Applied Theatre

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.

NoPassport collaborates with The Vicious Circle for Gun Control Theatre/New Media Action Week to keep the dialoge through art alive on the subject of gun reform globally

Alex Ates writes of a production of Love's Labour's Lost during the Boston Marathon Bombing, and the healing and cathartic qualities of community theater.

Michael Rohd writes about the importance of listening when collaborating with civic partners, and how sharing assets may just be the key to uniting theaters with the communities they serve.

The needs of non-arts organizations, and theatre artists' assets can intersect through Civic Practice. This guide from Michael Rohd offers examples of application and what this work can accomplish.

The creation of Our City, a performance night based in civic duties, reminds us to keep the connection of art and civic life as they both feed each other.

Michael Rohd details the how, the why and the what of his approach to making civic theater.

Part one of Michael Rohd's look at "How does the work we do impact, intersect with and contribute to a healthy, functional democracy?"