Playwriting

Jessica Kubzansky talks about what the power of successful collaboration in theatre

Michael Elyanow sheds light on the financial constraints of being a playwright and why it may still be worth it.

Micheline Auger reports about her project, Write Out Front, which places playwrights in the Drama Book Store's window for a mini "residency."

Barry Martin debates the growing prevalence of ten-minute plays, and whether they can even be considered plays at all.

The Livescribe pen seems like magic with its ability to record audio that attaches to what is being written on paper. The pen revolutionizes the writing process.

Playwright Jen Silverman interviews her friend and collaborater Lisa Henieman about her stillbirth, the collaboration they embarked on to tell Lisa’s story, and the lessons they leaned from that experince.

Introducing Barton Booth, a place for writer and collaborators to get noticed in the hopes of getting produced.

New plays are being produced at a higher rate previously seen in region theatre. Based on the factors that make up this particular triangle region, it becomes clear what is creating this incubator.

Todd London on playwright, actress, singer-songwriter, ethnographer, and sometime-arts journalist Eisa Davis

P. Carl's keynote from the 2012 CityWrights: Weekend for Playwrights enbolden artists to focus on making good art, rather than being overwhelmed by transactions.

Kristen Palmer discusses the collaborative process behind the creation of We Play for the Gods.

Dylan Southard writes about his job as a script reader, and how bad scripts can be just as enticing and informative of modern theater culture as good scripts.

Jamie Gahlon has asked theatre artists from around the country to talk about their personal search for an artistic home. Wendy MacLeod continues this series.

Playwright Kirsten Greenidge reflects on her impulses to rewrite, and how she learned to stay connected to her work.

Cory Tamler suggests innovation in the conversation with, to, and how playwrights create will spur development in Pittsburgh’s new works theatre scene.

Karla Boos discusses theatre in Pittsburgh, and the relationship between playwrights and directors.

Lauren Gunderson on the lessons that playwrights learn from the classics, and why both classic and new work is essential to theater.

Moving from Chicago to LA included more than a huge wardrobe change. The reality of life in LA changed Brett Neveu’s relationship to writing and made him find balance in new rules.