Dramaturgy

Anthony Dvarskas discusses the process of researching and creating America is Hard to See, a documentary theatre piece detailing the lives of a small community of sex offenders, and the town that had to adjust to their new neighbors.

Anchuli Felicia King explores use of motion capture and the construction of an embodied and artificial Ariel in the RSC’s version of The Tempest.

Holly Derr interrogates green(drama)turgy at Oregon Shakespeare Festival and how stories can be used to reconnect people to their physical world.

Canadian playwright Colleen Murphy writes about the importance of including Indigenous characters in plays and Indigenous artists in the process of making them.

Ethan Lipton returns to his artistic home at the Public Theater in New York City to play with toys, musical storytelling, and space travel.

Playwright Melinda Lopez and Charles Haugland discuss the ins and outs of the Huntington Theatre Company’s Playwriting Fellows program, and how it can serve as a model for other companies looking to fill a need in their communities. 

In this second installment, Maggie Sulc interviews dramaturg Claudia Nolan about her experience with new play development in the Northeast region of the United States.

Playwright Tira Palmquist and dramaturg Heather Helinsky discuss Two Degrees, a play about climate change and communication.

Robert Ruffin considers how Aristotelian construction can be viewed through the lens of the laws of thermodynamic exchange, or the marriage of physics and dramaturgy.

HowlRound Associate Producer Ramona Ostrowski on attending the Remembering Zelda events at Arena Stage and how Zelda Fichandler’s example and words are a balm and a spark to her own work as a theatre practitioner.

An interview with Liza Ann Acosta, resident dramaturg at Urban Theater Company, about her recent work on three Puerto Rican plays.

Anchuli Felicia King discusses augmented reality technologies, one of the most radical technological advances affecting the theatre today and the unique dramaturgies and opportunities provided by AR in theatre.

Dramaturg Maria Patrice Amon interviews Playwright Herbert Sigüenza about his comic influences, and Manifest Destinitis, his adaptation of Molière’s The Imaginary Invalid.

Neena Arndt writes about new strategies the Goodman is testing to give audience members information about shows before they arrive at the theatre.

Kyna Hamill and Brianna Randolph discuss crafting Letters to Medford, a theatre performance by Two Roads Performance Projects in Massachusetts. 

Director Emily Mendelsohn shares her experience at the 2016 Theatre Without Borders Conference, and muses on an “ecological way of seeing” for her work.