Acting & Performance

Actor Jenna Turk describes some less-than-perfect on-stage moments that ended up adding a surprise element to the performances.

Mncedisi Baldwin Shabangu writes about his career as an acclaimed actor and director in South Africa, and the decisions that led him to currently work exclusively in a rural village.

David Bruin on Daniel Fish’s production of Oklahoma! at Bard’s Fisher Center.

Actor and Tumblr curator Lynne Marie Rosenberg shares her guide for writing inclusive casting breakdowns.

Shauna Brock describes Salt Lake City’s monthly open mic series When She Speaks I Hear the Revolution and its strides for diversity and inclusion.

Scholar Eli Van Sickel examines the casting of able-bodied performers to play disabled characters through the performances of Bradley Cooper, Daniel Radcliffe, and Kevin Spacey.

Actor Natalie Osborne discusses the misconception that an actor’s body needs to be “perfect” through the teachings of Jerzy Grotowski.

Poet and playwright Tammy Gomez offers a look at the personal, political, and artistic landscape that poets have navigated to arrive at writing for the stage.

Patrick Gaughan explores the ideas of fame, talent, and originality in the world of celebrity impersonation.

Addie Gorlin describes the benefits of casting actual teenagers to play the roles of teenagers, despite what common practice is.

Bob Leonard looks at historic duos who don’t get along, and compares them to his own experience with his long-time radio partner.

Jayne Benjulian sits down with director and actor, and now, author, Jeff Zinn, to talk about acting and his new book The Existential Actor.

Kyle Thomas discusses the benefits of incorporating mobile platforms into theatrical performance.

Paul Zimet, Artistic Director of the Talking Band, speech to the New Center for Advanced Psychotherapy Studies on Repetition.

Matthew Gray offers support from the academic arena for HowlRound contributor Seth Lepore’s charge that university theatre departments are not readying the next generation of theatre artists.

Jody Christopherson shares the piece she has been devising about Clove Galilee—what it was like for her to grow up around Mabou Mines, and the legacy of women generating work.

David Dudley talks to Colleen Sullivan of Shakespeare Academy at Stratford, where they are about to begin a second season of educating theatremakers in ensemble and Shakespeare.

LA playwright Jon Caren discusses the theatrical Renaissance that’s currently happening in LA regardless of the 99-seat theater debate.

Caridad De La Luz talks about her personal journey becoming Betsy, and the inspiration she has encountered in this play and in these mountains.

Elise Santora explores the women of BETSY!, her experience portraying so many of them, and the poetry with which she is now embracing her own story.

Native voices week continues! August: Osage County’s Kimberly Guerrero explores her work on the show, and what lesson the American theatre can learn from it.

Martha Steketee looks at The Players, an 125-year-old club for actors and those that love them, and spends some time with all its history and archives.

Scottee shares the inner workings of a solo performer’s mind, and offers advice for those who may be venturing into the art form.