Playwright Carolyn Gage questions the accepted definition of a “new play” as one that is unpublished and unproduced, arguing that these standards punish entrepreneurial playwrights who choose to self-publish or self-produce.
Mixed Blood Artistic Director Jack Reuler talks to Pillsbury House Theatre Co-Artistic Directors Faye Price and Noël Raymond about the successes and challenges of removing cost as a barrier to theatre attendance.
Playwright and co-founder of Boston Public Works Theater Company John Greiner-Ferris discusses the rewards and challenges that have come with self-producing.
Panel Gentrification & Business at The N’Namdi Center for Contemporary Art
Thursday 19 March 2015
Detroit, MI, United States
The N’Namdi Center for Contemporary Art in Detroit presented the panel discussion Gentrification & Business livestreaming on the global, commons-based peer produced HowlRound TV network at howlround.tv on Thursday 19 March at 3 p.m. PDT (Los Angeles) / 5 p.m. CDT (Chicago) / 6 p.m. EDT (New York). In Twitter, follow @NNamdiCenter, and use #howlround.
Using a Co-opted Model That Has Already Reached the Tipping Point
6 March 2015
In the first post of his series, Seth Lepore looks at crowdfunding, how to keep it relevant, who is actually donating, and the kind of immediacy it provides.
All the Lights On is a history of the Twin Cities’ theatre company Ten Thousand Things. Published by the Minnesota Historical Society Press in association with HowlRound.
A Conversation Between Two Ensembles: SITI Company and Double Edge Theatre
Thursday 5 February 2015
Ashfield, MA, United States
Double Edge Theatre in rural Ashfield, Massachusetts presented A Conversation Between Two Ensembles: SITI Company and Double Edge Theatre livestreamed on the global, commons-based peer-produced HowlRound TV network at howlround.tv on Thursday 5 February at 6 p.m. EST (Montreal) / 5 p.m. CST (Austin) / 3 p.m. PST (Vancouver) / 23:00 GMT (London).
David Copelin, self-identified member of the “cottontop demographic,” considers how his privilege might affect his artistic choices and his responsibility to that privilege.
Seth Rozin says let large theatres do what they do best—be large—and encourage playwrights to cultivate relationships with mid-size and small theatres.