Morgan Davis and Jules Vodarek Hunter discuss the process of creating Fat Fables, a theatre program for fat LGBT2SQ+ artists who are twenty-nine and under.
Theatre artist and educator Katie Butler discusses the need to recalibrate movement practice toward accessibility and body autonomy, and shares her own experience navigating changes in her body’s abilities.
Playwright Carlyle Brown describes his journey with the play We Take Care of Our Own by Zainabu Jallo, detailing the joys and challenges that come from work featuring characters in their eighties and nineties.
David Salsbery Fry’s career in opera shifted dramatically when he publicly disclosed his disability in 2015. In this candid discussion with Marianna Mott Newirth and Gregory Moomjy, co-founders of New York City’s first disability-affirmative opera company, he details his experiences navigating an industry that has not made itself fully accessible or welcoming to artists with disabilities.
Pleasant Theodore Banda led Rise Arts to its first international performance in Zimbabwe. In this interview, he discusses his path into artistic direction as an actor and playwright with a background in accounting.
Theatremaker Sara Nicole reflects on her college theatre experience and shares changes she’d like to see in theatre education that prioritize students’ physical and mental health.
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.
As a scholar, educator, and practitioner of theatre, Roselyn Madalo Dzanja knows Malawi’s theatrical landscape well. In this interview, she discusses challenges Malawian women face when pursuing an acting career, the need for artistic independence from international donors, possibilities for Chichewa-language drama, and more.
In this episode, co-hosts Bíborka and Zsófi are joined by visual and performance artist and environmental activist, Éva Bubla; dancer, choreographer, researcher, and founder of the performance research group SVUNG, Kinga Szemessy; and culture manager, event organizer, curator, founder of the PLACCC Festival, and the Hungarian liaison for the IN SITU Network, Fanni Nánay. Drawing from their individual experiences, they discuss the current climate crisis and how different artists engage with this complex issue.
Writer Betty Shamieh and Actor Allen Gilmore Discuss Their Interpretations of Malvolio as a Writer and an Actor
Wednesday 19 October 2022
United States
The Classical Theatre of Harlem presented the conversation Comedy, Cruelty, and the Concept of Revenge, livestreaming on the global, commons-based, peer-produced HowlRound TV network at howlround.tv on Wednesday 19 October 2022 at 4 p.m. PDT (San Francisco, UTC -7) / 6 p.m. CDT (Chicago, UTC -5) / 7 p.m. EDT (New York, UTC -4).
Jasmine Haley Anderson takes aim at fatphobic standards in the theatre industry, which begin fostering disordered eating in women from their earliest performance experiences.
In this episode, hosts Zsófi and Bíborka take apart autobiographical theatre with stage director Panni Néder, actress Judit Tarr, actor and director László Göndör, and director and dramaturg Kristóf Kelemen. Together they delve into their approach to autobiographical material, playing themselves versus acting, their lives after creating a highly personal show, and the nuances of someone else playing them onstage.
In this week’s episode, hosts Bíborka and Zsófi focus on different abilities and handicapped people in the performing arts. Translating their guests’ responses into English, the co-hosts sit down with independent theatremaker, poet, and dramaturg Ádám Fekete; and the core members of the ArtMan Association, Dorka Farkas, Kata Kopeczny, and Ferenc Kálmán, who work with integrated dance and movement practices to produce amazing contemporary dance shows.
In the third episode of PUHA podcast, co-hosts Zsófi and Bíborka talk to the interdisciplinary collective Hollow, the experimental scenographer Eszter Kálmán, and dancer-choreographer Beatrix Simkó. Together, they discuss how their work features across different media and mixes visual and digital art with performativity. Get ready for a journey across household noise choreographies, moving bodies in Vienna’s Leopold Museum, underground queer communities in Tbilisi, and stories of friendship and pregnancy in performance art!
In this week’s episode of PUHA podcast, co-hosts Bíborka and Zsófi navigate their way through a discussion of what queerness means with performer, actress, and director Veronika Szabó; contemporary dancer Kemelo Sehlapelo; and dancer, choreographer, and clubber Gergő Dávid Farkas. Together, they contemplate identities, responsibility, and the way queer people exist in society.
Ann James interviews Cha Ramos about her approach to intimacy direction, which pulls from Cha’s multidisciplinary theatrical career, her Cuban American upbringing, and—perhaps most crucially—her intentional rediscovery of spirituality as an essential part of artistic practice.
Ann James chats with Jyreika Guest, who works as both an intimacy specialist and an actor, about framing intimacy work for actors. Jyreika shares her hopes for a future in which consent is an automatic part of rehearsal processes.
Ekemini Ekpo applies W.E.B. Dubois’ concept of “double consciousness” to the experience of performing Blackness for a predominantly white audience that may or may not be interested in disturbing the primacy of their own lived experience.
As politicized ethnic groups, playwriting comes with a sense of responsibility and history for many MENA and SWANA writers. Balancing drama and comedy in plays that deal with MENA politics, identity, and history can be difficult, but is also crucial for inviting audiences into our stories and addressing stereotypes and historical harm. Join two prominent playwrights and pillars of the MENA community, Yussef El-Guindi and Leila Buck, as we have an open conversation about how they approach their writing and reflect on what their work means in a greater societal context.
Artistic identities can be complicated, and many theatremakers work equally within two or more disciplines simultaneously. The most interesting work is rarely created in a vacuum. These multidisciplinary artists create diverse projects in all senses of the word, broadening our idea of what theatre can and should be. Today, two such multihyphenate artists, Denmo Ibrahim and Sarah Fahmy, converse about their multiple identities, how they reconcile and manage their myriad expertise, and the role of multihyphenate artists in today’s theatre landscape.
Rezes Offers Exercises and Techniques in Performance Expansion through Gender Play, Object Study, Queer Reflections, Sense Memory, and Repetitious Failure
Friday 25 March 2022
United States
Jo Michael Rezes (they/them) presented the workshop Nonbinary Acting Methods livestreaming on the global, commons-based, peer produced HowlRound TV network on Friday 25 March 2022 at 2 p.m. PST (San Francisco, UTC -8) / 4 p.m. CST (Chicago, UTC -6) / 5 p.m. EST (New York, UTC -5).
Gender Euphoria, the podcast, host Nicolas Shannon Savard sits down with actor, writer, and human rights advocate Maybe Burke to talk about her role at the Transgender Training Institute and their signature course, “Supporting Transgender Actors & Creatives.”
While performing across the West and in Africa, Misheck Mzumara noticed stark differences in typical audience behavior. He discusses those differences, their cultural contexts, and their impact on theatremakers’ experiences in cross-cultural theatre productions.
