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.
The Politics and Ethics of Representation in Theatre
From an upper level seminar class, “The Politics and Ethics of Representation in Theatre,” these HowlRound articles fostered debate on controversial issues, modeled strategies for writing a manifesto about our beliefs on art-making and theatrical collaboration, and helped students propose an innovative season of plays that spoke to 21st Century audiences. Plays read included Jenkin’s Appropriate, Hwang’s Yellow Face, Ahktar’s Disgraced, Diamond’s Smart People, Mac’s Hir, Nottage’s Sweat, Baker’s The Flick, and Gao Xingjian’s Wildman.
The Fornés Institute
This collection explores The Fornés Institute through essays that champion Maria Irene Fornes and highlight work celebrating her legacy.
An Original HowlRound Contributor Looks Back
These are five of my favorite pieces. Todd London's "A Lover's Guide to Edward Albee" is not only brilliant, but has also by far the best cameo I've ever seen in user comments. Harvey Young's Theatre after Obama (or with Trump) asks "Where are we? Where have we been? Where are we going?" Lauren Gunderson's class on dramatic structure is a great video to play at your day job instead of Spotify. Start reading P.Carl's "Becoming a White Man in the Theatre," then go read the essay it references and all of the comments on that essay, and then come back to finish it out. Finally, "How to Host a Wikipedia Edit-a-Thon for Activists" is essential reading on fighting blindspots.
Decolonizing Theatre Practice / Decolonarizar Practicas de Teatro
This series explores ways in which theatre artists can decolonize their practice and the field.