P. Carl ruminates on the comparison between an ER and a rehearsal room, and the lessons we can lean as theater makers from both.

"I keep thinking about these orphaned plays, which were in fact once loved. Where do they fit in the new play lifecycle of American Theater?"

Michael Rohd details the how, the why and the what of his approach to making civic theater. 

P.Carl, a founder of HowlRound highlights some quotes from articles published in the first year of HowlRound. 

Todd London's series of tributes to American playwrights continues.

Erika Chong Shuch, a dancer, choreographer, director and theater maker dishes on  the seeds of her passion for performance, her creative process, and her experiences collaborating with other artists.

Theatre should stop serving the function of making money, for which it has never been and never will be suited, and start serving the revelation and shaping of the process of living, for which it is uniquely suited, for which it, indeed, exists.

Lead Producer Stephanie Ybarra writes about her role in creating We Play for the Gods, with Women's Project Theater and the group's process.

This is a transcipt of Claudia Atkin's "catalyst speaker” speech she delivered on August 14, 2011 for NET’s National Ensemble Summit 2011: Rowdy, Radical, and Relevant!, using musical accopmiment. 

Like farmers who rotate crops to ensure that the soil contains a variety of nutrients, if I only direct, then my only perspective will be the director’s perspective.