Theatre artist and educator Janet Neely advocates for incorporating emotional intelligence instruction into acting training and offers insights on, and resources for, teaching emotional intelligence to students.
Theatremakers Sulu LeoNimm, Liz Morgan, and Katy Rubin discuss the process of co-authoring The Wildcard Workbook, a guide designed to help others in the field delve into Theatre of the Oppressed practices and devised theatre processes.
Writer and educator Jonathan P. Eburne details how he first came to know of Double Edge Theatre and the Ohketeau Cultural Center and discusses their unique approach to worldmaking, land sharing, and theatremaking.
Iris McQuillan-Grace sits down with Kit Ingui, managing director of Long Wharf Theatre, to discuss Kit’s efforts to create a supportive and inclusive work environment by consciously building Long Wharf’s Human Resources (HR) practices.
Star Finch sits down with artistic director of Crowded Fire Theater Mina Morita and co-founder of Campo Santo Sean San Jose to discuss their innovative idea to collaborate for the National Playwright Residency Program.
Morgan Skolnik argues for theatre that goes beyond physical accessibility and disability representation to actively center disabled artists and the creative potential the disability community holds.
Fight director and theatre artist Danielle Rosvally and founder of Heartland Intimacy Design and Training and associate professor Kate Busselle come together to interrogate the concept of “certification” in fight direction and intimacy coordination by illuminating current training practices, opportunities, and programs in the field.
