Tamilla Woodard, co–artistic director of Working Theater in New York, talks about why she makes theatre and offers several “what if” thoughts about how the field should move forward.

Seattle-based Jasmine Mahmoud talks to New York–based Autumn Knight about Knight’s recent performance Our Water is Melted Snow, geography and audiences, and staging and presence across screens.

Charlie Peters, who has spent the early days of the pandemic thinking about and experimenting with how physical comedy can (and can’t) live online, shares what he’s learned.

Isaac Mafuel shares a recent debate had amongst theatremakers in Malawi about how to best price shows, considering both that low prices are a way of coping with the circumstances of their economy and that art should claim its value.

Blair Cadden explores how immersive theatre can adopt BDSM practices—including negotiations, safewords, and aftercare—to create safer experiences for both actors and audience members.

Edward Einhorn talks about adapting his play Performance for One into an online experience.

Lavina Jadhwani offers artists several techniques to better utilize Zoom, whether as leaders of classrooms, theatremakers part of shows, or attendees of events.

Genevieve Beller argues that the current forced pause on society provides a rare opportunity for theatres to take stock, inventory priorities, and enact positive and lasting change, and she provides tangible steps to do so.

Kirsten Bowen reflects on Slovakia’s 2019 International Theatre Festival Divadelná Nitra, which was programmed based on the theme “faces of freedom.”

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

James Montaño discusses The Donkey Show, cross-gendered performances vs. drag, camp as an aesthetic concept, and more.

Goran Tomka looks at what audience development is, the phenomenon of an implied or implicit audience, decolonizing institutions, and more.

Dr. David Stevenson talks about audience diversification, confronts the dominant hierarchy of cultural activities, and looks to create space for valuing everyone’s chosen cultural experiences the same way.

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.

Part II of the conversation between Michael J. Bobbitt, the recently appointed artistic director of Boston’s New Repertory Theatre, and Raymond Caldwell, the new leader of Washington’s Theater Alliance, who talk about post-show conversations and self-care.

Michael J. Bobbitt, the recently appointed artistic director of Boston’s New Repertory Theatre, and Raymond Caldwell, the new leader of Washington’s Theater Alliance, sit down to talk about race equity work, the guilt they felt leaving their previous posts, and more.

May Antaki reflects on the Digital + Performance Convening, produced by HowlRound Theatre Commons and SpiderWebShow Performance, which focused on the intersection of digital technology and live performance.

verity healey does a deep-dive into the Our Stage – 4th European Bürgerbühne Festival, which took place in Dresden, Germany, in May 2019.

Alex Ates reflects on the Toddler Takeover at Atlanta, Georgia’s Alliance Theatre and shares what the growing field of theatre for the very young can teach adult theatremakers about their craft.

Dani Wieder looks at the objectification inherent in theatre and the importance of artists crafting engaged performer-spectator relationships.

verity healey examines the concept of theatrical space as it applies to two shows that were presented at Germany’s Our Stage festival in May: Invited and A Doll’s House.

Professor Christin Essin talks about problematic staging of gendered violence at a production she recently brought her students to and the importance of content warnings and taking care of survivors in theatrical works.