Georgina Young-Ellis looks at the history of the innovative Mexican theatre company Teatro Línea de Sombra, its connection to Portland, Oregon, and two of their projects: Amarillo and Rebuilding Small Territories.

Beatrice Basso discusses what it was like to bring multidisciplinary artists from north and south of the US-Mexico border together to create and learn from each other in the artist-driven exchange Práctica. / Beatrice Basso analiza cómo fue el intercambio artístico Práctica, en el que artistas del norte y del sur de la frontera México-Estados Unidos se reunieron para crear y aprender unos de otros.

Caitlin Cassidy discusses ten principles and practices she's learned as an artist working at the intersection of arts and cross-cultural exchange, and as one of Georgetown University's Laboratory for Global Performance & Politics Fellows.

For the last few years, professor Catherine Coray has been helping create collaboration opportunities for theatre artists in Arab countries and the Americas. Arab Voices: Stories of Palestine is the most recent iteration, and has taken place in New York, Abu Dhabi, and Beirut.

Matthew Covey, founding director of Tamizdat, discusses why American theatre artists should be more knowledgable about US visas and policies, and describes how Tamizdat is working to support international artists performing in the US. 

Artistic Director Travis Preston on the cross-cultural collaboration of bringing Fantômas: Revenge of the Image from CalArts to the Wuzhen Theatre Festival.

Director and educator Luane Davis Haggerty reflects on how prioritizing movement as a form of communication encouraged diversity and intersectionality in her New York City summer classroom. 

Ambassador Cynthia P. Schneider, who attended the AsiaTOPA Performance Festival in Australia, reflects how as the United States devalues diversity and imposes restrictions on immigration, Australia recognizes the value of its relationship with its Asian neighbors, and of its own diverse population.

Arianna Bardesono launches the Montreal City Series with a look at the two theatre cultures of Montreal.

Distinguished Professor in the Practice of Diplomacy at Georgetown University, writes about the value of theatre as cultural diplomacy, and the Laboratory for Global Performance and Politics' World Theatre Day event celebrating A Raisin in the Sun.

Jamie Gahlon, Senior Creative Producer of HowlRound, reports on a trip she took in fall 2016 to explore, deepen, and build partnerships with theatremakers and organizations in Eastern Europe.

Elaine Ávila's address to the LEAP Playwriting Program at Vancouver’s Arts Club Theatre on November 14, 2016.

HowlRound has developed and is launching The World Theatre Map. / HowlRound ha desarrollado y está por lanzar el Mapa Mundial de Teatro.

Cherry Lou Sy reports on the first day of 2016 NOW AFRICA Playwrights Festival, which included a panel discussion and performances addressing connection across the African Diaspora.

Eric Booth discusses the El Sistema model, an international music training program for young people living in poverty across the globe, and advocates for a similar widespread program for the theatre community.

Teresa A. Fisher discusses International Playwrights’ Intensive, a new play development program that facilitates international collaboration for theatre for young audiences. 

Playwright Carolyn Kras discusses The Subject Project, in which her period play, The Subject, serves as a tool for addressing sexual assault in both past and contemporary society and culture.

In this first installment, playwright Kate Mulley shares her experience studying abroad at Shanghai Theatre Academy, reflecting on how her time there influenced her playwriting.