Directing

In this interview, Director Marianne Weems talk aesthetics, pedagogy, The Builders Association, and her two current plays on tour.

Our US union regulations and laws require us to take breaks of a certain time, at a certain time. But nothing requires us to take *exactly* and *only* 5 minutes every hour or 10 minutes every 90. Why not, as an experiment, give them more? Why not make one break longer, and looser? An ongoing series of reports from rehearsal rooms and interviews with theater people in Poland; how US artists can modify or adapt Polish techniques for their own rehearsal kitchens.

Yes, some rehearsals (not all, mind you) are paid, and have to be regulated, legally, as work. But why did we decide, as US practitioners, that theater rehearsals fell so wholly into the realm of work and were so utterly unlike things such as parties or play? Why did we push rehearsals all the way to one end of the work-play spectrum? How did we become afraid of rehearsing without a stopwatch?

In this essay, playwright David Kranes reflects and expresses gratitude to the directors who have brought his plays to life onstage.

We all love a good fight (in a show). A reminder to keep things real by checking in with actors and their weapons, maintain a full fight call, and maintaining consistent order.

As a young artist, it is inevitable that there will being learning curves including learning how to navigate new works and the delicate relationships of the new work process.

Alice Reagan, with the help of Chiori Miyagawa, explores the necessity of parting ways and coming back together through revamping the process of creating plays.

Emily Mendelsohn shares insight into her experience directing Cooking Oil written by Deborah Asiimwe in Uganda.

Natasha Lee Martin reached out to the playwright, Mac Wellman, in a series of interviews to get his take on re-envisioning and modernizing his play A Murder of Crows through the use of interactive design technology.

Alisa Solomon shares the complex history of A Trip to Bountiful's journey to Broadway.

Bessie Rowen interviews Emma Rice about her international touring theatre company, diversity, and collaboration.

In this meditation, Will Davis argues for more opportunities and artistic programs dedicated to up-and-coming directors.

In this meditation, Morgan Gould advocates for a paradigm shift in which up-and-coming directors and playwrights work toward a more mutually beneficial relationship.

Barry Martin writes about the importance of slowing down – and how the speed of a show can enhance or betray its script.

Karla Boos discusses theatre in Pittsburgh, and the relationship between playwrights and directors.

Like farmers who rotate crops to ensure that the soil contains a variety of nutrients, if I only direct, then my only perspective will be the director’s perspective.

I am a director. I am a playwright. It has taken me many years of hard work to come to appreciate what each of those professions require and to experience them both independently and combined.

P.Carl meditates on the power of saying Yes instead of No to new ideas.

Taylor Mac discusses actor professionalism, and trusting rather than auditioning them.