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Jake Rosenberg

Jake Rosenberg is an award winning playwright, with plays produced across the world, from the Best of Playgrounds Festival in SF to the Producers Club Short Play contest in NYC to the Belarusian Dream Theater Project. His play No One Gives A Clap, was produced in LA, Chicago, Vancouver and Frankfurt, Germany and was also named a finalist for The 2014 City Theatre National Award for Short Playwriting. He is the youngest author of a work to have been accepted into the National Holocaust Theater Archive thanks to his recent off-Broadway production in NYC, Muse of Fire.

Essay

Pulp Ibsen

Chekhov’s Gunmen

30 October 2015

In this final installment, Jake Rosenberg traces the theatrical origins of the Spaghetti Western genre.

Essay

Pulp Ibsen

A Pain in the Asimov

7 October 2015

In the third installment of his series, Jake Rosenberg explores the history of Science fiction in literature, film, and theatre.

Essay

That’s Entertainment? Seven Lessons Playwrights Can Learn from Postmodern Philosophy

23 September 2015

Playwright Jake Rosenberg explains how Postmodernist philosophy can inform the work of contemporary playwrights.

Essay

Pulp Ibsen

What’s Your Fantasy?

9 September 2015

In the second installment of his series, Jake Rosenberg traces elements of the Fantasy genre throughout theatre history and proposes more content for adults.

Essay

Pulp Ibsen

Vive Le Genre!

26 August 2015

In the first installment of his series, Jake Rosenberg calls for a genre theatre that embraces the fantastic and counters Realism.

Essay

By Blood a Queen, In Heart a Clown

Beyond the Façade of Shotgun Cabaret’s Faux Real

20 August 2015

Jake Rosenberg on Shotgun Players Cabaret presentation of Monique Jenkinson’s Faux Real in Berkeley, California.

Essay

Making the Rabbi Laugh

Auschwitz, Theatre, and the Absurdity of Evil

18 February 2015

Playwright Jake Rosenberg considers the obligation to historical narrative, commemoration versus invention, humor, and the Holocaust.

Series

Pulp Ibsen

Often deemed unable to compete with the “serious” storytelling capabilities of Realism, this series discusses the rich history of genre theatre.

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