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  • A Short Personal History of a Beautiful, Slippery Phrase Todd London
    Your experiment—these three-year residencies—is part of a fix—a fix made necessary by the unintended consequences of good intentions. Our young theaters, brave and optimistic, cultivated a playwriting profession of greater range, depth, diversity, and imagination than any to have existed previously in this country. Then unintentionally, unwittingly, the same theaters oversaw the near impoverishment and almost-total alienation of that same group of professional playwrights, alienation from the very theaters that had made them possible. In other words, we are here because the nonprofit theater boom—its new play energies and the attendant spread of professional training programs—made possible a glorious mess of playwrights with which it had no idea what to do.
  • Listening for Unheard Voices—Syria: The Trojan Women Derek Goldman
    The "Syria: The Trojan Women" project speaks deeply to us both because of its extraordinary artistic merit and because we feel that the voices of these women, and by extension the voices of over two million Syrian Refugees, are almost entirely unknown and unheard by US audiences. The women of Syria have experienced the destruction of their homes, have had family members, brutalized, raped and killed, and have been forced to flee into exile, losing their community and their status as citizens. The production of "Syria: The Trojan Women" artfully weaves the poignant and harrowing testimonial narratives of the women—none of whom have previous theater experience—as well as letters of their own creation to loved ones still in Syria and scattered in exile, against the backdrop of tableaux, scenes and choral episodes from Euripides’ ancient play.
  • Oh, the Feels! Or, What Is the Collision Project? Anne Towns
    Accurately describing what Collision means to the young men and women who participate each summer is challenging. Part coming-of-age experience, part artistic awakening, part old-fashioned southern tent revival, the Collision Project is much more than its resulting hour-long performance. 2014 marks the thirteenth annual Alliance Theatre Collision Project, in which local teens “collide” with a classic text to create an original piece of theater under the guidance of professional theater artists.
  • Invisible Inclusions: Planning the 40th Anniversary Season at People’s Light Zak Berkman
    It is a thoughtful, celebratory, ambitious season, filled with giant heart and profound humor. Four new works. Three iconic classics. Two family productions. It is a season that fully expresses our artistic and civic vision… From the standpoint of gender equity, however, the results underwhelm: eight credited male writers and three credited female writers; four credited female directors and four credited male directors. …One step forward. One step back.
  • A Lover's Guide to American Playwrights: Kia Corthron Todd London
    There is so much to say about Kia, because Kia herself has so very much to say, and because what she says in her work is always so urgent, so vital. Because to fail to listen to what she has to say is to fail some part of our own humanity, to fail in our responsibility as citizens of this world to engage the world.
  • Sarah Ruhl in Conversation with Polly Carl Sarah Ruhl, Polly Carl
    Playwright Sarah Ruhl’s collection of short essays is called "100 Essays I Don't Have Time to Write: On Umbrellas and Sword Fights, Parades and Dogs, Fire Alarms, Children, and Theater". The first chapter, “On Interruptions,” appears at the end of this interview.
  • Ferguson Moments: Artists Respond Claudia Alick, Danny Bryck, Mica Cole, Rebecca Martinez, Katy Rubin
    The Ferguson Moment was born from the impulse of theater makers across the nation to spark and organize artistic responses to the oppression, violence, and resistance happening in Ferguson and its relationship to all of our communities and American history. We recognized our own communities within the community of Ferguson. We will witness. We will serve. We will collaborate artistically. We will lift up voices that are too often silenced. We will offer alternative narratives to our communities and to the nation. We will do better. Theater responds. Theater reflects. Theater connects us to our collective humanity. This is the Ferguson Moment. Respond.
  • Interview with Michael Garcés Polly Carl, Michael Garcés
    Polly Carl recently talked with Michael Garcés, artistic director of Cornerstone Theater, about their touring production "California: The Tempest", which revisits ten California communities that were part of ten year’s of Institute Summer Residencies.
  • 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.

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