Playwriting

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Annie Baker’s The Antipodes by Marie-Helene Bertino
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The universe and the playwright

Guillermo Calderón’s Villa by Tom Sellar
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It takes a rare kind of playwright to evoke the head-spinning contradictions in our national political psyches.

Jackie Sibblies Drury’s Really by Ratik Asokan
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A play that updates European absurdist techniques to take aim at liberal America’s great existential troubles: race and gender.

Alice Birch’s Revolt. She Said. Revolt Again. by Amber Power
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This guide is for women who feel that they will soon be engaged in a new revolution to overthrow the soul-crushing social codes that govern their sexual, professional, and familial lives. 

Naja Marie Aidt by Mieke Chew
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“Women in Denmark should be both women and men at the same time, but ‘men’ and ‘women’—what does that mean?”

Gare St. Lazare Ireland by Michael Coffey
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“There’s the scientific and mathematical—how stuff is—and there’s the prosaic, the poetic—how people are.”

Annie Baker by Elianna Kan
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New York sees two of the playwright’s most recent works performed this fall, The Flick and John. She talks with Kan about her fondness for Chekhov’s plays, writing for certain actors, and the music of speech.

Le Mômo in the Mire by Micaela Morrissette
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Madness, melodrama, mundanity, and the legacy of Antonin Artaud.

Philip Glahn’s Bertolt Brecht by Richard Foreman
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While the now-accepted wisdom is that Bertolt Brecht was one of the major dramatists of the past century, this same acceptance often tends to obscure the most unique aspect of his work, namely: his struggle through the decades to find new ways to present his deep political and social commitment—not just in his subject matter, but, equally, in the formal strategies of his distinctive theatrical form.

David Greenspan’s The Myopia and Other Plays by Anne Washburn
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David Greenspan’s plays are at once grotesque and beautiful; they pontificate on meta-theater and self-consciousness, while remaining familiar and intimate.

In The Deep Bosom Of The Ocean Buried by Sarah-Jane Stratford
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Sarah-Jane Stratford on the layered, complex history of Richard III.

Amy Herzog by Carolyn Cantor
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“I went through a period in my twenties when I really resented the pressure to be happy that I felt from my parents and from the world at large, because aspiring to be happy doesn’t always lead to the most interesting life.”

Tom Murphy by Colm Tóibín
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“All art aspires toward music, so I try, as far as I can, to make a symphony out of the language.”

Sibyl Kempson by Kristen Kosmas
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The two playwrights and performers on the drawbacks of being in constant production mode versus the pleasures of, and requirements for, the incubation of plays: a dose of folly and wonderment.

Jan Lauwers by Elizabeth LeCompte
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Belgian director and playwright Jan Lauwers of Needcompany in discussion with fellow dramatist Elizabeth LeCompte of The Wooster Group on the parallel lives of their respective companies and the upcoming performance of The Deer House at BAM.

Cynthia Hopkins by Craig Lucas
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“I don’t think about the audience. If I thought about the audience, I’d be writing Rent.”—Cynthia Hopkins

David Korins and Oskar Eustis
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Oskar Eustis, the Public’s Artistic Director, and his collaborator, Hewes Award-winning set designer David Korins. Having recently collaborated on Passing Strange, among other productions, the two discuss how process makes perfect.

Thomas Bradshaw by Margo Jefferson
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Jefferson describes Bradshaw’s plays as treacherous territories peopled with high-achieving suburbanites and professors gripped by sexual and racial manias. Their most dangerous quality: they act on pure id.

The Difficulty of Crossing a Field by Scott Shepherd
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I didn’t grow up going to the theater, so plays for me were instructions for imagining (or also, I gathered, enacting) bizarre performance events, and curious printing practices had arisen to reproduce this unwieldy information.

Sarah Ruhl by Paula Vogel
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“I come into the theater wanting to feel and think at the same time… That is the pinnacle of a great night at the theater.”

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