Following up to a piece for the Brooklyn Rail on Gesamtkunstwerk, playwright Lydia Stryk contrasts the German practice with contemporary American theatricality and collaborative practices.
Following the 2011 Literary Managers and Dramaturgs of the Americas Conference, Aaron Malkin formulates how theatre artists can exceed “excellence” and make a commitment to “awesomeness”
Deborah Stein breaks down her experience in collaborative theatre settings to its specific characteristics, revealing the agony and ecstasy of creating in an ensemble.
Playwright Gwydion Suilebhan discovered that his insomia created oppertunity to get writing done, but as his schedule changes he wonders how his writing will be affected.
Dissecting his playwriting process and the self-criticism that goes with it, Chuck O'Connor offers the "Gartner Hype Cycle" as an antidote for creative angst.
P. Carl describes the social traps that befall those who work in non-profit theater, and advocates for the introduction of more breathing and thinking time into insitutions.
