Sayda Trujillo talks about white supremacy’s prevalence in clown pedagogy and shares how the invincible spirit of the clown has shaped her, “seeping through every tiny crack possible to make itself present to speak, to laugh, to sing, to bounce, to witness, and to encounter.”

Nathaniel Justiniano and Amrita Dhaliwal kick off the clown, bouffon, and activism series, talking about how the clown world has a racism problem and introducing the four contributors who practice their art around the world.

Teresa Coleman Wash reflects on how the current state of affairs has fueled an urgency to interrogate all systems of oppression and argues that it’s past time to stop holding Eurocentric theatres up as the pinnacle of success.

Jan Cohen-Cruz shares the results of her recent survey about community-based and socially engaged theatremakers in the United States, which looked at commonalities across the field, the practices and principles adhered to, where people work and with whom, and more.

Israel Aloni argues that the lack of governmental support for artists has pushed them to pursue activism but contends that art ought to remain independent of the civil-political sphere.

Jan Cohen-Cruz invites theatremakers working in community-based and socially engaged art in the United States to take part in research about commonalities across the field, the practices and principles adhered to, where people work and with whom, and more.

Ragnhild Freng Dale questions what it means to talk about theatre, politics, and activism at a time when we all isolate our bodies from those of others.

Playwright Noelle Viñas reflects on the grief she’s experiencing during the current global pandemic and talks about reframing theatre as an art of the now rather than an art of futurity.

Mihai Mateiu discusses his trajectory as an arts organizer in Cluj, from open-air music festivals to running a bookshop and cultural venue, to working to build arts audiences by partnering with businesses.

Summer Robinson interviews playwright Lynden Harris about her work creating theatre with men on death row across the United States.

Sean Anthony Chia examines the impact of a powerful story—one without spectacle—through the lens of Isaac Gomez’s the way she spoke.

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

Jan Cohen-Cruz looks at how collaborative art-making can help bridge the divide between groups of people with different identities.

Caroline Reck, artistic director of Glass Half Full Theatre in Austin, Texas, talks about how her company uses clown and object theatre to engage people in the battle against climate change.

Playwright Gab Reisman discusses writing a play about climate change and moving toward a model of collective accountability and civic action.

Zach Donovan discusses how the Shed—the state-of-the-art arts complex in New York City’s recent real estate development, Hudson Yards—has become a point of contention in the downtown theatre community.

Jordan Schwartz discusses gentrification in developing neighborhoods, how artists moving in need to work with the existing communities, and what kind of change that can bring about.

Emily Garside discusses Y Brain/Kargalar, in which the playwright, Turkish refugee Meltem Arikan, who settled in Wales, explores her conflicting identities. 

Amelia Parenteau, along with theatremakers Eva Doumbia and Marie Houdin, explores the similarities and differences of parades and protests.

Sean Anthony Chia discusses Kristiana Rae Colón’s good friday, placing it within what he calls “theatre of the unashamed.”