Devised and ensemble-based theatre breaks down barriers and hierarchies between directors, writers, and performers in order to create work as a group of artists. In this section, you’ll find content about pieces made this way, thoughts from the creators, and learning on how to do it. The 2014 Ensemble Series is a great entry point.
The Latest
Video
Theatre in Times of War and State Violence
2026 National Institute for Directing and Ensemble Creation
Thursday 4 June 2026
Minneapolis, Minnesota, United States
Essay
Slow-Motion Gives Forced Migrants the Chance to Move at Their Own Speed
by Dmitrii Zenkov
15 April 2026
Video
A Conversation with Purva Bedi and Mariana Newhard
Playwright and director Karen Malpede joins Jeffrey Mosser to talk about her career and connections from the Open Theater to Theater Three Collaborative, as well as her partner George Bartenieff, an actor and champion for the avant-garde.
Since the “great pause,” funders have shifted their giving models. Ben Cameron has seen it from every side—and he talks all about it. Through anecdotes about his experiences at organizations from Theatre Communications Group to the Jerome Foundation, Ben offers many insights into how ensemble fits in a thriving theatre ecosystem.
Miranda Wright, producer and executive director at Los Angeles Performance Practice, and Jeffrey Mosser discuss how Miranda has developed a presenting organization for sharing ambitious, collaboratively created work over the last ten years, as well as what she’s learned from some major arts funding research.
Theatre company Chance of the Hunter (Hungary) presents the climate crisis–themed performance 999 followed by a conversation about climate anxiety and crises. Subtitles are available in English.
Bob Leonard chronicles his work from the People’s Bicentennial Commission and the Road Company through the founding of the Network of Ensemble Theaters and Alternate ROOTS. Together, Jeffrey Mosser and Bob connect the dots through the middle wave of ensemble-based theatre in the United States.
Carlos Uriona and Jennifer Johnson, co-artistic directors at Double Edge Theatre, connect with Jeffrey Mosser to discuss how working in rural Massachusetts for over thirty years has enabled them to share art on the world stage.
Jeffrey Mosser connects with Willa Jo Zollar, who is founder, chief visioning partner, and MacArthur Genius at Urban Bush Women. Together they talk about touring, the festival circuit, and strategy necessary to sustain a company for thirty years.
The Divine Comedy Theatre Festival in Kraków, Poland explored the theme of “Polish Taboo” across its thirty-two productions this year. Howard Shalwitz, who attended the festival as part of an American delegation of artists building connections between the United States and Poland, shares his experience attending the festival.
Slovo. Theater Group uses theatre as a tool to fight against cultural oppression by promoting Ukrainian culture abroad. Audrey Rose, the group’s producer, discusses the process of making theatre during active war as a way of resisting oppression and violence.
Theatremakers Sulu LeoNimm, Liz Morgan, and Katy Rubin discuss the process of co-authoring The Wildcard Workbook, a guide designed to help others in the field delve into Theatre of the Oppressed practices and devised theatre processes.
In this week’s episode, hosts Bíborka and Zsófi focus on different abilities and handicapped people in the performing arts. Translating their guests’ responses into English, the co-hosts sit down with independent theatremaker, poet, and dramaturg Ádám Fekete; and the core members of the ArtMan Association, Dorka Farkas, Kata Kopeczny, and Ferenc Kálmán, who work with integrated dance and movement practices to produce amazing contemporary dance shows.
In this episode, co-hosts Zsófi and Bíborka talk about the practice and art of improvisation with three outstanding figures from the Hungarian contemporary dance and jazz scene: Zoltán Grecsó, a dancer, choreographer, and founder of Budapest’s improvised dance evening series Willany Leó; Viola Lévai, a dancer and teacher of contact improvisation; and Ernő Zoltán Rubik, a musician, composer, dancer, and an active member of the Hungarian free jazz and contact improvisation scene.
verity healey speaks with Polish theatremaker Nastazja Domaradzka about No Borders, an arts program she created in collaboration with the Royal Court Theatre in London that prioritizes migrant artists’ experiences and voices.
Talia Rodriguez details the generative process for We Are Kin to the Cove, a site-specific, community-engaged performance exploring the historical and contemporary relationships water and humanity at a cove on New York’s East River.
A Participatory Experiment in Hybrid Community Convening Offered Online and in Philadelphia
Monday 25 July 2022
Philadelphia, PA
Network of Ensemble Theaters (NET) presented BREAK/through, a participatory experiment in hybrid community convening offered in Philadelphia and livestreaming on the global, commons-based, peer-produced HowlRound TV network on Monday 25 July 2022 from 7:30 a.m.-12 p.m. PDT (San Francisco, UTC -7) / 9:30 a.m.-2 p.m. CDT (Chicago, UTC -5) / 10:30 a.m.-3 p.m. EDT (Philadelphia, UTC -4).
As a part of their permanent closure, San Francisco-based theatre company foolsFURY embarked upon an ambitious oral history project. Emily Weak, the archivist employed for that project, shares the process and insights of an initiative that worked to collect dozens of individual experiences of the company and provide a sense of closure.
Redefining Our Art. Transforming Our Practices. Tending to Our People.
Thursday 16 June to Saturday 18 June 2022
Pittsburgh, Pennsylvania, United States
Theatre Communications Group (TCG) presented the 2022 TCG National Conference: Pittsburgh livestreaming on the commons-based, peer-produced HowlRound TV network from Thursday 16 June to Saturday 18 June 2022.
MENA artists continue to work hard to create representation in large theatrical arenas by pushing for their work to be produced on contemporary stages. However, since some major theatres only allot 1 or 2 slots a year for plays by BIPOC artists, and MENA artists have frequently been ignored. They have found other ways to create thriving artistic spaces for actors, directors, and playwrights alike. Masrah Cleveland Al Arabi has created a space for MENA artists to thrive. This artist-led organizational infrastructure serves as an example of how change can be made within existing theatrical structures. Today we are joined by Raymond Bobgan and Omar Kurdi.
Theatremaker Sonia Carmona shares the impact storytelling can have on empowering marginalized groups of people from her own experience working on Roots and Wings, a HUMAN library from thePoligono Sur.
Tony Award-winning producer Mara Isaacs discusses how she puts collaboratively creative work in front of national audiences through her producing organization, Octopus Theatricals. This final episode of season two holds hot takes on boards, theatricality, and the connective tissue around artist-centered producing.
Founder, Ensemble Member, and Former Artistic Director of Lookingglass Theatre Company, David Catlin, shares how their limitless aesthetic showcases their Chicago-based artists across the country. In addition we dive into their unique shared leadership model, their growth and goals for the future, and how tension with your board members can be a good thing.
The job of the facilitator, the logic of shared leadership, and how it all translates to directing a process. Michael Rohd stands at the forefront of ensemble-based practices equipped with questions about how we create the future that we want to be working in socially, civically, and artistically. Join us as we unpack and define what’s next.
Alison Carey, formerly of Oregon Shakespeare Festival, and Mildred Ruiz-Sapp and Steven Sapp, co-founders and artistic directors of UNIVERSES, discuss putting ensemble producers inside a major producing entity and the capacity necessary for things to fall into place.
Rachel Dickstein, Artistic Director of Ripe Time, takes us through her experience with Center Theatre Group’s completion commission for their adaptation of SLEEP. She also spotlights some necessary and helpful relationships with tour presenting partners, the Association of Performing Arts Professionals, as well as champion and friend Diane Rodriguez.
