Recent Essays

Keelin Sanz discusses the development of WOMI, which she created to explore the healing capacity of art. By rooting WOMI in the work of choreographer Anna Halprin and memoirist Sarah Ramey, Sanz crafted a performance that worked to a mend the relationship between body and sense of self for those with chronic illnesses.

Join us in welcoming Taylor Leigh Lamb, our new Content Editor!

After directing Larissa FastHorse’s The Thanksgiving Play at her midwestern college, Indigenous theatremaker Sierra Rosetta traveled to New York to see the same play on Broadway. She discusses the way this milestone production—which made FastHorse the first known Native American woman playwright on Broadway—and her own work push for a future in which Native theatremakers’ presence on professional stages is standard, not novel.

After three decades of working together as playwright and director, collaborators and friends Carlyle Brown and Noel Raymond are trying something new: co-creating a theatrical work and performing in it. They sit down to discuss the project’s genesis in their friendship and the research, questions, and experiences that are shaping their generative process.

Eseovwe Emakunu and Dennis U. Obire, co-founders of the Shanty Theatre, chronicle their work in the Adagbabiri Community in Bayelsa State, which is one of the most educationally deprived states in Nigeria. Using a theatre for development model, the group worked with local children to create a performance that demonstrated the importance of education in the social development of a community and nation.

Maia Novi’s testimonial play Invasive Species tells the story of one Argentinean immigrant’s experience constructing her sense of self in the United States in the face of the limitations on her identity that she encounters in her new home. Sebastián Eddowes-Vargas, a Peruvian living in the United States, reviews the production with an eye toward the way that Invasive Species embraces complexity, humanity, power imbalances, and even humor.

What does it mean to teach acting at the college level? Gregory Jones and Adrianne Krstansky discuss the changing environment of university acting training, from students’ desires for purposeful and justice-oriented education to university expectations of market-driven “deliverables” from classes in the arts.

After Russian courts found that Svetlana Petriychuk’s documentary theatre piece Finist the Brave Falcon “justified terrorism” due to its feminist aims, Petriychuk and director Zhenya Berkovich were jailed. Viktor Vilisov discusses the production, clarifying the production’s aims to amplify the experiences of Russian women whose attempts to flea Russian patriarchy has landed them in oppressive marriages to Syrian ISIS fighters.