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  • Queering The Room: Some Beginning Notions For A Queer Directing Practice Will Davis
    This method of working through the unknown and working with a bit of grace with the imperfect is the only way I have managed to arrive at a sense of self in my life. I’ve had to learn to listen to the impulse inside me that says, “just cross the threshold, I have no idea why or what will happen but just do it and we’ll sort it out on the other side.” That was true when I changed my name, it was true when I started making physical changes to my body, and it is true today.
  • Just Say Yes Annie Danger
    …you begin with hope. Not dependence on false hopes. Not faith in some distant heaven. But real, hard, daily belief that we can make the drastic, bone-deep changes necessary to make our world a better place. Every morning, every evening, rising and resting with hope in our hearts is the only way we can make it through the lifetimes of hard work we have ahead of us as people committed to a better world.
  • Beyond Cool: Moving Towards True Transgender Visibility MJ Kaufman
    I hear in theater constantly: a talented artist can write or act anything. Suggesting that an artist can only express their lived experience is limiting. While a cisgender writer certainly could write a nuanced, specific, and well-written trans character, I rarely see it. Instead I see cisgender writers, producers, and actors recycling offensive stereotypes and sensationalizing trans bodies.
  • Against the Dramaturgy of Punishment: From the Greeks to The Normal Heart Andy Boyd
    Tragedy arises not because of one character’s flaw, but because of the irresolvable clash of mutually exclusive value systems: family loyalty clashes with patriotism, sexual gratification clashes with social order, or friendship clashes with the realities of war.… The power of the great Greek tragedies, and the great tragedies of our age, is to be found in their unwillingness to dogmatically assert one value system over another. In a world of easy answers, tragedy dares to ask profound questions. That’s what they did in ancient Greece, and that’s what we need them to do today.
  • Making the Residency Work for You: Robert O’Hara, Playwright-in-Residence at Woolly Mammoth Theatre Company Robert O'Hara, Ronee Penoi
    …my concerns were how much time would I have to be in residency in DC and will they allow me to continue my directing career. Otherwise, I wouldn’t do it. So we structured the residency around who I am. And quite frankly, one doesn’t have to be in residency to write a play. This is not solely about playwriting, this is about embedding the playwright in the building.
  • On History, Ideals, and Asian American Theater Jane Jung
    From the very beginning, there has been a struggle on the part of actors of Asian descent to assert their humanity in the face of a history and culture deeply entrenched in exotification and other-ing, an inextricable aspect of Western dominance and national identity building throughout modern history.
  • Asian American Theater: The Question of Home Victor Maog
    In the recent review of Broadway and nonprofit theater by the Asian American Performers Action Coalition, Asian Americans were the only major minority group to have their numbers decrease, from 3 percent in 2006 to 1 percent in the 2008–09 and 2009–10 seasons. Moreover, Asian Americans were the least likely of all major minority groups to play roles that were not racially specific.
  • A Relaunch for MinnesotaPlaylist Alan Berks
    In Minnesota, your bank teller, plumber, and doctor all have opinions about whether they like the Guthrie Theater’s season. All of them may have seen your last Fringe show or that other thing you did that you thought only fifty people saw. It’s no big deal; they’re not impressed by you; they just enjoy their cultural heritage; they appreciate that you do what you do and they will go see it, because this is what they do in their life, along with lots of gardening, voting at the highest rates in the country, and bemoaning the Vikings and Twins.
  • An Interview with 7 Fingers’ Gypsy Snider and Shana Carroll Polly Carl, Gypsy Snider, Shana Carroll
    When I was eighteen and deciding to do circus, I was involved in a form where you take a risk on a daily basis. I became a trapeze artist. I think that when you take a risk in one corner of your life, it transfers over and makes you more courageous in the rest of your life. … I think that as a spectator to be able to watch something that is choreographic and beautiful and to be transported to a place where you see someone risking their lives in order to do it, and the stakes are that high, it produces an emotional response you can’t achieve in other forms.
  • My Aristotle, My Las Vegas Brighde Mullins
    There were two modes of preparation for a soiled soul: one was to go to a sporting event and, by rooting for an athlete, profound and cleansing emotions would be activated. The other option was to go to the theater, and, in passionate sympathetic contemplation, witness a story, a tragic turn of events, to identify, to empathize and to walk away purified. To create both holy terror and whole receptivity, then, was at the root of the [theatrical] experience.