New Play Development

Joe Waechter writes about Minnesota, and the unique space that it provides for developing, performing, and thinking about new work.

What's happening in the #NewPlay world this week? Check out the roundup for January 9th, 2012.

"I keep thinking about these orphaned plays, which were in fact once loved. Where do they fit in the new play lifecycle of American Theater?"

P.Carl, a founder of HowlRound highlights some quotes from articles published in the first year of HowlRound.

As he becomes the President of the TCG Board of Directors, Philip Himberg shares his hopes for the impact and value new plays and playwrights can bring to America.

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.

David Dower, the Co- Artistic Director of ArtsEmerson, wrestles with the role of being a producer for a new play.

Composer and Sound Designer Robert Kaplowitz writes about the tendency in mainstream American theater to focus on servicing and clarifing one single idea.

From Horton Hears a Who, Jeni Mahoney connects the world of Dr. Seuss' book to the theatre world, drawing a line from Jo-Jo and Whoville to playwrights and artists.

Following up to a piece for the Brooklyn Rail on Gesamtkunstwerk, playwright Lydia Stryk contrasts the German practice with contemporary American theatricality and collaborative practices.

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

Dramaturg Margot Melcon interviews Jason Loewith about the new play development sector, and opportunities theatres can take advantage of.

The playwright James Still mueses on creativity, the role of the inner and outer creativity, and finding happiness in unlikely places in the journey of creating new work for his keynote adress at the Cohen New Works Festival at the University of Texas at Austin on March 28th, 2011.

Aaron Carter and Erik Ramsey suggest a taxonomy for new play development techniques to serve as a reference for playwrights and developers to avoid the "zombification" of new plays.

"I was used to having a play produced every year and I assumed that the next production would come easily. I wasn’t expecting the lull that followed."

Ed Stern, former Artistic Director of the Cincinnati Playhouse, shares his experiences of curating new works and the reactions of the community; both good and bad.

Peter Sinn Nachtrieb interviews Marc Masterson on his position as Artistic Director of the Actors Theater of Louisville and how to create a collaborative environment for new work.

In this final installment of the series From Scarcity to Abundance: Capturing the Moment for the New Work Sector, P. Carl interviews David Dower on the results of the convening, and his assertion that new plays are in a state of abundance, not scarcity.

In this installment of the series From Scarcity to Abundance: Capturing the Moment for the New Work Sector, Anthony Werner interviews Richard Montoya of Culture Clash on the importance making marginal voices heard.

In this installment of the series From Scarcity to Abundance: Capturing the Moment for the New Work Sector, Anthony Werner interviews Derek Goldman of Arena Stage on how the abundance in theatre is found in partnerships and collaborations.