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  • Collective Growth: Reports from the Continuum of a Playwright’s Collective Theater Trista Baldwin
    There is no one producer. There is no one managing director. There is no Boss of Us. There is no shoulder to cry on. …Workhaus Collective has changed arms and legs, losing playwright-members and gaining new ones, all while keeping the collective heart beating and eyes focused on the same goal: to produce each other’s plays for the good of playwriting and the good of the audience.
  • The World Wide Theater at Our Fingertips DCW3, Alex Ates
    The internet is the place where people everywhere can go to for information and watch art unfold in front of them. However, unlike Shakespeare’s Globe, there are no groundlings on the internet; all audiences have the same seat and the same opportunity. Your only admission ticket is a common internet connection.
  • Interview with Marcus Gardley Rebecca Stevens, Marcus Gardley
    Marcus Gardley, a thirty-six-year old, award-winning playwright-poet, is making a substantial impact on the national performing arts community. Within the last year alone, theater companies, ranging from Brooklyn to Denver, have performed Gardley’s works (including "The Box" at the Irondale Center in Brooklyn, in a Foundry Theatre production, "Black Odyssey" at the Denver Center for the Performing Arts, "The House That Will Not Stand" by the Yale Repertory Theatre, "dance of the holy ghost: a play on memory" by Center Stage Baltimore, and "The Gospel of Lovingkindness" at the Victory Gardens Theater in Chicago).
  • Finding a Theatrical Home: My Journey to IRT Theater Evan Caccioppoli
    When I really started to realize the importance of having a theatrical home—a safe and freeing environment where you can create work and challenge yourself. In finding a home base for Kid Brooklyn Productions, I had the goal of creating a developmental lab series where we could produce workshops, both public and private, a reading series, and space for devised work to happen.
  • Clobberation: Clobbering through a Collaboratively-Built Touring Show Ashley Laverty, Rivka Rocchio
    We had reached a point where our personalities and pride had gotten in the way of the work. We had come so far, and had great feedback from the teenagers we worked with, but at what cost? Is theater worth making, if it nearly (or completely) destroys the relationships of those involved?
  • In Dialogue with José Luis Valenzuela Jamie Gahlon, Jose Luis Valenzuela
    People feel that they have the authority or the knowledge to say this is good, this is bad... but we’re in an artistic crisis in the country, and I believe we cannot begin a meaningful dialogue until we understand the "why."
  • Your Brain on Creativity Polly Carl
    I’m not sure the “I’m so busy” problem is unique to theater, but I personally find it a maddening part of institutional theater culture. Everyone is simply too busy to find time where those random eureka moments might occur. We rarely just hang out or create the kind of down time for ourselves that make a creative life possible. Have our theaters and their creativity suffered for a lack of REST? Is the business of theater antithetical to its creative soul?
  • Aditi Kapil, Jack Reuler, and a Pack of Skittles at Mixed Blood Theatre Hayley Finn, Aditi Kapil, Jack Reuler
    Hayley Finn talks with Aditi Kapil, Mellon Playwright-in-Residence at Mixed Blood Theatre, and Jack Reuler, Mixed Blood’s Artistic Director, to discuss how their relationship has changed as a result of the residency.
  • Catalyst is Coming!: A National Convening of Black Theaters Carmen Morgan
    Much is happening in the arts community today—and with black theaters, even more so. Black theaters continue to question their relevancy amidst changing demographics that are impacting the arts in general, all the while holding to culturally-specific aesthetics and community accountability.
  • New Orleans and The DISTILLERY: Creative Visibility Emilie Whelan
    The DISTILLERY is a creative residency for mid-career New Orleans-based performing artists to utilize while they are crafting a new performance. The DISTILLERY values local and national mentorship, consistent roundtable critical discussions amongst its four participating fellows, documentation of artistic processes, and audience engagement.

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