Political Theatre

Phil Soltanoff writes about SITSTANDWALKLIEDOWN, and how performance art can make us think about how we live, work, and occupy public space.

Seth Baumrin and Karen Malpede chat about why theatre matters to Criminal Justice students.

Jules Odendahl-James explores the intersection of theatre and politics. She questions about conventional sense of political theatre and the possible expansion of the definition.

The needs of non-arts organizations, and theatre artists' assets can intersect through Civic Practice. This guide from Michael Rohd offers examples of application and what this work can accomplish.

Guillermo Aviles-Rodriguez proposes an idea to get US troops out of Afganishtan and Iraq, in two easy steps.

After Hillary Clinton spoke at Georgetown University on the topic of human rights, it moved Derek Goldman to reflect on why theatre is the tool for global conversations.

Tami Dixon talks about her company, Bricolage, and how theater can begin important conversations in predominantly-white Pittsburgh.

In the wake of Trayvon Martin's murder, Erin Washington asks what is the role of artists when faced with unspeakable collective tragedy?

Caridad Svitch writes about travel, simplicity, plugged in and plugged out life and the way that the environment, both physical and environmental, informs her writing.

David Dower responds to the Mike Daisey controversy.

David Chapman draws attention to the ways we can continue to learn and be inspired from the multi-facted legacy of Václav Havel, first post-Soviet President of Czechoslovakia.

Karen Malpede discusses the necessity for true political theater in the United States.

Kira Oblenskey talks to Michelle Hensley, the founding artistic director of Ten Thousand Things in Minnesota, about the necessity of big stories, and the joys of bringing theater to audiences who have very little experience with it.

Brandon Woolf describes what he learned from taking part in the Occupy Wall Street movement at University of California Berkley, and how that applies to creating theater that embraces Occupy's spirit of public openness.

Michael Rohd details the how, the why and the what of his approach to making civic theater.

Richard Montoya, of the theater group Culture Clash, delivers his theatrical manifesto; one of outside the lines, in every way.

Part one of Michael Rohd's look at "How does the work we do impact, intersect with and contribute to a healthy, functional democracy?"

Erik Ehn furthers his exploration into theatre for social change by focusing on the vocabulary of used to create art that challenges and energizes us to rise above the trauma toward peace.

Erik Ehn takes on theatre for social change, and the need to create art that challenges and energizes us to rise above the trauma toward peace.