Ethics

Sarah Plummer kicks off the puppet series by introducing the series contributors and exploring the way their work highlights puppetry’s capacity to form solidarities among humans and nonhumans.

Eve Bernfeld discusses creating a culture of care in her Alexander Technique classes by paying attention to embodiment. She asks: What if we heal the false rift between mind and body in our theatre making and training?

Charlie Peters asks, “What if the role of a director was conceived primarily as one of listening rather than visioning?”

Ashley Malafronte and Michael DeWhatley ask: How can future-minded theatres revolutionize their internship programs to create a more diverse, reciprocal, and mutually beneficial set of initiatives?

Fargo Tbakhi argues it is long past time for the American theatre to listen to Palestinian colleagues and to collectively and immediately commit to Boycott, Divestment, Sanctions.

Kieron Cindric talks about how the theatre industry—and, in particular, musical theatre—has continually reinforced a narrow and harmful version of masculinity.

Dane Figueroa Edidi muses on how imagination provides the power to conjure an equitable theatre.

Alix Rosenfeld offers suggestions for nonprofits seeking to move out of a scarcity mindset, embrace a spirit of abundance, and build pathways to a more ethical and equitable ecosystem.

Mihaela Drăgan introduces digital supratheatre—a theatre of the future with two underlying principles: technological change and social change.

Andrew Pearson uses consent as a framework to discuss retuning to in-person theatre after the pandemic.

Annalisa Dias and Ronee Penoi, on behalf of Groundwater Arts, argue that there cannot be a just arts sector within an unjust world, and that contrary to what people think, arts workers do have the means and the agency to make change. What is needed is a new narrative.

Vijay Mathew asks, and then offers ideas to approach, the question: "How will the performing arts field contribute to climate justice during the sixth mass extinction?"

Elsa Hiltner examines the value of pay equity in the theatre through a fresh lens: how it benefits companies.

As artists and companies re-examine the failures of their infrastructures and unconscious biases, Emily C. A. Snyder argues that the lessons learned and challenges faced so far within the field of intimacy direction may be of particular value.

Isaac Mafuel shares a recent debate had amongst theatremakers in Malawi about how to best price shows, considering both that low prices are a way of coping with the circumstances of their economy and that art should claim its value.

Blair Cadden explores how immersive theatre can adopt BDSM practices—including negotiations, safewords, and aftercare—to create safer experiences for both actors and audience members.

In this last installment of the Beyond the Western Canon series, Sadie Berlin questions how marginalized voices are represented on stage and calls for more experimental work by artists of color on Canadian stages.

Nan Barnett, National New Play Network’s executive director, talks about the organization’s twenty-year evolution; the realization that, as a governing body, they were “really, really white”; and their commitment to turning the organization into a replicable model of a diverse and inclusive ecosystem.

Clare Hennessy discusses the challenges of developing a play that sheds light on eating disorders—depicting them accurately, avoiding triggers—and offers suggestions for other writers in a similar position.

Amelia Parenteau speaks with Lauren E. Turner about racialized trauma in American theatre, Lauren’s experience with it, and healing.

Brídín Clements talks about the accessibility of educational and professional programs, like internships, in theatre administration.