Welcome to HowlRound
We’re a free and open platform
for theatremakers worldwide.
We amplify progressive, disruptive ideas about theatre and facilitate connection between diverse practitioners. We function as a “commons”—a social structure that invites open participation around shared values. All of the content (essays, videos, podcasts) on HowlRound comes from the theatre community who chooses to participate—that means you!
Lists of specially curated content by members of our community.
Fighting for Social Justice in Theatre Practice
This collection of articles explores the economy of the performing arts sector and its impact on theatremakers and their art.
Understanding Stage Combat
A survey of short readings addressing both pragmatic and dramaturgical concerns in violence design.
Essential LTC Reading
Follow the journey of the LTC through our HowlRound posts!
Why did I pick these essays? "A Lover's Guide to American Playwrights: María Irene Fornés": Because no one writes about playwrights as beautifully and observantly as Todd London....and because María Irene Fornés is indeed our "Art Angel" and deserves to be known by all... "A Lover's Guide to American Playwrights: Sarah Ruhl": Because picking just one from his brilliant series “A Lovers guide to American playwrights was impossible, so I settled for two... "F*uck the System and the Horse that it Rode in on": Because the sustained effort of Chantal Bilodeau and the Theatre in the Age of Climate Change series on HowlRound is such an extraordinary inspiration and resource (and deserves to be read in its entirety and be put into curricula as has been done in performance and climate courses at Georgetown). "Climate Lens: Birth of a Post Nation": Because Una Chaudhuri is such a brilliant and inspiring thinker on these issues who has helped to shape our thinking about this initiative. "An Excerpt from All the Lights On: Reimagining Theater with Ten Thousand Things": Because Michelle Hensley has taught us so much about where and how theatre matters in everyday people’s lives, and in civic spaces outside our established cultural temples. And so has the brilliant Michael Rohd—"The New Work of Building Civic Practice." Because Anne Bogart always reminds us so eloquently of the larger stakes and context of our collective endeavor as storytellers, "The Role of Storytelling in the Theatre of the Twenty-First Century." "The Essential Truth of A Raisin in the Sun and Theatre in our Time" Because HowlRound has provided a vibrant forum to document extraordinary global collaborations that chart new courses. Because HowlRound has been such a force for helping amplify voices that have gone unheard and unrecognized: Mary Kathryn Nagle's "Native Voices on the American Stage: A Constitutional Crisis." And last but not least, because our own engagement with this singular project with Syrian refugee women has sown so many seeds, including the extraordinary development of one of its performers Reem Alsayyah, now a Fellow with our Laboratory for Global Performance and Politics at Georgetown University, who is continuing to make work and lead transformative projects that chronicle the Syrian refugee experience: "Listening for Unheard Voices—Syria: The Trojan Women."