Recent Essays

When utilized fully, social media can function as a critical extension of work being done onstage. Trevor Boffone pulls from his experience as a content creator and social media manager to share concrete steps that theatremakers and theatre companies can use to leverage the unique potentials of social media. 

Kristin Idaszak reflects on experiencing Theatre Du Polet’s Be Water, My Friend at the Prague Quadrennial. This protest art about Hong Kong’s fight for democracy in 2019, performed in the Czech Republic, crosses cultures, political regimes, and time periods.

Applied theatre scholars and practitioners Jennifer Schaupp and Dr. Felicia Owusu-Ansah discuss the empowering potential of Theatre of the Oppressed, and how Felicia has been able to utilize it in Ghana and other places around the world.

​Lighting designer Porsche McGovern​ shares the results of the final year of her study on the pronouns of designers and directors working in LORT theatres, how the study came about, and what she hopes for the future.

Designers Porsche McGovern and Sherrice Mojgani discuss the impact of Porsche’s multi-year study looking at designers and directors in LORT theatres by pronouns, and how theatre leaders can better support and learn from the freelance artists they hire.

Empathy can be a very powerful tool for our collective liberation, and it is something actors are often more skilled in than others. Yura Sapi discusses how actors can harness the power of empathy to have a significant impact on our world.

Carl(os) Roa and Rula(s) A. Muñoz share a multi-vocal, non-linear account of their group’s work at the Latinx Theatre Commons (LTC) Designer and Director Colaboratorio. Through both text and images, they document their group’s explorations of non-hierarchical generative process, as well as the challenges they faced.

Theatre professor John Michael DiResta reflects on teaching queer theatre history to students who have had very different lived queer experiences than he had growing up. By investigating queer theatrical history from a contemporary lens and with an invitation to engage and make something new, his students were able to find the joy in history where they previously only saw trauma.

Theatre educator Sofia Lindgren Galloway explores the complicated question of whether one should use content warnings when teaching theatre, and offers an approach for others to consider.