Gab Cody reflects on the birth of The Monologue Project, an initiative that started in Pittsburgh, USA and Dallas, USA to increase the canon of audition-length monologues for women of African Descent.

Arts educator Hannah Sachs talks about how introducing Theatre of the Oppressed to her students in the Czech Republic helped address xenophobia in the classroom, and slowly began to change the culture of the school for the better.

US director and health and wellness educator Molly Schenck describes five useful rehearsal techniques for ensembles to adapt when creating work around difficult topics. 

American Studies scholar and educator Nassim Winnie Balestrini reports on how Climate Change Theatre Action relates to her seminar on cultural studies at the University of Graz in Austria.

Peterson Toscano describes his solo show Everything is Connected, which tackles religion, LGBTQ issues, privilege, and climate change.

Chantal Bilodeau kicks off this week’s series on Theatre in the Age of Climate Change by suggesting that women in the arts may be our planet’s best bet for survival.

Robert Duffley reflects on four shows from the 2017 Divine Theatre Comedy Festival in Kraków, Poland.

Jonathan Mandell looks at several current plays that depict violence by or against African Americans, including  LeKethia Dalcoe's A Small Oak Tree Runs Red, Gabriel Jason Dean's Terminus, and Althea Harris's Is God Is.

Alex Ates looks at how the Free Southern Theater established a model of artmaking and activism in the South in the '60s and considers how the New South is primed for another generation of civic action artmaking. 

Emerson College student Mary Frances Noser reflects on a campus-wide teach-in about race. 

Sylvia Botella interviews Belgium-based theatre historian Olivier Neveux about his thoughts on populism, decomocratizing access to culture, and the political responsibility of the artist. / 

Sylvia Botella interview l’historien de théâtre belge à propos de ses pensées sur le populisme,

la démocratisation de l'accès à la culture et la responsabilité politique de l'artiste.

Sylvia Botella interviews sociologist Éric Fassin about his views on the connection between sociology, the performing arts, and politics in the age of populism.

Brussels-based choreographer, curator, and writer Michiel Vandevelde argues that artists need to reclaim a place of power in the arts sector.

Jonathan Mandell takes on two recent plays based on real events, considering productions of Ferguson and The Siege.

K. Woodzick talks about creating The Non-Binary Monologues Project, and the need for more resources for non-binary theatremakers.

In the fifth installment of this series, Brendan McCall reflects on the work of Norwegian American vocalist Kristin Norderval, and how her art transforms listening into a political act.

Is sexual assault a daring subject for satire? Cassidy Dawn Graves considers Michael Yates Crowley’s The Rape of the Sabine Women, by Grace B. Matthias and how satire may be the perfect tone to portray the empowerment of the disempowered.

Enterprise is a satire of American business-speak that is also a critique of capitalism.

Alícia Hernàndez Grande writes about the theatrical street protests that have been staged since 2012 around the Catalonia independence referendum vote, including this year’s vote on October 1. / Alícia Hernàndez Grande escribe sobre las protestas teatrales que se han presentado en la calle desde el 2012 sobre el voto del referendum de la independencia de Catalonya, incluyendo la votación del 1 de octubre de este año.