Process

Composer and Sound Designer Robert Kaplowitz writes about the tendency in mainstream American theater to focus on servicing and clarifing one single idea.

Deborah Stein breaks down her experience in collaborative theatre settings to its specific characteristics, revealing the agony and ecstasy of creating in an ensemble.

Playwright Gwydion Suilebhan discovered that his insomia created oppertunity to get writing done, but as his schedule changes he wonders how his writing will be affected.

Dissecting his playwriting process and the self-criticism that goes with it, Chuck O'Connor offers the "Gartner Hype Cycle" as an antidote for creative angst.

What is the difference between an artistic and scientific process? One may seem unstructured and the other deductive, but playwright Monica Byrne finds they both work the same way.

Puppetry is the bastard nephew of so-called legitimate theater. Yet puppetry stubbornly persists, even flourishes, in our digital age as an intentionally Luddite approach to an emphatically live art.

Susan Miller speaks on the collision of the playwright's personal and the public, and the beauty found in performing these stories themselves.

Keith Josef Adkins speaks on his experience working to "diversify within our diversity" and provide fresh black narratives to the canon of American theatre.

Lisa Peschel considers her experience adapting a comedic play written by survivors of the Holocaust and the way in which its humor translates to audiences today.

Dan Wolf discovers the artistic legacy of his ancestors and uses that as inspiration to deepen his own artistic vision.

Jayne Benjulian considers the rightful place of a playwright in the rehearsal room as the executive producer of his or her own work.

Aaron Landsman's new project in development, City Council Meeting, is an attempt to democratically include audience participation in the narrative of a play.

Christopher White, of the Mugwumpin ensemble, dissects their process for subverting audience's expectations when entering a theatrical performance.

Playwright Lisa D'Amour considers the inherent differences between big institutions and grassroots theatres, and the possibilities that could arise were the two to collaborate.

Playwright Chinaka Hodge recounts her experiences producing her first play and how the collaboration process supported and enhanced the growth of her play.

Playwright Dan O'Brien discusses the intersection between the personal and the political, and his findings which indicate that the most compelling stories come from the lives of others.