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  • Friday Phone Call # 57: Olga Garay-English David Dower
    Many of you have already read the story of my first meeting with Olga Garay-English in 2002 in Portland, Oregon. A TCG-sponsored gathering called New Works, New Ways. From that very first poke in the ribs, Olga has been a critical conceptual collaborator in my own work and in the formulation of the identity of HowlRound. We start from her pre-performing-arts days, move to her work with Miami Dade College, the ideas underpinning her time as the first program officer of the Doris Duke Charitable Foundation, and then the ideas defining her contributions as the Executive Director of the Department of Cultural Affairs of the City of Los Angeles. Talk about making an impact! This call is equal parts personal, practical, and philosophical. As ever, with Olga, it is also entirely personable. This woman personifies the axiom "angels fly because they take themselves lightly". Olga flies. Where will she land now that she's done her turn at the LA DCA?
  • Diversifying Creative Writing Educational Programs with Playwriting Joelle Jameson
    The neglect of playwriting as a genre in what I’ll lovingly call the creative writing industrial machine—poetry, fiction, and non-fiction/memoir are the ruling three—hasn’t escaped conference organizers. They actively encourage pitches for playwriting panels, which are typically in short supply. This year, this poet and part-time playwriting instructor made a point of attending as many theater-related panels as possible. It was an incredibly heartening experience, mainly due to the emphasis placed on the benefits of incorporating playwriting into creative writing and literature classrooms.
  • What Are Your Prejudices About Theater? Loy Webb
    We cannot be preoccupied before or during a show with differences of race, class, sexuality, etc., and assume because of these differences the lives of those we see before us are foreign territory. When we do that, we rob ourselves of what might be a beautiful and transformative experience if only we give it a chance. Instead we should keep an open mind and find the human connecting points. When we do that, we’ll find that deep down, we are more alike than we are different.
  • A Mets Fan’s Guide To The Theater Sam Marks
    But maybe the reason I obsess over sports is because of how very different they are from what I have chosen to do. In sports, there’s the illusion of fairness and opportunity. Not so much with theater—Chekhov isn’t fair. The biz doesn’t always offer opportunities. Whereas in every sporting event the outcome isn’t decided, it’s still up in the air, it’s still up to the players. I’d like that to be true of every play. Maybe Othello will change his mind, maybe the cherry orchard won’t be sold. But he always goes through it, the tree always falls, I know the end.
  • National Center for Arts Research livestreaming discussion with Kate Levin—Thurs, April 17—#NCARfellow HowlRound TV
    Join SMU from Dallas, Texas as they present the conversation "Transforming Arts and Culture Nationwide" livestreaming on the global, commons-based peer produced HowlRound TV network at on Thursday, April 17 at 4pm PDT/ 6pm CDT/ 7pm EDT/ 23:00GMT. SMU President R. Gerald Turner and Dallas Mayor Mike Rawlings will welcome Kate D. Levin, Inaugural fellow of the National Center for Arts Research (NCAR) at SMU and former commissioner of the New York City Department of Cultural Affairs. Moderator: Zannie Voss, director of NCAR and chair and professor of arts management and arts entrepreneurship, SMU Meadows School of the Arts and SMU Cox School of Business. In Twitter, use #NCARfellow and follow @artsresearch.
  • Writing and Fighting Will Power
    Isn’t boxing just like writing a play? First, you have to train (the muscles in the gym if a boxer, the mind facing the screen if a writer). Then you have to fight! (What we in the Arts call “advocate”). You go out into the world/ring and advocate for your play, and hopefully find other advocates who will advocate your “advocation.” Next, whether you win (get a production) or lose (a reading, and another reading, and another reading), you must nurse your wounds and finally, learn from the experience in hopes that you will come out next time a stronger, smarter, more creative. . .fighter.
  • What Chimerica Tells Us About the Photograph Srila Nayak
    Based on an actual photograph, the main action of Lucy Kirkwood’s play is an American photojournalist’s unyielding quest to unlock the mystery of a photograph taken by him during the 1989 student revolution and military crackdown in Tiananmen Square. In the photograph in question a slender man, who goes on to be labeled the “Tank Man,” stands in front of a line of military tanks rolling into the Square. While it is something of a truism that the theater is, as a character in Don Quixote says, “the mirror of human life” sometimes theater can serve as a path-breaking reflection on another art form.
  • Twitter Chat Topic: Dramaturgical Collaborations in Devised Work—Thurs, April 17 HowlRound
    This week's conversation topic is "Dramaturgical Collaborations in Devised Work" and will be moderated by @ArtsEmerson—who like all of our moderators, authors, and content producers—self-selected to peer-produce on this commons-based platform! This hour-long Howl will take place on Thursday, April 17 on hashtag #newplay at 10am PDT (Vancouver) / 12pm CDT (Austin) / 1pm EDT (New York) / 17:00 GMT / 6pm BST (London). On Thursday, get heard in the conversation by searching for #newplay in Twitter (sort by “all”) and by putting “#newplay” somewhere in your messages. Spread the word!
  • Suzan-Lori Parks livestreams Watch Me Work—Wed, April 16 HowlRound TV
    You’re invited to join Suzan-Lori Parks from the lobby of The Public Theater in New York City for "Watch Me Work" which is livestreaming for the global, commons-based peer produced HowlRound TV network at . This performance in this season-long series happens on Wednesday, April 16 at 2pm PDT (Vancouver) / 4pm CDT (Austin) / 5pm EDT (Toronto) / 21:00 GMT / 10pm BST (London). To participate on Twitter, use hashtag #newplay and direct your questions to @WatchMeWorkSLP. Additionally, follow @HowlRoundTV for updates.
  • Unpaid Internships, or Getting Your Foot in the Door of the American Theater Greg Redlawsk
    A sampling of some of the major non-profits suggests that there are at least, on average, 8 to 10 unpaid interns working at any given time in the average mid to large sized non-profit theater. There are over 300 non-profit theaters of varying sizes in New York alone. Even with conservative estimates, there are at least a thousand interns, (probably more) working tens of thousands of unpaid hours for the non-profit sector. There are hundreds of PAs. We’ve created a system that’s built on the backs of unpaid young people who just want to be a part of things.