Georgina Young-Ellis looks at the history of the innovative Mexican theatre company Teatro Línea de Sombra, its connection to Portland, Oregon, and two of their projects: Amarillo and Rebuilding Small Territories.

Beatrice Basso discusses what it was like to bring multidisciplinary artists from north and south of the US-Mexico border together to create and learn from each other in the artist-driven exchange Práctica. / Beatrice Basso analiza cómo fue el intercambio artístico Práctica, en el que artistas del norte y del sur de la frontera México-Estados Unidos se reunieron para crear y aprender unos de otros.

Shelby-Alison Hibbs analyzes Matthew Paul Olmos’ so go the ghosts of mexico, part 2.

The World Theatre Map beta project has engaged its first cohort of twenty-eight World Theatre Map Ambassadors from twenty-four countries to direct community organizing, outreach, and feedback gathering.

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

Abel Muñoz interviews Marisela Treviño Orta

Teresa Simone continues her Why I Hate Children’s Theatre series with this post exploring the work of Zarco Guerrero.

Carla Della Gatta interviews Georgina Escobar about her writing process and upcoming projects following Carnaval.

Kevin Becerra explores becoming comfortable in his identity as a Latino who speaks more Yiddish than Spanish. 

In this installment, Lisa Portes reflects on her experience at the TCG Conference and ponders how artistic curiosity can influence a "polycultural American theatre."

In this second installment, Olga Sanchez discusses the act of physically and metaphorically crossing borders at the 2014 TCG Conference.

Groenveld explores the different interpretations of his play The Hummingbirds as the play can be cast with any age, race, and gender to bring out different nuances of the script.