Process

In this meditation, Morgan Gould advocates for a paradigm shift in which up-and-coming directors and playwrights work toward a more mutually beneficial relationship.

Lana Lesley shares insight on how Rude Mechs has creatively promoted audience engagement in their past productions.

KJ Sanchez talks about taking her theatre comany on tour and what she learned along the way.

Maria Goyanes on the conscious imploding of 13P, death, endings, choice and the lessons to be learned from the closing of a curtian.

Dudley Cocke, the director of Roadside Theater, on Rural Theater, its specific gifts, and the necessity of its inclusion in American Theater.

Lydia Stryk chats with playwright Catherine Filloux over e-mail.

Vanessa Garcia offers a meditation on how to monetize theatre in efforts toward sustainability.

Emilie Beck discusses what makes successful collaboration

Jessica Kubzansky talks about what the power of successful collaboration in theatre

Michael Elyanow sheds light on the financial constraints of being a playwright and why it may still be worth it.

Charlotte Meehan gives some examples of how American Theater is shifting and evolving with some examples from around the country.

Against all odds, adversity created an ideal setting for Fringe. Em Piro chronicles the inception of the St. Lou Fringe Festival.

Norman Allen describes what he learned from the process of having his playNijinsky’s Last Dance performed in Ljubljana, Slovenia.

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.

Matthew Gushick explains the necessity of having a sense of play in creating any kind of theater, and how it is the vital key in creating ultimate captivation in an auidence.

Kristen Palmer discusses the collaborative process behind the creation of We Play for the Gods.

Playwright Kirsten Greenidge reflects on her impulses to rewrite, and how she learned to stay connected to her work.

Elissa Adams offers a roadmap to those first jumping into the field of Theater for Young Audiences.

Aaron Landsman on the purpose and process on the collaborative piece City Council Meeting.

Seattle-based playwrights Delaney and Guindi discuss the theatrical climate of Seattle, development oppertunities, and the American theatre scene.

Brant Russell offers some rules and philosophy on post-show discussions, building off five years of experience at Steppenwolf Theatre.

Christian Parker on the necessity of a hard "no" in the new play development process.

Natsu Onoda Power writes about the role of coincidence and fate in her career, and how the "choices" we make in our artistic journeys are hardly a matter of choice at all.

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.

Michelle Carter meditates on the value of validation and criticism to an artist.