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.

Danielle Rosvally looks at the importance of theatre criticism, explores the idea that everyone’s a critic, and talks about the parking lot rule.

Part II of the conversation between Bill Rauch and Nataki Garrett—the outgoing and incoming artistic directors of the Oregon Shakespeare Festival—touches on inspiring leadership choices, pacing yourself, and cultivating diverse audiences.

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.

Roxanna Myhrum looks at the history of the iconic puppet show Punch and Judy and Sarah Nolen’s feminist adaptation of it, Judy Save the Day.

Sydney Isabelle Mayer discusses the importance of terminology when it comes to “trigger” warnings, how artists can best offer warnings for their shows, and what it means to create a responsible theatremaking process.

Anne Hamburger, founder of En Garde Arts, talks about the beginnings of her company, and, with it, the beginnings of site-specific theatre in New York City.

William Hand reflects on Germany’s Politik im Freien Theater Festival and discusses several shows that were presented there in November 2018.

Rob Onorato talks about boredom as an audience member, the uninspired play, what film has going for it that theatre does not, and more.