Process

Robert Matney writes about the various ways in which theater companies are adapting and thriving by incorporating technology into their practice.

In this meditation, Karen Malpede offers an investigation of torture and how it can be imitated onstage.

answer some questions about their process as part of The Next Thing Festival.

February 20, 2013

New York City Players and Los Angeles Poverty Department answer some questions about their process as part of The Next Thing Festival.

Mondo Bizarro and ArtSpot Productions answer some questions about their process as part of The Next Thing Festival.

Brandon Woolf reflects on the cultural clashes and queer-antagonistic responses to the public performance of UtopiaTM by the ensemble of Shakespeare im Park Berlin in Görlitzer Park.

Deanna Downes on her experience assisting in the development of Party People, and the lessons she is carrying into her own work as a director.

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.