Florida

Rachael Carnes discusses organizing Playwrights Say Never Again to School Shootings, a new anthology of work on gun violence by nineteen playwrights with readings all over the United States.

Anthony Dvarskas discusses the process of researching and creating America is Hard to See, a documentary theatre piece detailing the lives of a small community of sex offenders, and the town that had to adjust to their new neighbors.

Elizabeth Horn reflects on how in the aftermath of #MeToo, it is more important than ever to teach the next generation of theatremakers ideas of consent, respect, and how to advocate for themselves as artists.

Anthony Torres writes about how making art with other veterans has shaped his life.

Peggy Wright-Cleveland on the FSU production of Seminar by Theresa Rebeck.

Playwright Josh Inocéncio shares his experience self-producing and touring his autobiographical solo show Purple Eyes.

Andrew Bailes describes the unlikely link between the Gainesville, Florida and Chicago, Illinois improv communities.

Lynn Mullin interviews playwright Arthur Keyser about his journey to playwriting and his process.

Beatriz J. Rizk on La virgen triste by Elizabeth Mena, performed by Miami-based theatre  company Galiano 108.

Jennifer Sokolove talks about funding work around climate change, and how organizations can reimagine granting to support work at the intersection of art activism.

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.

Teresa Marrero writes about the 2014 International Hispanic Theater Festival in Miami and how/why Latin American theater and American theatre are embedded differently in culture