Dramaturgy

Adrien-Alice Hansel offers her version of the modern literary office: one that isn't really an office at all. This manifesto was presented as part of the American Voices New Play Institute's 21st Century Literary Office Convening.

Julie Elise Dubliner presents her manifesto for the 21st Century Literary Office. This manifesto was presented as part of the American Voices New Play Institute's 21st Century Literary Office Convening.

Amrita Ramanan describes her literary office of the future—a place with no walls, no seperations, and no more viewing dramaturgy as an isolated practice.

Aaron Carter talks about the literary manager of the future: the Generative Artist Talent Scouts. This manifesto was presented as part of the American Voices New Play Institute's 21st Century Literary Office Convening.

Highlights of tweets from the Century Literary Office Covening

A look into the conversation about the role and definition of literary managers.

21st Century Literary Office Convening evaluated the goals for the future which included creating space in literary offices to foster community and enhance knowledge through technology.

A recap of Friday, Feb 24's tweets and events from the 21st Century Literary Office Convening.

Join us for the 21st Century Literary Office Convening, and hear from P. Carl about just what we're setting out to do.

Playwright Anne García-Romero writes about the LoNyLa Writers Lab, which uses live video streaming to facilitate script development workshops for one play, in three cities.

Following the 2011 Literary Managers and Dramaturgs of the Americas Conference, Aaron Malkin formulates how theatre artists can exceed “excellence” and make a commitment to “awesomeness”

Dramaturg Julie Felise Dubiner, rewrites all of America's constitutional amendments for the world of new play development.

Liz Engelman has turned to nature and the outdoors for inspiration and respite, finding joy and greater authenticity in her dramaturgical work.

Part one of Michael Rohd's look at "How does the work we do impact, intersect with and contribute to a healthy, functional democracy?"

David Dower, the Co- Artistic Director of ArtsEmerson, responds to P. Carl's article about finding one's creative voice in theater with charting how he, Dower, became the "creative" person he is, and how that lead him to dramatugy.

Lisa Peschel considers her experience adapting a comedic play written by survivors of the Holocaust and the way in which its humor translates to audiences today.

P. Carl reveals his personal journey with theatre through the lens of confessions, contradictions, and beauty.