Preserving and Transmitting American Ensemble-Based Theatre Part One: Participant Perspectives
Jeffrey Mosser: Welcome to another episode of the From the Ground Up podcast, produced for HowlRound Theatre Commons, a free and open platform for theatremakers
The Radically Inclusive Storytelling of UP UNTIL NOW: midair for some time
The show is interactive at its core, from the lobby installations to the guide helping with the haptics gear and answering any audience questions to
IETM Focus Den Bosch 2024
Tuesday 29 October 2024 Event: Mohamedou Ould Slahi Houbeini 20:00 AEDT (Sydney, UTC +11) / 18:00 KST/JST (Seoul, Tokyo, UTC +9) / 17:00 SGT (Singapore,
Panels from the PRELUDE Festival 2024
The 21st annual PRELUDE Festival, curated by Jess Barbagallo and John Hoobyar in alignment with “Not a Luxury,” a collaboration between ASAP-15 and the Park
The Harm of Teaching Commedia dell’arte to Contemporary Players
Observations on Acting with Stereotypes In my classroom, I found that my students played with less commitment when stereotypes of a character’s age, gender, intelligence,
How to Get Started Translating a Play
While the persistence and curiosity of a researcher is necessary for this step, serendipity also plays a part in this process. Translator and novelist Anton
Working in Circles from Translator to Kulturmittler
Translators Are Part of the Team Late last year, a literary theatre agency I have worked with a number of times wrote me that a
Exploring Advocacy Strategies to Increase Works in Translation on United States Stages
This season’s Broadway hits have included plays translated from Russian (Anton Chekhov’s Uncle Vanya) and Norwegian (Henrik Ibsen’s An Enemy of the People). This might
1st LATINIDADES Arts Symposium | HowlRound Theatre Commons
This Symposium is a part of Cara Mia Theatre’s 5th Annual LATINIDADES Theatre Festival. Designed to support arts organizations and independent artists, the Symposium will
Troubling the Categories of “Adaptation” and “Translation” in Performance
Jean: Do you take roughly the same approach you’ve just described for each novel you’ve adapted for the stage? Caridad: Yes. House of Lagoon by