Directing

Aley O’Mara discusses Will Davis’s production of Everybody at the Shakespeare Theatre Company in Washington, DC.

Holly L. Derr examines the history of the intimacy choreography movement in the United States and speaks to several of the artists behind it all.

Choreographer Malik Nashad Sharpe and film & TV director Liza Johnson talk gravity, abstraction and risk, ethics, and more.

Nicole Brewer examines a prominent racist policy in theatre—when plays written by people of color are staged by white directors—through the lens of actors, theatregoers, and playwrights themselves.

Dani Wieder looks at the objectification inherent in theatre and the importance of artists crafting engaged performer-spectator relationships.

Professor Christin Essin talks about problematic staging of gendered violence at a production she recently brought her students to and the importance of content warnings and taking care of survivors in theatrical works.

Sharanya shares her thoughts on restaging gendered violence, including how the representation of sexual violence has the power to be scripted and also to script, the importance of de-spectacling violence, and more.

Charlene V. Smith talks about asking hard questions around the interpretation of early modern English classics, Brave Spirits Theatre’s production of The Changeling, and five tips for dealing with sexual assault in art responsibly.

Emer McHugh and Jess R. Pfeffer discuss Hamlet’s nunnery scene, how gendered violence onstage is often about the perpetrator’s character development, problematic assaults on TV, and more.

Rebecca Benzie Fraser uses Her Naked Skin as an example in the exploration of the different decisions made when it comes to staging violence by women and staging violence against women.

Nora J. Williams launches the staging gendered violence series, talks about the importance of creating responsible cultural representations of assault, and introduces the contributors of the series.

Holly L. Derr looks at the history of the Method, where it deviates from Stanislavsky’s System, and the connection between the Method and the behavior called out by #MeToo.

Kate Bergstrom investigates the open text, looking at how theatremakers approach the form, the balance between respect for the script and unique interpretation, and more.

Melia Bensussen, incoming artistic director at Hartford Stage, talks with Michael Wilson, who previously ran the theatre for thirteen years. 

Theatremaker Callie Nestleroth discusses devising a show for a library space and shares the process she developed when approaching new site-specific projects.

Porsche McGovern wraps up Phase Four of her research on the gender of LORT theatre designers.

Porsche McGovern shares phase four of her research on the gender of LORT theatre designers.

For the fourth year, Porsche McGovern shares her research on the gender of LORT theatre designers. In this second installment of this essay, Porsche focuses on region.

For the fourth year, Porsche McGovern shares her research on the gender of LORT theatre designers.