Dramaturgy

Elliot B. Quick examines what it means to be a dramaturg, and what role the MFA has in determining those definitions.

The tour of UK’s War Horse in the United States shows us that, even a ingenious play, assumed historical knowledge can make or break an audience’s experience.

Jeremy Stoller interviews Vicki Strioch, President of LMDA.

Robert Matney writes about the various ways in which theater companies are adapting and thriving by incorporating technology into their practice.

What does it means to teach dramaturgy, and how do the pratical and theoretical intersect to inform this oft-misunderstood practice?

Dylan Southard writes about his job as a script reader, and how bad scripts can be just as enticing and informative of modern theater culture as good scripts.

Otis Ramsey-Zoe continues our series of responses to the American Voices New Play Institute's 21st Century Literary Office Convening with this manifesto of what we as a theater community need to do to create the literary office of the future.

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.

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.

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?"