Saturday, November 26, 2016

Fidel Castro is Dead

I grew up in Miami and there were two things that were considered indisputably evil 1) The Holocaust 2) Fidel Castro. In regard to the communist rebel 90 miles away I held this view for most of my childhood. After all there was no one to convince me otherwise and plenty of Cuban exiles hammered this portrait of a monster every day on the airwaves. Cuba was the tropical North Korea. There was an embargo and a complete freeze on understanding not only the man but the complexities of a contemporary nation.

As silly as this sounds the first crack in this frozen painting came from the documentary "The Buena Vista Social Club." I saw a country bedraggled by the embargo and suffering but also alive with joy. Then there was the Elian Gonzalez deportation of a child back to his father. And then there was the reports of the free health care, doctors who take care of not only Cubans but travel to other countries, cures for cancer, black dissidents who were being kept safe from the harm of trumped-up charges, Europeans who said it was their favorite destination in the Western Hemisphere, and finally Cubans from Miami who started flying back to Havana (via Mexico). I'm not Cuban but I think my understanding of Castro and Cuba is a lot more complex today than it was as a child. He was a tyrant and a thief who helped bring the world to the edge of a nuclear war. But he was also the only man who successfully opposed American corporations, offered shelter for people against white supremacist hegemony in this hemisphere, saved lives with socialized health care.

This isn't a love letter or a condemnation. Just an acknowledgment of complexity. Hell, even George Bush saved millions of lives with his AIDS program in Africa. And if I can acknowledge that the WORST GODAWFUL, MOST UNFORGIVABLY BAD president in American history managed to do something good for brown people in this world, I can hold space for a troubled and complex view of Castro. 

Monday, November 14, 2016

Political Buddhas

When I started studying Buddhism 10 yrs ago I ran into a lot of different types of devotees that reminded me of political wonks. There were the "Pessimist Buddhas' who saw the signs of bad karma in every bit of personal or national news, and these types tended to be the first ones to fall off of their practice. Then there were the 'Hippie buddhas' who thought everything was macrobiotic sunshine and vegan rainbows, and they would be the next to fall off b/c even the most fanatic optimist can get crushed under flesh-devouring reality. Then there were the 'Catastrophe Buddhas' who started studying b/c of a trauma, and they were great in times of death or crisis but would eventually leave b/c they couldn't handle the Monday-Friday mundane. And then there were the 'Day to Day Buddhas' who were the most likely to stick around. They never got too high on themselves when they accomplished something or too low when they had a failure. They all seem to deal with the daily upkeep as well as ebb and flow of their practice with gentleness, grace, and -mostly importantly- humor. I watched them and saw that it was not enough to be smart or to 'know stuff.' If knowing stuff were the key in spirituality or politics then we could wikipedia ourselves to nirvana. The daily practice is in the ebb and flows. To take the best qualities of the Pessimists, Hippies, and Catastrophists and put them into daily practice. I think the next four years will be pretty bad for minorities (aka 'the majorities' as I like to call them), women, immigrants, gays, non-Christians, poor people, and the middle class. 'Bad' isn't descriptive enough. Sorrowful is a more accurate term. But I guess this is a chance to find that balance in my political and spiritual daily life. No retreat, no sequestering myself away from news as if I could vaccinate myself from troubling information, nor drowning myself in overstimulation, not jumping onto every bandwagon petition, nor staying in disparaging paralysis. But day-to-Day humor and love and wisdom to deal with the peaks and valleys. The work will happen.

Saturday, November 5, 2016

GET WHAT YOU WANT: November 2016

Deadline: November 15th

The Lila Acheson Wallace American Playwrights Program encourages and aids the development of new and diverse voices in the American theater. Under the direction of Marsha Norman and David Lindsay-Abaire, the Playwrights Program offers one-year, tuition-free, graduate level fellowships to four or five writers. Selected playwrights may be invited to continue their studies through a second academic year, thereby completing a total of 52 credits for the two-year fellowship period and earning an Artist Diploma in Playwriting. Juilliard's Playwrights Program is purposely small and allows the artists to focus on the practical aspects of dramatic writing while at the same time they are encouraged to take advantage of the wealth of resources within Juilliard's walls, and those afforded via the School's prime location on Broadway — the greater New York City theater scene. Students may take any class in the Drama Division and are encouraged to see productions around the city by receiving free or discounted tickets to many events on- and off-Broadway. The essence of the Playwrights Program lies in the weekly master class with the playwright heads focusing on dramatic structure and the cultivation of each writer's individual voice. Twice monthly lab readings of the students' work allow the writers, with the help of Juilliard acting students and alumni, to tackle the practical aspects of creating a new play. In addition, seminars centering on other aspects of the theatrical profession are planned on a quarterly basis. The year's end culminates when students in the playwrights residency present their work to professionals from New York and around the country in a showcase evening. The intention is that these events will create a bridge for these artists between Juilliard and the larger community.

Online online application.
$60 application fee. Payment may be made by credit card, checking account, or PayPal account.
One full-length play, or a long one-act play (an hour or more). A full-length play is strongly preferred over long one-act plays. We do not accept musicals, screenplays, or television scripts. All applicants should submit the best available representation of their work, and should not submit a play that is in the early stages of development. Updates, edits, or re-writes will not be accepted once a play is submitted with the application, unless an applicant reaches the final round of consideration.
For guidance regarding formatting, we recommend these guidelines from the Dramatists Guild of America. Please note, this a formatting recommendation only (not a requirement).
You must upload a copy of your play as part of your online application. This copy of your play should be "blind" - the cover page should contain ONLY the title of your play. Your play will be sent to our first-round readers, who read applicants' plays without knowledge of the playwright's identity. Please ensure that no identifying information (your name, your agent's name, etc.) appears on your submission.

A one-page statement describing your artistic vision and personal background. Please upload your statement to your online application.
A professional resume, uploaded to your online application.
Two letters of recommendation.

Deadline: November 17th

The Playwrights’ Center Jerome Fellowships are awarded annually, providing emerging American playwrights with funds and services to aid them in the development of their craft. Four $18,000 fellowships will be awarded in 2017-18, in addition to $2,000 in development support. Fellows spend a year-long residency in Minnesota had have access to Center opportunities, including workshops with professional directors, dramaturgs, and actors.

Deadline: December 1st

Many Voices Fellowships are awarded annually to two artists of color with previous playwriting experience and/or training. One fellowship is awarded to a Minnesota playwright, and one fellowship is awarded to either a Minnesota or national playwright. Both Many Voices Fellowships provide:
a $10,000 stipend,
an additional $2,500 for living expenses,
$1,500 in play development funds
assistance building connections with theater leaders and companies in the Twin Cities and nationwide

Deadline: December 8th

Supported by a grant from the McKnight Foundation, this program aids in the commissioning and development of new works from nationally recognized playwrights. Benefits include:
A $14,000 commission
At least two U.S. round-trip airline tickets
Housing during the residency period
Up to $5,750 in workshop funds to support the development of the play
A public reading of the commissioned play

Deadline November 10

First Stage Residency is designed for artists at the very beginning of a new project and is meant to begin an initial exploration or investigation of an idea, concept, or early pages for a new play, musical, devised work, or other creative process that will eventually lead to a new theatrical work.

Next Stage Residency is designed for directors who are shepherding a project through the middle or late stages of its development and is meant to bridge the gap in support so that the piece is ready for pre-production. The residency is meant to be a serious interrogation of the piece, discovering both questions and answers in a supportive environment.

Deadline: November 10th 

Opportunity is open to women or women-identified artists who both write and direct their own work. It is not intended for a director who would like to write a first play, or for a writer who has rarely directed. Applicants can be at an early stage in their career, but they must work regularly in both areas.

The BEATRICE TERRY RESIDENCY FOR WOMEN WRITER-DIRECTORS is dedicated to the development of a new work by women or women-identified artists who both write and direct their own work, and includes rehearsal space, a workshop stipend, professional mentorship, and work in progress showings.

The BEATRICE TERRY RESIDENCY FOR WOMEN WRITER-DIRECTORS is dedicated to the development of a new work by women or women-identified artists who both write and direct their own work. It is not intended for a director who would like to write a first play, or for a writer who has rarely directed. Applicants can be at an early stage in their career, but they must work regularly in both areas. The residency includes:

1. REHEARSAL SPACE: up to a maximum 29 hours of rehearsal in the Stewart F. Lane/Bonnie Comley Studio Lab at The Drama League Theater Center in Tribeca.
2. WORKSHOP STIPEND: A stipend for the developmental expenses of the residency will be awarded. Amounts awarded are determined by the selection committee; in 2016 the BEATRICE TERRY RESIDENCY received $3500. Applicants will be notified of the amount of the stipend before committing to the residency.
3. PROFESSIONAL MENTORSHIP: The artist will receive periodic mentorship from Drama League staff.
4. WORK-IN-PROGRESS SHOWINGS: The work will receive an in-progress showings at the Drama League Theater Center in Tribeca, culminating in a writing residency, living stipend and a professional reading of the new work at The Drama League Theater Center in Tribeca.

1. Resume
2. Bio
3. Project Description
4. Goals of Residency
5. Writing Sample (ten page max)
6. Two Professional References (with contact info)
For more info on this opportunity, click here:
For more info on The Drama League's Artist Residencies, click here:
Applications are now open and will close 5:00pm, Thursday November 10th, 2016.
Any questions can be directed to

Deadline November 15

Award: $1,200 Fee: $35 Restrictions: US & MENA (Middle East and North Africa) Playwrights, Directors, Composers & Librettists.

After a successful Lab in North Africa last season, the annual Theatre Lab returns to its traditional home in the Wasatch Mountains of Utah in July 2017. Projects will be selected from both US and MENA theatre artists. This is an innovation of our centerpiece Theatre Lab that directly champions our notion of community. We are now offering a single Lab that brings together artists from the United States and the MENA region.

Deadline December 1

Signature Theatre is thrilled to invite musical theatre writers to submit their new musicals to be chosen for development in the summer of 2017 at Signature’'s SigWorks: Musical Theater Lab. Two musicals will be chosen for a two week development workshop during which each project will receive public readings at the end of each week. The projects, under leadership of Signature’'s Director of New Works Joe Calarco, will each receive a director, assistant director, a music director and a dramaturge. The writers of the chosen musicals will receive housing, travel and an honorarium.

Award: Housing, travel and an honorarium. Fee: $35 Restrictions: United States writers only. Project must be a musical. Project cannot have been previously produced, but may have received prior workshops or readings.

Urban Stages: Emerging Playwright Award 
Deadline Rolling

Award: $500 and press coverage. Fee: N/A Restrictions: No email submissions; special attention will be given to playwrights who live in or near New York

Urban Stages' Emerging Playwright Award is presented to innovative playwrights whose works speak to the whole of society. Special attention is given to plays that touch on social issues. Submissions are accepted throughout the year (there is not a deadline) from around the United States and internationally. However, special attention is given to those who live in or near New York.  

Deadline: Rolling
Award: Performance Fee: N/A Restrictions: N/A

New work for the stage isn't always created around a table. Ars Nova has a number of programs and performance series designed to provide opportunities for artists to see their work in front of an audience throughout the stages of a development process. Our raucous variety show-meets-party with performances ranging from hilarious to titillating to utterly inappropriate! We're always on the lookout for new performers to showcase. Have a five-minute act you'd like to try out? Apply today.

Deadline Rolling

NOTE: This is a trust set up to help emerging artists in need of support. 

Anna Sosenko, producer, composer, and manager set up a trust to aid and enhance the career development of worthy and talented individuals in need of such assistance in the performance areas of theatre, opera, or concert. Please see website for more details and for application.

Deadline: December 1st

The Bellagio Center is now accepting applications for their one-month residency for three to five artists at a time. Recipients will reside in a diverse community with fellows from fields that include the natural sciences, social sciences, as well as political and non-profit organization leaders. This diverse community reflects the Foundation's belief in the creative and innovative power of interdisciplinary interactions.

The Foundation’s Bellagio Residency Program has a track record for supporting the generation of important new knowledge addressing some of the most complex issues facing our world, and innovative new works of art that inspire reflection and understanding of global and social issues. The next open application period for Arts & Literary Arts residency begins October 1, 2016 with the deadline of December 1, 2016 for residencies in 2017.

The Center consists of several buildings in 55 acres grounds on Lake Como in Northern Italy: the Villa Serbelloni and Villa Maranese house the resident fellows (scholars, practitioners and artists); the Sfondrata and Frati buildings are reserved for meetings. The town of Bellagio, immediately adjacent to the Bellagio Center, is located in northern Italy at the point where Lake Como divides to form its Lecco and Como arms. It is approximately 75 km. (47 miles) north of Milan.

-Applications are accepted online only and are available two months before the deadline. Current application criteria are available on the website and we encourage all applicants to review the requirements as well as the application resource center before applying:

-Application components include a detailed project proposal, curriculum vitae and work samples. Two letters of recommendation are required and a third is highly encouraged. Guidelines are as follows:
-Applicants may apply up to a total of three times There is a lifetime limit of two residencies Those who have held residencies (or spouses who accompanied residents for more than one week) must wait five years before reapplying Applicants are not allowed to re-submit any unsuccessful proposals but are permitted to submit revised versions Spouses/life partners may accompany the resident or may apply for a concurrent residency.
-The residency is free of charge, however, some resident fellows must pay their own travel fees to Bellagio, Como, Italy. (airfare, local travel)
-Travel grants and modest stipends to offset incidental travel costs are available on a needs basis, with awards granted to approximately half of all resident fellows.
-Residents are expected to complete an online survey about their Bellagio Center experience and to provide a copy of any publications or reviews of their work produced at the Center.

Artist Fellowships Address Racial Justice and Mass Incarceration Issues
Deadline: December 5th

The Robert Rauschenberg Foundation is dedicated to fostering the legacy of the artist’s life, work, and philosophy that art can change the world. The Foundation’s Artist as Activist Fellowships support independent artists and art collectives that have a demonstrated commitment to applying their creative work to the public sphere. The focus of the 2017 Fellowships is on addressing racial justice through the lens of mass incarceration. Applicants should present works that highlight the need for more aggressive reform on issues such as immigrant detention, policing, and the privatization of prisons.

 Fellows receive funding of up to $100,000 over two years as well as professional development opportunities through a group gathering at the Foundation’s residency campus in Captiva, FL. U.S.-based artists and artist collectives seeking to work full-time on an ambitious creative work tackling this issue are eligible to apply. The application deadline is December 5, 2016. Visit the Foundation’s website for more information about the Fellowship program.

Deadline: November 10th

The Association for Theatre in Higher Education (ATHE) is pleased to announce the ATHE Award for Excellence in Playwriting. The award honors a new play marked by sophisticated and nuanced storytelling, with the potential to make a major artistic impact on contemporary theatre.

Plays must have been written during the two years preceding the upcoming national conference (August 2017) by playwrights engaged with an institution of higher education (be it student, faculty, artist in residence, guest artist, etc.) during that time period.

Only full-length plays, in Samuel French Playwriting Format, may be nominated for this award. Self-nominations and nominations from ATHE members are permitted. Only one play may be submitted per playwright in any given year. The plays can be produced or unproduced, but must be unpublished.

Qualifying plays should be submitted through the ATHE website. No submission fees are required. The winning playwright is expected to attend the ATHE Conference and participate in a development workshop and staged reading of the play. The conference takes place - The playwright will receive conference registration, four nights in the conference hotel, $500 towards travel expenses (reimbursement), and a one-year membership in the Dramatists Guild. Additionally, the winner will receive a plaque at the annual ATHE Awards Celebration and attend a reception.

For further information contact Jan Lewis at, or Charlene Donaghy at

Deadline(s): Nov. 15th for Sephardic Themes 
                    Dec. 15th for stories of bravery

Okay, you’re Jewish, that’s a good start, but how “Jewish” do you have to write? When submitting material, consider the following parameters for your submission:
Please check the themes of the season and submit accordingly. We will not accept late submissions this year. Thank you!
An element of Jewish resonance is important, but your submission does not need to feature being Jewish as the prominent theme or subject.
Feature women or a woman’s point of view, but not exclusively. Male characters are welcome.
Short one-acts (10 minutes max) and monologues (7 minutes max) are preferred. Will read full-length, but unlikely will produce.
1500 words or less preferred
Must be topical for the 21st century. While we consider plays set in another time period, we mostly select contemporary pieces.
Small cast a must. One-person shows okay.
Previously produced or published work is welcome. Please include production and/or publication history. A new version of a classic or an adaptation from another medium would definitely be of interest.
Although the primary focus of the JWT is on the writing, music is often a part of our events. We encourage composers, song-writers, and performers to submit individual work. Musicals are welcome.

Submit your material to

upcoming themes
Exile: Kisses on Both Cheeks
The Sephardic legacy of family, community, and country, looking for home more than 500 years after the expulsion from Spain.

More Courage
Stories of brave acts, small or large, that change lives and inspire us all.

Deadline: December 15th

Full-length scripts are currently being accepted through December 15, 2016. Three to four scripts will be selected and announced to the public on March 1, 2017. Professional directors and performers will be assigned to the selected scripts for a rehearsal period culminating in a series of public staged readings from May 5 – 7, 2017.

Festival playwrights will be awarded a $500 prize.
Plays must be submitted in PDF form by December 15.
Plays must be full-length with a running time of at least an hour.
Plays must be submitted in an acceptable script format and written primarily in English.
Plays must be unproduced. Scripts may have received public readings or limited workshops, but additional information may be requested to determine eligibility.
Only one script per playwright may be submitted.
Playwrights must be citizens of the United States. Submissions from Austinites, Texans, and underserved populations are particularly encouraged.
Playwrights must submit plays and send direct inquiries to with the subject header “New Play Festival.”
Playwrights must include a brief biography or resume with submission.
Austin Playhouse will have first right of refusal for selected scripts for the 2017-2018 season.
WHERE: Austin Playhouse at ACC’s Highland Campus 6001 Airport Blvd., Austin, TX 78752

Deadline: November 7th

Theatre Southwest is now accepting 5- to 10-minute scripts for the 12th Annual Reader's Theatre. Deadline for submission is Nov 7, 2016. Approximately 8-12 selected plays will be read and voted on by the attending audience. The audience favorite receives a $100 prize!

General guidelines
Limit of two entries per playwright of an original work that has not been published or produced.
Monologues and one man/woman plays are not accepted.
All genres are accepted (light comedies, heavy dramas, thrillers, mystery, sci-fi, satire) with no regard to language or subject matter.
All plays should be 5 to 10 minutes long, no exceptions. (If using standard play format a good gauge is 4-11 pages, excluding title page).
Plays should be conducive to Reader's Theatre with simple stage directions and a story expressed through dialogue, not action.
Submission guidelines
Scripts are accepted via mail only (no email, no PDFs) and must be postmarked by Nov 7. Scripts are not returned.
Scripts should have a title page that includes the play title and playwright's contact information, as well as a list of characters and a brief synopsis of the play. Script pages should be numbered.
ALL scripts should be stapled in the upper left-hand corner.
There is NO ENTRY FEE.
Playwrights selected will be informed prior to the event.

Mail entries to:

Theatre Southwest
8944-A Clarkcrest
Houston, TX 77063

Deadline: November 20th

1. This year's creative challenge: Grow Up. The theme "Grow Up" must be an integral part of the play.

You decide: Grow Up! Stop speculating, take action. Decrease your immaturity. Stop daydreaming. Become an adult.

You decide: Grow Up! Aim for what society believes is adult behavior. Lose your child-like wonder. Become pragmatic, sensible and rational. Lose your curiosity.

2. The play must be a ten-minute play. You must submit online by November 20, 2016. There are no fees. Once you submit you will be taken to a page confirming that we have received your submission. You may only submit one play.

The contest is open to anyone (any part of the world) without geographic or age restrictions.

The story can be a comedy, a drama, a parody, absurd or anything in between (in English only). We accept any style except musicals. If you need more ideas on writing to this year's theme click here.

The cover page should have the title of the play, the playwright's name and the list of characters. The pages should be numbered. The format should be easy to read. We accept previously produced plays (but not plays that have produced in InspiraTO before). The playwright must own the rights to the play up to June 10, 2017 (i.e. the script cannot be owned by a publisher).

We are particularly interested in scripts that aren't afraid to make bold choices: quality writing backed by imaginative staging. Only those playwrights whose plays have been selected will be notified by January 1, 2017.

The plays will be selected by a committee from the Toronto theatre community. If selected, your play will be performed in Toronto, Canada from June 1 - June 10, 2017. Between eighteen to twenty four, ten-minute plays will be selected and performed. 1st Prize: $500 CDN. Should your play be selected for inclusion in the festival, you are giving the non-exclusive right to Theatre InspiraTO to produce and perform the play in the 12th Annual InspiraTO Festival in Toronto (Canada's largest ten-minute play festival), in June 2017. The InspiraTO Festival will find the cast, crew and market your play. Authors retain copyright and full ownership of their plays.

3. The submission must be a play. A ten-minute play is distinct from a sketch, or a skit; it is a compact play, with a beginning, middle and an end. You need a character facing obstacles in pursuit of some specific goal. You need rising action, conflict, and a climactic moment and your play must tell a complete story.

Generally speaking, scripts (including the stage directions, character names and dialogue) that are over 1,900 words are more than ten minutes long on stage. This does not mean that all plays under 1,900 words are under ten minutes, so be wise: use Word Count and read the play out loud while timing the length (including all pauses). You don't want your hard work rejected because it was too long.

Get inspired. See your story come to life! You must submit your play online.

To submit your play email:
Attach your play in a PDF or Word document (Mac users please note: make sure that the document can be opened on a PC).

In the subject line write: 12th InspiraTO Contest.

In the body of the email please state (copy and paste the following):
Website (optional):
Play Title:
Brief synopsis of play (under 100 words):
Has the play been produced before (we stage previously produced plays)?
If so, where?
Short Bio (under 100 words):
Where did you hear about the InspiraTO Festival:

We will email you a reply that we received your submission within three business days.  If you experience a problem please email: In the subject line write: 12th InspiraTO Contest.

Deadline: December 31st

Full-length play scripts sought for theater workshop opportunity. The winner will receive a prize of $1,000 and a script workshop weekend in summer 2017. The workshop will culminate in a rehearsed public reading of the script at our theater in Annapolis, Maryland.

Playwrights must currently reside in Washington DC or any of the 13 original colonies of the United States
Plays must be unpublished and unproduced.
Estimated run time should be at least 85 minutes, and cast size should not exceed 10.
Musicals and musical librettos are not accepted.
The winner will be notified by May 15, 2017.
Judging is blind. No name(s) of the playwright(s), nor any other identifying information is allowed on any submitted material. The materials will not be forwarded to readers for judging if names appear anywhere.

All entries must include four PDFs:
Summary of the story not to exceed two pages. Plotline only! Please do not include reviewer comments, notes of praise, or any enthusiastic blurbs that are intended to sway judges or sell the piece

List of Characters with descriptions
10 consecutive representative pages from the script
Full script (no author names or other identifying marks)

Submit online at between October 1, 2016, and Dec 31, 2016

Deadline: November 24th

The Camargo Foundation seeks applications by scholars, thinkers and artists for multiple residencies in 2017 and 2018 for its Core Program residencies.
Applications for the 2017/2018 Camargo Core Program are now open. The Camargo Foundation welcomes applications from all countries, nationalities, and career levels.

Scholars & Thinkers (including  professionals and practitioners in creative fields such as curators, critics, urban planners, independent scholars, etc.) should be connected to the Arts and Humanities working on French and Francophone cultures, including but not limited to cross-cultural studies that engage the cultures and influences of the Mediterranean region.
Artists, in all disciplines, who are the primary creators of a new work/project. The Camargo Core Program encourages multidisciplinary and interdisciplinary approaches.

Research, experiment & create: applicants may apply either with a specific project or a specific area of inquiry on which they would like to work during the residency. An area of inquiry should be specific and represent exploration and investigation in the Fellow’s field. The Camargo Core Program welcomes both open-ended exploration, or more focused works and long-term research projects.
Exchange & network: during the residency, discussions are held regularly to foster cross-disciplinary exchange between Fellows. In addition, the Camargo Foundation’s Staff provides formal and informal links with local professionals to develop possible creative collaborations between the Fellow and the region.

Fall 2017 (8 weeks from September 5 to October 31)
Spring 2018 (6 weeks from February 27 to April 10 / 8 weeks from February 27 to April 24 / 11 weeks from February 27 to May 15)

18 Fellowships/year, 9 artists and 9 scholars & thinkers

A stipend of 1000 USD per month is available, as is funding for basic transportation to and from Cassis for the Fellow for the residency. In the case of air travel, basic coach class booked far in advance is covered.

Applications should be submitted via Submittable and can be accessed at: The application form must be submitted in English, the supporting materials can be submitted either in English or French. Applications must include the following:
A proposal narrative: describe your intended focus of the residency, whether on (a) particular work(s) or a more open-ended area of inquiry.
A rationale for wanting to work in the Aix-Marseille-Provence area, including existing or potential connections with people, places, organizations, and environments.
A rationale about why a residency is appropriate at this specific stage of the proposal and/or career.
A current C.V.
For artists: work samples. If providing a work in progress, please also provide finished work. Work samples can be: up to 16 images for visual artists; up to 20 pages for writers; up to 20 minutes of clips for filmmakers, etc. Vimeo is preferred but not required for videos. Applicants must provide information about each work sample, including cue point, passwords, the applicant’s role in the work represented, etc.
For any technical questions about the application, please email

Deadline: November 10th

The Theater Project of Maplewood, NJ, an award-winning, professional theater, is now soliciting short plays for “Think Fast,” its fourth-annual short play competition February 10-12, 2017. The contest is open to playwrights in the New Jersey-New York area. The Judges’ Choice winner will receive a $500 prize.


WHO WE ARE: The Theater Project, a professional theater company based in Maplewood, NJ, began in 1994 with the goal of bringing the best contemporary plays to our community.

HOW TO SUBMIT: Electronic submissions only. E-mail your short play to Include in the Subject line: “Submission + The Title of Your Play.”

WHAT TO SUBMIT: Plays can be either dramas or comedies but must be no more than 15 minutes running time. This restriction is absolute and plays that exceed 15 minutes will not be considered. Sets, lighting and sound requirements must be simple. No elaborate props or effects. Plays invited to participate must be rehearsed, ready-to-perform and must supply their own actors and directors. There is no fee to submit. Those selected for participation will be charged a $150 fee to cover production costs.

WHAT WE SUPPLY: The Theater Project will supply the venue (The Burgdorff Center for the Performing Arts in Maplewood, NJ), a stage manager and a lighting/sound director. Individual productions supply the actors, directors and make their own agreements with actors/directors regarding compensation.

JUDGES: All plays are guaranteed two (2) performances on Friday, February 10 and Saturday, February 11. If a play progresses to the “final” round on Sunday, February 12, that play will have a third performance. Plays progress through audience vote. On Sunday, February 12, a panel of judges will award the “Judges’ Choice” award and there will also be an “Audience Choice” award.

WHAT’S IN IT FOR YOU: The Theater Project will publicize the festival and the “Judges’ Choice” winner for Best Play will receive a $500 prize.

Deadline: December 1st

The 2017 Beyond the Pure Fellowships for Writers program runs from April-December 2017. Fellows selected for this program may receive up to $5,000 to work on an individual grant project during this period. In addition to their grant award, fellows also participate in a fellowship program designed to provide community, peer support, guidance, conversation, and resources throughout the program year.

Intermedia Arts’ Beyond the Pure Fellowships for Writers places a particular emphasis on increasing the visibility of and providing a platform for emerging writers whose voices have historically been underrepresented in the literary arts, including (but not limited to): writers of color, LGBTQIA+ writers, women, new and recent immigrant communities, Native and Indigenous writers, low-income writers, and writers exploring non-traditional pathways to success. By providing financial assistance, professional development, and recognition to a culturally, ethnically, socially and socio-economically diverse group of writers, this program strengthens and supports Minnesota's literary community and provides a platform for many new voices to be heard as they achieve their next level of artistic success.

Call or email 612.871.4444 or
*Our staff can answer your questions, help you think through project ideas, and give feedback on your application before you turn it in!
*You can also schedule a 15 minute in person or phone one on one conversation with Programs Manager, Lisa Marie Brimmer.

1. Lecturer in Playwriting
Bates College

BATES COLLEGE. The Bates Department of Theater and Dance invites
applications for an ongoing 3/5 position as lecturer of theater in
playwriting. The requirements for this position include: an MFA or PhD; a
minimum of two years of college-level or equivalent academic teaching
experience; and a firm commitment to the values of an undergraduate liberal
arts education. The successful candidate must demonstrate established
record of professional achievement including a history of productions and a
record of creative publication and be able to demonstrate a commitment to
enhancing the diversity of the campus and the curriculum. Bates is an
undergraduate liberal arts institution in Lewiston, Maine offering a major
and minor in both theater and dance. Teaching experience in a department
that houses both theater and dance is preferred, as is an interdisciplinary
approach to the performing arts as a whole. Experience with student
mentoring, curriculum development, and academic leadership are desirable.
This position has a three-course teaching load annually. Courses include
beginning and advanced playwriting, beginning acting, as well as
opportunities for critical studies in performance practices, and creating
performance work through devising or collaborative processes. The
successful candidate will join a dynamic Theater and Dance department
actively working to establish and maintain cross-disciplinary collaboration
between dance and theater. The candidate may choose to teach all three
courses in the two regular semesters, or teach two in one 12 week semester
and one our 5 week short term at the end of the academic year. Review of
applications begins Nov 15, 2016 and will continue until the position is
filled. Interested applicants should submit electronically in PDF format: a
letter of interest; a concise statement of applicant's teaching philosophy,
commitment to a diverse curriculum and inclusive pedagogies, and views on
the role of theater in the liberal arts; curriculum vitae; two sample
syllabi; playwriting samples; links to examples of produced works; and
arrange for three letters of recommendation also in PDF format. College
transcripts will be requested of finalists. Employment is contingent upon
successful completion of a background check.

Assistant Professor in Creative Writing
Stockton University

The Literature Program at Stockton University invites applications for a tenure-track Assistant Professor in Creative Writing, specializing in prose or playwriting, to start August 2017. PhD or MFA is required by the time of appointment.

The successful candidate will be expected to teach introductory multi-genre courses through advanced courses in prose, and to teach core courses in support of the Literature curriculum. The teaching load is six four-hour courses per year, which includes two self-designed courses in Stockton’s interdisciplinary General Studies Program. Stockton supports several university-wide diversity initiatives, and a candidate experienced with culturally diverse populations is desired. The search committee strongly encourages applications from women and racial or sexual minorities, and from candidates who, through their creative and teaching endeavors, will aid Stockton in its commitment to maintaining a culturally diverse community. Stockton mentors new faculty, and provides several avenues of support for research and teaching.

Send a letter of application, C.V., statement of teaching philosophy, and three letters of recommendation to Dr. Lisa Honaker, Dean of Arts and Humanities, Stockton University, We will begin reviewing applications November 15.

Founded in 1969, Stockton University is an innovative liberal arts and sciences university ranked among the top ten public Master’s institutions in the Northeast. Stockton proudly offers the academic, technological, and cultural advantages of a large institution combined with the community spirit of a small liberal arts college. The University is located in the Pinelands National Reserve in southern New Jersey, about one hour from Philadelphia, two hours from New York City, three hours from the Baltimore/Washington area, and 20 minutes from Atlantic City. Stockton is an AA/EOE, with competitive salaries and excellent

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