Saturday, February 18, 2017

Rogue POTUS, Fake News, and Imminent Danger

A lot of people have been saying that the 'Rogue WH Snr Advisor' tweets and other Rogue POTUS handles from inside the administration are 'fake twitter' or joke accounts. Let's look at the record. In the last month this account has accurately predicted ahead of the mainstream media 1) the Flynn freak out in the White House and their fears 2) Flynn eventually resignation almost a week before it happened 3) Trump's obsession with 306 electoral votes BEFORE his insane press conference on Thursday in which he cited 306 as if it was some sort of magic code 4) the Executive Order draft to use the National Guard to deport immigrants that the White House vehemently denied before admitting that it was a legit draft 5) the Florida rallies Trump wanted to distract the media that are happening this weekend 6) Labor nominee Puzder troubles and his intention to withdraw his nomination, which also happened this week.

Well..now there is a draft of an Executive Order to form a 'Fake News Task Force.' I suspect that -even if this is real- this is a draft that will never get released (like the National Guard EO) b/c it is too insane, even for the Trump administration. But I think this -along with all of his other actions- indicates that Trump really thinks the presidency is like a king. He really doesn't understand how 3 co-equal branches of government work in our country, or how the media operates as an essential fourth estate in a democracy to verify information. And he is dangerous to all ppl (yes, you too Republicans) because he's woefully ignorant, emotionally imbalanced, mentally unfit for public office, and was actively colluding with a hostile, mass-murdering foreign dictator to undermine our government. Trump is persistent in his attempts to undermine our elections, free speech, freedom of the press, and our Constitution. It's only been one month. It will not get better. Yeah...Make America Great Again. #MAGA

Saturday, February 4, 2017

"Mess" at Theatre of Note

I almost cancelled my tickets because I was tired, predetermined to be annoyed with the parking situation, and also who the hell wants to see a one-woman show in a tiny black box theatre in the middle of Hollywood? This isn't going to be good. It's LA LA Land and some actress has written her own show about her identity because she has nothing better to do and she didn't get cast for anything in pilot season. And I am so glad I can think all these things and still sit down in a tiny box with 10 other strangers and think 'ok but maybe...' because I get to watch things like "Mess."

It is a show about identity, quantum entanglement, summer bible camp, and cracking open the time-space continuum. And it is performed by one actress on stage. Kristen Vangsness is unbelievable in holding the space with her energy and words. She hands out percussion instruments to the audience and manages to conduct everyone in a hilarious Brechtian song about life while kazoos, cymbals, whistles, and tambourines clang in some strange stage jazz. And this is going to sound like the most pretentious thing in the world but her writing felt like a contemporary spin-off of Samuel Beckett with its abrupt pauses, strange tangents, rephrasing of common sayings so that they become unrecognizable at first until the punchline kicks in, sentences that begin normally and then regress into nonsensical babble as she reconfigured storytelling. It was like a remixing of "Krapp's Last Tape" with a stand-up comedy routine.

Afterward I walked outside for air and looked around. Kyle, my boyfriend/theatre wingman, asked "what did you think" but I wasn't interested in the usual theatre chit chat. I don't even know if this is "a good show" that a standard audience would enjoy. What I do know is that about 20 minutes into this mad hatter romp something began to stir. Other audience member looked around like conspirators, laughing, a bit unnerved, could we even begin to think that something transcendental was happening in this shitty little black box off Sunset Blvd with $7 parking that wasn't even valet?!? Then there more glances, 'no this isn't happening. I'm crazy. Maybe you're crazy. She is...definitely crazy. Ok maybe but...'  I asked Kyle if ever had any quantum experiences like in the play? "No...don't think so...ok maybe...actually..." and then like an unleashed wave he began listing incredible 'not normal' transportations of mind and body. I asked for details and even more stories came forward. Then I started remembering all these little and big moments from my life. I don't think most theatre does that when you see it. I don't think it causes catharsis or mental reconfiguration, or spiritual transportation. I'm immensely grateful that I get to gush about "Mess" because it means there are still artists spilling themselves outside the usual containers.

Thursday, February 2, 2017

American Bureaucracy vs. Trump

Roman generals, Chinese emperors, Russian Czars, British Queens, and American presidents have all been destroyed by the same auto-immune system: bureaucracy. When my Dad got sick he couldn't fathom how awful his healthcare plan was treating him. One day we were driving to the hospital when he started in on another rant about the incompetence of the system. Finally I blurted out, 'dad, healthcare bureaucracy doesn't exist to serve you. Bureaucracy exists for itself. It exists for its own proliferation: to grow, multiply, and infiltrate new spaces like a virus. It doesn't give a f**k whether you live or die, get educated or stay ignorant, get fed or get poisoned. We are all just packing boxes being shuffled around on a bunch of assembly lines.' (I probably used more curse words.) He sat back in his chair and laughed. He got it. With Zen-like calm he had a satori (instant awakening or enlightenment). He never complained or expressed confusion again. We just found alt. ways around the rules by making it seem like it was for the benefit of the healthcare workers.

In order to make 'the system' work you have to play into all its little petty rules, bow to all the bridge trolls, grease the wheels with gifts and kind words. These are all things a narcissist like Trump is terrible at doing. He wants his presidency to be 'about him' and his glorious victory and huge crowd of supporters. But it surely be about his steady, consistent unraveling, growing paranoia (both justified and unjustified), and trickle-down panic. And 'his government' will leak, sabotage, drag its feet, leave their phones off the hook, seethe and -finally if comes to having all-out war- side with protestors in strikes. It will grind itself to a halt in defiance. It's already happening and he hasn't even made it into his first month.

I don't have faith in American democracy. I have assurance in American bureaucracy preserving itself and destroying any invasive species. 

Wednesday, February 1, 2017

Get What You Want: February 2017

FELLOWSHIP & GRANT OPPORTUNIITIES FOR PLAYWRIGHTS

1.
Bacchanalia New Play Reading Festival 2017
deadline: February 14th
website: http://bluntobjectstheatre.com/

"Several plays will be selected for dramatic readings, with the festival to open in New Orleans in May. One play from the festival will be selected for a full production
Several plays will be selected for dramatic readings, with the festival to open in New Orleans in May. One play from the festival will be selected for a full production.

Please understand that by submitting your play, you grant performance rights to Blunt Objects Theatre and any associated company through 2017. If your play is selected for a full performance, monetary compensation will be determined, but there is no monetary compensation for participating in the festival.

This year’s theme is Protest Plays.

Show us your discontent and artistic ire with the coming regime! All new plays adhering at least broadly to the theme will be accepted, but preference will be given to plays with:

-Five or less actors required

-Multiple speaking roles for women

-Less than an hour running time

-A focus not merely on the Orange One, but the larger problematic culture in American politics.

Multiple entries are acceptable.
Please submit your play as an attachment to BluntObjectsTheatre@gmail.com with a brief bio in the body of the email.


2.
Rhinebeck
Deadline: February 17th
website: www.rhinebeckwriters.org

Rhinebeck Writers Retreat, announced that applications are open to all musical theatre writers for this summer's retreats. Rhinebeck Writers Retreat will host 9 musical theatre writing teams for 9 consecutive weeklong residencies in the Hudson Valley, New York. The retreats will take place between July 2 and September 3. Established and early career writers are eligible, and the submitted musical can be at any stage of development, as long as it has not been published or licensed. Selected writers pay nothing to participate and receive a $500 stipend. All the writers' costs are covered, including travel costs up to $750 per writer. Writers with children are welcome to apply and, if they are selected, Rhinebeck Writers Retreat will accommodate their housing needs. Applications are due February 17 and the application fee is $20. All information, guidelines, and online application can be found at www.rhinebeckwriters.org.

Created in 2011, Rhinebeck Writers Retreat provides a sanctuary for writers to develop their new musicals in the heart of the Hudson Valley. All costs for the retreats are covered by contributions, including major support from New York State Council on the Arts, The ASCAP Foundation Bart Howard Fund; The Dramatists Guild Fund, The Frederick Loewe Foundation, The Noël Coward Foundation, Liz Armstrong; Rick Farrar and Jeff Zadroga; Stacey Mindich Productions; Peter Risafi and Steven Wheeler; and Alec Stais and Elissa Burke. www.rhinebeckwriters.org.


3.
Orlando Shakespeare Festival Playfest 2017
deadline: March 1st
website: http://www.orlandoshakes.org/index.html

Orlando Shakespeare Theater will be performing seven new plays for the PlayFest 2017 weekend, November 2–5, 2017. In Round 1, we will accept submissions from January 1, 2017 through March 1, 2017 of 10 pages from new plays to be considered for PlayFest 2017.

WHAT TYPES OF PLAYS ARE WE LOOKING FOR?
We look for scripts that are appropriate for our Goldman Theater, an intimate proscenium theater that seats 118. Typical cast size for the Goldman Theater is 1–8.

We are especially interested in scripts that speak to the issues that our audiences are experiencing right now. Past PlayFest plays have dealt with issues of racism, autism, gender, Alzheimer's, immigration, etc. Our Shakespeare and classical productions deal with “timeless issues” and we like for our new plays to deal with modern “issues of our times.”

ELIGIBILITY
For a script to be eligible for inclusion in PlayFest 2017, a play does NOT have to be a world premiere, but it must be a “new” play. For our purposes, that means it cannot:

1. Have had more than two previous professional (AEA) productions before PlayFest 2017
2. Have been published
3. Have had an AEA production in New York City or Orlando
4. Most importantly, the author must still be developing and working on the script.

ROUND 1 PROCESS - UNSOLICITED 10 PAGES

For unsolicited scripts, please send us the following from January 1, 2017 through March 1, 2017:
1. A brief bio about you (100-150 words)
2. A brief synopsis of the play (100-200 words)
3. A brief character breakdown (1-2 sentences that describe each character)
4. 10 pages from the script

Please send us your BEST consecutive ten pages, not necessarily the first ten. We want to be able to get a strong sense of your use of language and dialogue to tell your story. We do not have the staff necessary to read full unsolicited scripts, but we are excited to read your best 10 pages and then ask for your full script as a part of Round 2. Full script submissions for Round 1 will NOT be read or considered for PlayFest.

All submissions should be emailed as PDF electronic submissions. Please send to cynthiaw@orlandoshakes.org.

ROUND 2 PROCESS - FULL SCRIPTS
For Round 2, we request full scripts from our unsolicited 10 page submissions, as well as agent- submitted scripts, and previous PlayFest alumni scripts. We will be accepting Round 2 submissions from January 1, 2017 through June 1, 2017.

For Round 2, please send us
1. A brief bio about you (100-150 words)
2. A brief synopsis of the play (100-200 words)
3. A brief character breakdown (1-2 sentences that describe each character)
4. Full script
5. Optional: if you have letters of recommendation or references, we would be happy to read those as well.

All submissions should emailed as PDF electronic submissions. Please send to cynthiaw@orlandoshakes.org.

ROUND 3 - SEMI-FINALISTS
From June 1–August 1, we will select up to 15 plays as semi-finalists for PlayFest. From those semi-finalists, we will select the final seven which will appear in PlayFest.

FINAL SELECTION
The final plays for PlayFest 2017 will be selected by August 15th, 2017.


4.
SPACE on Ryder Farm
deadline: February 7th
website: http://www.spaceonryderfarm.org/programs/

SPACE creates an environment singular in its ability to invigorate artists and innovators and their work, and contributes to the sustainability and resourceful preservation of one of the oldest family-run organic farms on the East Coast, located in Brewster, New York. In six seasons, with the help of an army of inspired supporters, volunteers, friends and family SPACE has become a place where artists and activists come to do their most important work. SPACE has hosted over 1000 residents, held symposia on the intersection of creativity and activism, piloted a program that provides childcare for resident artists, developed initiatives that integrate SPACE’s programming and the organic farming operation and nurtured 40 young professionals through its intern program.

Applications for all programs are open and due on February 7th, 2017.

In 2017, SPACE is emboldening and recommitting to our belief that inclusion, equity, support and radical hospitality are not only important to creating art, but are vital in creating dialogue that leads to lasting change.

In support of these values, SPACE will:

Make all individual and small group residences free in 2017.
Endeavor to grant 50% of our residencies to persons of color and underrepresented voices.
Double the number of spaces for our fully-subsidized Family Residency, in association with The Lilly Awards.

PROGRAMS:

THE WORKING FARM: The Working Farm is SPACE’s resident playwrights group. The group gathers for a five-week residency on Ryder Farm.

CREATIVE RESIDENCY: Creative residencies provide artists the opportunity to create away from the stress and noise of everyday life and to be in the company of other artists.

FAMILY RESIDENCY: Now in its third year, SPACE on Ryder Farm in association with The Lilly Awards Foundation, supports working parents and their children for a weeklong residency.

CREATIVE SOLUTIONS SYMPOSIUM: A weeklong residency for activists and human rights organizations who are creatively addressing social justice issues.

INSTITUTIONAL RESIDENCY: Welcomes individuals and teams of 2-12 to advance development on workshops and commissions for the theatre as well as strategic planning.

CLICK HERE to apply for any of these programs: http://www.spaceonryderfarm.org/programs/.


5.
PAGE TO STAGE
deadline: February 28th
website: http://aria-entertainment.com/

FROM PAGE TO STAGE is a festival of new musical theatre dedicated to showcasing un-produced work and work in development to an audience to garner feedback and create new opportunities for the artistes involved. The fifth annual FROM PAGE TO STAGE festival has been invited to Andrew Lloyd Webber’s newest theatre The Other Palace.
DETAILS
The 2017 festival will open for submissions on November 28, 2016 and close February 28, 2017.

To submit for an application, you will need:

- Information about the piece and its writers (names, cast sizes, etc.)
- A 100 word summary of the show
- 3 mp3 song files
- a pdf of the first 20 pages of the libretto
- 1 piano/vocal sheet music example

From Page to Stage funds and arranges the inclusion of the selected pieces, endeavouring to pay a fair wage to all contracted artistes. The festival is not intended for profit but to allow new work a platform on which to be developed and exposed to new audiences. Our aim is to develop new work, excite audiences about the opportunity to see pieces in the first stages of development, and support the creatives involved in the process.


6.
Woodward/Newman Drama Award
deadline: March 1st
website: http://www.newplays.org/node/55?subnid=15&left_node=55

The BPP is accepting submissions for the 2017-18 Woodward/Newman Drama Award. Submissions are due by March 1, 2017. The top 10 finalists will be announced at the end of May with the winner announced in June 2017.

Full-length plays will have a complete running time of between 1 hour 15 minutes (75 minutes) to 2 hours 15 minutes (135 minutes). Plays submitted must be unpublished at the time of submission. Plays that have received developmental readings, workshop productions, or productions at small theatre companies are acceptable. No scripts with previous productions at major regional theaters will be accepted. Once entered, subsequent activity does not change the acceptability of the script.

Each submission must include a synopsis (1 page or less) including the cast size. A separate page should include a brief bio of the playwright, and production/development history if applicable.

Each submission must include a cover letter with contact information and a $10.00 reader fee. Agent submissions require no fee. The fee will be waived for Dramatist Guild members with an enclosed photocopy of a membership card. The BPP only accepts U.S. checks or money orders (Make check payable to "BPP"). No international checks or money orders will be accepted.
Make sure to note with your submission that you have paid the reader fee online.

It is preferable for musicals to include a demo CD. The complete score is not necessary but may be included. All plays are read by BPP's literary personnel led by and including the Literary Manager and Artistic Director.

We do not accept email submissions. Scripts will not be returned. Blind submissions are not necessary. Please include all contact information. Plays submitted in previous years will be accepted.

The BPP reserves the right not to name a winner and/or name a winner but not commit to a reading or production.

Send to:
Woodward/Newman Drama Award
Bloomington Playwrights Project
107 W. 9th Street
Bloomington, IN 47404
Scripts must be postmarked by March 1, 2017, and received no later than March 10, 2017. We are not responsible for postal delays, and recommend you not choose to send Media Mail unless you are submitting several weeks in advance.

For further information, write BPP, Attn: Literary Manager, 107 W. 9th Street, Bloomington, IN 47404. For faster replies, please email us at literarymanager@newplays.org.


7.
Headwaters New Play Festival
Deadline: February 16
Website: http://creederep.org/headwaters-submissions/

The Headwaters program is the source of new plays of the West: plays set in the current, historic, or mystic western United States; plays by playwrights originally from or living in the West; plays that deal with themes connected to the real or mythic West; and plays that re-imagine what “West” means.

SUBMISSION GUIDELINES

To be considered for the Headwaters New Play Festival, a play must never have had a professional production and the playwright must be available to attend the workshop week (August 21-26, 2017 - Creede Colorado). Since 2015’s festival, our goal has been to more accurately reflect the diversity of human experience by reserving one of our two slots for a female playwright. We will continue this at this season’s festival.

We are seeking full-length plays, one submission per playwright.

2017 Submission Deadline is February 16, 2017.
Any plays submitted after this date, will go into consideration for our 2018 Festival. Responses will be sent out by May 1, 2017. CRT provides travel, food stipend, and cozy accommodations for the playwright. The scenic mountain beauty of this quaint arts town will provide endless inspiration as you develop your work. Plays read at the festival will be considered for full production in CRT’s 2018 season. For more information or to submit a pay, please visit www.creederep.org/headwaters-submissions.


8.
Proscenium Journal
Deadline: February 24th
Website: https://prosceniumjournal.com/submit/

Proscenium is now accepting submissions for the sixth issue of Proscenium Journal and the third annual Proscenium Live Festival of New Work.

Proscenium accepts plays of any length and any style. There is no submission fee. Unless otherwise noted, all plays will be considered for both Proscenium Live and Proscenium Journal.

Submission Procedures:

We accept all submissions via email. Please email your original play to submissions@prosceniumjournal.com. Include the title of the play and your name in the subject heading. Please submit your play in PDF format along with a brief author bio. If your play has been produced, please send us information about production history.

The deadline to be considered for the sixth issue of Proscenium and the Proscenium Live is February 24, 2017. However, we accept submissions year-round and will consider submissions after the deadline for future issues and festivals.

Due to the large number of submissions we receive, we regret that we cannot acknowledge all submissions. Proscenium reserves the right to reject any submission for any reason.

If you have any questions about our submission process, please contact info@prosceniumjournal.com.

To learn more about this submission call, go to: https://prosceniumjournal.com/submit/


9.
Dora Maar House
Deadline: February 15th (for fellowships beginning in July 2017)
Website: mfah.org/fellowships/doramaarhouse/dora-maar-how-to-apply/

The Brown Foundation Fellows Program at the Dora Maar House is located in one of the most beautiful regions of Southern France, about 40 km southeast of Avignon, the Dora Maar House in Ménerbes is an 18th century residence. In 1944 Pablo Picasso purchased the four-story mansion for Dora Maar, an artist and surrealist photographer who was his companion and muse in the late 1930s and early 1940s. Dora Maar owned the house until her death in 1997.
In 1997, a friend of the Museum of Fine Arts, Houston purchased the former residence of Dora Maar. In a five-year effort, the owner rehabilitated and updated this spacious eighteenth-century, four-story stone residence in the village of Ménerbes. Her goal was to make it a retreat for scholars, artists, and writers, where they could work undisturbed on their research, art, or writing, for one to three months.

The Brown Foundation Fellowship provides
• one to three months in residence at the Dora Maar House
• a private bedroom and bath and a study or studio in which to work
• expenses paid for round-trip travel from a fellow’s home to the
Dora Maar House
• a grant based upon the length of stay at the Dora Maar House

In 2006 the Museum of Fine Arts, Houston was asked to direct this project, which is now known as The Brown Foundation Fellows Program at the Dora Maar House. Here outstanding midcareer professionals are offered fellowships that enable them to reside in the Dora Maar House and focus on the creative aspects of their work.

http://www.mfah.org/fellowships/doramaarhouse/fellowship/


10.
Last Places in March Residency at Casa Na IIha (BRAZIL)
Deadline: February 15th
Website: http://www.casanailha.org/

LAST PLACES IN MARCH!
Casa na Ilha is a creative retreat in Ilhabela Island, Brazil, an ecological paradise and preservation area at 200 km from Sao Pablo.

The program runs in a colonial house emplaced in the middle of the rainforest surrounded with nature, just in front of the ocean a few meters away from the beach.

Casa na Ilha is a space where to develop, improve and curate personal and group projects in an interdisciplinary ambience, nurturing for different views opinions and expertise.
The main goal is that artists are able to focus on their ideas and projects, enhancing creativity and inspiration and connect, between them, the local community, art organizations and nature .

CURATION AND EXHIBITION:It will be optional to give a talk, exhibition or workshop as well as working with local organizations. We will help artist make the necessary contacts, approaches and arrangements with different parties the project requires.
Casa na Ilha works with a curator from an art center as well as art galleries and organizations.
Depending on the nature of the project and the willing of the artist, projects can be submitted to analysis to the center to receive not only a curation process but also to be exhibit.
Lectures, exhibitions an open studios are also going to be held subject to the work project, as well as being part of an online platform. This is an opportunity to show and exhibit the artist work developed during the residency.

Casa na Ilha gathers individuals with different expertise, sensibilities, skills and backgrounds committed to contribute to the enrichment of intellectual and artistic circles with their professional collaborations and public interactions, also carrying a strong belief in the importance of building a community that shares and grows.

ECOLOGICAL AND LOCAL COMMUNITY ENGAGEMENT:
Activities such as working with local organization such as schools, educational organization, the preservation area Parque Estadual Ilhabela and the Caicaras communities are being held with the purpose of becoming a space that promotes not only cultural diversity but also generates collaborative and respectful ties with the environment and local organizations. These activities are completely optional for the artists, but it could be of interest of for those who have special interest in socially engaged art, community projects, indigenous cultures, historical themes, environment (in particular tropical flora and fauna, marine life), climate change, sustainable living and science. However it is not a requirement, we are open to all kinds of projects such as art, music, performance, travel, writing and other creative forms of expression. You will be able to work with other people in tune with the nature of this project.

To apply, send us an e mail to:

INFO@CASANAILHA.ORG and you will recieve and application form.

Let us know if you have any questions or doubts! We will be happy to help you.


11.
Humanitas Prize - Play LA Workshop
Deadline February 29
Website: http://humanitasprize.info/welcome/?page_id=1322

Humanitas will next be accepting submissions from Los Angeles-based
playwrights from Jan 15 to Feb 29, 2017 for the third edition of its PLAY
LA Workshop. Writers will receive a $1,500 stipend as well as input from
theatre, film and television professionals throughout the year. At the end
of the process, one play will be featured as a workshop at the Kirk Douglas
Theatre as part of PLAY LA's weekend celebration of new plays in the winter
of 2018. Award-winning playwright and screenwriter Shem Bitterman will
oversee the PLAY LA Workshop.

The workshop will meet once every three to four weeks for twelve three-hour
working sessions, from April 2017 through December 2017. Attendance is
mandatory. Writers interested in participating should submit two ten-page
samples from two different plays along with a resume by no later than
February 29, 2017 to: playlaworkshop@humanitasprize.org.


12.
ATHE’s Jane Chambers Playwriting Award
Deadline: March 1
Website: http://www.womenandtheatreprogram.com/jane-chambers.html

The Women & Theatre Program (WTP) of the Association for Theatre in Higher
Education (ATHE) invites submissions from female playwrights for the annual
Jane Chambers Award. The Jane Chambers Playwriting Award recognizes plays &
performance texts created by women that present a feminist perspective &
contain significant opportunities for female performers. Experimentations
in form and subject matter welcome. This annual award is given in memory of
lesbian playwright Jane Chambers who, through her plays such as A Late
Snow, My Blue Heaven, Kudzu, & The Quintessential Image, became a major
feminist voice in American theatre. The Award consists of $1000, free
registration to attend the Association in Theater in Higher Education's
conference in early August & a rehearsed reading of the winning piece at
that conference, hosted by WTP, with ATHE. The winner should attend the
conference's awards ceremony.

The judges are guided to read the plays looking for both artistic
excellence and feminist perspectives, and to stay open to experimentations
in form.


13.
Schubert Fendrich Playwriting Contest
Deadline: Rolling
Website: https://www.pioneerdrama.com/Playwrights/Contest.asp

To encourage the development of quality theatrical materials for the
educational, community and children's theatre markets, Pioneer Drama
Service is proud to sponsor the annual Shubert Fendrich Memorial
Playwriting Contest.

This is an ongoing contest, with a winner selected by June 1 each year from
all eligible submissions received the previous year.  All eligible plays
accepted for publication will be considered contest finalists, from which
the winner will be selected.  The contest winner will receive a $1,000
royalty advance in addition to publication.


14.
Franklin Furnace Fund Award
Deadline: April 1st
Website: http://franklinfurnace.org/artists/franklin_furnace_fund/docs/ff_guidelines_17_18.pdf

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.

The Franklin Furnace Fund 2017-2018 is supported by Jerome 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 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. Artists supported by funding from Jerome Foundation must live in the five boroughs of New York City or the state of Minnesota. Full-time students are ineligible.

To apply to The Franklin Furnace Fund, please read the application guidelines carefully and apply using our online application form. Please note: In order to access the online application form you must first complete a brief questionnaire that will help determine your eligibility. If eligibility is confirmed, you will be provided with a link to the online application.

Deadline: April 1, 2017

Guidelines for the Franklin Furnace Fund 2017-18:
http://franklinfurnace.org/artists/franklin_furnace_fund/docs/ff_guidelines_17_18.pdf

Online Application:
http://franklinfurnace.org/artists/franklin_furnace_fund/ff_application.php


15.
EMERGENYC
Deadline: February 13th
Website: http://hemisphericinstitute.org/hemi/en/emergenyc/application-guidelines

The Hemispheric Institute of Performance and Politics at New York University is now accepting applications for its tenth year of EMERGENYC, the Hemispheric New York Emerging Performers Program focused on political performance. EMERGENYC aims to support the development of “hemispheric” emerging artists through a program of workshops and events between April 8 and July 8, 2017 (see “The Program” section below for details).

We seek talented, committed and highly motivated young performers/activists/artists whose work functions as a vehicle for political expression and social change, and who examine the broad range of identities, practices and histories of the Americas (the western hemisphere, thus “hemispheric”) through genres such as spoken word, street performance, satire, political cabaret, performance art, video performance, movement, and others.

Selected participants will take part in weekly workshops led by George Emilio Sánchez as well as by established artists who are leaders in the field of performance and politics. (Workshop leaders for 2017 will be announced soon—check emergenyc.org for updates and a list of previous instructors). We ask applicants to define social issues that are important to them and explore how creative practices can harness their political voice. Past participants have explored themes of racism, racial stereotypes, and racial violence; LGBTQ rights; gender and sexuality; war and human rights; environmental justice; religion; and gentrification, among others. These engagements have resulted in the creation of workshops in community programs (such as GLOBE/Make the Road New York), interviews with members of various communities, and the creation of performance art pieces, multimedia installations, theatrical explorations, urban interventions, video art, and more.

The program will be divided into three phases:

Phase 1: every Saturday 10am-2pm from April 8th to May 13th
Participants work closely with George Emilio Sánchez in developing performance and activist strategies, such as Boalian techniques, performance art and site-specific interventions.

Phase 2: intensive daily sessions (10am-5pm) from May 15th-May 21st
Participants work closely with leading practitioners, and explore specific tactics for work in the field

Phase 3: Saturdays May 27th - July 8th
Participants refine their work for a final presentation, building on the strategies explored through the workshops.

Performance presentations (evening of Monday, June 26th)
Participants refine their work for a final presentation, building on the strategies explored through the workshops.

Please note
The workshop studios at 721 Broadway and 20 Cooper Square, where weekly sessions and the intensive week will be held, are wheelchair accessible. The venue for the performance presentations on June 26th (the Club at La MaMa), is NOT wheelchair accessible. Accommodations will be made for the final projects of participants unable to access the space.

This program has a fee of $1000
A modest amount of financial aid will be available on a need basis. If your enrollment depends on financial aid, please let us know in your application.

Who Is Eligible

EMERGENYC is now open to activists/artists/performers who live in (or can easily commute to) New York City. Applicants must have prior experience in various performance genres and/or activist practices. Ages vary from year to year (ages 18-35 or so), but on average most participants in the group tend to be in their mid to upper 20s.

Conflicts and attendance

Any conflicts applicants have with the EMERGENYC schedule (see the webpage for exact dates) should be noted in their application. Please note: Accepted participants with more than two absences, whether excused or not, may not be guaranteed a slot in the workshop performance at La MaMa on June 26th.

To apply: http://hemisphericinstitute.org/hemi/en/emergenyc/application-guidelines


16.
NC STATE MUSICAL STAGES
deadline: March 1st
website: https://theatre.arts.ncsu.edu/get-involved/musical-stages/

NC State Musical Stages will welcome submissions of completed full length musicals for its 2017/2018 season through March 1, 2017.

Selected projects will be given a 30-hour rehearsal followed by two performances of a staged or concert reading in Raleigh, NC as part of NC State University Theatre’s season.
Readings will be produced and directed by Kyle Dougan, director of the NC State Musical Stages program with assistance from NC State faculty, staff and students.
The NC State Musical Stages program will be cast with a majority of student talent, based on the needs of the musical. Shows offered readings will also be considered for a mainstage fully produced production to occur every other year.
All writers must submit their materials with their interest to be included in the program for each submission cycle.
NC State Musical Stages does not charge a fee to apply and accepts only electronic submissions.

All requested files must be placed in a single folder posted to a drop site such as Google Drive, One Drive, etc. Send the media folder to Kyle Dougan, NC State New Musicals Director, and include only the following:
-100 Word Synopsis
-Cast Size and character breakdown
-Writer Bios
-The show’s development history
-First 30 pages of libretto only (Must start on page 1 and must include title and credits page)
-6 MP3 demo track- Must include the show’s first two songs
-Any songs not in the first 30 script pages must include a description including placement in the show and the song’s function in the play
-A list of attached parties if any (director, music, director, actors, agents, current contracts, etc.)

Incomplete submissions or writers not following specified submission guidelines will not be considered.

All writers will be contacted by March 15, 2017. Projects selected as finalists will be asked to submit the full book, complete score, and all show demos – these must be available at the time of request. A team of faculty, staff and students will be involved in reading the finalists’ shows. The chosen show will be notified by May 1, 2017. NC State Musical Stages artistic leadership may schedule a short interview with the writers to discuss their project and expectations for inclusion in the 2017/2018 season. Reading to be produced in the spring of 2018. Dates based on University and writer’s schedule.

Selected writing teams will receive housing, transportation, and $1750 stipend for their scheduled reading, contingent on funding. Writers will also be required to meet with students a total of 5 hours as masterclass leaders in addition to rehearsals for their reading.

Note: Only completed projects will be considered and finalists will be asked to submit their full libretto, score, and complete recorded demo. (must be unpublished with no prior large-scale production, musicals that have been submitted require proof of underlying rights if the work is based on copyrighted material.)

Please contact Kyle Dougan at kadougan@ncsu.edu with any questions.

17.
Elsewhere Residency
Deadline: February 11th
Website: http://www.goelsewhere.org/residencies/

Located in Greensboro, North Carolina, this is an eclectic residency for a wide variety of artists. Elsewhere invites creative individuals across disciplines to join us in building a living museum from a former thrift store that contains a 58-year collection of surplus. Residencies invite creatives working across media, fields, disciplines, and administrations to create projects that activate Elsewhere’s ‘living’ museum. Residents live and work within the space for 2-4 weeks creating site-specific, responsive work that explores the museum environment, surplus inventories, cultural histories, social systems, neighborhood communities, and past artworks.
Residents have access to the enormous collection of textiles, toys, books, consumer technologies, clothes, brik-a-brac and general thrift for transformation. A curatorial team stewards the creative process and collection use, provides critical feedback, supports artist events and facilitates connections with Greensboro neighbors and Elsewhere’s national artist network.
.

Residencies invite artists working across media, fields, disciplines, and administrations to create projects that activate Elsewhere’s ‘living’ museum. Residents live and work within the museum for 2-4 weeks creating site-specific, responsive work that explores the museum environment, surplus inventories, cultural histories, social systems, neighborhood communities, and past artworks.

Makers and organizers with an interest in participation, performance, reuse, public practice, social engagement, intersectional critique, urban intervention, and experimental living are an excellent fit for this program. Artists working across media (sound, video, installation, performance, conceptual art, painting, social engagement) and fields (researchers, curators, scholars, activists, designers, writers, musicians, puppeteers, gardeners, homesteaders, system-thinkers, game-makers) are encouraged to apply.

Residencies host six artists for any given session. Residencies have a program + living fee. A small number of fellowships are available for curated residency sessions. At times, Elsewhere utilizes a nomination process and recommendations from leaders in our field in an effort to broaden and strengthen our application pool. Collectives and collaborative groups are welcome to apply.

Artists new to our organization are encouraged to review all tabs on this page and peruse our website to acquire deep knowledge about Elsewhere and what we offer.

Applications for 2017/18 seasons are due Saturday, February 11, 2017 11:59pm EST.


18.
PLAYA Residency
Deadline: March 1st
Website: http://www.playasummerlake.org/apply.html

PLAYA is a retreat for creative individuals who are committed and passionate about their work, and who will benefit from time spent in a remote location. At PLAYA, we offer seclusion and quiet in a natural environment and the opportunity for interaction, if desired, with a cohort of residents and the local rural community. A residency provides the time and space to create substantive work or to research and reflect upon one’s creative or scientific processes. Away from the urgencies of daily life, residents can focus on their projects, immerse in a desert landscape of basin and rangeland, and find inspiration through self-directed inquiry.

PLAYA is a nonprofit organization supporting innovative thinking through work in the arts, literature, natural sciences and other fields of creative inquiry. PLAYA was organized in 2009 and began its Residency program in May 2011. For all of the latest information, including upcoming residency opportunities go to our application page.

Located in the Oregon Outback, near Summer Lake in Lake County, PLAYA manages its Residency program and a range of community and educational outreach activities. Residencies are provided without a fee offering the gift of time and space to eligible applicants, and span two multi month sessions each year. When our regular Residencies are not in session, our program opens our facilities to groups or individuals whose primary focus and activities align with PLAYA's mission and values. In particular, we hope to bridge the dialogue between the arts and sciences through thematic place based programming, presentations, symposiums and workshops. The intention of all of our programming is to support creative individuals who are committed and passionate about their work, and who will benefit from time spent in PLAYA's inspirational remote location.

PLAYA  provides a variety of opportunities to engage with the local communities of Summer Lake, Paisley and Lake County, Oregon through free programs and educational activities.


19.
BAU at Camargo Fellowship
Deadline: February 28th
website: http://www.bauinstitute.org/index.php?page=cassis-france

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.

Please email questions to: info@bauinstitute.org

APPLICATION:
https://bauinstitute.submittable.com/submit


20.
Djerassi Residency
Deadline: March 15th
Website: http://www.djerassi.org/artistresidencies.html

Residencies are awarded competitively, at no cost, to national and international artists in the disciplines of choreography, literature, music composition, visual arts, media arts, and science.There are 6 residency sessions; 5 are 29 days long and 1(the Open House Session) is 36 days long. There are 11 - 12 residents with varied disciplines in each session.

We seek applications from emerging and mid-career artists, for whom appointments as resident artists may make a significant difference to their careers, as well as from established artists with national and/or international reputations. Applicants are evaluated by panels of arts professionals in each category.

The Residency Program is designed as a retreat experience to pursue personal creative work and share in collegial interaction within a small community of artists. It is unpaid with no practical training or educational components involved. In this spirit residents are expected to commit themselves for the entire residency session awarded to them.

HOUSING, STUDIO SPACE & MEALS
Residents accommodations on the ranch are determined according to artistic discipline and creative project. Living quarters and studio space consist of a four-bedroom house a unique, remodeled twelve-sided barn and the Diane Middlebrook Studios.

The rooms in the Artists' House are set up to accommodate writers, each with a large desk, work space, and outdoor deck. The Artists' House also contains the main kitchen, living and dining area, a library, laundry facilities, shared bathrooms, and a large deck.

The Artists' Barn contains three visual art studios, a large dance studio, a darkroom, and a music composition studio with a baby grand and electric piano. The studios are rustic with wood burning stoves and modest sleeping lofts. There is also a kitchen, a large common area, shared bathrooms, and laundry facilities in the Barn.

The Diane Middlebrook Studios consist of four private live/work studios for writers, media artists and other artist with clean/non-messy projects. The studios each have private bathrooms and outdoor space.

The Program employs a chef who prepares communal dinners Monday through Friday, and provisions both kitchens. Residents are expected to prepare their own breakfasts, lunches, and weekend dinners using ingredients supplied by the Program. We offer vegetarian and gluten free meals, although we cannot guarantee a gluten free environment.

21.
Dora Maar Fellowship
Deadline: February 15th
Website: https://www.mfah.org/fellowships/doramaarhouse/dora-maar-how-to-apply/

Located in the village of Ménerbes, in one of the most beautiful regions of southern France, this 18th-century town house was purchased in 1944 by Pablo Picasso for Dora Maar, the artist and Surrealist photographer who was his companion and muse in the late 1930s and early 1940s. Maar (1907–1997) owned the house until her death, after which a resident of both Houston and Ménerbes bought and renovated the house to transform it into a retreat for writers, scholars, and artists.

In 2006, the MFAH was asked to direct this project, now called the Brown Foundation Fellows Program at the Dora Maar House. Amenities include four private bedrooms, each with a private bath; three studies for writers and scholars; a studio for artists; and a piano. Residents share the kitchen, library, living, and dining rooms, and two garden areas. The house is equipped with high-speed wireless Internet access, laptops, a printer, and a fax machine.

What does a Brown Foundation Fellowship at the Dora Maar House offer?
• One to three months in residence at the Dora Maar House.
• A private bedroom and bath, and a study or studio in which to work.
• Round-trip travel expenses to Dora Maar House.
• A grant based upon the length of stay at Dora Maar House.

Who is eligible to apply for residencies at Dora Maar House?
• Mid-career artists and scholars with established reputations who are engaged on a professional level in the arts and/or the humanities.

What does the Museum of Fine Arts, Houston, ask of Brown Foundation fellows?
• That you enjoy the opportunities this remarkable residence offers you.
• That you use your time well.
• That you are friendly to the citizens of Ménerbes and make one public presentation to them.
• That you donate to Dora Maar House one drawing, publication, etc., created during your stay.
• That you help the Museum learn about the residence’s strengths and weaknesses and suggest how the residency experience can be improved.
• That, should a publication come from your work during the residency, you recognize the Brown Foundation Fellows Program at the Dora Maar House in your acknowledgments.


22.
John Doe Residency
Deadline: March 6th
Website: https://www.johndoe-ny.com/residency

John Doe seeks to realize, and in realizing engender, experimental artistic visions. Our artists extend the language of form with hands on material, and material in space. As part of the continuing production and presentation process, the John Doe residency provides artists with a studio term culminating in a solo exhibition.

Residents will be provided with a 250 sqft studio space located in the gallery’s annex, equipped with all necessary communal facilities and high speed internet. Access to the studio will be available 24 hours a day, 7 days a week, and residents are expected to be on site at least 4 days a week during the residency period.

Artists of all disciplines and nationalities are eligible to apply.

Applications are currently accepted through March 6th, 2017, for residency sessions between April 1st to June 30th, 2017.

Amenities / Equipment:

- Small wood shop
- 3D printer
- Photography backdrop (paper)
- High speed internet

Terms of Residency:

- 4-6 weeks duration
- Closing Exhibition
- Days on site: >4 per week
- Workspace Provided
- No companions

APPLICATION MATERIALS

- Artist Statement
- Portfolio: 10-20 Work Samples
- CV

Please send all submissions to info@johndoe-ny.com

More Info: https://www.johndoe-ny.com/residency

Disciplines: All Disciplines, Curatorial, Digital, Film & Video, Fine art, Installation, Land Art, Light and Projection, Media Arts, Moving Image, Music & Sound, Painting, Performance, Photography, Poetry, Printmaking, Sculpture, Sound, Theater, Visual Arts.

Location: Brooklyn, New York, United States


23.
Boston Court New Play Festival
Deadline: February 20th
Website: www.bostoncourt.com/

In the interest of continuing to serve and represent our local community within the national conversation, Boston Court is inviting playwrights in the greater LA area to submit for our 2017 New Play Festival. We have always considered it a priority to include local playwrights when and wherever possible, and this year, in our New Play Festival, we are taking the step of unequivocally committing to this inclusion. If you are a playwright who is unfamiliar with our work, please visit our website before submitting.

We are dedicated to producing new theatrical works that are stylistically daring. Our productions often utilize non-linear narratives, direct address and other non-naturalistic theatrical conventions. Beyond our stylistic and structural preferences, a Boston Court play is one that explores deep human themes. In the end, we prefer to be talking about the ideas brought up in a play, rather than its plot.
We do not consider one-acts or children's/youth plays, or plays that have had a production in the Southern California area.

Plays and playwrights must meet the following guidelines:

1) Only submissions sent through Submittable will be considered – no hard copies or emailed submissions accepted.
2) Plays must not have had a professional production.
3) Only one play accepted per playwright
4) Playwrights must provide a narrative explaining how their work fits The Theatre @ Boston Court aesthetic (we strongly encourage writers to look through our history).
5) Plays that call for six or fewer actors are ideal, but not mandatory.
6) Playwright must reside in the greater Los Angeles area.
6) Submission deadline: 11:59pm, February 20, 2017


24.
2017 Umbria: Next Generation
Deadline: March 15th
Website: UMBRIA

An intensive residential retreat for young theatre and dance creators under 35 years old, designed to give time and support to projects that are still in their initial phase of conception and development.

Next Generation is a special program open to individual artists, companies and informal groups during which the artists will have the opportunity to begin experimenting with ideas for new performances (theatre, dance, performance, etc.). The artists will have the opportunity to work individually or in groups on their own projects, while immersed in the natural inspiring environment of La MaMa Umbria. An international group of La MaMa artists and producers will be invited to follow the retreat as mentors, offering a series of daily workshops and activities aimed at stimulating the creative process, and encouraging the exchange and dialogue among the various participants. Periodically the artists will be asked to share their process with other participants and to provide constructive feedback. At the conclusion of the retreat, the artists will showcase their work for an invited public composed mainly of artists, theatre and dance presenters.

This program is meant as an incubator for new performance projects in an embryonic stage and will not be open to projects that are already in an advanced phase of development, which require a more production oriented residency. It’s purpose is to discover new talents and nurture the emerging of new promising performative ideas. Some of the artists may be invited to apply for a further residency period at La MaMa Umbria in order to advance the development of showcased ideas.

This program is open to a maximum of 15 participants. It is supported by the Ministry of Culture and the Region Umbria, thus it will be free of charge. Participants will be responsible to cover the costs of their own travel, lodging and food. (Lodging and food at La MaMa Umbria is estimated to not exceed 400 Euros for ten days.) La MaMa can assist participants to find solutions at special discounted rates. Participants will have access to all the spaces, facilities and equipment owned by La MaMa Umbria and will be able to interact with professional mentors about specific needs and requirements.

Interested candidates must submit the application form, and the following:

-biography and role of each participant;
-motivational letter expressing how this opportunity will serve the project;
-description of the project idea to explore during the residency;
-online samples (video, audio, images, reviews, etc.) of past work of the candidates;
- technical requirements and other special needs.