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Call for Scripts

Posted By Hank Willenbrink, University of Scranton, Wednesday, October 4, 2017

Call for Scripts

ATHE's Playwrights and Creative Teams Program (PACT) seeks new, previously unproduced short plays for its annual New Play Development Workshop at the ATHE Conference in BOSTON, MA , August 1-5, 2018. The 2018 ATHE Conference focuses on revolution, resistance, and protest, and the multiple ways these ideas – and the actions that spring from them.

We invite playwrights to submit plays ranging in length from 4-10 minutes (Scripts longer than ten pages– not including cover page - will not be accepted) There is no restriction on subject matter, style, or intended audience. We are particularly interested in scripts addressing themes of revolution of any type and/or explores the question of how might we create art that is aesthetically revolutionary and that activates audiences to make lasting social change? We welcome scripts representing a range of global perspectives of race, culture, language, disability, gender, nationality, and political worldview. A jury of readers will select six to eight scripts. Each playwright will be assigned a director, dramaturg, scenographer, and a group of actors; these creative teams collaborate on the scripts throughout the conference in a developmental process (participants may attend the rest of the conference). The workshop culminates in a public, script-in-hand reading of the plays in a SHOWCASE OF SCRIPTS on last day of the conference on Sunday, August 5th.

Each year we are committed to including a student playwright for one of the ten minute plays selected for the ATHE conference. If you are a student, please be sure to note that in your submission.

The New Play Development Workshop affords playwrights the opportunity to work on their scripts with artists experienced with original material from all over the country and to have their work presented at a major academic theatre conference. In past years, plays that have gone through this process have been published in a PACT Program anthology. These plays achieve a high rate of success in securing subsequent productions and publication.

PLEASE READ SUBMISSION POLICY CAREFULLY AS INCOMPLETE/INCORRECT SUBMISSIONS WILL NOT BE ACCEPTED:

  1. Electronic script submissions, in standard Samuel French playwriting format - 12 point font, character name centered or 3.5 inches from left margin, 1” margin all around - should be emailed to: npdw2018@gmail.com

  2. Scripts must be no more than ten pages long, not including your cover page. Scripts longer than ten pages will not be accepted.

  3. Please remove all playwright identification from the script including name, mailing address and telephone/fax/e-mail

  4. Do not send a synopsis or playwright resume.

  5. In the body of the email include:

    • Script Name

    • Playwright Name

    • Playwright Email

    • Playwright Telephone Number

    • Playwright Postal Address, any university or college affiliation (if applicable)

    • If you are a Student and what university or college

    • Confirmation of your attendance at ATHE in Boston, MA

  1. In the body of the email indicate that you are willing and able to attend ALL workshop sessions and final showcase for your play at the time and city as noted above. Please note there is no compensation for travel or accommodations.

  2. Only one submission per playwright will be accepted.

  3. Scripts will not be returned.

  4. If your play is selected, you will be notified, via email, of the readers’ selection by early April

    2018. If you do not hear from us your play by May 1 was not selected.

  5. To be considered for the NPDW, scripts must be RECEIVED by 11:59pm Eastern Standard

    Time January 5, 2018; late entries will not be read.

  6. For additional information, contact Ingrid De Sanctis at npdw2018@gmail.com 

 

 

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ATHE 2018 Forms Now Live

Posted By Hank Willenbrink, University of Scranton, Tuesday, September 26, 2017
2018 Conference and Pre-Conference Event Proposal Forms are live on the ATHE website.

We will ask you and your FG members to use links from the upcoming 2018 Conference landing page to apply by November 1, 2017, for:

•Single Focus Group (FG) Concurrent Sessions
•Multidisciplinary (MD) Concurrent Sessions (two sponsoring Focus Groups)
•Focus Group Business Meetings
•ATHE Committee Meetings
•ATHE Grants (including passes)*

For detailed information please consult the Proposal FAQs and Grant FAQs linked from the 2018 Conference page (https://athe.site-ym.com/page/18_home) with the full all-conference theme statement: “Theatres of Revolution: Performance, Pedagogy, and Protest.” The dates of the conference are August 1-5, 2018 to be held at the Westin Waterfront in Boston.

A gentle reminder that if you are interested in any of the PACT proposed ideas, which we developed at this year's conference, please write to me this week or early next. 

Should you have any questions, please don't hesitate to contact me: hankwillenbrink@gmail.com.

 

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ATHE 2018 Call for Proposals

Posted By Hank Willenbrink, University of Scranton, Thursday, August 17, 2017
Updated: Thursday, August 17, 2017

As usual, we will be accepting Conventional Panels (Due Nov. 1) where you propose a topic and coordinate those who will present along with you. You can find information on the theme on the athe.org page.

 

We would also like to offer two other options to the membership. Both of these options will have an earlier due date, October 2, to enable the PACT leadership to put together panels, which will then be submitted to ATHE on November 1. 

 

Additional Option 1 — Instead of submitting an entire panel, you may submit a single proposal, or idea. Please provide a title and a short paragraph (3 to 4 sentences) outlining your proposal. If selected, the PACT leadership will take these ideas, arguments, proposals or suggestions and work to create panels, designating a leader for each session. This allows you the freedom to propose a singular idea without the pressure of finding cohorts and pulling together a team. Again, this will be due October 2.

 

Additional Option 2 — At this year’s meeting, we brainstormed a number of possible panels, which I have collected and given rough topics (below). If you are interested in heading one of these panels, write to me and tell me which one. Then, by October 2, send me your proposal, idea, or argument, as well as the names of other participants who want to discuss aspects of the same idea.

 

With either option, the PACT leadership will choose the strongest and most contemporary ideas, trying always to be as inclusive as possible. Best of all, these ideas came directly from you at our ATHE meeting in Las Vegas: 

 

New Playwriting Technologies — What are the ways in which playwriting is changing through technology? New Play Exchange? Writing Apps?

 

Best Practices for Festivals — How are Playwrights or other Creative Artists rewriting the ways in which we do Festivals of New Work?

 

Related: A panel about the selection process

 

Pedagogy of Social Justice in Playwriting and Social Action — How are your classes changing post-Trump? How are you working toward a more just future?

 

Revolutions in Playwriting in the Academy — How is playwriting different in 2018 than it was in 2017, 2016, etc.

 

 Related: Revolutionary Playwrights — who are overlooked or under appreciated “revolutionary” writers?

 

 Speed Dating Session with Playwrights and Directors 

 

 Revolution Right Now — A “devised” session where we generate material in the room and take it out into the conference area right after

 

 Working in Translation and Cultural translation — a panel about working with playwrights and plays in other languages

 

 A Panel on Getting Second Productions

 

Revolution is for the People — ways of writing or thinking about theatre to increase our connection to the People

 

Related: Revolutionary Populations — how are we working with audiences?

 

Medical and Scientific Revolutions & Partnerships with Theatre

 

As always, please contact Hank Willenbrink, Mark Charney, or Ingrid DeSanctis if you have any questions. We are hoping these new options will spur growth, ideas, and quality panels. 

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CONGRATULATIONS to ATHE's 2015 Excellence in Playwriting winner Ronan Noone!!

Posted By Anne Healy, University of Texas at Arlington, Sunday, March 12, 2017

Congratulations are due to playwright Ronan Noone who was ATHE’s 2015 Excellence in Playwriting Award winner.  His play The Second Girl is to be given a staged reading by students at National University Ireland, Galway (Noone undergraduate and graduate Alma Mater) during the July 2017 International Conference of the Eugene O’Neill Society.  The Second Girl underwent extensive rewrites under Noone’s supervision while the playwright was in residence at ATHE because The Second Girl had been selected for a staged reading by ATHE’s Playwriting and Creative Teams PACT.

 

Noone’s award from ATHE was for his body of work, one he credits as being inspired by the plays of America’s only Nobel Prize winning playwright Eugene O’Neill.  Prior to its presentation as a staged reading at ATHE The Second Girl was staged professionally at Boston’s Huntington Theater in February of 2015 and was directed by Campbell Scott.  After the 2015 ATHE conference the rewritten version of The Second Girl was given a fully staged production at Martha’s Vineyard Playhouse in the Fall of 2016. 

 

The Second Girl takes place in the kitchen of the Monte Cristo Cottage in New London, CT.  It is about three servants working for the Tyrone’s, the family portrayed by Eugene O’Neill in his autobiographical masterwork Long Day’s Journey Into Night.  The play is about two Irish girl’s immigration issues ones stemming from having to leave home for employment never to return.

 

While in Galway and just prior to the staged reading, ATHE member Sheila Hickey Garvey will be giving an introduction about Noone’s body of O’Neill influenced plays.  Garvey is a former President of the Eugene O’Neill Society and played “the first servant girl” Bridget when The Second Girl underwent revisions at ATHE.  Ironically and pertinent to The Second Girl is the fact that Noone who is an Irish born playwright has found success and a new home in the United States.  His plays are often staged in America and also internationally (London, Australia) but they have never been performed in Ireland.  Noone is “thrilled” to, at last, have one of his plays performed back home.

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CALL FOR SCRIPTS

Posted By Ingrid DeSanctis, Tuesday, November 29, 2016

Call for Scripts

 

ATHE's Playwrights and Creative Teams Program (PACT) seeks new, previously unproduced short plays for its annual New Play Development Workshop at the ATHE Conference in Las Vegas, Nevada, August 3-6, 2017.

 

We invite playwrights to submit plays ranging in length from 4-10 minutes (Scripts longer than ten pages– not including cover page - will not be accepted) There is no restriction on subject matter, style, or intended audience. We welcome scripts representing a range of global perspectives of race, culture, language, disability, gender, nationality, and political worldview.  A jury of readers will select six to eight scripts. Each playwright will be assigned a director, dramaturg, scenographer, and a group of actors; these creative teams collaborate on the scripts throughout the conference in a developmental process (participants may attend the rest of the conference). The workshop culminates in a public, script-in-hand reading of the plays in a SHOWCASE OF SCRIPTS on the final day of the ATHE conference in Las Vegas, Sunday August 6, 2017.

 

The New Play Development Workshop affords playwrights the opportunity to work on their scripts with artists experienced with original material from all over the country and to have their work presented at a major academic theatre conference. In past years, plays that have gone through this process have been published in a PACT Program anthology.  These plays achieve a high rate of success in securing subsequent productions and publication.

 

PLEASE READ SUBMISSION POLICY CAREFULLY AS INCOMPLETE/INCORRECT SUBMISSIONS WILL NOT BE ACCEPTED: 

  1. Electronic script submissions, in standard Samuel French playwriting format - 12 point font, character name centered or 3.5 inches from left margin, 1” margin all around - should be emailed to: npdw2017@gmail.com
  2. Scripts must be no more than ten pages long, not including your cover page. Scripts longer than ten pages will not be accepted.
  3. Please remove all playwright identification from the script including name, mailing address and telephone/fax/e-mail
  4. Do not send a synopsis or playwright resume.
  5. In the body of the email include:  Script Name, Playwright Name, Playwright Email, Playwright Telephone Number, Playwright Postal Address, any university or college affiliation (if applicable)
  6. In the body of the email indicate that you are willing and able to attend ALL workshop sessions and final showcase for your play at the time and city as noted above.  Please note there is no compensation for travel or accommodations.
  7. Only one submission per playwright will be accepted.
  8. Scripts will not be returned.
  9. If your play is selected, you will be notified, via email, of the readers’ selection by early April 2017. 
  10. To be considered for the NPDW, scripts must be RECEIVED by 11:59pm Eastern Standard Time January 3, 2017; late entries will not be read.
For additional information, contact 

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Call for Scripts!

Posted By Hank Willenbrink, University of Scranton, Wednesday, September 28, 2016
ATHE's Playwrights and Creative Teams Program (PACT) seeks new,

previously unproduced short plays for its annual New Play Development

Workshop at the ATHE Conference in Las Vegas, Nevada, August 3-6, 2017.

We invite playwrights to submit plays ranging in length from 4-10 minutes

(Scripts longer than ten pages– not including cover page - will not be

accepted) There is no restriction on subject matter, style, or intended audience.

We welcome scripts representing a range of global perspectives of race, culture,

language, disability, gender, nationality, and political worldview. A jury of

readers will select six to eight scripts. Each playwright will be assigned a

director, dramaturg, scenographer, and a group of actors; these creative teams

collaborate on the scripts throughout the conference in a developmental process

(participants may attend the rest of the conference). The workshop culminates

in a public, script-in-hand reading of the plays in a SHOWCASE OF SCRIPTS on

the final day of the ATHE conference in Las Vegas, Sunday August 6, 2017.

The New Play Development Workshop affords playwrights the opportunity to

work on their scripts with artists experienced with original material from all

over the country and to have their work presented at a major academic theatre

conference. In past years, plays that have gone through this process have been

published in a PACT Program anthology. These plays achieve a high rate of

success in securing subsequent productions and publication.

PLEASE READ SUBMISSION POLICY CAREFULLY AS INCOMPLETE/INCORRECT

SUBMISSIONS WILL NOT BE ACCEPTED:

1. Electronic script submissions, in standard Samuel French playwriting format - 12

point font, character name centered or 3.5 inches from left margin, 1” margin all

around - should be emailed to: npdw2017@gmail.com

2. Scripts must be no more than ten pages long, not including your cover page.

Scripts longer than ten pages will not be accepted.

3. Please remove all playwright identification from the script including name,

mailing address and telephone/fax/e-mail

4. Do not send a synopsis or playwright resume.

5. In the body of the email include: Script Name, Playwright Name, Playwright

Email, Playwright Telephone Number, Playwright Postal Address, any university

or college affiliation (if applicable)

6. In the body of the email indicate that you are willing and able to attend ALL

workshop sessions and final showcase for your play at the time and city as

noted above. Please note there is no compensation for travel or accommodations.

7. Only one submission per playwright will be accepted.

8. Scripts will not be returned.

9. If your play is selected, you will be notified, via email, of the readers’ selection by

early April 2017.

10.To be considered for the NPDW, scripts must be RECEIVED by 11:59pm Eastern

Standard Time January 3, 2017; late entries will not be read.

11.For additional information, contact Ingrid De Sanctis at npdw2017@gmail.com

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Call for Proposals ATHE 2017

Posted By Hank Willenbrink, University of Scranton, Saturday, September 17, 2016
Dear all,
PACT is proud to announce the 2017 call for proposals for the Las Vegas Conference, “Spectacle: Balancing Education, Theory, and Praxis.” More on the theme below. You may submit your proposal by following the link below.

A number of you suggested panels and possible connecting events during our conference in Chicago in August. We highly encourage you to submit these to the upcoming conference. Should you have any questions, please don’t hesitate to contact me at hankwillenbrink@gmail.com. 
Looking forward to seeing you all in Vegas!

Spectacle: balancing education, theory, and praxis #ATHE2017OfBreadAndCircuses
In Poetics, Aristotle ranks spectacle last among his six constituent elements of drama, privileging the poetic over the visual, claiming that spectacle “stirs the emotions” yet “is less a matter of art than the others.” (GRUBE) In the millennia since, countless artists and scholars have championed the aesthetics of theatre and stood in defense of spectacle. Nevertheless, a bias persists.
The 2017 ATHE Conference Committee invites you to join us in Las Vegas, Nevada for an examination of the role of spectacle in theatre practice, scholarship, and pedagogy. What opportunities do an emphasis on spectacle present to us as artists, scholars, theorists, and educators? Does a spectacle-driven theatre lead us away from Aristotle’s aims, or do we find that enhanced spectacle serves to support and strengthen plot, character, thought, diction, and music? How have certain bodies been made spectacular? How does the use of spectacle highlight or obscure the politics of performance, representation, and staging? What ethical and political responsibilities must artists, scholars, and activists negotiate when employing spectacle in performance, design, scholarship, and/or dramaturgy?
Las Vegas, as a backdrop, provides us with an opportunity to engage these and other questions. Las Vegas is a manmade oasis — with its sparkling lights and colorful facades — standing in stark contrast to the harsh desert that surrounds it. The self-proclaimed “Entertainment Capital of the World,” the city attracts over 42 million visitors annually. Las Vegas is where a reconstructed Caesar’s Palace stands only steps from a replica Eiffel Tower, the likes of Elvis and the Jersey Boys perform nightly, international circus artists dazzle multiple times a night, and mere mortals like Celine Dion and Jennifer Lopez rise to god-like status. In addition to its for-profit theatre scene, Las Vegas has a vibrant nonprofit performing arts community ranging from theatre for young audiences to experimental new works to repertory dance theatre. Eclectic and diverse, this community of artists, both professional and amateur, co-exists and even thrives.
Does what happens in Vegas truly stay in Vegas, or does it have a greater impact on theatrical performances worldwide? Is Vegas an isolated city in the desert, or is Vegas everywhere? Join us at ATHE 2017 to find out. 

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CALL FOR PROPOSALS!

Posted By Ingrid DeSanctis, Monday, October 5, 2015

Dear ATHE Colleagues,

We’re looking forward to hosting ATHE’s 30th anniversary in Chicago in August. Many exciting plans are already in process for “Bodies at Work: Performance, Labor, and ATHE @ 30.” As a reminder, all proposals for regular focus-group-sponsored sessions, multidisciplinary sessions, and ATHE grants of any kind are due as usual via the website by November 1, 2015. Thanks so much to ATHE staff for revising the forms to make the application process more efficient this year. The forms are open. You can submit here: http://www.athe.org/?page=16_Proposal

Your session proposals should not be new information to the leadership of the sponsoring focus groups. Though this year's all-conference committee does not require that all sessions reflect the overall conference theme, some focus groups may find that important. An individual focus group’s CFP can be your guide on that score. In addition, if you would like to find a way to connect your focus group’s programming with the 30th anniversary of Black Theatre Network happening in Chicago right before ATHE, contact me. I can help facilitate those connections, too. 

Thanks to ATHE staff and the focus group leaders who helped compile these CFPs. Thanks also to the 2016 Conference committee and all the ATHE members who sent me programming ideas. We're carefully considering every idea we received. As a reminder, you can find the all-conference theme statement here: http://www.athe.org/?page=2016_Conference

Please feel free to contact me at kellybhowe@gmail.com anytime!

All my best,
Kelly Howe
VP Conference 2016

 

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ATHE 2016: PACT PRE CONFERENCE EVENT!

Posted By Ingrid DeSanctis, Wednesday, September 9, 2015

BODIES AT WORK: PERFORMANCE, LABOR, AND ATHE @ 30

PRE-CONFERENCE EVENT.  PACT

CHICAGO, IL  AUGUST 2016

 

Pre-conference topic: Wrights Doin’ Work: Writing from Inception to Production

 

The Playwrights and Creative Teams Focus Group (PACT) proposes for the membership of ATHE a pre conference centered on the process of the playwright. While our 2015 pre conference stressed the dramaturgy of the city of Montréal, this iteration focuses inward by providing a workshop-style writing intensive that delineates the work of the playwright from inception to rehearsal. Better yet, it will be conducted by one of the nation’s leading voices in new plays, Tanya Palmer, director of new play development at Goodman Theatre (see bio below).

 

The work of a playwright usually occurs in at least two stages: 1) the individual work of a writer from inception to the creation of a playable draft, and 2) the work of a writer in the rehearsal room with his or her creative team including a director, actors, dramaturg, and designers (among others). This workshop, highlighting both playwriting events, will be divided into two parts, outlined below, with a much shorter concluding section.

 

While playwrights are working through the process, Tanya will highlight and dissect the process of a writer individually and collectively. This personal analysis will enable attendees to reflect intimately on how they write, how they collaborate, and how the collaborative decisions of the team may affect a playwright’s work. Tanya will break apart the process while it is occurring, hoping to make you not only cognizant of your individual patterns but also encouraging an open atmosphere where folks share their best playwriting practices.

 

Part 1 (3 hours):

Tanya will begin the day with a prompt that encourages each member of the preconference to write a short play. Then, she will lead writers through how an idea becomes action by emphasizing how a playwright creates a theatrical, playable world. This section focuses on the process of the individual writer. Works written during this period form the basis for Part Two of the workshop. Through this section, Tanya will emphasize how decisions that are made during the writing and revision of a play aid in its reception and playability in the rehearsal room. 

 

Part 2 (2-3 hours):

After a short break, the members will reconvene for the second part of the workshop that emphasizes how playwrights can exhibit best practices in the rehearsal room. After a good discussion, Tanya will choose work from a few of the participants to illustrate in detail how playwrights interact most positively with the creative team, especially concentrating on the role, responsibilities, and work that a playwright undertakes in the rehearsal room. The participants will take different positions throughout the course of the second part of the workshop, teaching the language of collaboration within the challenges of new play development and production. 

 

Part 3 (around 1 hour): 

In this final segment, attendees will share their thoughts and experiences regarding the workshop. 

 

At the heart of the PACT Focus Group is the emphasis on collaboration between playwrights and other theatrical artists. As such, our diverse membership encompasses numerous disciplines and artists. What unites our unique membership is the work of the playwright and the realization of her or his vision. Through this pre conference workshop, we aim to highlight and dissect how a playwright’s vision is created and enacted on the page and through rehearsal, while inspiring us to write, think, and share.

 

Tanya Palmer (bio): Tanya Palmer is the director of new play development at Goodman Theatre, where she coordinates New Stages, the theater’s new play program, and has served as the production dramaturg on a number of plays including the world premieres of Vigils by Noah Haidle, Magnolia by Regina Taylor, The Long Red Road by Brett C. Leonard and the Pulitzer Prize–winning Ruined by Lynn Nottage. Prior to her arrival in Chicago, she served as the director of new play development at Actors Theatre of Louisville, where she led the reading and selection process for the Humana Festival of New American Plays. She is the co-editor, with Amy Wegener and Adrien-Alice Hansel, of four collections of Humana Festival plays, published by Smith & Kraus, as well as two collections of 10-minute plays published by Samuel French. Originally from Calgary, Alberta, Canada, she holds an MFA in playwriting from York University in Toronto.

 

 

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ANNOUNCING PACT Pre-Conference EVENT!

Posted By Ingrid DeSanctis, Wednesday, May 20, 2015

PACT Preconference Topic: Dramaturging Montreal: Embracing issues of country, isolation, and assimilation to inspire playwriting and curriculum reform

JULY 29th, 2015

Inspired by the ATHE theme and Quebec motto “Je me souviens,” the PACT Preconference will explore the dramaturgy of Montreal. Heather Helinsky is a dramaturg that playwrights have recognized as “especially adept at freeing energies in unexpected ways” and will be leading our pre-conference event. We will begin by exploring plays by Montreal writers; then, we will adventure out into the city itself for site-specific writing exercises. Our site-specific sessions will have participants writing plays, collaborating with colleagues, and envisioning new curriculum. We plan on partnering with theatre scholars Erin Hurley of McGill, Patrick Leroux of Concordia, Montreal dramaturg Alison Bowie, as well as local museums, theatre spaces, and historic sites. We hope by investigating the work of Montreal playwrights and exploring the narratives of the city itself, we will raise questions of how we can better engage the history of our own communities to create new works that instigate change. 

To register for this event email PACT Co-Conference Planner Ingrid De Sanctis at desancie@jmu.edu . Early bird registration is $50.00 before June 26th  then the fee will be $60. Payment will be expected on the 29th of July in Montreal before the event begins. 

 For more, start reading our blog: http://dramaturgingmontrealforpact.com/

Tags:  Montreal 2015 PACT Preconference Event 

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