Political Theatre

RJ Maccani discusses learning through Foundery Theatre’s projects the distinct ways artists and social justice organizers can come together to make change.

Eleanor Regan finds during her study abroad experience that theatre that interrogates a subject actively and presents a real viewpoint gives the audience the most to chew on.

Michael Moore talks about finding the spirit of Free Southern Theatre in Junebug Productions, and his awaking of the urgency found in the community for socially activated theater.  

Theater J, whose mission is to produce plays that are politically engaged and thought provoking, as well as personal, passionate, and entertaining, could not have selected a better play for the current moment.

From 2008 to the present, playwright Adrienne Kennedy and Egyptian scholar Nadia Maher were in correspondence. This is an edited selection of emails they exchanged while Nadia was working on her Master’s thesis during the Egyptian Revolution.

Highlighted by Scotland’s possible independence, Regan sifts through the idea of how debate can be brought on by political theatre.

Winebrenner discusses how to utilize our freedom by using theatre as a  vehicle for cooperative political debate.

Jan Cohen-Cruz responds to Daniel Jones' post: can anyone from any political background produce theater? The answer is yes... if you look at the many different forms that theater can take.

Bertie Ferdman writes about the use of immersion in Roadskill and La Ruta, and how this trend in storytelling can help us create political theater that creates empathy and action.

In a country that is strongly divided, Daniel Jones wonders about the opportunity for conservative stories to be shown on stage.  Would opposers be willing to engage in this story?

John Moletress writes about the difficulties of talking about gun control, and how that translates to creating theater about violence – and creating spaces for conversation in the communities surrounding them.

D.W. Gregory writes about the role of theatre in changing the narrative surrounding gun control, and if and how theatre can add to the conversation.

In response to the pervasiveness of gun violence, Yvette Heyliger uses her artistry to implement change regarding gun reform.

Elaina Avila, inspired by the Occupy Movement, decided to write plays for the 99%. Here's what happened.

Chiori Miyagawa reflects on hosting Caridad Svich's Gun Control Theatre Action in the wake of the Travyon Martin tragedy and trial.

This weeks Howl is on gun control, social change, and artistic efficacy.

Cecilia Copeland’s uncle was her rock within any family flict. Her uncle also loved guns which has inspired her to write with his life in mind as she navigates the topic of gun control.

Caridad Svich examines art's effectiveness in implementing social change, particularly gun control. 

Riley Braem writes about his experience programming TYA, and why it's important to expose audiences to challenging work – the younger, the better.