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.

Playwright Lisa Biggs and director Kristin Horton discuss the process of developing After/Life, a new play about the 1967 Rebellion in Detroit, Michigan with Detroit community members.

Marci McMahon reflects on how Diane Rodriguez’s The Sweetheart Deal breaks gendered stereotypes about the Chicano Movement of the 1960s and ’70s. 

What is the significance of staging Coriolanus in Sao Paulo where the new mayor is a businessman who was the host of two seasons of the Brazilian version of TV show The Apprentice?

HowlRound announces the four selected convening proposals for the HowlRound Challenge, a new initiative to incubate ideas and seed action to make a better theatre and a better world.

Laura Marriott considers The Eurydice Project in Dublin in the context of Ireland’s Repeal the Eighth movement.

Chantal Bilodeau kicks off this week's series on Theatre in the Age of Climate Change, and argues that we as a theatre community need to recognize when our practices and systems are detrimental to the earth and other people, and strive to change them.

Jonathan Mandell runs down the recent past and present dramatization of dystopian novels on stage, including 1984, and asks whether what’s on stage is reflected in the political era that we are in now.

Following the controversy around the Public’s Shakespeare in the Park Julius Caesar production, Nora Williams provides a parallel story about a play that was censored and caused the Globe to be shut down in 1624 because it depicted living monarchs unfavorably.

MJ Kaufman writes about the decision not to see To the End of the Land ​at Lincoln Center. 

Matthew Clinton Sekellick discusses moving beyond awareness with action, advocating for theatre artists and administrators to join forces with existing social justice movements.

Gary English looks at the production Other Places by the Palestinian theatre group Al Khashabi Ensemble.