Internationalisation and the Caribbean | HowlRound Theatre Commons
[ad_1] The conversation will be in English, with translation into Spanish and French, and with live captioning. Background As part of its pluriannual program co-funded
Suzan-Lori Parks’ Watch Me Work
[ad_1] Watch Me Work is a communal work session for anyone eager to nurture and sustain their creative process. Facilitated by Public Theater Playwright-in-Residence Suzan-Lori
Rant and Rave: Middle Eastern, North African, and Southwest Asian Classics and Theatre History
[ad_1] Nabra Nelson: Salam Alaikum. Welcome to Kunafa and Shay, a podcast produced for HowlRound Theatre Commons, a free and open platform for theatremakers worldwide.
Mythologizing the Self Through Autofictional Theatre
[ad_1] Obviously, then, as a dramatization of my life, Strange/Familiar isn’t a straightforward autobiography. Instead, the play blurs personal history with artful invention, even as
Resistant Ventriloquism and Postcolonial Courtesy
[ad_1] In this episode, we continue our conversations around theatre history with Dr. Samer Al-Saber for a conversation around resistant ventriloquism and postcolonial courtesy. It
Ecological Horror On Stage in Black Sunday
[ad_1] Jesús leaves California after his wife and children are deported in the La Placita Raid, a 1931 raid in Los Angeles where authorities rounded
The Haunting of Migdalia Cruz
[ad_1] Many of Migdalia’s plays, from the very early Miriam’s Flowers to Fishtank and Two Roberts in this volume, live in limbo lands, the “where
Iraqi Theatre History | HowlRound Theatre Commons
[ad_1] Nabra: That’s so fascinating and really also confirms what we’ve been saying in this season a lot, which is that MENA and SWANA cultures
The Matter of Plexus Polaire’s Moby Dick
[ad_1] There is a well-trotted story that Herman Melville, as he was writing Moby Dick from his study in the Berkshires, saw in the snow-covered
How to Find the Way in Executive Search for Arts Organizations
[ad_1] Build the Reason for the Trip A good journey requires a good amount of planning, and each theatre organization I work with requires a