How Do You Teach the Arts in a City of 180 Languages?
At a convening earlier this year hosted by Lincoln Center Theater and the New York City Department of Education, tools and resources were offered for multilingual educators and learners.
At a convening earlier this year hosted by Lincoln Center Theater and the New York City Department of Education, tools and resources were offered for multilingual educators and learners.
At high school theatre programs big and small, well funded and not, educators are stoking excitement and building a future, both for their students and for the art form.
Theatre students, taught to do the job, deserve to learn more about how to get the job.
The world outside can’t help but enter the classroom, which offers both a challenge and an opportunity to make theatre training more meaningful.
In joining a college theatre program with similar aims and aesthetics, the training arm of the experimental company will keep its students on track with minimal interruption.
Even with arts journalism jobs in decline, emerging theatre critics keep training and finding new outlets for their voices.
From conservatories to MFAs to youth ensembles, the best training to reflect human behavior onstage can take as many forms as life itself.
The diversification of theatre design starts—but doesn’t end—with training.
In our Winter issue, we look at training that doesn’t simply instruct young artists in the ways of the world but aims to empower them to change it.
High school theatre programs have often been sites of harm, particularly for femme and non-binary kids of color, but some are paving a better path forward.