In Jan. 2012’s “Approaches to Theatre Training” issue, we ask directors, actors, and writers what it means–and how it feels–to be an assistant.
Emily Mann and Chay Yew write and direct plays, and they run theatres. Not necessarily in that order.
As theatres and audiences face a brave new digital world, 12 of the nation’s most influential theatre critics talk about their towns and their changing roles.
For Peter Sellars and Maya Zbib, mentorship isn’t a one-way exchange.
A full plate at Humana’s all-you-can-see new-play buffet.
Their much-anticipated ‘Tales of the City’ musical will debut—where else?—in San Francisco.
On the stage she and her husband founded, Alaskan artists and themes are right at home.
How the many facets of one theatre artist—adaptor, actor, artistic director—have forged a major playwriting voice.
From Lecoq and Laban to Michael Chekhov and Suzuki, U.S. movement training derives its strength and purpose from abroad.
Capturing the purity and energy of not moving is the roof of the invisible body.