Thursday, March 3, 2016

Get What You Want: March 2016


1.
Brooklyn Arts Exchange’s Artist-in-Residence
deadline: March 4th
website:
artistservices.bax.org/residencies/artists-in-residence/artist-residence-loi/

Proposals will be considered in DANCE and EXPERIMENTAL THEATER/PERFORMANCE. Four awards will be made to for the July 2016 -June 2017 residency period. Artists living in all five NYC boroughs are eligible to apply.
***New this year-Previous Artists in Residence who have completed their residencies at least five years prior (June 2011 or before) to June 2016 may apply. Please contact Executive Director, Marya Warshaw, prior to submitting your application as there will be additional information required.
The residency best suits an artist in the process of discovery, transition and/or is in a transformative stage of development. It is essential that the AIR be self-directed and be willing to engage in a dialogue with BAX.  While there are many services BAX is able to provide, no residency can meet all the needs of an artist. Hence, BAX will do its best to direct and advise artists in the search for additional support and services throughout this residency. Artists are chosen through application, work sample and interview. We support choreographers, playwrights and performance artists. The residency supports research and conception, readings, showings and workshops, rehearsals and production. There are six participating artists each season who receive up to two years of uninterrupted artistic, technical and administrative support as well as 300 hours of rehearsal space. ** They are also provided with a $3,000 yearly stipend, and the use of BAX as a fiscal conduit for fundraising purposes. Artists may apply for additional funding using this designation.
BAX AIR is tailored to each artist’s unique needs, process and artistic practice. Its structure develops peer support, collaborative problem-solving and constructive criticism. Each artist-in-residence receives 300 free hours of rehearsal space per year and an annual stipend. Artists have priority for BAX studios, and are asked to plan their space needs in three-month blocks. Throughout the residency, each artist has a monthly one-on-one consultation with Artistic Director Marya Warshaw, and group meetings with all six artists every six weeks. Group meeting topics include video documentation; developing relationships with producers; challenges of collaboration and co-directing; establishing a teaching practice; and finding life/work balance. All artists have opportunities to present works in progress and/or finished work at BAX with full production and marketing support from BAX. Following performances at BAX, BAX often assists artists in delivering their vision to a broader audience by co-producing their work in Manhattan venues, or establishing relationships with producers and funders that will allow them to move forward.

These exceptional artists are provided with an artistic home base for a one to two year period, giving them a tangible sense of permanence and place. BAX AIR is tailored to each artist’s unique needs, process and artistic practice. Its structure develops peer support, collaborative problem-solving and constructive criticism. Each 2016/17 artist-in-residence receives 300 free hours of rehearsal space per year and an annual stipend. AIR have priority for BAX studios, and are asked to plan their space needs in three-month blocks. Throughout the residency, each artist has a monthly one-on-one consultation with Artistic Director Marya Warshaw, and group meetings with all six artists every six weeks. Group meeting topics include: video documentation; developing relationships with producers; challenges with collaboration and co-directing; establishing a teaching practice; and finding life/work balance.
All artists have opportunities to present works in progress and/or finished work at BAX with full production and marketing support from BAX. Following performances at BAX, BAX often assists artists in delivering their vision to a broader audience by co-producing their work in Manhattan venues, or to establish relationships with producers and funders that will allow them to move forward. Opportunities are also available to curate, teach in the public schools, and work with BAX’s student population.

2.
Kevin Spacey Foundation
Deadline: March 4th

SUPPORTING EMERGING ARTISTS AND COMPANIES.
KSF Grants support emerging artists and companies, recognising them as KSF Artists of Choice.

A KSF Grant gives you a financial boost of up to £10,000 / $10,000, mentoring opportunities with respected industry professionals and advice on how to promote yourself / your company and your project.

Each year we select twelve KSF Artists of Choice, four UK based applicants, four US based applicants and four Canada based applicants.

We work with companies in either:
  • A Play
  • A Musical
  • A Dance Piece
  • A Short Film
The successful artists / companies will be recognised as the annual KSF Artists of Choice, supported through mentoring and professional guidance as well as a grant of up to £10,000 / $10,000.
Applications will close March 4, 2016.

3.

Cunningham Commission for Youth Theatre

deadline: March 14th
The Theatre School at DePaul University is pleased to announce that submissions are now being accepted for the Cunningham Commission for Youth Theatre. Playwrights from the Chicagoland area and alumni of The Theatre School are eligible to apply, and the winner will be announced in May. The deadline for submissions is March 14, 2016.
The Cunningham Commission for Youth Theatre was established at The Theatre School to honor the memory of the Rev. Donald Cunningham, a Chicago priest, playwright, and lover of theatre. The Cunningham Commission was established by an endowment gift from the Cunningham family and will be presented annually. The purpose of the commission is to encourage the writing of dramatic works for young audiences that affirm the centrality of religion, broadly defined, and the human quest for meaning, truth, and community. The Theatre School intends to produce the plays created through this commission in its award-winning Chicago Playworks for Families and Young Audiences series. Each year, Chicago Playworks produces three productions that are attended by over 30,000 young people and their families.
Candidates should submit a resume, one sample of their playwriting work (no more than 20 pages), and a brief statement about their interest in the commission. The submission should NOT include a proposal for a project the playwright would complete if awarded the commission. The writing sample may be from a play of any genre for any audience. The commission timeline is as follows:
* May 2016: Winner announcement and contract signing.
* September 1, 2016: Script treatment due on proposed project. Feedback will be collected from committee and given to playwright within four weeks.
* December 1, 2016: First draft due (payment upon delivery).
* February 1, 2017: Notes from Theatre School committee delivered to playwright.
* April 1, 2017: Second draft due (payment upon delivery).
* May 2017: Reading/Workshop, followed by discussion of draft.
* September 1, 2017: Third draft due (final payment upon delivery). Play will then be considered for the following year's Chicago Playworks for Families and Young Audiences series.
The fee for the Cunningham Commission is $6,000, with an additional fee provided if the play is produced as part of the Chicago Playworks series. The selection committee is chaired by faculty member Ernie Nolan, and is comprised of members of the Cunningham Commission advisory committee and faculty of The Theatre School. Please send all entries to: Cunningham Commision Selection Committee, The Theatre School at DePaul University, 2350 N. Racine Avenue, Chicago, 60614. Questions and entries can also be sent to CunninghamCommission@depaul.edu.
4.
Black and Latino Playwrights Conference
Deadline: March 15th

Texas State University's Department of Theatre and Dance is calling for scripts to be submitted for our annual Black and Latino Playwrights Conference.
The Black and Latino Playwrights Conference celebrates the voices of Black and Latino playwrights by workshopping new plays in collaboration with professional directors, actors, and university students.

Only unproduced scripts are eligible for consideration. No musicals.
The scripts must be written by a Black or Latino playwright.
The submission must include a synopsis and character list.
The playwrights are expected to attend the rehearsals and at least one of the staged readings.

Playwrights from across the country may submit scripts.
Manuscripts must be typed in the standard play format and must include contact information.

Include a stamped self-addressed envelope if you wish your manuscript returned.
Scripts must be submitted by March 15, 2016. A script postmarked by the deadline date is acceptable. Play scripts may be delivered by regular mail, in person, or email. You will be notified by May 30, 2016 if your work has been selected.

Send Manuscripts to: Attn: Black and Latino Playwrights, Department of Theatre and Dance, Texas State University, 601 University Dr., San Marcos, TX 78666 or email to: EL18@txstate.edu.

5.
CartHorse Fellowship 2017-18 available
Deadline: May 1

We are thrilled to announce the 2017/18 CartHorse Fellowship - the future core program of Buran Theatre. In 2017, Buran Theatre will celebrate ten years. As we approach this milestone we are proud to unveil the CartHorse Fellowship - the core program for our second decade.
After ten years of producing work generated by the artistic director, Buran Theatre will transition in our second decade to support and produce theatre/performance-based artists through transformative process-based fellowships. Utilizing the Buran process - developed over the past decade by the artistic director and associate artists - CartHorse Fellows will build, produce and present an entirely new theatre work over two rigorous years of development with the support of the company’s resources and talent.
This fellowship will be an immersive experience for artists who are eager to develop their own process; delve deep into a new project; gain/build skills in self-production, marketing, development and administration; build a company/family of collaborators under the auspices of Buran Theatre’s creative and organizational capacity; and a means to expand our mission and ethos to pioneering and under-represented artists.
The submission process is anonymous and requires no resume, bio, work samples or references. We are interested in changing the game of submissions for our applicants, to ignite an equitable discussion about the future of creative work without nepotism.
For more information and to access the application http://www.burantheatre.com/
DUE MAY 1, 2016

6.
Dramatists Guild Fellowship
Deadline: April 29th

The Fellows Program is a nine-month intensive designed to augment the training of American dramatists early in their careers and enhance the sense of community among playwrights and musical theater writers. Theater writers selected for the program meet with Program Chairs, guest artists, and industry professionals twice a month for feedback on their works in progress. Fellows also have regular sessions with experienced dramatists for one-on-one mentoring and, when possible, are offered internships or observerships with dramatists involved in professional productions.
To apply, visit http://fellows.dgfund.org/. Applications must be received no later than 5:30PM EST on April 29, 2016. Those selected for the Program will begin in fall 2016.
APPLICATION REQUIREMENTS:
Applicants are eligible for the Fellows Program if they meet at least one of the following qualifications: 1. Participation in a graduate program in theatrical writing within the last five years; or 2. Participation in an organized theatrical workshop within the last ten years; or 3. Comparable experience, such as one or more professional productions, and a recommendation by a theater professional or theater educator; or 4. Pertinent, documented practical experience.
All applicants must be residents of New York or the surrounding metropolitan area for the time of their fellowship. Applicants must also be prepared to meet on alternate Monday evenings of every month, and to make themselves available, if possible, to participate in observerships, assistantships, etc. when those opportunities arise.
For further submission guidelines and to apply, visit: http://fellows.dgfund.org/. Applications must be received no later than 5:30PM EST on April 29, 2016.
The Fellows Program
The Fellows Program is supported and administered by the Dramatists Guild Fund and the Dramatists Guild of America. Each year, a select group of new theater writers are accepted into the nine-month program, which provides continued support and training through group sessions with theater professionals, one-on-one mentoring, and resources to build established careers.
Former Fellows include: Kristen Anderson-Lopez (Academy Award winner, Frozen), Rajiv Joseph (Pulitzer Prize finalist, Bengal Tiger at the Baghdad Zoo), Benj Pasek & Justin Paul (Tony nominees for Best Score, A Christmas Story), Deborah Zoe Laufer (ATCA Steinberg Award, End Days), and Adam Gwon (Fred Ebb and Richard Rodgers Award winner).

7.
NYC Children's Services 2016 ARTIST-IN-RESIDENCE APPLICATION
Deadline: March 5th (11:59pm)
website: https://nyculture.submittable.com/submit/52828
ABOUT THE PROJECT
The NYC Department of Cultural Affairs (DCLA) and the NYC Administration for Children’s Services (ACS) are partnering in an effort to provide enhanced resources and support for the City’s population of lesbian, gay, bisexual, transgendered, and queer/questioning (LGBTQ) in the foster care system.  Specifically, the agencies are seeking an artist-in-residence for the SCO Family of Services’ Group Living for LGBTQ Youth program, to use his/her/their art practice to engage LGBTQ youth, create opportunities for them to express themselves creatively and to experience NYC’s cultural offerings, and further engage them with the services and resources available through ACS.

ARTIST STIPEND
Funding in a total amount of up to $36,500 will be available for this residency.  The selected artist(s) will receive an amount not to exceed $20,000 from DCLA for the research phase.  The artist will enter into an agreement with ACS for the subsequent phase in an amount not to exceed $16,500. Funding is inclusive of related project expenses (e.g., printing, materials, equipment, video production, etc.).   The selected artist(s) will be responsible for managing the project budget and submitting [monthly] invoices. No additional funding will be provided.  
The artist(s) will also have access to materials/supplies of their choosing from Materials for the Arts.

LGBTQ Youth in the Foster Care System and SCO Family of Services
The NYC Administration for Children’s Services contracts with private nonprofit organizations, such as SCO Family of Services, to support and stabilize families at risk of a crisis through preventive services, and provide foster care services for children not able to safely remain at home.  Foster care services provided by SCO include placements in foster homes as well as residential settings.  SCO is the only foster care agency in New York City that has residential placements specifically designated for LGBTQ youth.  SCO’s LGBTQ program is the only foster care residential program in New York City that specifically supports LGBTQ youth.  Their program is comprised of five Agency Operated Boarding Homes (AOBH); four in Brooklyn and one in Queens. The AOBHs are small, family-like residences that each house six (6) youth 16-21 years of age. Youth residing in the AOBHs all have open foster care cases in family court.  They stay in the program for a duration of one to several years depending on their needs and their ability to successfully transition out of foster care to a permanent setting.   

The Project/Challenge
DCLA and ACS are offering an artist-in-residency opportunity for an artist or artist collective to develop and implement a project that specifically engages LGBTQ youth in the SCO program and to the extent possible, the SCO staff.  This is a year-long opportunity starting in April, 2016.  Currently, the SCO program is full, with 30 youth across the five houses.  The project should aim to engage as many youth as possible in the program for the duration.
The project should aim to address three distinct goals:
  1. Provide opportunities for youth to increase civic engagement and investigate social and political issues relevant to them through collaborative art practice.
  2. Provide opportunities for youth to leave their residences and connect with arts experiences and arts professionals across the City.
  3. Provide opportunities for youth to express themselves creatively, and to publicly showcase their own talent.
The applicants should keep in mind that there are challenges associated with this project, specifically:
  1. Given the nature of their circumstances and the trauma they have endured, many of the youth present a range of emotional issues.
  2. Each home houses 6 youth, and with the exception of two homes close to one another in Brooklyn, the homes are spread out across Brooklyn and Queens.
  3. Youth are not required to attend programs and have varied schedules, making it a challenge to ensure regular participation.  Developing incentives for participation will be required.
To address these challenges, SCO will provide transportation as needed, and will make its facility available in downtown Brooklyn for meet ups, as needed.  But most significantly, these challenges necessitate early relationship-building as part of project development.  To that end, once selected, the artist(s) will meet with ACS, SCO, and DCLA staff on a bi-weekly basis to discuss program ideas and format.  Generally, the first three months of residency will be considered the ‘research phase,’ in which the artist(s) spend time with SCO staff and youth participants to understand the operations, challenges, and desires of all parties, and refine their goals for the residency based on the personalities and interests of the participants.  In addition, during the research phase, the artist(s) will work with DCLA staff and consultants to develop evaluation criteria and implementation for the project.  At the conclusion of the research phase, the artist(s) will be required to present a formal plan and budget for residency activities, for the remaining 9 months of the year.
After reading the complete guidelines below, submit your application here.
PROJECT REQUIREMENTS
Applications for the artist residency will be accepted for projects in any artistic discipline, but socially engaged artists who understand trauma and its effects are preferred. Projects must meet the following requirements:
  • Project must be cultural in nature, but may be in any artistic discipline.
  • Project must be collaborative, and must specifically be designed as a means to target and engage LGBTQ youth in foster care.
  • Project must create opportunities for youth participants to access cultural activities within New York City (i.e., performances, exhibitions, community events, workshops, classes, open houses, etc.).
  • Project must include at least one public participant-led event during the course of the residency.
  • Project activities must take place between April 11, 2016 and April 10, 2017. Altogether, the project must provide a minimum of 280 contact hours of activity with foster care youth and of planning projects and coordinating with DCLA, ACS, and SCO staff during the residency period.

SELECTION PROCESS AND EVALUATION CRITERIA
Artists will be selected after a competitive review process.  A panel of representatives from DCLA, ACS, SCO, and invited professionals with expertise in the use of art in social interventions will review applications for completeness, eligibility, highest quality, and feasibility.  Additional evaluation criteria will include (in no particular order):
  • Artistic merit and artistic excellence of the proposed project
  • Clarity and detail in the project proposal
  • Quality of and relevance of the applicant’s prior work
  • Potential impact on participants
  • Project feasibility, taking into consideration budget, timeline, available resources, and stated goals
  • Evidence of experience creating socially engaged art
  • Evidence of experience working with vulnerable populations through art and other techniques
  • Evidence of experience engaging a cross-section of stakeholders that have multiple issues and interests
  • Evidence of experience developing and engaging in a collaborative process with public agencies with a high level of scrutiny
  • Prior experience as a teaching artist, artist-in-residence, and/or working with LGBTQ youth is a plus.  
Finalists will be asked to interview with the panel prior to final selection.
APPLICANT ELIGIBILITY
The artist-in-residence would have experience working collaboratively with communities. The ideal artist(s) works in the intersection of art and politics and utilizes art for social change. The selected artist(s) should be interested in LGBTQ issues, have demonstrated experience with social interventions through artistic practice, and have a desire to work specifically within the framework of the foster care system.  
In addition:
  • Applications will be accepted from individual artists or artist collectives only (artists cannot apply for or receive funds on behalf of a non-profit organization or a for-profit entity).  Artists can apply directly without a fiscal sponsor.
  • Artists must be 18 years of age of older and a resident of New York City

8.
American Stage
Deadline: March 31st

American Stage seeks to produce powerful and relevant professional live theatre.  Part of our mission is to develop and present new works for the stage that speak to a contemporary audience in a fresh and compelling way.

Due to volume of submissions, our process for consideration is as follows:
Ten-page script samples will be accepted between January 30, 2016 and March 31, 2016.
Full scripts will be requested.  Please do not send unsolicited full scripts.

Qualifications for Consideration:

American Stage will consider new plays that promote the exploration of socially-conscious themes relevant to our world today. Plays must be full-length in any genre: comedy, drama, musical, etc. Translations, collections of one-acts, children’s plays will not be considered.  Plays should not have had a previous professional production in the state of Florida.  Only one submission per playwright will be accepted each year.

Submission Process:

Playwrights interested in submitting a script sample for consideration should include the following:
  • Playwrights full name
  • Contact information
  • A short bio
  • Title of the play
  • Character breakdown and description
  • Synopsis; and
  • A ten page sample of the play
Please mail submissions only between January 30, 2016 and March 31, 2016 to:
New Play Development
American Stage
PO Box 1560
St. Petersburg, FL 33731

9.
P73 Productions
Deadline: April 1st
website: http://www.page73.org/programs/programs-application/

Page 73 has two play development programs available to early-career playwrights through this application. Playwrights may apply for either or both programs as they see fit.
Note that Page 73's Summer Residency is no longer open to applicants; participants in the Summer Residency will be selected by Page 73's staff from among the applicant pool and playwrights in our community.

The P73 Playwriting Fellowship
The P73 Playwriting Fellowship provides a year of comprehensive support to one early-career playwright who has received neither wide public recognition nor substantial production opportunities in New York City. Through this program, Page 73 provides artistic and financial resources to this writer as he or she develops one or more new plays of his or her choosing. The P73 Playwriting Fellow receives an unrestricted award of $10,000 and a development budget, managed by Page 73 over the course of the Fellowship year, up to an additional $10,000.

The P73 Playwriting Fellowship is best suited to writers who have reasonable goals that can be achieved with the resources provided by Page 73. These goals may include, but are not limited to, development of one or more new plays, assistance in building relationships within the New York City theater community, research, and/or travel. Applicants are encouraged to think creatively about using Fellowship resources to meet concrete goals that might not otherwise be possible. Please note that funds from the P73 Playwriting Fellowship do not cover full-scale productions. The Fellowship does, however, incorporate at least one public presentation – ideally a semi-staged workshop – of at least one play by the Fellow, produced by Page 73. Page 73 also helps Fellow identify and connect with collaborators, including directors, designers, actors and dramaturgs, for Fellowship projects.

The Fellow is associated with Page 73 for the calendar year, from January 1 to December 31. After being selected, he or she works with Page 73’s staff to develop a plan for the year and establish a timeline for the development work to be done on the new play or plays. The Fellow is also invited to participate in the Page 73 Summer Residency and Interstate 73 (described below) during the Fellowship year.

If the Fellow is not a New York City resident, he or she must be prepared to travel to New York during the Fellowship year in order to fully engage in the opportunities that the Fellowship provides. Fellowship development resources can be used to cover these costs.
Past P73 Playwriting Fellows are Kirsten Greenidge, Quiara Alegría Hudes, Jason Grote, Krista Knight, Tommy Smith, Heidi Schreck, Eliza Clark, Janine Nabers, Max Posner, Caroline V. McGraw and Clare Barron.

Interstate 73
Interstate 73 is Page 73’s yearlong writers group. Consisting of six to eight playwrights and led by Page 73’s staff, Interstate 73 meets twice monthly on weeknight evenings at our office in Fort Greene, Brooklyn. Participants bring in pages that are read aloud and discussed by the group. Each participating playwright is also given an opportunity for a reading of a completed work, which can be a public or private reading, depending on the playwright’s interests and needs. Page 73's staff works with each playwright to craft each reading to be as useful as possible for the writer.

Interstate 73 begins each year in January, and meetings run through December; sessions are typically suspended in August. Candidates for this program should not be involved in a similar year-long, institutional writing group concurrently with Interstate 73. As participants must be able to attend meetings regularly without inconvenience, Interstate 73 is offered only to writers who are residents of the greater metropolitan New York City Area. Please do not apply for Interstate 73 if you will not be a metropolitan NYC resident in 2016. Attendance at all Interstate 73 sessions is extremely important; please do not apply for Interstate 73 if you will be unable to attend group meetings in New York for a month or more during the period of the program. Page 73 selects participants from individuals who approach us through this application process as well as from individuals who have become known to the company through other means (professional recommendation, attendance at their work, etc.).

10.
Franklin Furnace
deadline: April 1st
website: franklinfurnace.org/artists/franklin_furnace_fund/docs/ff_guidelines_16_17.pdf

PROGRAM DESCRIPTION The Franklin Furnace Fund awards grants annually to emerging artists to enable them to produce major performance art works in New York. Grants range between $2,000 and $10,000 based on the peer review panel allocation of funding received by Franklin Furnace.

Franklin Furnace has no curator; each year a new panel of artists reviews all proposals. We believe this peer panel system allows all kinds of artists from all over the world an equal shot at presenting their work. Every year the panel changes, as do the definitions of "emerging artist" and "performance art." So if at first you don't succeed, please try again. Artists from all areas of the world are encouraged to apply; however, artists selected by the panel are expected to present their work in New York. Full-time students are ineligible.

The Franklin Furnace Fund 2015-2016 is supported by Jerome Foundation, The SHS Foundation, the NYC Department of Cultural Affairs in partnership with the City Council, and by general operating support from the New York State Council on the Arts. Artists supported by funding from Jerome Foundation must live in the five boroughs of New York City.

11.
Princess Grace Award
deadline: March 31st
website: https://www.pgfusa.org/grants-program/guidelines#Playwriting

Princess Grace Award encourages emerging playwrights at the beginning of their careers so that through the New Dramatists Fellowship, they can develop their work as well as benefit from being a part of a unique, diverse, dynamic community of professional playwrights. An applicant’s status as an emerging playwright is evaluated during the adjudication process.
One playwright will be selected to receive:
• A grant in the amount of $7,500
• A one-season (September – June) artistic residency at New Dramatists, Inc. in New York City (For Award recipients living outside of the New York metro area, your on-site residency can be adapted according to your schedule with reimbursement provided for transportation costs to/from New York)
• Inclusion of your script in New Dramatists’ library
• Advocacy for the recipient and their script to New York and National theatre communities for the duration of the fellowship
• Mentorship from a New Dramatists resident playwright for the duration of the fellowship
• Opportunity for winning play to be licensed and published by Samuel French, Inc.
Guidelines:
• All candidates must be United States citizens or have permanent resident status.
Eligible playwrights must not have had any professional full-length productions other than those using the showcase code or in an off-off-Broadway theater with 99 or fewer seats.
(If your show used a higher contract tier than the showcase code, you are not eligible to apply. If your show received a festival production in a theater with more than 99 seats and did not use an Equity contract, you are eligible to apply.)
Development opportunities such as readings and workshops are admissible.
You must submit one unpublished, full-length play (A full-length play is a single play that constitutes a full evening of theater. For example, a 90-minute intermissionless play is a full-length play.)
• There is no restriction on subject matter
• Story, language, and characters must be original; no adaptations.
• May not have received a professional production as defined above

APPLICATION STEP-BY-STEP

Submission Window: March 1-March 31, 2016 6PM EST
To begin your application, click on the “Begin Application” button below. You will be asked to create a username and enter your email address. Once you have clicked “Submit,” you will receive an email with instructions on how to log in. From this point forward, you will be guided through a simple process collecting all of your admissions materials in seven easy steps:
1. Log in. You will be asked to confirm you are a US Citizen, or permanent resident.
2. Fill in your full name, address, and phone number.
3. Upload your bio, resume, or CV.
4. Upload One Full-Length Works (Plays and/or Books to Musicals) (The following files may be used: txt, pdf, doc, docx, rtf).
5. Upload your Personal Statement.
6. Should you wish to submit a letter of recommendation, enter the name and email of your reference. An email containing a link to upload their letter of recommendation will be sent directly to them.
7. Review your application, and click “Submit Your Application” to complete the process. You will receive an email confirming your application has been received.
You may save your application at any point and return to it later before submitting. Once the application window closes at 6:00 (EST) p.m. on March 31, you may not alter your application in any way.

12.
Van Lier New Voices Fellowship
deadline: April 1st
The Lark is accepting applications for the 2016-17 Van Lier New Voices Fellowship program, supported by The New York Community Trust’s Edward and Sally Van Lier Fund.
The Van Lier New Voices Fellowship supports playwrights of color under 30 who demonstrate financial need. During a year-long residency, Fellows will work on multiple artistic projects through an individually-tailored program of Lark play development programs, and form relationships with other theatermakers at various career stages from all parts of the world. The Fellowship includes a cash award of $15,000, plus a $3,000 health insurance allowance, along with access to a wide range of Lark resources, including artistic program participation, financial literacy workshops, office and rehearsal space and staff support.
In the 2016-17 cycle, the Lark will award two Fellowships.
Applications will be accepted from February 9 to April 1, 2016.  Selected fellows will be notified by June 1, 2016.
The 2016-17 Fellowship period begins July 1, 2016 and ends June 30, 2017.  

Vision

The Van Lier New Voices Fellowship program is a critical component in The Lark’s acclaimed portfolio of fellowships, which includes the PoNY and Jerome New York programs. The portfolio is designed to engage a diverse community of extraordinary playwrights—at various places in their careers—who represent, collectively, a contemporary national vision. The Lark believes that targeted support to early-career playwrights from underrepresented backgrounds is essential to a culture of equity, access and inclusion, and a national  theater that represents the vibrancy of our collective cultural voices. Van Lier New Voices Fellows will be in residence at The Lark as part of a community of artists at various career levels from across the country and around the world, gathered to explore and illuminate the most important issues of our time.

Activities

Fellows will:
  • Work with Lark staff to identify individual artistic goals for the fellowship year, toward generating and developing new plays through a series of Lark programs appropriate to those goals;
  • Meet, collaborate, engage and work with a community of other professionals in the field, including playwrights, directors, actors, agents, producers and other industry leaders as appropriate;
  • Participate in and/or observe a variety of Lark’s play development processes, whether on or offsite, including retreats, workshops, readings, etc.;
  • Receive support for the advancement and advocacy of work generated during the Fellowship year, along with continued access to Lark development programs beyond the fellowship period.

Financial Award

Fellows will receive:
  • $15,000 fellowship stipend
  • $3,000 health insurance stipend
Please note that the fellows will receive a Form 1099 in the 2016 and 2017 calendar years and be responsible for their own taxes.  Both stipends are taxable.
Fellowship applicants must:
  • Be legal residents of New York City;
  • Identify as playwrights of color under the age of 30 at the time of application;
  • Demonstrate financial need; and
  • Make a case for how the Fellowship and participation in The Lark’s community would promote transformative artistic and professional growth.

Application

Please submit:
  • A cover sheet, including your name, address, date of birth, phone number, and email address.
  • A current artistic resume, along with one personal or professional reference (listing the referee’s title or institutional affiliation, along with their phone number and email address). Referrer may be an artistic collaborator, professor, or educator familiar with you and your work;
  • A one-page Artistic Statement that describes (1) where you feel you are in your creative and professional life; (2) career goals; (3) a proposed strategy for using the Fellowship’s resources towards those goals;
  • A one-page Description of Financial Need, describing current income, expenses, and any outstanding financial commitments (such as student loans or other debt), including a statement on how the fellowship stipend might be used and why it would be transformative.
  • A ten (10) page sample of recent work that best represents you as a playwright (Sample may be an excerpt or self-contained 10-minute play). Finalists will be asked to submit a recent full-length play as additional support material.
Finalists will be notified in May.  Selected fellows will be announced June 1.
Applications may be emailed in MS Word or PDF to VanLierNewVoices@larktheatre.org
Electronic submissions are encouraged.  
Mailed submissions can be sent to:
The Lark, Attention: Van Lier New Voices Fellowship
311 W. 43rd Street, Suite 406, New York, NY 10036
Applications are due April 1, 2016.

13.
Woodward International Playwriting Prize
deadline: April 1st
The University of New Hampshire proudly announces the Woodward International Playwriting Prize. The Woodward international Playwriting Prize is part of Cultural Stages: The International Drama and Dance Initiative. The aim of this program is to broaden and deepen the understanding of international cultures through a competition for plays addressing relevant themes.
The winning play will be given a fully produced production as part of the University of New Hampshire's 2017-2018 eason. The winning Playwright will receive a cash prize of $5,000, plus expenses to travel to the University of New Hampshire and stay for the one week of performances.  Finalists will be posted on the University of New Hampshire Department of Theatre and Dance website.  All submissions must be recieved no later than April 1, 2016.

Competition Rules

Plays submitted to the Woodward International Playwriting Prize must be at least one hour in performance length, and can be written in any style, including musical, and may contain any number of characters. Plays may not be adaptations of any work that is not in the common domain. Scripts must be submitted in English. Plays that have already been produced are not eligible for this prize.

Please note that:
  • The University of New Hampshire will not be able to offer feedback for submitted scripts.
  • Hard copy scripts will not be able to be mailed back.
  • The winning Playwright will be required to sign a letter of agreement giving permission for the University of New Hampshire to perform the play with no additional royalties or fees. The Playwright also agrees that any published version of the play will include the following statement: “First Produced by the University of New Hampshire, Department of Theatre and Dance as part of the Cultural Stages: Woodward International Drama and Dance Initiative.”
Plays should be submitted via our online form.
14.
Science Playwriting Competition
Deadline: April 1st
website: http://scgp.stonybrook.edu/scienceplays

The Simons Center for Geometry and Physics, in its ongoing mission to explore the intersection science and art, announces a CALL FOR PLAYS for the 2015-16 SBU Science Playwriting Competition. The event is made possible by the generous support of the Simons Center, the C. N. Yang Institute for Theoretical Physics, and the SBU Department of Theatre Arts.

Calling all talented playwrights with an interest in the sciences, and talented scientists with an interest in the theatre to compose a ten-minute play with a substantial science component. This contest is open to the general public:
First Prize Winner: $500
Second Prize Winner: $200
3rd Prize Winner: $100
Bringing science and theatre together can provide the inspiration for a play of exceptional artistic merit and lead to exciting new ways of learning about science. Indeed, we believe the best science plays can be great works of art because of the science they contain and great educational tools because of their artistic value. We are recruiting Stony Brook University’™s brightest minds to write great plays that make science accessible to a wide audience.
A public staged reading of the winning entries will be performed during the Fall 2016 semester at the Simons Center for Geometry and Physics.

Guidelines:

  • Plays should be around 10 minutes in length (usually around 10 pages).
  • Winning playwrights will receive a directed, staged reading of their work in the Fall 2016 semester.
  • Plays must have a title page that includes the playwright’s name, address, phone number, and email address.
  • Plays must be unpublished work.
The awards committee will consist of Professors Christopher Herzog, George Sterman, and Steve Marsh.
*Note: please submit electronic entries as a pdf file. Submitting your play implies permission to have your play performed in a staged reading in the fall semester; all submissions remain the property of the playwright.

QUESTIONS? CONCERNS?

CONTACT US AT scienceplays@scgp.stonybrook.edu
This is the fourth annual science playwriting competition. Information about the previous competitions can be found here:

Submissions

To submit, please fill out the form on our website.

15.
Capital Stage: Playwrights’ Revolution
deadline: March 31st

Every summer Capital Stage presents professional staged readings of new works through the PLAYWRIGHTS’ REVOLUTION. We seek submissions for new plays from January 1 – March 31, 2016.
Script submissions are accepted as follows:
  • Playwrights wishing to submit work should refer to our Playwrights’ Revolution submission deadlines and criteria below
  • Agents may send full-length manuscripts via email to: literarymanager@capstage.org  

Playwright’s Revolution 2016


As Sacramento’s leader of bold, thought-provoking theatre, Capital Stage created the PLAYWRIGHTS’ REVOLUTION. This series of staged readings seeks to identify and develop exciting new plays and playwrights. These new works are brought to theatrical life through a series of staged readings performed by professional actors in Capital Stage’s intimate theatre. Capital Stage invites audiences to take part in the new play development process by attending readings and participating in post-reading discussion.

Qualifications

Capital Stage is particularly interested in plays that fulfill our mission to bring bold, thought-provoking work to the region. Plays must be full-length in any genre: comedy, drama, musical, etc. Translations, collections of one-acts, children’s plays and any play that has received a full-scale, professional production prior to submission are not eligible. Plays that have had a workshop, reading or non-professional production are still eligible. Only one submission per playwright is allowed each year.

The Selection Process

Capital Stage’s competitive selection process consists of two rounds of selection. All play excerpts submitted during the first round, averaging 200 submissions, are reviewed. Then, selected playwrights are asked to provide a full manuscript of their play. Finally, Capital Stage invites 4 to 6 playwrights to have their work included in PLAYWRIGHTS’ REVOLUTION.

Preference will be given to those plays that are aligned with Capital Stage’s mission to bring bold, thought-provoking work to our community.

How to Apply
Playwrights interested in submitting a play for consideration should send the following to Capital Stage between January 1 – March 31, 2016.
Attn: Literary Management, 2215 J Street, Sacramento, CA 95816:
  • Your contact information;
  • A concise paragraph stating your previous playwriting credits;
  • Title of the play;
  • Character breakdown and description;
  • Time and place of the play;
  • Synopsis; and
  • A ten page sample of the play.

16.
Carmagio Arts Residency
deadline: March 15

In 2014 BAU Institute launched a new arts residency hosted by the Camargo Foundation in Cassis, France. The Residency provides BAU Institute funded Fellowships for the realization of projects in the arts. There is no cost to attend. Creative practioners demonstrating a serious commitment to their practice and a desire to work independently within an international community are welcome to apply.
A public exhibition and reading/performance will be held at FiveMyles gallery in Brooklyn, NY in January 2017 to showcase the new work created at the residency.

2016 RESIDENCY DATES

August 1 – August 22.

DEADLINE:

Final applications on-line until 11:59 PM EST March 15, 2016

ELIGIBILITY

BAU Institute welcomes international applicants. The residency supports the development of work in the Visual Arts (including photography, video and new media), Creative Writing, Dramatic Writing, Performance and Musical Composition. The residency may accommodate up to 15 people at a time. Fellowship selections are determined by a rotating panel of discipline specific professionals.

The Bau at Camargo Fellowship

The fellowship provides artists with live-work apartments at no cost.


The Camargo Foundation campus is located directly on the Mediterranean Sea with breathtaking views of the harbor and Cap Canaille, the highest maritime cliff in Europe. It is a short walk to the village of Cassis with regional open markets, restaurants and stores where necessities may be found. There is abundant food shopping. A short walk along the coast brings you to the National Park of the Calanques with spectacular limestone cliffs. The lively city of Marseille is 30 minutes away by train, bus or car. From Marseille it is an easy transfer to either the airport or the express train system for travel within France and other European cities. The Camargo Foundation is a seven minute drive to the train station in Cassis.

All Fellows will receive a private bedroom in either a one or two bedroom apartment.
The apartments are all furnished and have fully equipped kitchens. Linens and towels are provided. A washer and dryer are available for personal laundry. There are no telephones in the apartments, but there is WiFi throughout most of the campus. There is on-campus parking however, a car is not necessary. Driving within Cassis pedestrian center and harbor is restricted. The grounds of the Camargo Foundation contain a large reference library, an outdoor Greek Theater, gardens and large terraces with sea views for the use of the residents. There is a private music studio with a Steinway piano for a composer. Visual artists work in their apartments or in additional spaces on the property.

The language of the residency is English. There is no French language requirement for the fellowship. Transportation and meals are the responsibility of the residents. BAU Institute will host a Welcome and a Farewell Dinner. Fellows are encouraged to organize pot lucks and picnics. There is a no overnight guest policy and no children or pets may visit the Foundation. A refundable $250.00 USD security deposit is due upon acceptance.
The BAU Institute Residency Director will be on site and available for assistance.
Additional support from the Camargo Foundation staff during business hours is also available.Fellows receive extensive information packets before arrival to facilitate their travel plans and prepare for life in Cassis.

Application Guidelines

Please upload your submission following instructions on this page. Find the application form at the end of these guidelines.

Have the following 5 items ready before starting your submission:
  1. CV or resume in PDF.
  2. A letter of intent: Describe the work you plan to undertake while in residence, and how the specific nature of this residency will benefit your work.
  3. Documentation of your work: You may submit either images, text-based files, video, or audio, depending on your discipline.

SPECIFY THE FOLLOWING:

-VISUAL ARTS
Title, year, size, medium and optional brief synopsis for each of 7 JPEGs.
-PERFORMANCE
Choreographer, performer(s), length of original piece, year and brief synopsis.
-FILM
Screenwriter, director, actor(s), length of original piece, year and brief synopsis.
-WRITING
Title, length of original piece, year and brief synopsis. If needed, a brief (2-3 sentences) description can be included for each piece submitted.
Professional References: Name, Title (if applicable), and email address of 2 professional references who may be contacted. Do not send letters unless requested.
Application Fee: $43.00

SUBMIT IN ONLY ONE OF THE FOLLOWING DISCIPLINES:

  1. VISUAL ARTS
  2. If your medium is painting, sculpture, installation, site-specific, digital media, photography, or drawing, please submit JPEG images.
    1. Seven (7) JPEG images, at 72 DPI resolution, maximum file size for each image submitted, 1MB. Images must be numbered as in the WORK SAMPLE LIST. We can only accept JPEGs. Please do NOT submit Powerpoint presentations, PDF, TIFF, Gif or PSD files.
  3. VIDEO
    1. Links to three video excerpts. Please make sure to mark which 3-minutes of each piece you would like the jury to review. The jury will be required to watch 3 minutes for each; it is at their discretion whether they will watch more. We ONLY review video or audio documentation for candidates whose work is time-based, interactive, webbased, kinetic, film, video, theatre, sound, music, spoken word, and performance.
  4. WRITING
  5. Please Submit one of the following:
    1. six to ten poems
    2. two short stories, essays or articles
    3. fifteen pages of a fiction manuscript or dramatic/film script
  6. MUSICAL COMPOSITION
    1. Two score PDFs (2 different pieces at least one written in the past five years).
    2. A link to recordings of each piece from Soundcloud.

JOINT APPLICATIONS:

Each applicant must apply individually. Please discuss the proposed collaboration in your letter of intent.
Incomplete applications cannot be processed.
Please email questions to: info@bauinstitute.org

Application