Striking Distance: The Violence We See, and Don’t See, Onstage
From the Greeks to ‘Disgraced,’ direct violence has been a theatrical staple. Structural violence, though harder to stage, is also the stuff of drama.
From the Greeks to ‘Disgraced,’ direct violence has been a theatrical staple. Structural violence, though harder to stage, is also the stuff of drama.
At a coffee shop near you, the Dramaturgy Open Office Hour Project offers a user-friendly intro to the sometimes elusive art form.
In the final installment of this follow-up with the Harvard acting class of 1995, former colleagues find meaning on and off the stage, together and apart.
An issue of a magazine, like a theatrical season, is a menu of options reflecting our tastes, affinities, and priorities.
Always the pro—and always writing—the Pulitzer-winning playwright and screenwriter was an ideal collaborator and friend.
Meg Miroshnik’s ‘The Droll’ looks at the theatre of Elizabeth’s time, while Karin Coonrod’s ‘texts&beheadings/ElizabethR’ deconstructs her language.
Theatremakers across the country talk about exciting works featuring or created by female or transgender artists.
This week’s episode is a doozy. Ayad Akhtar stops by to talk about his play ‘Disgraced,’ the most-produced play in 2015-16. Plus, the ‘New York Times”s Charles Isherwood and ‘Chicago Tribune”s Chris Jones drop in.
The creators of ‘Theater of War’ and ‘ReEntry’ compare notes on adapting and creating cathartic experiences for servicemembers and other hard-hit communities.
In ‘Tiger Style!’ the playwright takes a personal look at the Tiger Mother, and how success and happiness don’t always go hand-in-hand.