Podcasts about dramaturgs

Representantes de un buen puñado de asociaciones de dramaturgos y dramaturgas han creado un Manual de Buenas Prácticas de las Artes Escénicas, centrándose en la dramaturgia. Este documento está creado para establecer un marco profesional por las asociaciones: ACD Associació Catalanade Dramatúrgia; ADIB Associació de Dramaturgues i Dramaturgs de les Illes Balears; AELC Associació d'Escriptors en Llengua Catalana; AVEETAssociació Valenciana d'Escriptores i Escriptors Teatrals; DRAMATURGA Asociación Galega de Dramaturxia; DREM Asociación de Dramaturgos de la Región de Murcia. Si lo quieres descargar, aquí lo puedes hacer: https://acatdrama.org/documents/

Priekšplānā mīlestības un attiecību pasaule – Lauras Grozas iestudējumā „Lēdija Makbeta”, kas iestudēta Mihaila Čehova Rīgas Krievu teātrī. Artūra Dīča dramatizējums tapis pēc Viljama Šekspīra lugas „Makbets” motīviem. Lauras Grozas radošajā komandā vēl strādājuši scenogrāfijas un kostīmu veidotāji MAREUNROL'S, videomāksliniece Katrīna Neiburga, komponiste Anna Fišere, gaismu mākslinieki Oskars Pauliņš un Maksims Ustimovs.  Izrādei „Lēdija Makbeta” dots žanra apzīmējums – sapņu sonāte, sapņiem  un sapņu telpai iestudējumā būtiska nozīme. Parasti Šekspīra kara drāmu „Makbets” raksturo kā ambīciju un varaskāres traģēdiju, un tā arī ir. Režisore Laura Groza kopā ar radošo  komandu  vēlējusies paskatīties no sievietes, Lēdijas Makbetas skatu punkta, priekšplānā liekot mīlestību. Taču vispirms vajadzēja radīt lugas materiālu. Atgādinām, ka šīs sezonas vadmotīvs Čehova teātrī ir mīlestības tēma un izrādē „Lēdija Makbeta” režisore pazīstamajam sižetam atradusi citas atslēgas, lēdijas Makbetas mīlestību izvirzot priekšplānā. Dramaturģisko materiālu režisore uzticēja veidot Artūram Dīcim, ar kuru sadarbojusies jau iepriekš. Dramaturgs atzīst, ka tas šoreiz bijis ļoti grūts un sarežģīts uzdevums. Lauras Grozas veidotajā iestudējumā Lēdija Makbeta dzīvo starp sapni un īstenību, jo īstenība mēdz būt pārāk skarba, bet sapnis ir svētnīca, lai gan spēj pārvērsties arī murgā. Tuvākās iestudējuma „Lēdija Makbeta” izrādes Mihaila Čehova Rīgas krievu teātrī, uz kurām pieejamas biļetes, 5.,14. un 27.martā.

This week on Embrace the Squiggle Colleen and Kristine speak with Rachel Lerner-Ley about how being interesting and authentic landed her the job she wanted! We dig into who you shouldn't conform in interviews and how your unique perspectives and experiences are what will land you the right gig for you. Rachel Lerner-Ley is the Merkin Prize & New Directions Scholars Program Manager at the Broad Institute of MIT and Harvard. Prior to the Broad, she worked in the artistic department at Cleveland Play House (recipient of the 2015 Regional Theatre Tony Award), first as the artistic associate and then as the literary manager and resident dramaturg. Other theatre credits include: Williamstown Theatre Festival, The Civilians, Actors Theatre of Louisville, Barrington Stage Company, WildWind Performance Lab at Texas Tech University, and Girl Be Head. Over the course of her theatre career, she read & reported on hundreds of new play submissions and dramaturged 30+ productions & workshops ranging from world premieres to musicals and classics. She is a graduate of Smith College and a member of the LMDA (Literary Managers and Dramaturgs of the Americas).Connect with Rachel at https://www.linkedin.com/in/rlernerley/ Connect with Colleen at www.maxady.comand on Linkedin at www.linkedin.com/in/comaraConnect with Krsitine at https://www.kristinethody.comand on Linkedin at https://www.linkedin.com/in/kristinethodySubscribe to the podcast Embrace the Squiggle and listen every week for a new career adventure!

Dramaturgs serve productions in a variety of ways, which are often dictated by needs of the play and the playwright. Playwright and dramaturg Jacqueline Goldfinger, along with dramaturg and dean of the Theatre School at DePaul University Martine Kei Green-Rogers, join the conversation to discuss the role of the dramaturg in new play development, as well as how to incorporate dramaturgy in the classroom.

Welcome back to TBOA! This week on the show Sarah Sigal. Originally from Chicago, Sarah Sigal is a freelance writer, dramaturg, director and researcher working across new writing, adaptation, site-specific theatre, film and fiction. She has taught at numerous British universities and is the author of Writing in Collaborative Theatre-Making (Bloomsbury, 2016). She is a Dramaturgs' Network Board Member, an Associate Fellow at the Birkbeck Centre for Contemporary Theatre Research and a Visiting Research Fellow at the Central School of Speech and Drama. She recently directed her first short film No Caller and her first novel The Socialite Spy will be published in October 2023 by Lume Books. She is currently developing an adaptation of George Eliot's Daniel Deronda. Find Sarah online: Website: http://sarahsigal.com/ Instagram: @sarahsigal twitter: @sigalsarah link to the book: https://www.lumebooks.co.uk/book/the-socialite-spy/ Become a patron and help me make this show Bonus episodes every week: >> ⁠⁠https://www.patreon.com/theblissoftheabyss⁠⁠ Send some coffee pennies my way! ⁠⁠https://paypal.me/robertneumark?country.x=GB&locale.x=en_GB⁠⁠ Or support the show through other ways: ⁠⁠Subscribe to the show⁠⁠ ⁠⁠Give us a rating & review⁠⁠ Like and follow us on ⁠⁠Facebook ⁠⁠or ⁠⁠Instagram⁠⁠ ⁠⁠My Webpage⁠⁠ for all enquiries © Robert Neumark Jones

In this episode Amber talks with Lynde Rosario, a new play dramaturg who wears many hats: Director of Fellowships at the Playwright's Center, President of the Literary Managers and Dramaturgs of the Americas (LMDA), and Impact Accessment Director at the National New Play Network. We discuss the vibrant creative community being nurtured in Minnesota, the LMDA conference and the resources the organization offers. the importance of collective questioning to create more inclusive structures, and finally - what artists need most from the American theatre.

Shakespeare's birthday is coming up, and this week Melissa talks to Oregon Shakespeare Festival's former Director of New Play Development Lue Douthit about the giant playwriting project known as Play On Shakespeare. Grab a Mounds bar and learn how she helped usher the Bard into the 21st Century.  In this episode, we discuss:What Play On Shakespeare is and does and how the project came to beWhy they are called Shakespeare translationsWhat's happening now that all 39 plays have been writtenThe various educational possibilities for the translationsAnd more!Resources MentionedPlay On ShakespeareOregon Shakespeare FestivalPlay On Shakespeare PodcastResearch in Action at Shakespeare's Globe in July 2023Order the plays at ACMRS PressAbout Our GuestLue Morgan Douthit is the President/Co-Founder of Play on Shakespeare. Prior to that, she spent 25 seasons at the Oregon Shakespeare Festival where she was director of new play development and dramaturgy. She also was the Production Dramaturg for more than 50 productions, including 15 world premieres: Hannah and the Dread Gazebo, Head Over Heels; A Wrinkle in Time; Family Album; The Unfortunates; The Tenth Muse; WillFul; Throne of Blood; Equivocation; Don Quixote; Welcome Home, Jenny Sutter; Tracy's Tiger; By the Waters of Babylon; Continental Divide; and The Magic Fire. She has worked on over a dozen Shakespeare productions, including co-adapting a six-actor Macbeth and seven-actor Measure for Measure, which were both produced at OSF and elsewhere. She was the co-producer and founder of the Black Swan Lab (2009) at OSF and subsequently produced the Lab until 2016. Lue is the recipient of the 1999 Literary Manager & Dramaturgs of the Americas (LMDA) Prize in Dramaturgy and The Elliott Hayes Award for her work on Lorraine Hansberry's play Les Blancs. She received her PhD from the University of Washington, her MFA from Trinity University, and her MA from University of Arizona.Connect with host Melissa Schmitz***Sign up for the 101 Stage Adaptations Newsletter***101 Stage AdaptationsFollow the Podcast on Facebook & InstagramRead Melissa's plays on New Play ExchangeConnect with Melissa on LinkedInWays to support the show:- Buy Me a Coffee- Tell us your thoughts in our Listener Survey!- Give a 5-Star rating- Write a glowing review on Apple Podcasts - Send this episode to a friend- Share on social media (Tag us so we can thank you!)Creators: Host your podcast through Buzzsprout using my affiliate link & get a $20 credit on your paid account. Let your fans directly support you via Buy Me a Coffee (affiliate link).

Episode 10: Talya Kingston - WAM Theatre by Wendy Lyons Episode host Wendy Lyons is a student at the Massachusetts College of Liberal Arts. In this episode of Thinking Like a Region, Lyons interviews Talya Kingston, dramaturg, playwright, and educator currently working as the Associate Artistic Director at WAM Theatre. WAM, an abbreviation of Where Arts and Activism Meet, is a professional theatre company in Western Massachusetts. Kingston describes her personal journey to and at WAM, WAM's mission, and how she believes that arts and activism intersect. This episode focuses on the creative capacities of public speaking, building confidence, and the effect of art on interpersonal dynamics. You can find the transcript for this episode here: https://tinyurl.com/TK-TLAR Thinking Like A Region is a production of the C4 Initiative, Berkshire County's Creative Compact for Collaborative and Collective Impact, based at Massachusetts College of Liberal Arts in North Adams, MA, and grant-funded by the National Endowment for the Arts. This podcast is produced by Lisa Donovan and Leslie Appleget. For more information about the show or the C4 Initiative, visit brainworks.mcla.edu/c4. THIS EPISODE'S VOICES: Talya Kingston is a dramaturg, playwright, and educator currently working as the Associate Artistic Director at WAM Theatre. She previously worked as a Visiting Professor of Theatre at Hampshire College. Kingston is a member of Literary Managers and Dramaturgs of the Americas, the Dramatists Guild and the Northampton Playwrights Lab, and holds an MFA from the University of Massachusetts, Amherst. Wendy Lyons is a student at MCLA studying public history.

Melissa catches up with Dr. Yining Lin, her friend from grad school, who at the time was basically the unofficial resident dramaturg of the department. For her PhD, she studied Western influences on jingju (frequently known in the West as Beijing Opera) and the adaptations created in that artform. In this episode, we discuss:What dramaturgy is, and what it isn'tAn overview of jingju and Yining's experience performing it How some jingju companies are now incorporating Western stories into this traditional Chinese artformYining's community outreach work at Cleveland Play HouseAnd more!Dramaturgical Resources Mentioned Literary Managers and Dramaturgs of the Americas (LMDA)Association for Theatre in Higher Education (ATHE)Theater Folx of ColorAbout Our GuestDr. Yining Lin is the Manager of Partnerships at the Cleveland Play House and works to build partnerships around the Greater Cleveland Area for CPH's Education and Artistic Departments. She holds a Bachelors in Theatre and Classical Studies from the College of Wooster, a Masters Degree in Drama from San Francisco State University, and PhD in Asian/Western Comparative Theatre from the University of Hawaii, Mānoa (UHM). Her dissertation focused on jingju (Beijing Opera) adaptations of Western Literature performed in the 21st Century. As a freelance dramaturg, Yining has worked in Ohio, San Francisco, Milwaukee, and Honolulu. Some of her favorite productions include Liebling (CPH), Uncle Vanya and Zombies (UHM), Wilcox's Shot (Kumu Kahua Theatre), and Thread Hell (UHM). She is currently gearing up for a production of The Chinese Lady for Studio One in the Villages, Florida. When not working, Yining enjoys spending time with her family, including her husband, two sons, and two Newfoundland dogs. She is an avid cross-stitcher and needlepointer and takes as many classes as possible for her self-care time. Connect with Our Guestat Cleveland Play Houseon FacebookConnect with host Melissa Schmitz***Sign up for the 101 Stage Adaptations Newsletter***101 Stage AdaptationsFollow the Podcast on Facebook & InstagramRead Melissa's plays on New Play ExchangeConnect with Melissa on LinkedInWays to support the show:- Buy Me a Coffee- Tell us your thoughts in our Listener Survey!- Give a 5-Star rating- Write a glowing review on Apple Podcasts - Send this episode to a friend- Share on social media (Tag us so we can thank you!)Creators: Host your podcast through Buzzsprout using my affiliate link & get a $20 credit on your paid account. Let your fans directly support you via Buy Me a Coffee (affiliate link).

George Sapio is a playwright/director/producer/dramaturg. His play “Ghosts” won the 2001 Mildred and Albert Panowski Award. He produces and hosts the podcast “Onstage/Offstage,” now in its tenth year, featuring interviews with theatre professionals from around the world and live readings of new short plays. His book “Workshopping the New Play: A Guide for Playwrights, Directors, and Dramaturgs” is published by Hal Leonard/Applause Books. He was the founder and artistic director of the Ithaca Fringe Festival (2013-2017) and founder of Wolf's Mouth Theatre Company and Bad Dog! Productions. He is also a photojournalist whose book “Collateral Damage” features his pictures from two trips to Iraq in 2003. He earned his MFA in playwriting at Goddard College. We talk about George's childhood in the Bronx and how he got the theater bug in high school, when he would go down to the city and get half-price tickets to shows like Grease and Equus (the latter of which he took his 10th grade English class to – from his Catholic school. One of George's early writing teachers gave him advice that he continues to abide by in his playwriting and teaching, “Write the story, don't write the nonsense that goes with it.” George's book “Workshopping the New Play: A Guide for Playwrights, Directors, and Dramaturgs,” details the workshop process and how to flesh out the play and “bring it to its best possible fruition.” George's dad set an example for what it was like to be a news photographer (as well as introduced George to photojournalism and darkroom techniques), which served George well when he worked at Newsweek. George and his wife Maura (also a Goddard graduate) went to Iraq twice in 2003 and put out a photojournalism book called Collateral Damage, about the people (especially children) who didn't want to go to war but were the ones who suffered from it. George's 10-year-old podcast (and Ithaca radio show) Onstage/Offstage, covers theater people around the world including actors, directors, dramaturgs, set designers, lighting designers, and artistic directors. The podcast addresses current issues in the theater like why women over 40 aren't getting paid attention to, and “how persons of color are finally getting a very tiny leg up into the opportunities that have always been predominantly for old white guys like myself.” We talk at length about the role of the dramaturg, which George discusses in his book “Workshopping the New Play: A Guide for Playwrights, Directors and Dramaturgs.” He also directs short play readings for the podcast that he puts out open calls for. FINALLY, George talks about his home and B&B, La Casa de la Luna Feliz (“House of the Smiling Moon”) in Costa Rica, designed for people who are in recovery of any sort, “We cater especially to people recovering from illness, injury, trauma, heartbreak, and activism burnout (and theater recovery).”   Keep up with George and his projects: www.gsapio.com https://www.facebook.com/george.sapio https://newplayexchange.org/users/785/george-sapio   Onstage/Offstage Podcast: www.onstageoffstage.org Buy the book: www.workshoppingthenewplay.com Book a stay: www.casalunafeliz.com   Recommendations: Equus, Peter Shaffer Drama Bookshop: https://www.dramabookshop.com/ NYC Playwrights: https://www.nycplaywrights.org/ Playwrights Center: https://pwcenter.org/ Honor Roll!: https://www.honorrollplaywrights.org/

A nameless young woman from This Place, and a nameless young man from That Place are stuck together when That Place, the occupying force, imposes another curfew on This Place. Author Nandita Dinesh never identifies the country, but the two protagonists share a language and much of their culture. They're also falling in love. The young woman from That Place is a De-programmer, whose job involves interviewing the military troops now patrolling outside the house where she's holed up with the young man. He is a Protest Designer, skilled at waiting out curfews, although his brother is supposed to be getting married the next day and there's a lot of conversations about that. While confined with the young woman, the young man explains his strategies for passing time while under curfew. He wonders how his family and neighbors will react if he marries her. Where would they live? They swap stories about their families and respective homelands, and want to imagine strategies for ending the conflict, but nothing seems doable. This is an allegory for military occupations, like what we're currently seeing in Ukraine, but it's happened all over the world. This Place That Place (Melville House, 2022) is also a glimpse at what it might be like for hapless citizens to be imprisoned in their own homes. Nandita holds a PhD in Drama from the University of Cape Town in South Africa, and an MA in Performance Studies from the Tisch School of the Arts at New York University. An amateur cook who loves experimenting with Indian cuisines, Nandita has conducted community-based theatre projects across a range of contexts and in 2017, she was awarded the Elliott Hayes Award for Outstanding Achievement in Dramaturgy by Literary Managers and Dramaturgs of the Americas. She was born and raised in Coimbatore, India and now lives in San Francisco with her husband and a 90-pound Doberman Mix named Mila. Nandita is currently working on projects across literary genres — a book that lies somewhere between a novel, a memoir, and a play being the next in line! G.P. Gottlieb is the author of the Whipped and Sipped Mystery Series and a prolific baker of healthful breads and pastries. Please contact her through her website (GPGottlieb.com). Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

A nameless young woman from This Place, and a nameless young man from That Place are stuck together when That Place, the occupying force, imposes another curfew on This Place. Author Nandita Dinesh never identifies the country, but the two protagonists share a language and much of their culture. They're also falling in love. The young woman from That Place is a De-programmer, whose job involves interviewing the military troops now patrolling outside the house where she's holed up with the young man. He is a Protest Designer, skilled at waiting out curfews, although his brother is supposed to be getting married the next day and there's a lot of conversations about that. While confined with the young woman, the young man explains his strategies for passing time while under curfew. He wonders how his family and neighbors will react if he marries her. Where would they live? They swap stories about their families and respective homelands, and want to imagine strategies for ending the conflict, but nothing seems doable. This is an allegory for military occupations, like what we're currently seeing in Ukraine, but it's happened all over the world. This Place That Place (Melville House, 2022) is also a glimpse at what it might be like for hapless citizens to be imprisoned in their own homes. Nandita holds a PhD in Drama from the University of Cape Town in South Africa, and an MA in Performance Studies from the Tisch School of the Arts at New York University. An amateur cook who loves experimenting with Indian cuisines, Nandita has conducted community-based theatre projects across a range of contexts and in 2017, she was awarded the Elliott Hayes Award for Outstanding Achievement in Dramaturgy by Literary Managers and Dramaturgs of the Americas. She was born and raised in Coimbatore, India and now lives in San Francisco with her husband and a 90-pound Doberman Mix named Mila. Nandita is currently working on projects across literary genres — a book that lies somewhere between a novel, a memoir, and a play being the next in line! G.P. Gottlieb is the author of the Whipped and Sipped Mystery Series and a prolific baker of healthful breads and pastries. Please contact her through her website (GPGottlieb.com). Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/science-fiction

A nameless young woman from This Place, and a nameless young man from That Place are stuck together when That Place, the occupying force, imposes another curfew on This Place. Author Nandita Dinesh never identifies the country, but the two protagonists share a language and much of their culture. They're also falling in love. The young woman from That Place is a De-programmer, whose job involves interviewing the military troops now patrolling outside the house where she's holed up with the young man. He is a Protest Designer, skilled at waiting out curfews, although his brother is supposed to be getting married the next day and there's a lot of conversations about that. While confined with the young woman, the young man explains his strategies for passing time while under curfew. He wonders how his family and neighbors will react if he marries her. Where would they live? They swap stories about their families and respective homelands, and want to imagine strategies for ending the conflict, but nothing seems doable. This is an allegory for military occupations, like what we're currently seeing in Ukraine, but it's happened all over the world. This Place That Place (Melville House, 2022) is also a glimpse at what it might be like for hapless citizens to be imprisoned in their own homes. Nandita holds a PhD in Drama from the University of Cape Town in South Africa, and an MA in Performance Studies from the Tisch School of the Arts at New York University. An amateur cook who loves experimenting with Indian cuisines, Nandita has conducted community-based theatre projects across a range of contexts and in 2017, she was awarded the Elliott Hayes Award for Outstanding Achievement in Dramaturgy by Literary Managers and Dramaturgs of the Americas. She was born and raised in Coimbatore, India and now lives in San Francisco with her husband and a 90-pound Doberman Mix named Mila. Nandita is currently working on projects across literary genres — a book that lies somewhere between a novel, a memoir, and a play being the next in line! G.P. Gottlieb is the author of the Whipped and Sipped Mystery Series and a prolific baker of healthful breads and pastries. Please contact her through her website (GPGottlieb.com). Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literature

Hosted by Andrew Keen, Keen On features conversations with some of the world's leading thinkers and writers about the economic, political, and technological issues being discussed in the news, right now. In this episode, Andrew is joined by Nandita Dinesh, author of This Place That Place. Nandita Dinesh holds a PhD in Drama from the University of Cape Town in South Africa and an MA in Performance Studies from the Tisch School of the Arts at New York University. Focused on the role that theatre and writing can play during and after violent conflict, Nandita has conducted community-based theatre projects in Kashmir, India, Mexico, Costa Rica, Guatemala, Rwanda, Uganda, Kenya, and Zimbabwe. She has written multiple books about her work and in 2017 she was awarded the Elliott Hayes Award for Outstanding Achievement in Dramaturgy by Literary Managers and Dramaturgs of the Americas. This is her first novel. Learn more about your ad choices. Visit megaphone.fm/adchoices

About the Guest Ken Cerniglia is dramaturg and literary manager for Disney Theatrical Group, where he has developed over fifty shows for professional, amateur, and school productions, including Freaky Friday, Aladdin, The Hunchback of Notre Dame, Peter and the Starcatcher, Newsies, High School Musical, Tarzan, and The Little Mermaid. Recent freelance projects include Hadestown (New York Theatre Workshop), Bud, Not Buddy (Kennedy Center), Passion Trilogy (Fisher Ensemble), and Bridges (Berkeley Playhouse). Ken holds a PhD in drama from the University of Washington and is president of Literary Managers and Dramaturgs of the Americas. Links https://hadestown.com/ (Hadestown Website) https://www.nycgo.com/broadway-week/ (NYC Broadway Week) Connect with Us Facebook @beltlinetbroadway Twitter @beltlinetobway Instagram @beltlinetobroadway Support this podcast

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How do we perform folk music in the world of musical theatre?  That's the question I'm covering today with special guest, Madison Mae Williams. With folk musicals like Hadestown, Come from Away, and Bright Star being so popular right now, I've been getting a lot of questions from singers on where to find a folk song and how to perform it for their audition.  This category of musical can seem difficult to audition for because the music doesn't center on vocal virtuosity.  How do we show the auditors our vocal skill when the songs aren't especially range-y? Well, my guest today, Madison Mae Williams, is here to speak on exactly that.  Madison Mae Williams is a multidisciplinary artist and scholar based in San Diego.  She's a PhD candidate at UC San Diego and her dissertation project focuses on alienation in countercultural performances of the Long Sixties.  She received her BA concentrating in musical theatre, poetry, and Africana studies from Hampshire College. Her other research areas include American musical theatre, the Black Power/Arts movements, horror and the uncanny, performance for children, and the films of Stanley Kubrick and John Cassavetes. Maddie is passionate about theatre work that is accessible, radical, and increases visibility and representation for people of marginalized identities. She is a member of the Literary Managers and Dramaturgs of the Americas and the Black Theatre Network. In this episode, we'll be diving into the following questions: What is folk music?   Where does it come from?   What kind of stories do folk songs tell?   And how do we perform it as authentically as possible in the world of musical theatre? If you're looking to deepen your interpretation of folk songs and step into the audition room with more confidence in this area, then this episode is for you! Xo, Korrie Visit www.korrieyamaoka.com for FREE RESOURCES and sign up for the Studying the Song Email List for weekly resources about auditioning, information on new offerings, and the latest news form Studying the Song. Did you enjoy today's episode?  Please Rate, Review, and Subscribe today!

Cocktails with the Canon is an interview-based podcast series, by The Old Globe and co-hosted by Artistic Associate Lamar Perry and Literary Manager/Dramaturg Danielle Mages Amato, that seeks to interrogate the American theatre canon. Presented through a series of conversations with various artists about their experiences with the “traditional” Western canon of dramatic literature, the podcast explores how that canon includes and excludes certain writers, groups, and aesthetics, ultimately asking the question: how can we expand the canon and create access for all? The podcast also investigates the playwrights’ personal stories and their hopes for the American theatre, as well as the works that are considered canon within their individual communities. Listeners should walk away from Cocktails with the Canon feeling like they’ve just left a night at the theatre and a gathering with their community over drinks and food.   MEET THE HOSTS Lamar Perry (he/him/his) is a Queer Black director, producer, and writer. He recently served as the associate director on I Gotta Home as part of Roundabout Theatre Company’s Refocus Project. His other recent projects include the audio plays Punchbowl Spaces and The Family Sound (Blindspot Collective/La Jolla Playhouse) and a developmental workshop of Run/Fire (Cygnet Theatre Company). He also served as the assistant director on the world premiere of Katori Hall’s The Hot Wing King directed by Steve H. Broadnax III at Signature Theatre. Recently he taught and directed first-year M.F.A. acting candidates in a devising-theatre workshop at UC San Diego. He is a 2020–2021 member of the Roundabout Directors Group and a 2020 National Alliance for Musical Theatre Observer. @mrlamarperry.   Danielle Mages Amato holds an M.F.A. in Dramaturgy and a Ph.D. in Drama and Theatre from UC San Diego. She currently works as Literary Manager and Dramaturg at The Old Globe. She is a past president and board member of Literary Managers and Dramaturgs of the Americas. She spent four years as the dramaturg and literary manager of Studio Theatre in Washington DC. At the Globe, she has overseen eight years of the Powers New Voices Festival and has dramaturged world premieres of plays by Sam Hunter, JC Lee, Matthew Lopez, Itamar Moses, Anna Ziegler, and others. She is the author of The Hidden Memory of Objects, a novel published by Balzer+Bray/HarperCollins. Follow The Old Globe on Twitter, Instagram, and Facebook @TheOldGlobe. And follow @mrlamarperry and @daniellemamato on social media!

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Our twelfth official episode of Meet Me At Mill Mountain: The Podcast features Todd Ristau, Assistant Professor- Director, M.F.A. in Playwriting at Hollins University. Host Ginger Poole (MMT Producing Artistic Director) hears about the Playwright's Lab at Hollins and Todd's career centering around new works.Todd Ristau designed and launched the Playwright’s Lab at Hollins University and has served as program director since its launch in 2007. He is a distinguished graduate of the Iowa Playwright’s Workshop. His work has been performed in theatres across the U.S. and England, including London’s West End. He founded No Shame Theatre in 1986 and oversaw its evolution into a national network of venues for new works in dozens of cities. He has an extensive theatre background, with expertise in acting, directing, and design. He worked with Mill Mountain Theatre for six years as coordinator of their second stage and as literary associate overseeing new works programming. Ristau served as the first artistic director of Studio Roanoke, a storefront theatre space dedicated to new works development in downtown Roanoke. Ristau is a member of the Dramatists Guild and Literary Managers and Dramaturgs of the Americas. He has served as chair of playwriting for the South Eastern Theatre Conference, Getchell New Play Award Committee, and KCACTF Region IV’s Chair of the National Playwriting Program.Mill Mountain Theatre strives to inspire, entertain, enrich, educate, and challenge audiences of Southwest Virginia through high-quality, professional theatrical productions and experiences. Meet Me At Mill Mountain: The Podcast explores all of the buzz words in Mill Mountain Theatre's mission statement.

Dramaturgs, publicists un arhitektūras vērtību aizstāvis Gunārs Priede savās lugās, dienasgrāmatās un vēstulēs ir izcils laikmeta dokumentētājs, taču intervijās dažas viņa atziņas skan kā teiktas par tieši šo laiku. Raidījumā Augstāk par zemi ierakstu fragmenti no Latvijas radio fonotēkas. Raidījuma sākumā skanēja fragments no žurnālista Raita Kalniņa veidota pionieriem domāta raidījuma “Tu tik esi puika”, kurā viens no sarunbiedriem ir aktieris Gundars Āboliņš, 1974. gadā viņam ir 14. Nesenā Latvijas televīzijas raidījumā “Kultūrdeva”, grupas “Inokentijs Mārpls” līderis Raimonds Lagimovs jeb Dambis intervijā teica, ka, viņaprāt, mūsdienās robeža starp pagrīdes un populāro mūziku tikpat kā zudusi, taču atšķirība tomēr pastāv – vienus mūziķus nez kāpēc rāda televīzijā, citus nē. Savdabīgs cenzūras veids, ko, jāatzīstas, pamanu pārskatot arī Latvijas Radio fonotēku. Man varbūt būtu paticis šo raidījumu veidot par Vizmu Belševicu, nupat publiskotas viņas pagājušā gadsimta vidū rakstītās dienasgrāmatas, taču Radio fonotēkā ir tikai jau “Billes” perioda Vizma Belševica. Man būtu paticis šo raidījumu taisīt par dumpīgo laiku dzejā, pagājušā gadsimta 60. – 70.gadiem, taču arhīvā nav ne Ulža Leinerta, ne Aivara Neibarta balss. Toties Gunārs Priede fonotēkas ierakstu skaita ziņā ir absolūts uzvarētājs, lai arī mūsdienu teātra attiecības ar viņa savulaik spridzinošajām lugām ir … sarežģītas. Ciniskajai 20. -21. gadsimta mijai pārāk pareizi skan viņa, pēckara paaudzei piederīgā, pareizā un didaktiskā valodā rakstītie dialogi. Lai gan Priedes lugu iestudējuma vilnis Latvijas teātros ir piedzīvots arī neatkarīgās Latvijas laikā – Laura Gundara “Jaunākā brāļa vasara” Jaunajā Rīgas teātrī, Mārtiņa Eihes “Smaržo sēnes” Valmierā, Toma Treiņa “Zilā” Nacionālajā,– tomēr režisoriem ikreiz jārada kāda koncepcija, lai tiktu galā ar laikmeta kontekstu šajās lugās. Savukārt, pārskatot intervijas, un te nu jāatzīst, ka valodu ne tikai rakstniecībā, bet arī vēstulēs, dienasgrāmatās, publicistikā izkopušais, visu mūžu sabiedriskos amatos – tostarp Latvijas Kinomatogrāfisku savienībā un Raksnieku savienībā – pabijušais Gunārs Priede, ir lielisks runātājs, bez tam viņa paustās domas šajās intervijās itin nemaz neliekas citam gadsimtam piederīgas. Mēģinu par Gunāru Priedi domāt – ko viņš darītu šodien? Iespējams, saulainās arhitektūras laukos viņi abi ar Mārtiņu Ķibildu vada raidījumu “Adreses”, jo abos publicistos ir fantastiska spēja reālās dzīves faktus savienot ar ētiskiem ideāliem, vērienīgāku skatījumu uz arhitektūru. Traģiski, ka ačgārnās dzīvošanas laikmets – padomjlaiki, laika nogrieznī palikuši aiz muguras, bet daudzas no Gunāra Priedes lugās tēlotajām konfliktsituācijām ir tās pašas. Gribas piesaukt Māra Bērziņa romānu “Aizliegtais pianīns”, tas ir par birokrātiju, kas mūsdienās lēni un legāli nogalina ideālistus. Pēdējais fragments raidījumā lai skan Silvijas Radzobes piemiņai. Latvijas Radio fonotēkā atrodu 1978. gada raidījumu, kurā tobrīd 28 gadus vecā teātra zinātniece klausītājiem skaidro tēmu “atbildības koeficients mūsdienu drāmā”. 21. gadsimtā, diktores Laumas Amatnieces nolasītais teksts, mazliet atgādina svētrunu. Bet varbūt arī 1972. gadā sarakstītā Gunāra Priedes “Zilā”, un teātris kopumā, arī kalpoja kā baznīca, kas atjaunoja zināšanu par dzīves vērtību piramīdu. Un šai raidījumā Gunāra Priedes lugas vēstījumu pastiprina un atkārto teātra zinātnieces teiktais.  

Theatre has always played an important role in the expression of African American culture. However, when discussing this art form, we rarely get a look at the actors behind the stage who help make the production come to life. For today’s episode, we explore the art and practice of dramaturgy by interviewing Dr. Martine Green-Rogers, the President of the Literary Managers and Dramaturgs of the Americas. In addition to discussing the importance of dramaturgs for helping playwrights to enact their vision (1:06:11), Dr. Green-Rogers provides insight into life behind the scenes by sharing her professional production experiences (1:10:32). We also have a conversation about violence in African American productions (1:16:26), Dr. Green-Roger’s favorite productions (1:29:12), the importance of talk backs for addressing sensitive subjects in plays (1:34:15), and Dr. Green-Roger’s insight into Slave Play and black story telling in theatre (1:44:22). We close the episode by discussing Black playwrights on the rise (1:54:15) Other Topics Include:  00:30 - Catch up with Ty and Daphne  09:36 - BhD “Oh Lawd” News 43:45 - Hittin’ or Trippin’?  1:00:22 - Introduction of the Topic 1:03:50 - Learn More about Dr. Green-Rogers 1:13:10 - Studying Theatre and How to Become a Dramaturg  1:19:02 - Myths and Misconceptions about Dramaturgy  1:58:24 - Ty and Daphne Reflect on the Interview Resources:  Martine Green-Rogers: https://www.martinekeigreenrogers.com Twitter and Instagram: @Martinekei Literary Managers and Dramaturgs of the Americas - https://lmda.org/about Shop BhD - https://www.blackandhighlydangerous.com/shop Connect with BhD by texting -  718-786-7159 Reckoning with Slave Play, the most controversial show on Broadway - https://www.vox.com/culture/2019/12/5/20961826/slave-play-broadway-2019-review 

“Dirty Deal Teatro” top instrukciju izrāde „Ohh”. Tā skatītāju aizved bērnībā, kurā ikviens no mums ir saņēmis neskaitāmas pamācības. Izrāde ir dramaturga Jāņa Baloža debija režijā, kurš pašlaik turpina studijas teātra skolā Amsterdamā. Izrāde tā arī sākas ar instrukciju, tās dažkārt jālasa pašiem skatītājiem un jābūt gataviem tās arī pildīt. Piemēram, uz lapas jāuzraksta bērnības iela vai mājas nosaukums. Un tālāk jau jāļaujas notikumu gaitai. Izrāde „Ohh” atklās “Dirty Deal Teatro” jaunu sadaļu „Ieraugi pirmais”, kas apvienos jaunākās paaudzes mākslinieku pirmos darbus profesionālajā teātrī. Izrādes režisors Jānis Balodis šobrīd studē maģistrantūrā vienā no prestižākajām teātra skolām Eiropā – DAS Teātra maģistra programmā Amsterdamas Teātra un dejas akadēmijā. Instrukciju izrādes „Ohh” pirmizrāde “Dirty Deal Teatro” notiks 11.oktobrī, tuvākās izrādes 13. un 14.oktobrī. Skatītājam jābūt gatavam līdzdarboties, jo tā nebūs tradicionāla izrādes skatīšanās. Nākamā pirmizrāde sadaļā „Ieraugi pirmais” gaidāma 2020.gada janvāra sākumā. Tā būs horeogrāfes Evas Krūmiņas izrāde „Drosmes projekts”.

We talk Dramaturgs,How Donald Trump is a real life person,and other general nonsense. 

We have really stepped up our game this episode with the first PhD on WINMI! Martine is a theater professor at SUNY New Paltz and freelance dramaturg, with work at Oregon Shakepeare Festival, Pioneer Theatre Company, and Court Theatre to name a few. Her research interests include violence in African American Theatre, African diaspora theatre, and gender and race in American theatre and issues of sustainability in the theatre. She talks with us about the role of dramaturgy in creating both new and classical works, and how we all share in the craft of bringing stories and characters to life in the trueness of their surroundings onstage. She even shares her thoughts on Bento Boxes and Collard Greens. Learn more about Martine, President-Elect of the Literary Managers and Dramaturgs of the Americas: https://lmda.org/users/martinekei ----- Please consider buying me a coffee to support this work that goes into each episode.   Join the WINMI community by following on Instagram or Twitter as well as reaching out to Patrick with any questions or comments: contact.winmipodcast.com

Joy Carlin, noted actor and director, in conversation with host Richard Wolinsky. A former member of ACT's acting company and interim Artistic Director at Berkeley Rep, Joy Carlin has a noted career as both actor and director. She currently directs George Bernard Shaw's first produced play, “Widowers' Houses” at Aurora Theatre Company in Berkeley. The play, which focuses on housing, slum lords, urban development and the gap between rich and poor, was written in 1895 and produced three years later, and began a long and lengthy career for Shaw, recognized today as one of the greatest playwrights in the English language. Joy Carlin has directed several plays for Aurora and A.C.T. and has acted in television and film along with theater, including a recent role in “Blue Jasmine.” Later this spring she will star in the play “Marjorie Prime” at Marin Theatre Company. Aurora Theatre website Joy Carlin's biography: Joy Carlin was born in Boston, grew up in Chicago, was graduated from the University of Chicago, attended Yale Drama School, and studied with Lee Strasberg in New York City.  An original member of Chicago's Playwrights' Theatre, she has appeared on Broadway with FROM THE SECOND CITY, in off-Broadway productions, with regional and summer theatres and in television and films.  From 1964-69 she was a lecturer and taught acting in the Drama Department at UC Berkeley.  Since 1969 she has been a leading actress, director and teacher with the American Conservatory Theater where she was an Associate Artistic Director from 1987 until 1992, heading up their Plays-in-Progress program (producing 5 new plays a season), and organizing community outreach activities. There she directed THE HOUSE OF BERNARDA ALBA, THE LADY'S NOT FOR BURNING, THE DOCTOR'S DILEMMA, GOLDEN BOY, MARCO MILLIONS, HAPGOOD and the premiere of Jane Anderson's FOOD AND SHELTER, and she performed many roles, winning seventeen Bay Area Critics Circle and L.A. Dramalogue Awards for both her acting and directing. From 1981-84 she was an Actor and Resident Director at the Berkeley Repertory Theatre and served as its Interim Artistic Director from January 1983 to August 1984. She is the recipient of the 1997 Bay Area Critics Circle Barbara Bladen Porter award for continued excellence in her career as actor and director. A few of her favorite roles have been Bananas in THE HOUSE OF BLUE LEAVES, Birdie in THE LITTLE FOXES, Mme. Ranevskaya in THE CHERRY ORCHARD, Emily Dickinson in THE BELLE OF AMHERST, Amanda in THE GLASS MENAGERIE, Enid in THE FLOATING LIGHTBULB, Lady Wishfort in THE WAY OF THE WORLD, Big Mama in CAT ON A HOT TIN ROOF, Addie in MISSING PERSONS and Mag Folan in THE BEAUTY QUEEN OF LEENANE. Ms. Carlin has served on many panels and advisory committees, among them the California Arts Council, Educational Theatre Association, Artists Alliance, Ashland's OSFA Artistic Director Search Committee, Regional Vice President of the Literary Managers and Dramaturgs of the Americas. She has also directed for The San Jose Repertory Theatre (PASSION PLAY, THE COUNTRY GIRL, DEATH OF A SALESMAN and THE SISTERS ROSENSWEIG), the Oregon Shakespeare Festival, A Contemporary Theatre in Seattle, the Berkeley Stage Company, the Pacific Jewish Theatre, The Aurora Theatre, THE San Francisco Playhouse, The Jewel Theatre of Santa Cruz and the Shanghai Youth Drama Troupe where she directed YOU CAN'T TAKE IT WITH YOU. Most recently she appeared in Woody Allen's film  BLUE JASMINE, directed WIDOWERS' HOUSES running at TheAurora Theatre and will appear as MARJORIE PRIME at MarinTheatre Co. in May. The post Interview: Joy Carlin, director, “Widowers' Houses” at Aurora appeared first on KPFA.

One of our most respected Dramaturgs and academics, Dr. Tanya Dean has forged a career that seems to perfectly balance the theory and practice of making great theatre. Here we chat about her first forays into acting, discovering her love of academia, her time at Irish Theatre Magazine, moving to America to study at Yale, and her groundbreaking research for #WakingTheFeminists. It’s the Rise Productions: Irish Theatre Podcast, Series 2, Episode 13 – Enjoy!

In "Romeo and Juliet," Mercutio becomes the tipping point that turns this tale of two star-crossed lovers from a romantic comedy to a tragedy. Episode 11 delves into what kind of friend Mercutio is to Romeo, various approaches to his famed Queen Mab speech, imaginings of Mercutio’s own romantic history, and why Mercutio — after speaking in only four scenes — remains one of the most memorable and beloved parts of this iconic play. Guests on this episode are André Martin, who played Mercutio with the Independent Shakespeare Company in Los Angeles in 2014; Brian Grey, who plays the role in Chicago Shakespeare Theater’s current production; and Martine Kei Green-Rogers, assistant professor in the Theater Arts department at State University of New York at New Paltz and President-Elect of Literary Managers and Dramaturgs of the Americas.

Nik and Kalynn speak with the two dramaturgs for the show, Andrew Wesley and Kellie Paz, on their role in the production and get some hot and juicy play-relevant information!