Process

Robert Goodwin and Mary Kathryn Nagle discuss decolonizing Western theatre, linear narrative structures, the historic silencing of underrepresented voices, Shakespeare, and more.

Pamela McQueen talks to Irish playwright Deirdre Kinahan about the political nature of her work, her creative process, and how she's sustained a prolific career as a female playwright.

Director Erin Ortman loves musical theatre, new plays, theatre families, and William Ball’s idea of “positation” that celebrates the “yes” in artistic collaborations. The development process for One Thousand Nights and One Day produced by Prospect Theater Company in New York City provides a view of Ball’s philosophy in action.

Nate Eppler shares how Ingram New Works Lab in Tennessee is helping playwrights build a creative home that both feeds the soul and the stomach.

Ana Dinger explores theatre as a “place of listening” through the work of Mónica Calle and Rui Catalão.

Holly Derr discusses the dramaturgical implications of playwright Mary Kathryn Nagle changing one of her characters to a woman in her newest play Manahatta, which premiered at Oregon Shakespeare Festival in March 2018.

US director and health and wellness educator Molly Schenck describes five useful rehearsal techniques for ensembles to adapt when creating work around difficult topics.

Yan Chen talks with poet, performer, and playwright Kit Yan about the intersections of genre and intersections of identity in his work.

Aysan Celik talks about the ways she’s found laughter to be a catalyst for honest conversations with her students about Climate Change.

For the fourth installment of the Chronic Theatremaker series, Sara Brookner interviews playwright Lisa Kenner Grissom about living with lupus and learning to balance her health practice with her writing practice. 

Artistic Director Kristin Marting discusses how developmental programs can better meet the needs of artists and shares best practices from HERE’s multi-year artist residency program in New York City.

Director Amy Clare Tasker on how the organizing practice of Open Space has revolutionized her work.

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

Performer Stephanie Hayes reflects on how motherhood helped her reinvent her relationship to her own creativity.

Sara Brookner talks to playwright and performer Robbie McCauley about her one-woman show Sugar, and the power of sharing our stories.

Playwright and actor Tim Collingwood reflects on the workshop production of his play Depth Perception, a piece based on his experiences with Aspergers, and why he thinks the theatre can be a safe space for people of all abilities.

In the third installment of this series, Australian playwright David Finnigan discusses how he navigated the attacks of climate deniers on his provocatively titled play. 

Maine artist Jennie Hahn explores environmental stewardship in Maine’s Penobscot River Watershed with the performance project IN KINSHIP and shares her three guiding principles for making art in a time of climate change.

Ethan Lipton returns to his artistic home at the Public Theater in New York City to play with toys, musical storytelling, and space travel.

In the fourth installment of this series, Brendan McCall discusses the work of Czech-born, Norway-based artist Nela H. Kornetová , and her performance collective T.I.T.S. 

Tadashi Suzuki and Anne Bogart in conversation at the Symposium on the Suzuki Method with SITI Company—New York City, June 3, 2017.

Director and educator Ashleigh Worley talks about process versus product, advocating for giving students opportunities to grow as artists.

Andrew Saito, participant in the Djerassi Playwrights Initiative, speaks to his experience at the residency.

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.

The founders of dollardaddy's both come from the University of Kaposvár, a theatre school that is in a small city in the south of Hungary. In their article they present to us their path from the countryside to the very heart of the capital. / A Dollár Papa Gyermekei alapító tagjai a kaposvári színművészeti egyetemről jöttek, egy Magyarország déli részén fekvő kisvárosból. Írásukban leírják a vidékről a főváros szívébe vezető útjukat.