Playwright Elaine Ávila illuminates her eye-opening trip to Portugal—wittingly nicknamed Tíaland—as the winner of the DISQUIET International Short Play Competition. There, she is met with historical narratives of overcoming socialized barriers.
Emily Schwend talks about how her residency can support her art, the strange experience of knowing in what space her play will eventually come to life, and her view on artistic home as an antiquated notion.
A. Zell Williams talks about how a resident playwright and a theater can affect dialogue together, and how the trouble when residencies happen without enough commitment.
Carol Kearns writes about Zoetrope: Part 1, a drama set in 1951 Puerto Rico, looking at its multimedia aesthetic, bilingual presentation, and political themes.
Frances Ya-Chu Cowhig answers questions in about her residency at Manhattan Theatre Club through the Tow Foundation. She talks of her artistic home as collaborators, as well as her hopes for the future.
What are two essential elements to creating a transformational experience for an up-and-coming playwright? 1) A full time salary and health insurance. 2) The guarantee of having a work produced by a major off-Broadway non-profit theater.
Teatro Vivo's mission includes these rich conversations after the performances. Our commitment to bilingual, socially relevant plays that are available to both Latino and Non-Latino audiences allows for these conversations to thrive.
Are Equity tours of a higher quality than non-union productions? Very possibly. There’s a larger talent pool to work with and performers tend to be more experienced. That said, whether or not a tour is a union production has never been shown to have a demonstrable effect on ticket sales that I’ve been able to uncover.
