Theatre Education, Pedagogy, and Training

Wyckham Avery talks about her reluctance with grading high school theatre and how she overcame it. 

Joe Markesbery talks about his time at The Orchard Project, and how working collaboratively with other young artists erased his fears of his artistic future.

Catherine Mueller offers an overview of Orchard Project's Core Comapny.

The second of three blogs detailing some of the participants of the Latinx Theatre Commons National Convening. Here are the results to inquiry about how to better support students’ access to Latina/o plays.

A call to theatre students to help develop the conversation about what issues are happening in their communities and how we can create change.

Holly L. Deer writes about the politics of the female voice, and the hypothetical world in which all of us would have professional training for our speech.

In the short-term, the reward is learning more about musical theatre writing. The long-term benefits of getting a MFA include larger successes.

Christina Anderson found that the MFA program does not show the realities of the American theatre but gives space for someone to consider their ideal theatre.

Srda Vasiljevic writes about the imporance of being a well-rounded creator, and how BA programs are preparing students to make a different type of theater.

Harvey Young writes about his experiences in graduate school and how the relationships he formed there trumped the academics in many ways - professional and personal.

Caleb Winebrenner shares why he believes the Libertarian voice is important in theatre. 

Elliot B. Quick examines what it means to be a dramaturg, and what role the MFA has in determining those definitions.

Julie Felise Dubliner writes about her experience as a dramaturg, and examines the role of the MFA in the world of literary management.

Jon Kern ruminates on how a writer can challenge themselves to develop, create, and find community without the structures of an MFA.

Too Late for Law School asks Holler whether or not to stay in the field, especially when the priviledge of family money is not an option.

Skills developed in theatre school can be the clay for a career outside of a theater that better suits your lifestyle needs without compromising your intellectual integrity.

Jeff Freeman details his experience of interning with Penumbra Theatre.

Getting an MFA is a big decisions-it costs not only money but also time. For theatre artists, an MFA is not a career move so debt, school's program, and personal wants should be considered.

Deborah Stein talks teaching as a creative process and shares a self-created exercise purposed to inspire collaboration among her students.