Playwriting

Todd London on playwright, actress, singer-songwriter, ethnographer, and sometime-arts journalist Eisa Davis

P. Carl's keynote from the 2012 CityWrights: Weekend for Playwrights enbolden artists to focus on making good art, rather than being overwhelmed by transactions.

Kristen Palmer discusses the collaborative process behind the creation of We Play for the Gods.

Dylan Southard writes about his job as a script reader, and how bad scripts can be just as enticing and informative of modern theater culture as good scripts.

Jamie Gahlon has asked theatre artists from around the country to talk about their personal search for an artistic home. Wendy MacLeod continues this series.

Playwright Kirsten Greenidge reflects on her impulses to rewrite, and how she learned to stay connected to her work.

Cory Tamler suggests innovation in the conversation with, to, and how playwrights create will spur development in Pittsburgh’s new works theatre scene.

Karla Boos discusses theatre in Pittsburgh, and the relationship between playwrights and directors.

Lauren Gunderson on the lessons that playwrights learn from the classics, and why both classic and new work is essential to theater.

Moving from Chicago to LA included more than a huge wardrobe change. The reality of life in LA changed Brett Neveu’s relationship to writing and made him find balance in new rules.

Steven Dietz asks what the perfect audience for a play would look like.

Meghan Arnette maps out why she's concerned about the lack of productions by female playwrights... and why anyone who cares about the future of the American theater should be too.

Kathy Hsieh calls for artists to take action, flex their playwriting muscle and create the stories you want to see on stage. It is a way of being pro-active of how your community grows.

How does Seattle theater look in Spring of 2012? Specifically for new plays, for playwrights, for directors and actors who live to make something new, for audiences that crave and honor new work?

Sarah Johnson interviews playwright Chuck Mee.

Ayad Akhtar on why theater, and by extention, dialoge, still matter in our age of ever eveloving, constant story making.

Christian Parker on the necessity of a hard "no" in the new play development process.

Todd Lincon reflects on the aftermath of the Mike Daisey scandal involving his one man show The Agony and the Ecstasy of Steve Jobs, and the resulting scandal.