Theatre Education, Pedagogy, and Training

Jess Pillmore writes about the importance of maintaining and embracing creativity in creative work and education. 

Scholar Caroline Heafey reports on Fordham University’s Waking the Feminists symposium and the quest for gender parity in Irish theatre.

Isabella D’Esposito kicks off a new series by discussing the common myths she’s heard repeated while she works toward an Master of Fine Arts degree in playwriting.

In this first installment, Donald Sanborn interviews Dr. Steven Rosenhaus about his career in musical theatre and teaching.

In this installment of the Pedagogy Notebook series, professor Carla Della Gatta writes about how she integrated Latina/o artists into a critical studies class on Greek and Roman theatre.

Rebekah Bryer shares her theatre background and advocates an interdisciplinary approach to working in the field.

Educator and theatre artist Eric Kildow examines the contradictions of professional actor training under postindustrial capitalism.

Troy Lambert discusses potential career options for Theatre majors graduating from colleges and universities in the US.

Magenta Howard discusses her experience pursuing a Bachelor of Arts in Theatre at a public university in the US. 

Magda García writes about how, as a teaching assistant, she incorporated a performance element into an undergraduate Intro to Chicana/o Studies course at University of California Santa Barbara.

Christina Cook describes her transition from an MFA program into life as a freelance designer.

Noe Montez kicks off a new Café Onda series with this post detailing how he had students in his Latina/o Theatre and Film class at Tufts University create Wikipedia pages for Latina/o theatre artists.

David Dudley interviews Charles Smith, Head of the Professional Playwriting Program at Ohio University.

Jonathan Mandell reflects on the Fall season of New York theatre through the lens of Erin Mee’s “Drama and Performance” class at NYU, in which students see and discuss sixteen shows throughout the semester.

Playwright Alvaro Saar Rios writes about the value of casting non-Latina/o actors in Latina/o roles in a university setting.

Cole Matson shares his experience attending a one-day event in Kansas that advocates for the local arts scene.

Director Christine Young advocates for casting more women in university theatre productions, ranging from the classics to contemporary work.

David Dudley interviews Joan Schirle, Founding Artistic Director of Dell’Arte International, about their unique School of Physical Theatre.

Michael Bigelow Dixon introduces the Monsters on Stage Project from Translyvania University.