Process

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.

In this installment, Lighting Designer Jesse Portillo discusses his background, design process, and work with a couple Utah theatre companies.

In this final installment, Ricky Young-Howze reflects on self-producing new work in a “theatre desert,” and acknowledges the importance of learning, wisdom, and respect.

Writer and performer Kelly Tsai shares the process of devising Ai Weiwei: The Seed, which is based on the art and writings of activist-artist Ai Weiwei.

In this last installment, Rick Stemm shares the production process—from idea to execution—for Heroes Must Die.

Amelia Parenteau deconstructs the use of technology in The Builders Association’s production of Elements of Oz, an adaptation of The Wizard of Oz, presented at 3LD in New York City.

Peggy Wright-Cleveland on the FSU production of Seminar by Theresa Rebeck.

Remarks from playwright Sarah Ruhl on accepting the Harold and Mimi Steinberg Charitable Trust Distinguished Playwright of the Year Award at Lincoln Center on Monday, November 14, 2016.

Dramaturg Maria Patrice Amon interviews Playwright Herbert Sigüenza about his comic influences, and Manifest Destinitis, his adaptation of Molière’s The Imaginary Invalid.

In this installment, Daniel Fine continues his discussion on the intersection of lighting and media design.

David Dudley interviews playwright Howard Barker about writing for live actors versus marionettes.

Director Marc David Pinate discusses his process for Barrio Stories, reflecting on how the production is an example of sacred theatre.

Katie Pearl interviews Michelle Memran about María Irene Fornés and The Rest I Make Up, a documentary that captures the legendary playwright’s creativity as she ages.

In this last installment, Paul Adolphsen interviews South African theatremaker Thando Doni about his artistic use of language and physical theatre.

Artistic Director Joan Lipkin discusses the inspiration and process for “Dance the Vote,” a voting registration campaign in St. Louis, Missouri that included performances by local artists. 

Neena Arndt writes about new strategies the Goodman is testing to give audience members information about shows before they arrive at the theatre.

Writer and performer Oscar Lozano reports on the artistic and labor movement in France among theatre professionals and in doing so considers the public theatre, social performance, and the role of intermittents (contract and short-term creative professionals) in the global Occupy protests.

The trajectory of playwright Tammy Ryan’s play Lost Boy in Whole Foods about Sudanese refugees in America and how a play about refugees plays today.

Kyna Hamill and Brianna Randolph discuss crafting Letters to Medford, a theatre performance by Two Roads Performance Projects in Massachusetts. 

Beatriz Afonso Santos describes her process of exploring theatre and theatremaking techniques that involve all the senses. Read it in English and in Spanish!

In this installment, Briandaniel Oglesby shares updates leading up to the performance of his students’ queer adaptation of Romeo & Juliet.