerves about future productions depending entirely on the success of this first one are wiped away. It just pushes all of the anxious noise into the background. A lot of times the idea of taking chances has much more to do with design choices and how things are realized that might seem tiny to other folks, but can really influence the storytelling.
  • Thoughts of a Los Angeles Designer Tom Buderwitz
    I could certainly choose not to work at a lot of small theaters. I could also try and negotiate higher rates. I have done both. But I like to work with good theater artists. It’s hard to say no to a good director or to a good script. As a Los Angeles theater artist, it is almost impossible to not work in 99-seat theater.
  • Dreaming in Cuban: Cuban Theater & The Miami School Jorge Luis Morejón
    Despite profound decentering from its source, Cuban theater has had a consistent representation in Miami. Mirrored by a repertoire of embodied theatrical practices, Cuban theater constitutes an important system of knowing and transmitting knowledge about Cuban culture. Using its own positioning, these epistemologies, in conjunction with actor’s training have gone unrecognized; yet, they have survived expatriation in the midst of divergent perspectives on both how to perform theater as knowledge, as well as how to generate knowledge through theater. Sainetes (or one- act farces), musical comedies, zarzuelas, and serious dramas in particular, are the fabric of this historically and culturally specific communicative process. Overall, the retention of the art form and the formation and maturity of Miami’s exiled actors has depended on the Cuban modern theater performed in exile.
  • Why Are Theater Artists So Afraid to Speak? Douglas Clayton
    The kind of open, honest, rough-and-tumble way that we often approach our art-making seems to be inhibited, or even actively stifled, when it comes to addressing larger issues in the way we work and the ways we are part of the fabric of the country. Much of the time, it seems like we’re all living in a spirit of fear, instantly defensive whenever anyone questions the current status quo. And this despite the fact that, at least in principle, everyone seems to agree the status quo is far from ideal.
  • Livestreaming a musical theater writers talk with Andy Einhorn, Ted Chapin and Michael Korie—Sat, Sept 27 HowlRound TV
    Bucks County Playhouse in New Hope, Pennsylvania presents a new musicals talk-back livestreaming on the global, commons-based peer produced HowlRound TV network at on Saturday, September 27 at 11:30am EDT / 10:30am CDT / 8:30am PDT / 15:30 GMT / 4:30pm BST. Featuring the creative teams of String and Thanks: Andy Einhorn, Ted Chapin and Michael Korie. Moderated by Bucks County Playhouse’s Executive Producer Robyn Goodman. In Twitter, use @TheaterBCP and #newplay for Q&A.
  • La MaMa Umbria: An Italian (Re)Treat Patricia Davis
    All you have to do, for ten days, is look at beauty and create. If you need to talk your ideas through, you have a teacher available, ready to listen and help. If you want to hear your pages read aloud, supportive comrades will oblige, then drink wine with you at night to a chorus of crickets and cicadas, the only loud nightlife around.
  • Playwrights, Rewrites, Multiple Productions: Jihad Jones and the Kalashnikov Babes Yussef El Guindi
    It was instructive to watch the same comedy handled by different casts and directors, each offering different rhythms and approaches to the same comic beats. It is startling how fragile comic material is. It was a tutorial for me in that regard, watching that unfold. Drama is not quite as fragile as comedy is. Something as delicate and important as rhythm/pacing can radically alter everything. Drama can take that change more easily than comedy can.
  • Creating the Belarusian Dream Theater Project Brendan McCall
    While I was reaping the benefits of working internationally, my Belarusian friends were living as a theater company in exile. What could I do to help make a difference? What tools could I use, as a theater artist, to break down this silence, censorship, and oppressive regime?