As artists and companies re-examine the failures of their infrastructures and unconscious biases, Emily C. A. Snyder argues that the lessons learned and challenges faced so far within the field of intimacy direction may be of particular value.

Barbara Fuchs and Elena Araoz share information about their new projects that attempt to make sense of the transformations to the theatre field and put a call out for artists to help chart these transformations.

Seth Wilson argues that the relatively low reputation of the study and pursuit of theatre is the primary way antitheatricalism manifests itself today.

Charlie Peters, who has spent the early days of the pandemic thinking about and experimenting with how physical comedy can (and can’t) live online, shares what he’s learned.

Debbie Patterson talks about the barriers faced by artists with disabilities and how creative teams can “crip” the work—embracing the disruptions created by disability to open up previously unimagined possibilities.

Isaac Mafuel shares a recent debate had amongst theatremakers in Malawi about how to best price shows, considering both that low prices are a way of coping with the circumstances of their economy and that art should claim its value.

While global protests have amplified calls for defunding the police, Chelsea Whitaker shares thoughts on how theatre needs to end its own policing of Blackness as well.

David Valdes shares the main excuses theatres give when not programming shows created by and with BIPOC artists, how moving to online theatre offers new opportunities, and what the benefits are of making change.

Chloe Hyman reflects on M Sloth Levine’s play Nosferatu, The Vampyr, which she believes serves to dismantle anti-Semitic tropes, due to the fact that Jewishness and queerness are inextricably bound in vampire lore.