Emilio Williams sits down with Jesús Caballero to talk about the lost puppetry genre called la máquina real and Jesús’s company in Spain that works to reimagine this Baroque art form. / Emilio Williams entabla una conversación con Jesús Caballero sobre un género de teatro de títeres olvidado de nombre la máquina real y los esfuerzos de Jesús y su compañía en España por recuperar esta tradición barroca.

Sarah Plummer discusses how puppets aid socially engaged groups during protests in three key ways: amplifying tension, creating accessible messaging, and evoking solidarity.

In this article for the Performing the Internet series, Miller Puckette and Onyx Ashanti get together for a conversation about the changing landscape of multimedia technology in the arts, how technologically mediated performance practices have taken on new relevance in the post-COVID era, and more.

Seth Wilson argues that the relatively low reputation of the study and pursuit of theatre is the primary way antitheatricalism manifests itself today.

Barbara Fuchs and Rafael Jaime argue that beyond the English-language theatrical canon lies a rich corpus of classical work that remains remarkably hospitable to women, focusing their discussion on two playwrights: Ana Caro and Sor Juana Inés de la Cruz.

Jonathan McCrory talks about the JUBILEE’s initiative of spotlighting “cultural architects”—theatre organizations that have been producing work of historically marginalized voices for years, before it was a “trendy” thing to do.

Anca Hațiegan looks at the history of theatre in Cluj-Napoca, from the first production in the 1600s, to the power dynamics between the Romanian and Hungarian companies, to what transpired after the communist era, and beyond.

Zenkő Bogdán and Viktória Barazsuly introduce the Cluj-Napoca series, speaking to the history, diversity, and theatrical heritage of this Romanian city.

Isaac Mafuel talks about Malawi’s most prevalent form of theatre, its history, and its impact and challenges.

David Dower writes about the sunsetting of New York City’s Foundry Theatre, the company’s new book, A Moment on the Clock of the World, and the impact co-founder Melanie Joseph has had.

Producer Tobi Kyeremateng and poet/writer Roger Robinson talk about Black writers in the UK, creative citizenship, activism in the arts, and more.

Amy Steiger reflects on some of the classic acting texts—which are overwhelmingly written by cis white men and use colonialist, binary, and patriarchal language and narratives—and how teachers should be approaching them today.

Tara Brooke Watkins discusses how Oklahoma! has shaped the state’s cultural identity, the Tulsa Race Massacre, and Spinning Plates’s production of the musical with an all-black cast.

Todd London celebrates one of the most prolific and prominent Latino playwrights in America, Octavio Solis.

Roxanna Myhrum looks at the history of the iconic puppet show Punch and Judy and Sarah Nolen’s feminist adaptation of it, Judy Save the Day.

Holly L. Derr looks at the history of the Method, where it deviates from Stanislavsky’s System, and the connection between the Method and the behavior called out by #MeToo.

Herbert Siguenza, co-founder of the Latino performance troupe Culture Clash, talks about his unconventional writing path, his time working with the collective, and finding his unique voice.

Anne Hamburger, founder of En Garde Arts, talks about the beginnings of her company, and, with it, the beginnings of site-specific theatre in New York City.