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Theater magazine Yale's journal of plays, criticism, and reportage

13/02/2025

The new issue of Theater features essays, plays, and dialogues from Jenn Stephenson, Derek Manderson, Raja Feather Kelly, Yury Urnov, Sasha Denisova, Liz Diamond, and Dmitry Krymov, among others. Check out the articles, interviews, and scripts from Volume 54, Issue 3 via the link in our bio. Photo: Francisco Castro Pizzo

06/02/2025

Thanks to all who attended the hearty party at Yale celebrating the arrival of the Winter issue of Theater! Volume 54, Number 3 is now available to order and read. See the link in our bio. More information about the exciting content in the coming days.

29/07/2024

Exposing how q***r collective performance spaces are “expert in the kinds of devising practices mainstream ensembles aspire to,” “Deviant Devising” coauthors Rye Gentleman, Ryan Adelsheim, and Michelle Hayford take a close look at three q***r collectives from the last two decades. Read this journey through American q***r performance, from the balletic trans narratives of San Francisco’s Sean Dorsey Dance to Chicago’s liberatory q***r burlesque group the Fly Honeys and aptly named drag king ensemble, the Chicago Kings, at theatermagazine.org. Photo: Glitterguts.

22/07/2024

In “Seattle’s Episodic Companies of Color,” Jasmine Mahmoud takes a deep dive into the city’s rich and diverse, but often overlooked, theater culture. She places particular focus on SiS Productions, which started as the episodic “Sex in Seattle” series about the romantic lives of Asian-American women in the city, and Black Collectivity, an ensemble that conducts archival and embodied research, exploring how such groups have created polyvocal stories asking audiences to build on minoritized imaginations and worlds. Read or order a copy of Theater 54:2, at theatermagazine.org. Photo: Chloe Collyer.

15/07/2024

In Theater (54:2), Yizhou Huang analyzes the collective creation practices of the Shanghai-based performance group Grass Stage (Caotaiban). Huang demonstrated that even though Western devising practices are significantly indebted to Asian techniques, contemporary Asian deployments of these same practices are critically under-heralded in Western discourse. Read her article at theatermagazine.org. Photo courtesy of Grass Stage

08/07/2024

In the summer of 2023, Philadelphia’s Pig Iron Theatre Company hosted a summer institute gathering scholars and practitioners of devised theater to discuss scholarship and the future of collective creation. Read accounts of the convening and an essay on the life cycle of ensembles by the project’s co-directors Allen J. Kuharski and Quinn Bauriedel, and a roundtable discussion with participants led by Sara Freeman in Theater 54.2, available to order and read at theatermagazine.org Photo: David Weiland

01/07/2024

We are pleased to announce the Spring 2024 issue of Theater, now available to order and read at theatermagazine.org. Emerging from the 2024 NEH Institute at Pig Iron Theatre Company, Volume 54, Number 2 features essays, dialogues, and 2 forums on the past and future of devised theater. The authors critique now-institutionalized vocabularies for devising, shine spotlights on the devising practices of q***r collectives, and introduce readers to cutting-edge artists creating devised works. Photo: Glitterguts

13/06/2024

American artist David Levine reflects on the influence of René Pollesch, the playwright, director, and artistic director of Berlin’s legendary Volksbühne, who died earlier this year. Read at theatermagazine.org.

10/05/2024

Framing the digital as a “hallucinatory in-between space not bound by or subject to the conditions of materiality,” Chidumaga Uzoma Orji offers an exciting entry from the inaugural Per°Form Open Academy of Arts and Activations. Orji’s multimedia performance–documented in the new issue of Theater—describes the creation of a new internet built outwards from the cosmology and proverbs of the Ghana’s Akan tribal group, widening the imaginative possibilities of the cyberspace. Read more or order a copy at theatermagazine.org. Image courtesy of the artist.

03/05/2024

Celebrating the 2023 opening of the August Wilson Archive at the University of Pittsburgh, Theater’s latest issue (54.1) features reflections by five scholars on their first engagements with this essential collection of correspondence, production notes, and early play drafts. Sandra G. Shannon and Isaiah Matthew Wooden introduce this forum, asking what opportunities and revelations the archive offers Black theater studies as a field. Order a copy or read more at theatermagazine.org. Photo: Aimee Obidzinski, University of Pittsburgh.

18/04/2024

"No Soy Unicornio," by Martha Luisa Hernández Cadenas, appeared at the 2023 Per°Form Open Academy of Arts and Activations and is published in the new issue of Theater. The author imagines an amusement fair on an anniversary in the city of Havana, Cuba, “sketching the sensation produced in [her] body by certain instants of experience.” Read this groundbreaking performance text in the current issue of Theater (54.1) at theatermagazine.org. Photo courtesy of T:>Works

04/04/2024

In "how many songs from a single note," performance artist Rah Naqvi unpacks how Indian salons and barbershops serve as sites of gender performance and affirmation. Read this performance text (from the Per°Form Open Academy), in the new issue of Theater at theatermagazine.org, and see Naqvi’s push for an expansive, class-conscious, and decolonial trans politic that leaves nobody behind. Photo: Shivani Gupta

21/03/2024

The Winter 2024 issue of Theater is here! Volume 54, Number 1 features performance texts, essays, commentary, and creative dossiers by scholars and artists from the Global South participating in the 2023 Singapore-based Per°Form Open Academy of Arts and Activations, curated by Keng Sen Ong. This section highlights what he calls the immense potential of “a theater of the translocal world.” Also in issue 54.1: Khalid Y. Long’s reflection on Glenda Dickerson’s Kitchen Prayers Series, reports from the newly opened August Wilson Archive, and dynamic production reviews. Subscribe, order a copy, or read online at theatermagazine.org. Image courtesy of Chidumaga Uzoma Orji.

15/02/2024

Lia Rodrigues and her Companhia de Danças’s Fúria emphasize surprise and subversion of familiar power structures in Brazil, allowing the company’s dancers to engage in a critical view of history. Throughout an ever-morphing procession, the performers eat their colonial past. Read this review by artist-scholar Cláudia Nascimento in the current issue of Theater (53.3) at theatermagazine.org. Photo: Sammi Landweer

08/02/2024

“Who am I designing for?” asks lighting, projection, and puppetry designer Jeanette Oi-Suk Yew in “Sound & Color — The Future of Race and Design,” a conversation published in Theater’s new issue. Yew joins New York City Encores! producing creative director Clint Ramos in a rich discussion about the “North Star” that is cultural specificity in design. Read the talk, moderated by Diep Tran, at theatermagazine.org. Photo: Layla Amatullah Barrayn

01/02/2024

“My goal is to do something that’s intersectional to what the story is doing” says sound designer and composer Mikaal Sulaiman in this opening conversation of the symposium “Sound & Color — The Future of Race and Design.” Sulaiman joins renown theater artists–including Brandon Jacob-Jenkins, Mimi Lien, Jane Cox–in discussions on topics ranging from racism in technology to design education programs. Read the conversations in the current issue of Theater (53.3) at theatermagazine.org. Photo: Laylah Amatullah Barrayn

25/01/2024

In the latest edition of Theater (53.3), scholar John Muse wonders how algorithms determine creativity and starts by writing a play with OpenAI’s GPT-4 chatbot. His one-act imagines a “generative AI bot named Chatty who is convinced they are a human playwright.” Muse unpacks what “Chatty”’s play has to say about the limits and possibilities of “human-machine collaboration” in theater. Discover the fruits of the Muse-Chatty collaboration at theatermagazine.org. Photo: Peter Theunissen.

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