Theater

February 19, 2012 by giarts-ts-admin

This play was commissioned by Americans for the Arts and was first performed as part of the conference session, Too Progressive, Too Elite: Public Value and the Paradox of the Arts, at the Grantmakers in the Arts 2011 conference on October 11, 2011. The cast consisted of Elise Hunt, Britney Frazier, and Sean San José. You can watch a video of this performance at the GIA YouTube channel.

PLAYWRIGHT:

February 17, 2012 by giarts-ts-admin

Robyn Hunt is a professor of acting at the University of South Carolina in Columbia. She is cofounder and director of Pacific Performance Project/East (P3) and has appeared in professional theaters throughout North America, Europe, and Japan. She worked with Japanese director Tadashi Suzuki for more than a decade and studied with Shogo Ohta in Kyoto. She has created several evening-length dance/theater pieces, including the trilogy Suite for Strangers, which had its Seattle debut in 2004.

October 26, 2010 by giarts-ts-admin

The financial performance of the theatre industry generally tracks with the state of the economy overall and theatres were by and large weakened by the most recent recession. However, there is also an enormous amount of resilience and entrepreneurialism in our field. Most theatres were able to navigate the rough waters and use a very tough environment to refine their focus, build new partnerships, and strengthen ties within their communities.
— Teresa Eyring, executive director, Theatre Communications Group

Innovation in Theater

August 23, 2010 by giarts-ts-admin

For theater companies that are creating new work, fund-raising in the community of institutional funders poses a unique set of challenges.

Funders, by design, have strict guidelines in place, strict markers by which they measure outcomes. But most of the experimental theater companies we report on in this article have models of making art that challenge traditionally held industry standards. How can a meaningful dialogue between innovators working in the field and institutional funders, with the goal of furthering the art form, be nurtured and sustained?

March 11, 2010 by giarts-ts-admin

While researching for a town hall meeting held last fall at New Dramatists to discuss the low numbers of female written plays reaching production, I noticed that, by every estimate, work by women made up only approximately 17% of the total number of new plays produced in this country; yet, in an apparent paradox, 31% of the plays on the Theater Communication Group’s list of the “Top Ten Most Produced Plays in American Theatre” were written by women.

March 9, 2010 by Abigail

March 2009, 85 pages, ISBN 978-1-932326-32-1. Council on Library and Information Resources, 1752 N Street NW, Suite 800, Washington, DC, 20036, 202-939-4750, www.loc.gov

The Arts Ripple Effect

February 25, 2010 by Abigail

January 2010, 21 pages. Fine Arts Fund, 20 East Central Parkway, Suite 200, Cincinnati, OH, 45202, 513-871-2787, www.fineartsfund.org

Supporters of the arts have struggled to develop a national conversation that makes the case for robust, ongoing public support for the arts; but public spending on the arts is too often criticized as an example of wasteful government spending or a misguided government intrusion into an area where it does not belong.

November 22, 2009 by Steve

Beyond Price: Value in Culture, Economics, and the Arts; Edited by Michael Hutter and David Throsby; Cambridge University Press, 2007, 324 pages

The art that matters to us … is received by us as a gift is received. Even if we have paid a fee at the door of the museum or concert hall, when we are touched by a work of art something comes to us that has nothing to do with the price.
— Lewis Hyde

The Creative Class of Color in New York

November 22, 2009 by Steve

Recent studies on New York’s creative sector have established that the arts are a key asset in the city’s economic portfolio. Culture Counts: Strategies for a More Vibrant Cultural Life for New York City (2001); Creative New York (2005); and The Arts as an Industry: Their Economic Impact on New York City and New York State (2007) provide ample evidence that the diverse number of cultural institutions, arts-related businesses, and artists in New York generate employment, attract tourism, and enhance the city’s quality of life.

The Globe

November 22, 2009 by Steve

Before the house lights dim at a production of Romeo and Juliet, I look for myself and I am delighted to find myself as I was many years ago: A teenaged boy sitting by himself. I recognize him because he keeps checking the number on his ticket against the number on the armrest. All in all, he is pleased with his seat. He wears a sweater and tie. He reads his program with the intensity I used similarly to scrutinize the actors’ biographies, the director’s notes, and the advertisements for after-theater dining.