Organizational Models

On the twentieth anniversary of its founding, Nan Barnett reflects on the National New Play Network’s growth, and discusses the organization’s impact.

Jack Reuler discusses nearly two decades of incorporating work about, for, or with people with disabilities or on issues of disability at Mixed Blood Theatre.

In a second installment about results of a survey of theatregoers to consider best practices to market lesser-known plays, Meghan Randolph discovers commonly held assumptions about segmenting audiences are wrong.

Michael DeWhatley talks to several theatres, including Trinity Rep and the Guthrie, about how they define success and the benefits of a feedback process for talking about a show after the production is complete with artists and audience.

Meet the staff of one Bay Area theatre company and see how their lives, jobs, and homes interact and affect the artistic ecology of the Bay Area.

Trevor Boffone writes about the effects Hurricane Harvey has had on the theatre community in Houston, Texas.

Ambassador Cynthia P. Schneider, who attended the AsiaTOPA Performance Festival in Australia, reflects how as the United States devalues diversity and imposes restrictions on immigration, Australia recognizes the value of its relationship with its Asian neighbors, and of its own diverse population.

David Diamond, curator of the La MaMa Umbria International Symposia, visits St. Petersburg and presents a look at Russian theatre artists today.

Ruth Zamoyta reports on the Association for Performing Arts Service Organization's annual meeting, May 19, 2017, Asbury Park, NJ.

Matthew Clinton Sekellick discusses moving beyond awareness with action, advocating for theatre artists and administrators to join forces with existing social justice movements.

Jessica Wallenfels considers the state of the new American musical.

UK contributor verity healey looks at how Doorstep Arts is bringing access to the theatre arts to Torbay.

Meghan Randolph surveys theatregoers to consider best practices to market lesser-known plays.

Bari Hochwald of the Global Theatre Project discusses the need for artist activists today to “inflame the civic temper” and address the refugee crisis.

Iulia Popovici writes about independent theatre in Romania.

Káva Drama/Theater in Education Association is one of the most important groups on the scene in Budapest in taking responsibility for the next generation. / A Káva Műhely csapata minden alkalommal lenyűgöz, amikor projektjeink kereszteződnek. Ők képezik az egyik legfontosabb csoportot a szakmán belül, akik felelősséget vállalnak a következő generációért.

We would like to dedicate the fourth article of the series to dance. Viktor Szeri, an up-and-coming dancer from Budapest, leads us into its secrets. / A sorozat negyedik posztját a táncnak dedikáljuk. Szeri Viktor, egy fiatal és feltörekvő budapesti táncos, bevezet annak titkaiba.

Team Awesome Robot wraps up their series on producing independent theatre in New York City.

In this political moment, Genée Coreno considers the need for industry reform in the theatre.

Ioana Tamas discusses the status of artists in Romania, in this installment of the series leading up to the IETM Plenary Meeting in Bucharest.

Em Piro images what a Paleo theatre practice would involve.

Artistic Director Josh Hecht reports on the first year of Profile Theatre’s Diversity and Inclusion Initiative, and shares insight from the process.