Applied Theatre

Gary English, artistic associate at The Freedom Theatre on the West Bank in the Jenin refugee camp, discusses the complications of presenting work on the Palestinian/Israeli conflict in the US.

Theatre practitioner Caridad Svich on art and activism and After Orlando.

Artistic Director Joan Lipkin discusses the inspiration and process for “Dance the Vote,” a voting registration campaign in St. Louis, Missouri that included performances by local artists. 

Raphael Khouri writes about creating a work of queer Arab theatre in secret.

Wael Qadour describes creating a piece of theatre with young people living in northern Jordan.

A prominent theatre figure in Lebanon and the Arab region, Hanane Hajj Ali reflects in this piece on the personal and professional encounters that have made her the free woman she is today.

Lebanese writer and advocate Mona Merhi writes about the history of censorship in Lebanon and its current state of play.

Minna Vallaste argues for the importance of theatre pieces that speak directly to international social issues and inspire change and action.

Michael Rohd with an update on the Center for Performance and Civic Practice’s Catalyst Initiative. 

Michael Milligan explores the bare minimum needed to make solo theatre, as well as the grassroots nature of it, and what can happen when you collaborate with people who are deeply passionate, though perhaps not artists.

Offering insight into the relationship between ensembles and universities, Michael Rohd shares the text of a talk he gave at the Network of Ensemble Theaters.

Patricia Davis writes about The Freedom Theatre in Palestine, focusing on its controversial work with youth and its history, which includes the assassination of their founder.

Paul M. Davis illuminates the importance of artists and technologists collaborating in the civic sphere.

Kati Sweaney interviews Michael Rohd about what and how the Catalyst Initiative promotes arts-based practices in meaningful community activities.

Through a series of questions, Michael Rohd gives an update on the pursuits and accomplishments working with Lookingglass Theater Company on the new Civic Practice Lab. 

Keith Josef Adkins recounts the verdict of Mark Zimmerman's trial, discussing how New Black Fest commissioned playwrights across the country to write ten-minute plays addressing race and privilege.