Wednesday, May 31, 2017

Sore Loser

The May weight loss challenge ended at the gym today. I didn't want to compete but I was talked into it. A trainer reminded me that I've lost 70 lbs without even having a great diet. Surely I can really kill it in a month if I combined diet with exercise. Well I came in 2nd place at -11 lbs. The winner dropped 16 lbs. Afterward I thought 'fuck it' and I went to Crossroads and scarfed down two veggie burgers (which is essentially bread between two slices of bread). As I drowned myself in carbs I was reminded that I was always a bit of a sore loser.

As a kid, whenever I really wanted to win a contest -which was almost everything I entered-  I would seethe, strategize, intimidate, figure out who I had to bump off, contrive Game of Thrones conspiracies. In the 2nd grade I was running for class office against 2 opponents. I got a standing ovation for giving a thoroughly memorized speech about why I would be the best class officer ever and I think I stopped just short of promising world domination and making everyone a lifetime winner (so much winning, you're gonna get sick of all the cookies). No one told me to do this but I remember giving my speech while glaring directly at my opponents the entire time with laser-intensity that could be read as a prison yard 'I will shank you in the shower' glare of death.  When it was their time to speak, both of my opponents dropped out of the race. I won uncontested. Spelling bees (won 'em), tennis tournaments (won every single won), wrestling (won district both times I entered), debate (won best speaker at every tournament). And I was not happy. When I won it wasn't enough. When I didn't win I would implode or lash out. I realized that if I didn't break myself out of this habit I would end up psychopath. For the most part I don't seethe, plot revenge, or implode these days. I meditate, laugh it off, try to learn from the experience. But every once and a while, the little boy comes out and wants to chop off a head or two or just say 'fuck it' and stomp away. And here I was thinking I had 'evolved.'

Oh well....minor observations about literally being a sore loser today (I ache all over). And back to the gym to train my body and mind to grow. 

Saturday, May 27, 2017

Why Dems Keep Half-Stepping, Capitulating, and Losing

2002: Iraq
Left-wing: The Bush Admin is completely lying about Iraq and trying to get us into a war off of B.S.

Mainstream Dems: Okay, let's moderate our tone. We have to win the next election and calling the president a liar isn't going to do that b/c ppl don't like shouting in this country. You sound hysterical.

Right-wing Retrospect: Well of course we lied a little bit, but let's move on. That's in the past. Old news. Boring. Yawn.

Left-wing: Corporations are destroying American infrastructure. Occupy Wall Street! Fight for workers' rights!!

Mainstream Dems: Ok, let's moderate our tone. We have to win in 2012 and screaming about income inequalities makes us seem crazy. People don't lie shouting and you're making us seem like communists. Poorly-educated voters will eventually figure out why their lives are going down the drain without you shouting about it.

Right-wing Retrospect: Well of course your lives are being Mexicans. They are the reason why you're poor. BOO!!!

Left-wing: OMG, the entire Trump presidency is a fraud and has committed treason. Impeach.

Mainstream Dems: Okay, let's be careful about what we say. No one likes a shouter. You sound crazy and we have to win the next election. And we will do that if we just moderate ourselves.

Right-wing Retrospect (2018?): Okay so he may have been a Russian agent, but you know who is the real Russian men with saggy pants. Amirite? We gotta stop them! BOO!

Tuesday, May 23, 2017

Manchester Attacks

The Manchester attacks are the result of religious nihilism. There are many people who have nothing to believe in except  pain. Suffering is the form of devotion for dead-enders and extremists. They look at their life and identify God as an agent of destruction who is punishing a world that lacks obedience and purity. They think path to paradise is through 'cleansing warfare.' This philosophy has existed since the beginning of mankind and it's in every religion. I don't know if there is any comprehensive, systemic change that can be made to stop a lone wolf attacker with a bomb in Manchester any more so than you could come up with a program to stop the unprovoked neo-Nazi who killed Black ROTC officer Richard Collins III. What scares me about terrorism is our long-term reaction. Terrorists are psy-op fighters. They depends upon our ignorance, anger, and fear. ISIS knows it can never win anything by lone wolf attacks like Manchester or running people over in Nice or even taking credit for the Orlando shooting. You can't conquer a city with suicide bombers. You can't overthrow a government or get people to believe your views with car bombs. Terrorism depends upon stirring hatred into rage and then letting that same rage destroy the targeted society from within. Con artists, liars, and thieves then take that societal rage and say 'I have an answer for you' and further compound the tragedy by preying on the public. We become convinced that if only we had more police, higher walls, less rights then we wouldn't have to be scared. Reasonable people will gave away their money, votes, and freedom for the hopes of having less fear. 

Wednesday, May 10, 2017

Firing FBI Directory James Comey is an Obstruction of Justice: Impeach

We have now entered WATERGATE. Firing a FBI Director or Attorney General in the middle of being investigated is an impeachable admission of guilt.

Pay. Attention. Resist. Incite. Indict. Impeach.


1. call 202-224-3121, punch in zip code, get connected to Congressional Rep, and yell at them.
2. Text RESIST to 50409. You will get set up to text your message to Congress and it will be sent as a fax to all your representatives. Takes a minute or two, and if the line is busy, it will keep calling until it sends the fax.
3. March. Anywhere. Everywhere. March in your front yard in between sending faxes, texts, and phone calls.
4. CALL THE DEPT OF JUSTICE right now at 202-353-1555 to ask that Deputy Attorney General Rosenstein appoint a special prosecutor to oversee the ongoing investigation of Russian meddling in the 2016 election.
5. READ ALT PRESS (many sources and sites know more than MSM)
-Palmer Report,
- Patribotic,
- Claude Taylor @Truefactsstated
- Andrew Laufer @Lauferlaw
- John Schindler @20committee
- Louise Mensch @LouiseMensch

Tuesday, May 9, 2017

Sally Yates Testimony

-The timeline is devastating for Trump.
-Sally Yates warned the White House about Michael Flynn repeatedly. On two occasions she directly told them that the man in charge of our nation's security was compromised by Russians and was receiving highly classified info. And they fired her.
- Trump fired Yates b/c Flynn's corruption was NOT rogue. He WAS the voice of a administration that is still compromised by Russians b/c Trump's entire business empire is built on dirty Russian money.
- VP Pence was in charge of approving Flynn's security clearance and then leaked Flynn's firing. He did that on purpose b/c he is at fault and was trying to cover himself for making this criminal mistake (or intentional decision). Pence is the only one who had the info AND had a solid reason for leaking, which was to cover his ass. Yates and others involved had no reason b/c they were doing their jobs, keeping their heads down, and they had the rule of law on their side. Also Trump is a master at accusing enemies of the very same thing he has done or is actively doing. If you look at any lie he has told about any opponent it is almost 100% projection of his own stuff. He is such a narcissist that he can not see someone else unless he is reflected in what that person is saying or doing. Trump administration imitates this lying technique by projecting loudest over the thing they were doing, especially when panicked. Last night he was tweeting about Russia helping out the DNC...right before Yates testimony. That is his entire administration and they have been the ones talking about 'leaks' b/c they were the ones who did it to save themselves.
- There are probably tapes of Flynn talking to Russians and there are certainly banking intercepts of him being paid by both the Russian and Turkish gov (which is why British Intelligence and all 17 US intelligence agencies are so solid on Flynn's corruption).
- Knowing Trump's cluelessness, there are probably tapes of many other officials making promises to the Russians, maybe even of Trump himself making promises in exchange for personal business favors.
- The GOP is still holding on to some hope that they can get out of this scandal by blaming Obama, ignoring the issue, and/or trying to switch the focus to 'who leaked' (it was Pence by the way). It's not going to work. Sally Yates, Barack Obama, and too many people with integrity, intelligence, and knowledge of the law are working for the truth.
-Indictments are coming...with or without the Congress.

Friday, May 5, 2017

The Pre-Existing Condition of Republicans

The House GOP just passed an Obamacare repeal that 1) most have not read 2) has not been scored by the CBO for fear of the catastrophic estimates on the damage the bill will have on America 3) had less than 48 hrs of debate and 4) excludes politicians and their families from the effects of the bill. They did it all to say they got back at Obama via 24 million Americans who will lose insurance and 200 million who will suffer a rise in premiums. The Republican party has become radioactively intolerant of women, the poor, middle-class families, urban voters, rural voters, basic facts, experts, science, and 99% of humanity... while sheltering their own families from the nuclear fallout of their disasters. So what are we going to do about it? While Dem activism has surged, conservatives and libertarians need to join in if we're going to have a real debate about the health of our citizens.

Unfortunately all of my conservative and Republican friends have been -as the kids say- quiet AF. Quieter than an "All Lives Matter" rally for a person of color. Quieter than a "Take Your Daughter to Work Day" at Fox News. Quieter than Melania Trump's tears. Quieter than Dick Cheney when he had the epiphany that he helped build the conservative media bubble of lies and now he's on the outside of the bubble banging on the soundproof glass as Trump plays with the nuclear buttons to raucous crowds of the misinformed mistrustful, and perpetually angry. Are you quiet because you're sick of all this winning? You got that victory flu? That winner's laryngitis? You're 3 months pregnant with success and you want to abort b/c you already got an entire nursery of wins? All those beauty pageant tiaras and prom queen sashes cutting off the circulation to your tongue? Are you sick of winning or are you just sick? Get used to being sick and sad: it's a pre-existing condition for voting Republican.

Tuesday, May 2, 2017

Friendship and Death

Yesterday I got an email from someone claiming to know a theatre friend who passed away a few yrs ago. The email requested details on his well as a request to read a play. Ugh. I met this mutual friend over 10 yrs ago for a project. He paid me for some small rewrites and script doctoring, while saying he wanted to produce one of my plays. I saw how he liked to string ppl along on 'the hopes' of a production. That was his power. So I decided to just be a friend and deny him that power.

After our initial few meetings I never let him read one of my plays. I was committed to just being friends and not participating in this game. I did attend his readings and productions. And I saw the ppl he kept around him and became concerned. They were some good folks but there was a palpable 'neediness' that reminded me of 'hungry ghosts' in Buddhism: starving spirits forever craving something. I spoke with him about that and he agreed. And then we drifted apart  and yrs passed until I got a gofundme msg about his illness. I rushed to Beth Israel and found him disoriented and surrounded by theatre ppl. There was a hardness in the air. Ppl were discussing their projects and the patient in need seemed to be an aside. I left after an hour b/c I felt so sad about this 'hungry ghost' sensation.

A few days later I visited him in the afternoon and he was alone. I was only stopping by to say 'hi' but I ended up staying several hours to feed him, advocate for him, check on his transfer, wait for GODOT-like visitors who never arrived. He was scared and I was depressed b/c we were both tapping into a general feel: this was it. After all these decades of battling for glory, gossiping, talk of collaboration, lunches, productions: this was the end of something. And there was no family, nobody he worked with, none of ppl who had gotten what they needed from him.  I was the only one. I performed some Buddhist offerings and prayers in his room..the same I used for my grandmother.

He was transferred to a glorified version of hospice. And then he was gone. All these yrs later I get an email request for details about his death via a play reading brochure and that same hard and chilling feeling returns. 

Monday, May 1, 2017



Sundance Institute - Screenwriters Lab
Deadline May 2

The Screenwriters Lab is a five-day writer's workshop that gives independent screenwriters the opportunity to work intensively on their feature film scripts with the support of established writers in an environment that encourages innovation and creative risk-taking. Through one-on-one story sessions with Creative Advisors, Fellows engage in an artistically rigorous process that offers them indispensable lessons in craft, as well as the means to do the deep exploration needed to fully realize their material.

The Screenwriters Lab supports writers and writer/directors developing their first or second narrative feature film. Award: 5-day lab Fee: $35 Restrictions: If you have previously had more than one narrative feature produced, you are not eligible to apply.

NBC Writers on the Verge (Universal City, CA)
Deadline May 31
Award: Writing Program Fee: N/A Restrictions: N/A

Writers on the Verge is a 12-week program focused on polishing writers and readying them for a staff writer position on a television series. We are looking for writers who are "almost there" but need that final bit of preparation with their writing and personal presentation skills. We particularly encourage writers of diverse backgrounds to apply.

The program will consist of two night classes, which will typically be held on Tuesdays and Thursdays (7-10pm), weekly at NBCUniversal in Universal City, CA.

New England Theatre Conference - Aurand Harris Memorial Playwriting Award 
Deadline May 1

This award was created in 1997 to honor the late Aurand Harris (1915-1996) for his lifetime dedication to all aspects of professional theatre for young audiences.

A panel of judges named by the NETC Executive Board will administer this award. Two cash prizes will be awarded: First Prize of $1000, and Second Prize of $500. The judges may withhold prizes if in their opinion no play merits the award.

A staged reading of the prize-winning scripts may be given, followed by critique and discussion.

Austin Film Festival - Playwriting Competition
Deadline:  May 10

As Austin Film Festival continues to grow and expand, our vision also widens with the addition of new avenues for storytellers. The inaugural Playwriting Competition is open to full-length stage plays and give playwrights a chance to explore our film and television conference. It will also allow film professionals to discover storytellers who have mastered the art and craft of stage drama. Award: Performance + $1,000 + travel & lodging Fee: $25

Do you want a staged reading of your play in front of an audience including industry professionals in attendance at the Conference? This competition is open to full-length stage plays and gives playwrights a chance to explore our writers festival and conference. Whether you aspire to get your work on the stage or transition into the world of film and television, AFF can help through our new Playwriting Competition.

The American Playwriting Foundation - The Relentless Award
Deadline: May 15

The Relentless Award, established in honor of Philip Seymour Hoffman and his pursuit of truth in the theater, is the largest annual cash prize in American theater awarded to a playwright in recognition of a new play.What we are looking for plays that are challenging, that exhibit fearlessness, that are not mainstream, that exude passion, and that are relentlessly truthful. Award: $45,000 + residency + reading + publication

The Playwrights Realm - Writing Fellows Program (New York, NY)
Deadline: May 21

The Writing Fellows Program is at the heart of what we do: helping writers write. Four early-career playwrights receive nine months of resources, workshops and feedback designed to help them reach their professional and artistic goals. Over the course of the season, Fellows develop a single new play. Monthly group meetings provide a collaborative, energizing setting for writers to share and refine their work. Individual meetings with The Realm's artistic staff support each writer's specific artistic process. Fellows work with a director, design consultant, and actors over the course of two workshops to see their work come to life. The Writing Fellows season culminates in a public reading of each fellowship play as part of our INK'D Festival of New Plays.

Award: $3,000 & 9 months of resources. Playwrights must be able to attend meetings and readings in New York City approximately twice monthly from September 2017 through May 2018. Playwrights should identify as early-career. Those enrolled in an MFA program during the span of the fellowship are not eligible.

Baltimore Playwrights Festival
Deadline: May 31

From June through August, the Baltimore Playwrights Festival kicks into high gear as member theaters produce winning entries. Plays are spread across the Baltimore area and throughout the summer, typically in 3-4 week runs. It is a long standing practice for playwrights to receive an honorarium from the producing theater.

This is a local festival: Playwrights must currently reside or work in Maryland or the District of Columbia or have previously maintained their primary domicile, or place of employment, within Maryland or the District of Columbia.

This is a new play festival: Plays cannot have had a staged production at the time of submission to the festival. Readings and workshops are not considered productions. If the play does receive a production after submission and before BPF production, the playwright must inform the BPF. Please limit submissions to one per playwright per year.

Award: Honorarium and production of play Fee: $10 Restrictions: When 85 plays are received, the submission will close. Each script must be anonymous. Please remove any identifying information from title pages, headers & footers.

Capital Repertory Theatre- Next Act! Play Submissions
Deadline: May 31

Next Act! now in its sixth year, is an expansion of Capital Repertory Theatre's commitment to the development of new work. At the same time, the weekend long summit is designed to complement the Upper Hudson Valley's rich diverse populations. The summits directly reflect the theatre's mission, "to create meaningful theatre generated from an authentic link to the community." Next Act! New Play Summit 6 takes place October 20 - 23, 2017 and will feature readings of four never-before produced plays, with additional special events throughout the weekend.

As in years past, the theatre is devoted to finding a play that can be produced in an upcoming season. Accepting full length plays only.

Nick Drake Prize
deadline: May 31st

The Nick Darke Award was conceived by his wife, the artist and film-maker Jane Darke, with the support of his family. Nick Darke wrote in many forms but earned his living in the world of theatre, screen and radio. With the opportunity to win £6,000 and open to all writers, this competition provides the time to write that financial support facilitates. Applicants should submit a full stage play script along with a one-page synopsis by Wednesday 31 May 2017. The submissions will be read by a group of readers who will produce a longlist for the Longlist Committee. The Longlist Committee will reduce the submissions to a final shortlist of eight for the judges. Announcement of the winner will take place in autumn 2017 at an Award Ceremony in Falmouth. The Nick Darke Award is solely funded by Falmouth University through the Academy of Music and Theatre Arts (AMATA) and the School of Writing & Journalism. The relationship between Falmouth and the Award recognises Nick Darke’s impact across the arts and endeavours to continue his legacy through the promotion of talent. The Nick Darke Award was set up in 2006 to celebrate the best writing for stage, screen and radio. The Award is open to all writers with a prize of £6,000.

Submission Procedure

Please submit a full stage play script (minimum of 45 minutes in length, no maximum) and a one page synopsis about the play in PDF format to:
All submissions should be entered anonymously, do not include a name, address or email on the script. Please put contact details in the email with your submission.
Confirmation of receipt of entry will be sent by email.
Late or incomplete entries will not be considered.
The deadline for submissions is 17:00 (GMT) Wednesday 31 May 2017.

deadline: May 15th

2017 “Radcliffe Institute Fellowship Program” is available for the Journalists, Playwrights, Screenwriters, Musicians, Theater Performers, Visual Artists, Natural Scientists, Mathematicians, Humanists, and Social Scientists. The deadline to apply as a cluster is "May 15, 2017".

You can get more information through the link: Radcliffe Institute Fellowship Program:

UCSD: African American Experience
Deadline: May 27th

The University of California San Diego’s Theatre and Dance Department seeks from all enrolled undergraduate students submissions of previously unproduced, unpublished scripts highlighting African American experience in contemporary or historical terms.

Scripts must be original, unpublished, unproduced and free of royalty and copyright restrictions. Plays which have had staged readings are acceptable. Scripts must be 50 pages or longer, typed. Manuscripts must be submitted electronically (see below). You must also include your contact information (name, email, and address); play title, number of characters, institution affiliation, and a one page story summary.

A $1000 honorarium will be awarded to the winning playwright.
A stage reading in April of the winning script in the Wagner New Play Festival. This festival is attended by students, local patrons, and twelve national theatre professionals.
Travel and housing costs to and from UC San Diego to be present for the performance.

Luxembourg Arts Prize
Deadline: May 31st

The Luxembourg Art Prize aims to reveal and promote talented artists who have yet to establish a profile on the contemporary international scene. Its function is to discover artists, and it is open to any artist, amateur or professional, with no limits on age, nationality or place of residence. The Prize is aimed at artists working in one or more of the following media: drawing, printing, installation, painting, performance, photography, digital art, sculpture, sound art, video, mixed media, decorative art (textiles and material, glass, wood, metal, ceramics, mosaic, paper or other techniques).

How do I enter?

Artists have to create a Candidate Space on the Luxembourg Art Prize website and complete the entry form on-line. Everything takes place via the Luxembourg Art Prize website. Only entries submitted on-line via the artist’s personal Candidate Space will be accepted. Candidates may update and complete their submissions on-line as many times as necessary until the deadline for submissions.

Entry fee
Entry for the Luxembourg Art Prize 2017 is subject to the payment of an entry fee to be paid on-line. The entry fee is €45 (about 49 USD or 39 GBP or 48 CHF or 63 CAD or 5,463 JPY).
The entry fee pays for the time spent examining the entries by all the members of the selection committee. Talent is independent of age; we hope to receive submissions from artists young and not so young who have real personality and whose works will delight us.

The winner of the Prize in 2017 will receive an award of €25,000 (about 27,020 USD or 21,517 GBP or 26’725 CHF or 35,125 CAD or 3,035,000 JPY) to fund the production of further work and an individual exhibition in a prestigious gallery. The finalist artists will be included in a group exhibition in the gallery. The Luxembourg Art Prize is a unique opportunity to enter the international professional art circuit and to have your work seen by major private and institutional art collectors. You will have the chance to be supported and personally advised by Hervé Lancelin.

Unlike other prizes or art salons, the Luxembourg Art Prize is designed to boost your career by exhibiting your work in an international gallery and giving you a high level of visibility. Hervé Lancelin has been an art enthusiast for nearly 50 years. He is a member of ADIAF, a prestigious association of major European collectors. He has been a member of the selection committee for the Marcel Duchamp Prize in collaboration with the Centre Pompidou in Paris and has been a trustee of the Amis du Musée d’Art Moderne, d’Art Contemporain et d’Art Brut (Friends of the Museum of Modern, Contemporary and Outsider Art) in Lille for several years.

The gallery will organise return travel for the nominated artists and their companions by train or air. The gallery will send travel documents to the nominated artists and their companions within the ten days before the opening of the nominated artists’ group exhibition.
The gallery will also book hotel rooms for the purpose on the basis of dual occupancy (each artist with his or her companion).

The candidates are invited to research as early as possible whether their journey to the Grand Duchy of Luxembourg will require a visa (

How does the Artistic Committee make its choice?

The Artistic Committee is already looking forwarding to getting to know your work and examining your entry carefully. They expect you to fulfil certain criteria, which may appear subjective but are nevertheless important.

For example, the Committee may be sensitive to the following points: the originality of the work, technical mastery, coherence of the work, freshness, novelty, historical continuity, the artistic, literary, historical, scientific or philosophical references in your work, the message conveyed, the poetry that emerges from the work.

The Committee hopes to find works that have been produced in a unique moment of grace experienced by the artist at the time of their creation. These magical creative moments are what make a work unique and unlike any other.

I AM SOUL Residency (National Black Theatre)
Deadline: May 1st

 I AM SOUL recognizes one black playwright annually whose work demonstrates exceptional artistic merit and excellence in the field. Alongside NBT’s Theatre Arts Director, the selected playwright will develop a new play during the 18 month residency. The program will provide the playwright with a stipend [pending funding], administrative and dramaturgical support, in-house readings, one 29-hour workshop and a workshop production in NBT’s following season

 With I AM SOUL, NBT seeks to deepen the artistic relationship between black theatrical institutions and black playwrights, and to begin to re-establish black theatrical institutions as the foremost supporters and producers of new works created by black playwrights.

Ox-Bow’s Artists in Residency
Deadline: May 1st

Ox-Bow’s Artist-in-Residence program, located in Saugatuck, MI, offers artists and writers the time, space, and community to encourage growth and experimentation in their practice. During the fall residents are given the time, solitude, and focus often unavailable to so many working artists.

At Ox-Bow, artists can enjoy 24-hour access to their studios, and an inspirational setting, free from the expectations of commercial and academic demands. During the fall season, Artists-in-Residence have the opportunity to work in studios not available during the summer session. The fall is an ideal time for writers to apply as there are studios dedicated specifically to them. It’s also a great time to propose group or collaborative work. The residency is open to all visual art disciplines and writers.

The residency provides:
• Studio (access to ceramic, printmaking, and painting studios—if you would like access to these facilities make sure this is clearly stated in your application)
• Private room
• Meals
• A community of engaged artists
• Opportunities to share work: slide presentations and/or readings

We are happy to announce that in 2016 Ox-Bow furthered its commitment to the needs of artists by no longer charging fees for the residency program (including application, room & board, and residency fees). All accepted residents are fully funded. Artists may apply for additional stipends to help pay for the cost of travel, supplies, and time away from work.

To find out more about Ox-Bow’s AIR program and to apply, visit our website:

La MaMa Umbria 2017: International Symposium for Directors
Deadline: May 15th
Website/La MaMa application:

The International Symposium for Directors is training program for professional directors, choreographers, actors and others. Internationally renowned theatre artists conduct workshops and lecture/demonstrations. During the Symposium, participants will travel to Umbrian towns such as Orvieto, Perugia  or Assisi to get a taste of Umbrian art and culture. Performances at local arts festivals and community fairs are also included.  In addition, participating directors may conduct their own workshops to share insights and techniques with their colleagues.

Participants will be exposed to a variety of theatrical perspectives during the Symposium, from instructors who will expand their sense of what is possible in the theatre. Directors attending the Symposium see how prominent artists on the international scene create their unique productions. The workshops are participatory, and it is expected that all attendees will engage actively in the processes of the various teaching artists.

APPLICATION PROCESS: Space is limited. Registrants will be accepted on a first-come, first-served basis. Registrants must fill out the Registration Form. Space is secured with a deposit of $1,000 due with the registration form. $100 of the deposit is a non-refundable processing fee (unless the Symposium is already full when we receive your registration). All fees should be paid in US dollars in the form of checks or money orders payable to La MaMa ETC. In the case that a participant cannot attend the Symposium after having paid, 50% of the fee will be refunded if the participant cancels by June 20, 2016. After this date, the fee will not be refundable.

FEE: $2,800 for one session / $5,400 for both sessions. Fee includes all workshops, housing and meals, ground transportation from the Rome airport to and from La MaMa Umbria, excursions by bus, van or car, including tickets to performances at a local festival, entrance fees to museums and other points of interest.

CREDIT: The La MaMa International Symposium is accredited through Sarah Lawrence College. While the Symposium is geared for working professionals, some slots may be filled by university students, who may get credit (2 credits for one session of the Symposium and 1 credit for the Retreat) for their participation through an arrangement with Sarah Lawrence College. For more information, please contact La MaMa at (212) 254-6468.

Halcyon Arts Lab Fellowship
Deadline: May 4th

The Halcyon Arts Lab Fellowship is a nine-month program established to provide emerging artists with time and space to explore new ideas and ambitious projects in an environment of independent learning, study, and collaboration. The fellowship is designed to provide support and resources to emerging artists who desire to develop projects that promote meaningful social impact, and for those who wish to follow the path of leadership in the field of socially-engaged art.

A dedicated studio to concentrate on independent learning and creative practice. • $18k financial scholarship to support living and material costs • Nine months of offsite residential accommodation (eligible for non-DC residents only) • A curriculum of classes that provides skills training in negotiating, marketing, and fundraising • Mentorship and critique from an experienced arts professional • Workshops and lectures with a broad content of art topics in the public realm, from urban planning and policy, to design thinking and social justice. • Mentorship with DC high school students to provide guidance, instruction and inspiration to the next generation • Opportunities to collaborate with fellow artists, social entrepreneurs and our program partner organizations in Washington, DC.

Deadline: May 6

Established in 2009, the CENTRE FOR THE STUDY OF SUBSTRUCTURED LOSS is a Canadian organization dedicated to the development of applied grief and bereavement research. Interdisciplinary in nature, the research is documented through the use of practice-based/led methods within art and is comprised of work from both creative and technical practitioners. The CENTRE aims to provide a platform for the development of their research and is produced in partnership with local, national, and international academic bodies, institutions, foundations, and non-profits.

The artist-in-residence candidates are selected annually through an open call application process or in some cases, by invitation. The program supports emerging and established artistic professionals/researchers working in any medium. Residents can continue with existing projects or undertake new research.

The residency program encourages experimentation and the development of multi/interdisciplinary studio work grounded in research within the field of grief and bereavement. The work can encompass and explore varying physical and emotional processes (or loss) that people undergo.

Previous residents have undertaken both theoretical-historical and practice-based projects surrounding loss; working with, but not limited to the following subject matter: the aging process and the elderly, cancer, sex work and sexual assault, miscarriage, suicide etc.

Participants are expected to present their findings when the residency program concludes and are given the flexibility to choose which form of presentation suits their findings best (i.e. exhibition, lecture, panel and/or forum).

The residency aims to provide working artistic professionals with a platform for research and production; one that may lead to expanded possibilities, collaboration, a broader network, and possibly new works.

The residency is open to artists, researchers, and other professionals from any country. The selection process is based on the merits and quality of artistic practice. The program is not available to students.

Residency programming is one (1) month in duration followed by a brief presentation period. The CENTRE provides mentorship and guidance throughout the creative development process including iteration, subject-specific research, presentation of works, as well as, access to local resources and administrative support.

The CENTRE will arrange for shared studio, workshop facilities, or office desk space for the duration of programming. The workspace will be located within a studio collective shared by other artists and working professionals. The environment will allow participants to engage in public conversations and cultivate dialogue with local artists and professionals.

Eligibility: The residency is open to artists, researchers, and other professionals from any country. The selection process is based on the merits and quality of artistic practice. The program is not available to students.

Support: The CENTRE will arrange for shared studio, workshop facilities, or office desk space for the duration of programming. The workspace will be located within a studio collective shared by other artists and working professionals. The environment will allow participants to engage in public conversations and cultivate dialogue with local artists and professionals. Presentation space is provided. Participants are expected to bring their own computer and other tools necessary for their work during the residency.

Costs: Berlin, Germany Residency: Fee: €579 (EUR)

New Orleans Writers’ Residency
Deadline: June 1

In every culture, writers have played an important role in both society and revolution by voicing unspoken truths. This July, the NOLA Writers' Residency will offer a small group of writers a four week writing retreat to focus on getting better at doing just that. The retreat will cover lodging, airfare up to $500, and a stipend of $200 per week to cover food and entertainment. During those four weeks, you will have complete freedom to plan your time in ways that best support your writing and build lifelong connections with other writers. You will also have the opportunity to receive in-depth personal mentoring in everything from writing routines to the details of your craft, by Kat, our resident mentor, career counselor, and editor extraordinaire.
Duration: July 10 - Aug 7th, 2017
Eligibility: Published and unpublished writers are encouraged to apply. Selection is based on quality of writing.
Support: This is a purpose-driven organization that offers material support (stipend, housing, and airfare) as well as community and an in-house editor.

Apothetae Fellowship at Lark 
Deadline: June 15

The Apothetae at Lark Playwriting Fellowship program is the centerpiece of a broad Apothetae at Lark Initiative, designed to provide a significant platform of support and advocacy for Disabled Artists and to promote the generation of new works with the power to revolutionize the cultural conversation surrounding Disability. The Apothetae, a theater company founded in 2012 and devoted to challenging perceived perceptions of the “Disabled Experience,” and The Lark, an organization founded in 1994 and devoted to the principles of equity, inclusion, community, and the power of an individual artistic voice, have been working in partnership to address the profound underrepresentation and oppressive misrepresentation of people with disabilities that persists throughout our cultural media.
The Apothetae at Lark Playwriting Fellowship is a critical component in The Lark’s acclaimed portfolio of fellowships. The portfolio is designed to engage a diverse community of extraordinary playwrights—at various places in their careers—who represent, collectively, a contemporary national vision. The Lark believes that targeted support to playwrights from underrepresented backgrounds is essential to a culture of equity, access and inclusion, and a national theater that represents the vibrancy of our collective cultural voices. The Apothetae at Lark Fellow will be in residence at The Lark as part of a community of artists from across the country and around the world, gathered to explore and illuminate the most important issues of our time.

The Lark is accepting applications for the pilot round of its Apothetae at Lark Playwriting Fellowship program, supported by the Time Warner Foundation. The Apothetae at Lark Playwriting Fellowship includes a two-year residency for a Disabled Writer. The selected Fellow will work on multiple artistic projects through an individually-tailored program of Lark play development programs, and develop relationships with other theatermakers at various career stages from all parts of the world. The Fellowship includes a cash award of $40,000, plus a $5,000 Opportunity Fund for project-related expenses, and control over a $10,000 Production Enhancement Fund, to be allocated to a producing theater in support of a full production of one of the Fellow’s plays. The Fellowship also includes access to a wide range of Lark and Apothetae resources, including artistic program participation, office and rehearsal space, and staff support. Up to 3 Finalists for the award will each receive a $5,000 honorarium.

Florida Theatrical Association:  New Musical Discovery Series
Deadline: June 1

Aspiring writers from around the country are encouraged to submit their new works, which will be reviewed by a panel of theatre professionals, including renowned directors, writers, producers and performers. The panel will select two works that will each receive a staged reading. One final winner will receive a workshop presented of their piece featuring local directors and talent. The Discovery Series will also include talkbacks for students and audiences with the playwrights and directors.
The deadline to submit musicals for consideration is June 1, 2017.

Submission Guidelines: All submissions must include: A cover letter A history of the musical’s development A synopsis Full script A CD or flash drive with at least six songs from the production (can be a very basic recording) *Please note that materials will not be returned.

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