Recent Essays

In 2012, eleven young theater students succeeded in starting Ashtar’s first youth festival. Ashtar Theatre, which was founded in 1991 by Iman Aoun and Edward Muallem, describes itself as “a dynamic local Palestinian theatre with a truly progressive global perspective.” Their core programs are drama training of local youth through an extracurricular after school program, Theater of the Oppressed Forum Theatre productions that explore “essential critical topics in Palestinian society” and international collaborations.

P. Carl interviews Julie Crosby on leadership, gender parity, and Women’s Project Theater. 

Mark Jackson reports on the "format and the values" he witnessed in Romania at the Sibiu International Theatre Festival, which is the third largest theater festival in the world.

Director Guillermo Aviles-Rodriguez discusses his thoughts about the identity affinity groups at the 2014 TCG Conference, questioning how safe is a segregated space?

This week's conversation topic is "Engaging Volunteers for Your Arts Organization" and will be moderated by Christian Carter @cdcarter—who like all of our moderators, authors, and content producers—self-selected to peer-produce on this commons-based platform! This hour-long Howl will take place on Thursday, July 3 on hashtag #newplay at 11am PDT (Vancouver) / 1pm CDT (Austin) / 2pm EDT (Toronto) / 18:00 GMT / 7pm BST (London).

The keynote address delivered by Caridad Svich at the 6th annual Graduate Theatre Syndicate Symposium at Ohio State University “Position: The Power and Politics of Witnessing" on February 28, 2014 at OSU in Columbus, Ohio.

My feelings are more complicated than merely wishing my children would share my love of theater, however, because what I really want is for my children to love the theater, to appreciate all their access, but have absolutely no desire to pursue it as a career.

Although written in the early 1600s in England and set in ancient Rome, Shakespeare's "Coriolanus" elucidates the difficulty of reintegration back into society for our veterans who've served multiple tours in heavy combat.

Bertie Ferdman writes about her experience at Speakeasy Dollhouse, and the context of the production's creation.

This is the fifth in a series of blogs that chronicle the birth and infancy of People's Light & Theatre Company's (Malvern, Pennsylvania) New Play Frontiers. I will share the origins of this program, its impact on our organization in the process of selecting playwrights and community partners, as well as the discoveries we make during the residencies. Beyond reporting out, I hope this series will spark further conversation about the different motives for theaters offering playwright “residencies.”