Commons-Based Approaches

Melanie Joseph, the Artistic Director of the Foundry Theater, examines what it means to be an artist and an active citizen.

Anne Garcia-Romero on the genesis of the Latinx Theatre Commons.

We've officially launched version 3 of The New Play Map!

The last update before the official launch of New Play Map Version 3

Ezra Ezzard talks about the rich history and bright future of Harlem, and the necessity of keeping it an affordable place to make art and develop artistic voices.

P. Carl's keynote from the 2012 CityWrights: Weekend for Playwrights enbolden artists to focus on making good art, rather than being overwhelmed by transactions.

Here is a brief quip from the design team in addition to the final list of goals for the new play map.

P. Carl and David Dower outline thier plan for what HowlRound will look and function like moving forward.

Melia Bensussen examines how the arrival of The Commons will intersect with the theater professionals that populate Emerson College's faculty.

Student Nick Medvescek writes about the synergy of HowlRound and Emerson College's student-led theatre community.

A video introducing our big move!

Rob Orchard reflects on his professional career at the Yale Repertory Theatre and the American Repertory Theatre, leading to his new position and excitment for Emerson's Office of the Arts.

The next big jump for the new play map is the ability to control the look of a new play’s journey.

President Lee Pelton welcomes The Commons to Emerson College!

As the New Play Institute transitions to Emerson College as the new Center for the Theater Commons, we celebrate the accomplishments of the previous year with our annual report.

Next iteration of the New Play Map is coming along! We are updating it with the current mapping system to make the process quick and easy to use.

Welcome to the New Play Map, an innovative, crowd-sourced way to track all the new work being made across the nation. But for our newest project to succeed, we need your help.

Isaac Butler argues for a re-thinking of the way we as theater artists approach and apply copyright and intellectual property.

Jaan Whitehead addresses the revolutionary attitude necessary for artists to reclaim the theatre from the institutions that produce it.

Vijay Mathew provides the latest update from the HowlRound office, in which the staff and some special guests start defining "knowledge commons" and "community sourcing" through videos.

P. Carl asks if the virtual connectedness of the twenty first century theater community can provide the place for artists to move beyond the brick and mortar settings of the current regional theater movement, and into greater creative freedom.