Teaching Performing Arts During the Pandemic
A Playwright’s Guide to Self-Producing: Part I
Artists In a Time of Global Pandemic (ASL & Captioned)
Livestreaming SEGAL TALKS: Thomas Ostermeier (Berlin, Germany)
Writing a Play Begins with Listening
Why Boycott a Play
Staging a Conflict
Israel, Palestine, and the American Theatre
Playwright Renée Darline Roden talks about her travels to Israel and Palestine to gain inspiration for a new play and encountering what Chimamanda Ngozi Adichie calls “the danger of a single story.”
MJ Kaufman writes about the decision not to see To the End of the Land at Lincoln Center.
Jamil Khoury writes about curating a series of six staged readings about the Israeli-Palestinian conflict, and that power of theatre to speak to controversial issues.
Philoctetes in Jerusalem
The Cost of Growing Up a Soldier
Abraham Benson-Goldberg discusses Khan Theatre’s production of Philoctetes, examining the intersections of young soldiers, heroism, war, and politics.
Thoughts from a Youngster on Attracting Youngsters to the Playhouse
Abraham Benson-Goldberg writes about how theatres can be better at attracting young audiences, based on his experiences in Seattle, WA and Tel Aviv, Israel.
The PEN World Voices: International Play Festival 2016
The Martin E. Segal Theatre Center presented PEN World Voices: International Play Festival 2016 livestreamed on the global, commons-based peer-produced HowlRound TV network at howlround.tv on Wednesday 27 April to Friday 29 April. On Twitter use #HowlRound.
From Gaza, with Love
Patricia Davis on Mosaic Theatre's US premiere in Washington, D.C. of I Shall Not Hate, based on the life of Palestinian doctor Izzeldin Abuelaish.
Celebrating Our Imperfections
A Conversation with Adina Tal of Israel’s Nalaga’at Center
In this installment of the Disability in Theatre series, Kevin Becerra interviews Adina Tal, Founder and Artisitc Director of Nalaga’at Center in Tel Aviv, on her production of Not by Bread Alone.
Disability in Theatre
This series explores issues of diversity, accessibility, exposure, and inclusion in the American theatre.