Process

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.

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.