Theatre Education, Pedagogy, and Training

In this first installment, playwright Kate Mulley shares her experience studying abroad at Shanghai Theatre Academy, reflecting on how her time there influenced her playwriting.

Theatre artist and teacher Oscar Franco shares his experience normalizing theatregoing as a viable recreational activity for families of color in Texas. 

Dramaturg and Physicist Lina Pulgarin-Duque shares her experience working with Attack Theatre, and their approach to teaching science and math to young students in Pittsburgh, PA.

Marci R. McMahon writes about the Latina/o Theater for Social Action course she recently taught at the University of Texas Rio Grande Valley.

Teresa Marrero writes about the successes and learning moments encountered while teaching a Latina/o Theatre Special Topics course.

Corey Bradberry’s theme and production considerations for staging Moby Dick for a contemporary audience in the deep South.

Izzi D'Esposito interviews Jon Klein about the Playwriting MFA program at Catholic University of America.

Clinnesha Sibley on the struggle to survive as a black woman theatre artist in academia and coming home.

Playwright Zoe Kamil discusses the actual training of student playwrights and shares the insight of several undergraduate playwrights from programs in the US.

Alice Stanley talks about what she learned teaching high school students in underserved communities in Chicago.

Jeanmarie Higgins, Professor of Dramaturgy at UNC Charlotte, presents strategies for decentralizing and distributing the dramaturg's role among groups of students and faculty who collaborate on a variety of research-driven tasks.

Izzi D’Esposito talks with Matt Pelfrey, head of the low-residency MFA program at Point Park University.

Professor Patricia Herrera writes about teaching Hamilton through the lens of American democracy.

This installment of Jess Pillmore's Sustainable Artistry series discusses the difference between asking others for feedback or for permission.

Phil Weaver-Stoesz discusses Liz Lerman’s Animating Research class at Arizona State University and interdisciplinary collaboration.

The internship experience based on Molly Marinik’s informal survey of 290 internships completed between 2006–2016.

Holly L. Derr deconstructs a new dynamic in her theatre department.

Brent Eickhoff discusses the challenges of programming large theatre productions with youth, advocating clear, realistic goals for teaching artists, students, and parents. 

Kate Langsdorf’s series continues with this description of her time as a teaching artist.

Playwright Donna Hoke writes about an opportunity that allowed her to develop a new play on its feet in advance of a world premiere.

Director and educator Theresa May writes about the potential of theatre about climate change to affect hearts and minds.