Caroline Prugh discusses Kaimera Productions’ SPACES, a site-specific performance weaving together storytelling and dance that took place in June 2017 at the Harlem Arts Festival in New York City.

Emily White writes about Rebeccah Simone Bogue’s Piece by Piece, which was presented as a work in progress in New York City in February 2018.

Luísa Roubaud reflects on the history of Portuguese dance. /  Luísa Roubaud reflete sobre a história da dança portuguesa.

US director and health and wellness educator Molly Schenck describes five useful rehearsal techniques for ensembles to adapt when creating work around difficult topics. 

Jonathan Mandell looks at six theatre pieces in January that used words in unorthodox ways—as gibberish, or out-of-sync with the action; some didn’t use words at all.

Movement director and professor Yo-El Cassell reflects on how movement should help people access playfulness and joy, regardless of ability.  

Multidisciplinary artist and cultural producer Ivan Talijancic interviews New York based duo Ximena Garnica and Shige Moriya about LEIMAY ensemble, their recent production Frantic Beauty, and the creation process for their five-part Becoming series.

A conversation between Judith Smith and John Killacky with resources and tips at the Americans for the Arts 2017 Annual Conference, Friday June 16, 2017.

The Feath3r Theory post-ballet theatre musical about the influence of pop culture on how we live.

In this installment, Choreographer Carlos Rivera talks about indigenous theatre in Quebec, highlighting the work of Yves Sioui Durand and Catherine Juntas of Les Productions Ondinnok.

We would like to dedicate the fourth article of the series to dance. Viktor Szeri, an up-and-coming dancer from Budapest, leads us into its secrets. / A sorozat negyedik posztját a táncnak dedikáljuk. Szeri Viktor, egy fiatal és feltörekvő budapesti táncos, bevezet annak titkaiba.

Artistic Director Roman Baca discusses Aggressed and This is War, two dance theatre pieces by Exit12 Dance Company inspired by indigenous war dances.

Director Judith Smith discusses her company’s collaboration with Choreographer Joe Goode for to go again, a dance theatre piece that explores the lives of veterans with disabilities.

Renowned choreographer and creator of the Critical Response Method, Liz Lerman, addresses the experience of war in her life and work.

Jonathan Mandell digs into three recent productions in New York City—Made in China, Confucius, and Caught—that explore US-China relations.

Ursula Walker on Jelisa Jay Robinson’s Stories of Us at the Mexican American Cultural Center in Austin, Texas.

Playwright Will Arbery shares his experience working with BOOMERANG Dance Company and how movement informs his writing process.

Manuel Betancourt on The Royale by Marco Ramírez at Lincoln Center Theater in New York City.

Andrew Bailes interviews director Monty Cole about his all-male, all-black production of Eugene O’Neill’s The Hairy Ape in Chicago, Illinois.

Maria Genné discusses the philosophy of Kairos! Alive and its community work with youth and the elderly.

Eva Kyselová writes about trends in independent theatre in the Czech Republic.

Bob Fosse is the only theatre artist who has won eight Tony Awards for choreography and one for direction, an Academy Award, and an Emmy. Dan Friedman considers Fosse’s impressive although spare film legacy.

Dancer Chloe Woggon discusses her performing a dance in front of an audience, in which she had an metaphysical experience.

Emma Wiseman on Available Light by Lucinda Childs, designed by Frank Gehry and scored by John Adams at the Philadelphia Fringe Festival.