Political Theatre

Highlighted by Scotland’s possible independence, Regan sifts through the idea of how debate can be brought on by political theatre.

Winebrenner discusses how to utilize our freedom by using theatre as a  vehicle for cooperative political debate.

Jan Cohen-Cruz responds to Daniel Jones' post: can anyone from any political background produce theater? The answer is yes... if you look at the many different forms that theater can take.

Bertie Ferdman writes about the use of immersion in Roadskill and La Ruta, and how this trend in storytelling can help us create political theater that creates empathy and action.

In a country that is strongly divided, Daniel Jones wonders about the opportunity for conservative stories to be shown on stage.  Would opposers be willing to engage in this story?

John Moletress writes about the difficulties of talking about gun control, and how that translates to creating theater about violence – and creating spaces for conversation in the communities surrounding them.

D.W. Gregory writes about the role of theatre in changing the narrative surrounding gun control, and if and how theatre can add to the conversation.

In response to the pervasiveness of gun violence, Yvette Heyliger uses her artistry to implement change regarding gun reform.

Elaina Avila, inspired by the Occupy Movement, decided to write plays for the 99%. Here's what happened.

Chiori Miyagawa reflects on hosting Caridad Svich's Gun Control Theatre Action in the wake of the Travyon Martin tragedy and trial.

Cecilia Copeland’s uncle was her rock within any family flict. Her uncle also loved guns which has inspired her to write with his life in mind as she navigates the topic of gun control.

This weeks Howl is on gun control, social change, and artistic efficacy.

Caridad Svich examines art's effectiveness in implementing social change, particularly gun control. 

Riley Braem writes about his experience programming TYA, and why it's important to expose audiences to challenging work – the younger, the better.

Jamil Khoury talks about the importance and necessity for Arab American theatre to create narratives that are complex and unifying.  

Kyna Hamill investigates the implications of addressing war on stage and shares a brief overview of Theatre of War.

Keith Josef Adkins recounts the verdict of Mark Zimmerman's trial, discussing how New Black Fest commissioned playwrights across the country to write ten-minute plays addressing race and privilege.

The Weekly Howl is a peer-produced, open-access discussion about theater culture and contemporary performance that happens in real-time on Twitter using the hashtag #newplay.*

Join us Thursday, July 25 for the Weekly Howl on hashtag #newplay at 11am PDT – 12pm PDT (Los Angeles) / 1pm CDT – 2pm CDT (Austin) / 2pm EDT – 3pm EDT (New York) / 18:00 GMT – 19:00 GMT / 7pm BST - 8pm BST (London) / 8pm CEST - 9pm CEST (Berlin). Click here for an automatic conversion into your local time.

This week's topic: "Realism: Friend and Foe"

Caleb Winebrenner shares why he believes the Libertarian voice is important in theatre. 

This week's topic is: How do current social and political events impact our role as artists? and will be moderated by Dominic D'Andrea @DominicDAndrea and Gus Schulenburg @GusSchulenburg.

Emily Mendelsohn shares insight into her experience directing Cooking Oil written by Deborah Asiimwe in Uganda.

Victoria Tucci reflects on her time producing queered adaption of Romeo & Juliet, Juliet & Romeo, in the wake of the Marc Carson murder.