Applied Theatre

Margarita Kompelmakher details the Alliance Theatre’s process of adapting Working into a community-engaged production that both modeled grassroots organizing and told the story of the work of organizers in the city.

Jen Marlowe shares how her documentary play There Is A Field became a framework for exploring Black-Palestinian solidarity.

Blair Nodelman discusses why theatremakers are well suited to deeply understanding the political machine and work toward dismantling the status quo, creating a more equitable and community-based iteration of governing.

Sayda Trujillo talks about white supremacy’s prevalence in clown pedagogy and shares how the invincible spirit of the clown has shaped her, “seeping through every tiny crack possible to make itself present to speak, to laugh, to sing, to bounce, to witness, and to encounter.”

Nathaniel Justiniano and Amrita Dhaliwal kick off the clown, bouffon, and activism series, talking about how the clown world has a racism problem and introducing the four contributors who practice their art around the world.

Michael Rohd shares an edited version of a recent talk he gave at the Clarke Forum, Dickinson College, on the role of art and artists today.

Teresa Coleman Wash reflects on how the current state of affairs has fueled an urgency to interrogate all systems of oppression and argues that it’s past time to stop holding Eurocentric theatres up as the pinnacle of success.

Amelia Parenteau discusses the Actions Caribéennes Théâtrales festival, which brought together francophones, francophiles, and theatre folks from around the world to witness staged readings of six French Caribbean plays in English translation. / Amelia Parenteau parle du festival Actions Caribéennes Théâtrales (ACT), qui a rassemblé des francophones, francophiles et gens de théâtre de partout dans le monde pour assister aux lectures publiques de six pièces franco-caribéennes traduites en anglais.

Isaac Mafuel talks about Malawi’s most prevalent form of theatre, its history, and its impact and challenges.

Jan Cohen-Cruz looks at how collaborative art-making can help bridge the divide between groups of people with different identities.

Zoë Svendsen discusses working with fellow theatremakers to build and present imagined realities of London and Oslo in post-capitalist and post-fossil-fuel cultures.

Ben Barson and Gizelxanath Rodriguez, part of the Afro Yaqui Music Collective, talk about artivism—what it means, what it can look like—in relation to building a jazz opera with various communities around the world.

Jordan Schwartz discusses gentrification in developing neighborhoods, how artists moving in need to work with the existing communities, and what kind of change that can bring about.

Several months after Pittsburgh’s Quantam Theatre programmed The Gun Show, there was a mass shooting at a synagogue in the city. TJ Parker discusses how the company responded to the crisis, both through the play and through community engagement.

Members of the Detroit-based artist collective Complex Movements discuss the connection between technology, performance, and social justice community organizing.

Farai Mabeza offers an overview of theatre in Zimbabwe, from the major theatre in the capital city, to smaller community theatres, to the country’s festivals.