A discussion of the pros and cons of an MFA program.
In the short-term, the reward is learning more about musical theatre writing. The long-term benefits of getting a MFA include larger successes.
Christina Anderson found that the MFA program does not show the realities of the American theatre but gives space for someone to consider their ideal theatre.
Harvey Young writes about his experiences in graduate school and how the relationships he formed there trumped the academics in many ways - professional and personal.
Elliot B. Quick examines what it means to be a dramaturg, and what role the MFA has in determining those definitions.
Julie Felise Dubliner writes about her experience as a dramaturg, and examines the role of the MFA in the world of literary management.
Jon Kern ruminates on how a writer can challenge themselves to develop, create, and find community without the structures of an MFA.
Skills developed in theatre school can be the clay for a career outside of a theater that better suits your lifestyle needs without compromising your intellectual integrity.
Getting an MFA is a big decisions-it costs not only money but also time. For theatre artists, an MFA is not a career move so debt, school's program, and personal wants should be considered.
Feinberg and Dibo agonized over the pros and cons of dedicating time to a MFA program. Their curation of the MFA series is to shed light on why and why not to get the degree.
Series are collections of content curated around a specific theme. HowlRound works with curators to develop topical pieces meant to spotlight current events and happenings within the commons.