We won!! Thank you cast, crew, and creatives of Miami New Drama’s “7 Deadly Sins.” A special personal thank you to Sandi who killed it in my sinful play “Blackfish,” the Swader Bros for their incredible design, and Michel Hausmann for his fantastic directing and producing.
Moderator: Any final words of advice?
Me: Education, education, education. Stay in school, kids.
Students: We are in school. You are literally talking to a graduating class.
Me: Ok. Good pt. Follow your dreams.
Students: We can't. We have all this debt from staying in school.
Me: Yeah I know about that. How about...question everything.
Students: so Trump wants another ballot audit so-
Me: let's move on. Love is love is love.
Students: What about NAMBLA?
Me: Vote blue no matter who?
Students: But Biden said-
Me: -I'm not trying to get into it. Don't do drugs.
Students: no.
Me: Be kind.
Students: To terrorists?!?!?
Me: Don't litter. Ok. How about that? Just don't fucking litter. What? You got something smart to say about that? Huh?!?
Students: ....
Me: This has been so much fun. Thank you for having me.
*one person claps.*
FDRA is
Foundation
Destruction
Restraint
Antidote
So you take a bad karma you've done in the past in actions, words or thoughts. Just try it as an example. And you do FDRA. -Foundation: you go for refuge in something that can protect you from experience the bad effects of this karma. So you can go for refuge in Buddha, Jesus, whatever you think will help you. But the thing that really helps you is the actual teaching letting you know this so going for refuge in wisdom (embodied in a person or symbol) Is power. You picture yourself running like it's raining and you're in the middle of the woods and you find this nice quiet, abandoned church. You just run into it for refuge from the storm. Remember the storm is the consequence I'm going to suffer from my negative karma. I am running from that to a foundation place where I can regroup, dry off from the rain, and think.
Destruction: this is deep deep regret. Now that you have a foundation you want to begin destroying this negative seed by truly have regret. You contemplate how this negative seed WILL ripen unless I do something. It will ripen into something exponentially worse than the initial thing done. So if I said so how do I stop this torrential rain that has been created by my past actions. You have to very clear how even a small negative word can snowball into people speaking poorly of me for years. And the sad thing is we are doing these negative actions every day. Every day we are committing a slew of negative seeds in thoughts, words, and actions. It is truly a miracle that are good seeds outweigh our bad ones so that we woke up this morning. Because every day we are just piling on thousands and thousands of negative thoughts, words, and small actions...and then doing a sprinkling of good stuff. There really isn't a comparison. We should have regret for this and all the pain we are going to experience.
Restraint: can I stop myself from doing this negative deed for a set amount of time. Make it realistic. If it's something you're going to do again -like have a negative thought about X person- then set the timer on this restraint for a few hours or even a few minutes. Seriously. A few honest minutes is so much more powerful as a purification than committing to a week and breaking that promise.
Antidote: now it's doing the positive karma in thoughts, words, actions, but it's to counteract the negative one. So this is not something I'm planting for a ripening, but to just pour acid on the bad seed or you're lighting that bad seed on fire with your practice so it burns out.
And then feel good that you purified at least one bad karma to completion. As you practice this and start to get good at it, you'll be doing purification on the go, at work, driving. You will go for refuge, have regret, agree to restrain and then think about an antidote...like it's second nature. But first you should be practicing, taking it slow, really thinking about individual negative karma and purifying with the 4 powers.
TEACHING OF THE FOUR POWERS (by Lord Buddha)
I bow down to each and every Enlightened Being, and every bodhisattva.
One time I heard the Buddha give this teaching.The Conqueror was staying among the worldly gods of the Land of the ThirtyThree, at the great gathering place of the gods known as Excellence. Together with him was a great gathering of 500 monks, along with mass of great bodhisattvas such as Loving One and Gentle Voice.
And the Conqueror spoke the following words to that great bodhisattva, Loving One:
"O Loving One, if a great bodhisattva keeps four practices, then he or she can never be overwhelmed by bad deeds that they have both committed and collected.
"And what are these four practices? They are the activity of destruction, and the activity of an antidote, and the power of restoring, and the power of the foundation.
"Here the 'activity of destruction' refers to having many regrets about a negative deed that you have committed.
"The 'activity of an antidote' refers to making great efforts in positive deeds, despite the fact that one has performed a negative action.
"The 'power of restoring' refers to making a commitment to restrain oneself, and then succeeding in not breaking this commitment.
"The 'power of the foundation' means never giving up the act of taking refuge in the Buddha, the Dharma, and the Community; and never giving up the wish for enlightenment. Any person who maintains these kinds of power can never be overwhelmed by a negative deed that they may have done."
I met a second vaccine-hesitant person in as many days. This person is also a male POC, not a Trump supporter, and from a large family who has not gotten vaccinated. I'll call this guy J. Now J wasn't resistant or angry or anti-science. He was just hesitant. I didn't 'sell him' or 'shame him' on the vaccine. In fact J was the one who kept asking me questions 'how did it feel...did you get sick...I know someone who got the vaccine and died a few days later...' and on and on the questions went. Unprompted. I answered honestly:
My arm was sore. For like 2 days. I still worked out.
I felt some cold-like symptoms creep up on me. Slight coughing and throat irritation. I pre-gamed and post-gamed the shots by taking vitamin C, D, zinc, and aspirin to boost my immune system. My symptoms never got past the minor irritation.
I also get the flu shot every year and feel the same slight cough and throat annoyances. And I do the same vitamin regime.
There was a study in which ppl had terrible reactions to Moderna and Pfizer shots. Then it was revealed that a lot of these severe reactions were in the placebo group. People were falling out, losing their breath, experiencing panic...b/c of fake shots. Placebo groups have the same reactions to a new vaccine and medicines which can be extreme. He agreed that a lot of his worry was in his mind.
The hesitancy J had the coronavirus earlier in the year. But he knew that there were variants and he could get it again.
What I sensed was that J KNEW all of this information. He knew the facts, just like I know the calorie count on junk food, or that I should go to the doctor twice a year (but I don't), or that I should try to get to bed before midnight for my health (and I rarely do). The vaccine disinformation feels a lot like me talking to my super healthy friends and spouting stuff I've read online about healthy people who die suddenly to alleviate my guilt...
"Yeah, she ate kale every day and look at her now: dead. I heard she went to bed at 10pm every night and died cause she was too well rested. Hey, that's what I heard. You know I do my own research on youtube and there are some videos out there that say too many greens can actually shock the system...so I feel like my anti-green plan might be smart. Yes, I know she was hit by a car but still...it makes you think, doesn't it? Maybe kale slowed her down so the car could hit her. Huh? You didn't think about that, did you?'
You can be aware of facts and still not act on them. And you can use doubt and wild speculation to justify the inaction. There are gaps between fact awareness, personal truth, and then taking action. A lot hesitant people are in the gaps. Maybe talking things through helps them realize what they have known all along. One-on-one conversations allow people to have those quiet 'come to Jesus' moments in which they take action. It's so much easier to remain quiet and inert than to make an effort. Friends, colleagues, and family help push us out of the gaps of hesitancy. Now I should probably schedule a doctor's appointment, eat this salad, and drink 8 glasses of water. Yeah, that's what I should probably do.
I finished my holiday prayers this evening and reached up on the shelf to an old class binder from a 13 yrs ago: "How Karma Works." The course is based on the root text, "The Treasure House of Knowledge" by Master Vasubandhu (350 AD). The commentary on the root text is "Illumination of the Path to Freedom" by the First Dalai Lama, Gyalwa Gendun Drup (1391-1474). The class was taught by Venerable Lobsang Chunzom in June 2008...with my bad phonetic Tibetan translation in parenthesis.
7 QUALITIES OF THE GIVER THAT MAKES RESULTS POWERFUL
1. Faith (Depa) - recognizing value of someone
2. Morality (Tsultrim) - keeping morality when giving
3. Generosity (Tongwa)- not being stingy in my heart when giving
4. Learning (Tupa) - using knowledge in the act
5. Sense of Shame (Ngotsa Shepa)- awareness of others and good thoughts while giving.
6. Conscience (Trel Yup) - how is the giving going to effect someone else.
7. Wisdom (Sherab) - understanding selflessness while giving.
3 QUALITIES OF THE ACT OF GIVING
1. do it respectfully: in body language, presentation, manners, words.
2. give what is most needed at the time.
3. Give what can only benefit and not cause harm (example: so don't give wine to an alcoholic or a gun to wild teenager)
4 QUALITIES OF OBJECT RECEIVING ACT OF GIVING
1. the type of being: humans are the highest object b/c they can actually get enlightened. Animals are still very good.
2. Someone Suffering: more powerful to give to those in need.
3. Assisting Givers: giving to those who give is even more powerful. Giving to a nurse or doctor saving lives is a more powerful object for protecting life. Giving to a teacher is more powerful for knowledge b/c they are teaching other students.
4. Good Qualities: giving to person with high spiritual qualities is the most powerful. Their lives exist to assist others in the ultimate way so giving to them imbues the act with the highest charge.
Some times I think the conservative movement has become a fiery runaway clown car with no brakes careening off a slippery cliff of caca into the bottomless bowels of some sort demon lair of the unhinged straight-outta-marbles geriatric white wonderland of festering fear. It is here where nothing makes any sense, up is down, hate is religion, poverty is criminal, charity is immoral, violence is kindness, vaccines are the disease and covid is the hoax, voter suppression is protection and voter turnout is undemocratic, and lies become fact by merely increasing the decibel level. And Trump is their God of desecration.
And then I remember that America is still the best hope. Out of all the world leaders, this pustulating ulcerous political system of ours isn't sending people to concentration camps (currently), or re-educating Muslims by raping them, or throwing journalists off balconies and calling it suicide, our descending into open warfare with military tanks rolling through towns and gunning down people. I know that is an extremely low moral bar...but that is usually how civilization goes on. It's isn't the altruistic societies that thrive. It's the brutal and hypocritical people who hold on to some bare minimum ethos just long enough to defeat disease, war, famine, poverty and the usual killers of civilization.
What we are experiencing is nothing compared to what my parents experienced, and their lives are nothing compared to my grandparents. As you look back, there is some ascending generational line for my people, my family, my race, this nation. The longview is hard to see, but there is a certain part of the country that knows it's losing. They are thrashing about in the death throes of the demographic shift, twisting their logic in knots to gerrymander, suppress, and legislate lies into existence. They are fiddling with the margins in trying to siphon off votes against a rising tidal wave. They have lost the popular vote in almost all the elections in the last 20 years.
While our assbackward democracy allows a minority to cling to power by its finger nails, it does not/can not reverse a death spiral. There is no dark Constitutional alchemy that can be found to reverse things for conservatives. They will continue to cling to the edge until their fingernails break...but they can not thrive. We are thriving. They shoot us down and we continue to thrive. They suppress our votes and we come out in Georgia and flip a conservative state. They undercount us, overpolice us, and erase our struggle from history...and we continue to thrive because the driving force of this nation isn't in legal tricks or disinformation. It is something immaterial, ineffable and untouched by lawyers and pundits. I know it because my people should have been wiped out by now if we depended on material things, rights, and justice. We should have been exterminated by their virulent hatred. But we thrive. It is mystifying to me how my grandparents and great grandparents did it. But then I remember that I don't have to know exactly 'how' they did it. They carried the torch through an American obstacle course of police dogs, red tape, screaming mobs. I just have to continue to carry their torch forward until I can pass it off to the next person waiting in the darkness. Don't pay attention to social media's reactive rage cycle or the pessimism pundits who say things are worse than they have ever been. It's Just. Not. True. It's not true statistically, it's not true historically, and it's not true spiritually. Carry the fire of your ancestors forward. The torch is not dependent upon us for fuel. We are merely carrying it. The fire has a mind of its own. And its fuel comes from a higher octane than hate.
1. THE 2021 AUGUST WILSON HOUSE VISITING PLAYWRIGHT RESIDENCY PROGRAM
Deadline: April 30th
Email for application: demeatria@augustwilsonhouse.org
THE 2021 AUGUST WILSON HOUSE VISITING PLAYWRIGHT RESIDENCY PROGRAM IN PITTSBURGH, PA August Wilson House, the childhood home of August Wilson, in collaboration with City of Asylum, has established a Pittsburgh-based three-month August Wilson House Visiting Playwright Program, launching in April 2021. The program is designed to nurture a Black playwright, whether local, regional or national, who has made a commitment to playwriting, but has yet to realize broad professional recognition. August Wilson House will give the selected playwright time and space to do the work they have in hand – whether it’s ideas for new scripts that need exploration or a single script that needs focused work to bring it to a first reading, workshop or production – all in the context of August Wilson’s Pittsburgh and the theater community of today.
THREE MONTH RESIDENCY INCLUDES:
• $12,000 stipend, plus the cost of travel to and from and within Pittsburgh.
• Accommodations provided by City of Asylum.
• Access to a thriving community of writers, readers, and theatre professionals in the Pittsburgh region.
• The possibility of a professional workshop reading.
RESIDENCY REQUIREMENTS:
• At least one play previously given professional production or workshop by a professional theater company.
• While here, do at least one public event (lecture, discussion, reading) at City of Asylum (venue includes an outdoor stage with limited audience). A virtual event is an option.
• Commitment to establishing and carrying through in collaboration with August Wilson House a plan for documentation of residency.
APPLICATION PROCESS:
• Current resume or CV, including a list of any publications awards, scholarships, or grants received, in PDF format.
• Script of a previously completed play.
• A one-page description of current writing project.
• One letter of recommendation and the name and contact information for an additional professional reference.
JUDGING AND CRITERIA:
• Applicants will be reviewed by August Wilson House selection committee, who will look for some evidence of the ability to speak to a group and lead a discussion.
Residency is to take place primarily June-August, but with some flexibility as negotiated with August Wilson House. Due to COVID-19, the last month of the residency can be completed via a virtual platform.
HOW TO APPLY Email Demeatria Boccella, Director of Programs, August Wilson House, for an application form (demeatria@augustwilsonhouse.org).
RESIDENCE:
Residency housing is a two-story apartment located at 308B Sampsonia Way, Pittsburgh, PA 15212.. Resident agrees to quarantine for the first 10 days upon arrival in Pittsburgh. Alternatively, resident agrees to a Covid-19 test after at least 5 days in Pittsburgh. Resident agrees to wear masks when interacting indoors with staff from City of Asylum, August Wilson House, or when maintenance personnel come to the house.
2. VIACOMCBS WRITERS MENTORING PROGRAM
Deadline: May 1st
Website: https://www.viacomcbs.com/writers-mentoring-program
In its sixteen years, over 100 emerging diverse writers have graduated from the ViacomCBS Writers Mentoring Program. Over 75 careers have been launched. The goal of the program is to positively impact the presence of diverse writers throughout the industry. As part of its ongoing commitment to create additional access for writers of diverse backgrounds ViacomCBS’ Office of Global Inclusion has launched a different kind of writers program which highlights one of those paths. The focus of this eight month program is on opening doors: providing opportunities to build relationships with network executives and show runners; to support new and emerging writers in their efforts to improve their craft; and to develop the interpersonal skills necessary to break in and succeed. The Writers Mentoring Program is not employment and there is no monetary compensation. It is, instead, a structured program of career development, support, and personal access to executives and the decision-making processes, with the goal of preparing aspiring writers for later employment opportunities in television. Each participant will be teamed with an executive mentor. A ViacomCBS network or studio executive with whom they will meet on a regular basis, to discuss their work, get creative feedback on their material and get advice and support in furthering their career. Once a week, participants will be invited to attend a small workshop-style meeting with various ViacomCBS show runners and other industry professionals. Speakers include executive producers, agents, managers, development and current executives and show runners. The purpose of these gatherings is for participants to gain a better understanding of how the business works from many different perspectives as well as creating the opportunity to make critical networking connections. Another important part of the program is the opportunity for each participant to spend time observing in a writers room, as well as in the ViacomCBS current and/or development departments. Each participant will have help in creating a rigorous career action plan and there will be on-going support in evaluating and achieving those goals. Another important benefit of the program is the development of a close-knit peer support group that will sustain participants through the program and beyond. The ViacomCBS Writers Mentoring Program helps aspiring writers to understand the unwritten rules of breaking in and moving up. It is a combination of mentoring and networking opportunities. Program opportunities such as mentoring, workshops, and observing can be scheduled around participants’ existing work commitments. In order for a participant to get the most out of the Program a meaningful commitment of time and effort are required. It has been found that in order to derive the greatest benefit from the program, participants should be available to 1) attend a once a week (evening) workshop and 2) attend meetings or observe in various situations for a minimum of five full days (not necessarily in sequence) over the course of the eight-month program. The primary focus of the ViacomCBS Writers Mentoring Program is to provide access and opportunities for talented and motivated diverse writers. Aspiring diverse writers with a strong desire to write for ViacomCBS television series are encouraged to apply. You must be 21 or older to be eligible. Finalists will be notified in mid September 2021 (or such later date as may be determined by ViacomCBS). The program is scheduled to begin in October 2021 and continues through April 2022.
3. WB TELEVISION WORKSHOP
DEADLINE: Opens May 1st, deadline unclear
WEBSITE: https://televisionworkshop.warnerbros.com/writers-workshop/
For over 40 years, the Warner Bros. Television Writers’ Workshop has been the premiere writing program for new writers looking to start and further their career in the world of television. Every year, the Workshop selects up to eight participants out of more than 2,500 submissions and exposes them to Warner Bros. Television’s top writers and executives, all with the ultimate goal of earning them a staff position on a Warner Bros.-produced television show. The Warner Bros. Television Writers’ Workshop consists of three components, all geared towards preparing the writer for a successful career in television writing. The 2021-2022 Warner Bros. Television Writers’ Workshop will run October 2021 – March 2022, with meetings on the Warner Bros. lot in Burbank, California, one evening a week from 7 p.m.-10 p.m. Full participation is mandatory.
4. AURAND HARRIS MEMORIAL PLAYWRITING AWARD
Deadline: May 1st
Website: https://www.netconline.org/aurand-harris-memorial-playwriting-award
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. A staged reading of the prize-winning scripts will be held along with the Annual Excellence in Theatre Awards ceremony.
The contest is open to all playwrights and is for new full-length plays for young audiences. No musicals nor plays targeted at adult audiences
All plays will be submitted online to harris-award@netconline.org
Plays submitted to the contest must not have been previously published, submitted to NETC’s Gassner Playwriting Contest, or previously produced by a professional or Equity company; Plays submitted which have had workshop productions or staged readings are eligible and encouraged.
Plays submitted to this contest may have been submitted to another playwriting contest, and may have previously won a prize or an award in another contest. However, such plays must not have been published or professionally produced and must not be under option for publication or professional production.
Playwrights may submit only one play to the contest in one year.
The play must be submitted, along with:
a statement that the play will not have been published or professionally produced as of May 1, 2021, and that it is not under option for publication or professional production and will not be under such option as of May 1, 2021.
a list of the play’s workshop and non-professional productions, if any, and awards received, if any.
ALL manuscripts and enclosures must be emailed to: harris-award@netconline.org
5. NBC WRITERS ON THE VERGE
Deadline: May 10th
Website: www.nbcunitips.com/writers-on-the-verge/?fbclid=IwAR18vTILosMOKagV4-xGcJ654bZNTbUQSYtMOuQEjaBM1XQkyuEQKUx6Clk
Writers on the Verge is a 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 weekly evening classes at NBCUniversal in Universal City, CA. Once accepted, students must attend all classes and turn in all written assignments.
Classes concentrate on creating exceptional material to enhance their portfolio, and understanding the dynamics of pitching oneself in the television industry. Writers are given the chance to interact with industry players ranging from network executives to show runners to agents and receive valuable feedback on their work and pitch style. Writing assignments on a NBCUniversal television show may be available after successful completion of the program but are not a guarantee. Past participants have gone on to series including “The Blacklist,” “Indebted,” “Community”, “Council of Dads”, “Brooklyn Nine-Nine”, “Lincoln Rhyme: Hunt for the Bone Collector”, “Chicago Fire” and “Parenthood.”
How to Submit
The submission window is open MAY 1,2020- MAY 10, 2020
APPLY HERE: Apply Here
SUBMISSION INSTRUCTIONS – please read thoroughly:
We do not accept email or mail submissions. You must complete the online application before the deadline. Please complete all sections of the application. Only ONE APPLICATION per writer or writing team will be accepted.
We will accept submissions from individual writers and from writing teams of two. We will not accept writing teams of more than two.
This year, we are asking for two original scripts, both submitted when applying.
Both scripts must be live-action tv pilots
Both scripts must be in the same genre as each other. Both must either be ½ hour comedies or hour-long dramas.
Include a title page with no name(s) of the writer or writing team. Do NOT include the writer’s or writing team’s name or contact information on any page of the script.
Please title your file names appropriately for upload, and only upload files as .PDF
Resume: RESUME – FIRST NAME LAST NAME.pdf
Example: RESUME – JIMMY FALLON.pdf
Legal release form: LEGAL RELEASE – FIRST NAME LAST NAME.pdf
Example: LEGAL RELEASE – JIMMY FALLON.pdf
Script submission: SHOW NAME – FIRST INITIAL LAST INITIAL.pdf (If you have a writing partner, include their initials in the file name.)
Example: GAME OF THRONES – JF.pdf
Example with writing partner: THIS IS US – JF and SM.pdf
We will not be requesting any further material after your initial application
Applicants must be able to provide their own housing and transportation in the Los Angeles area for the duration of the program.
6. ALICE JUDSON HAYES FELLOWSHIP
Deadline: May 15th
Website: https://ragdale.submittable.com/submit/137680/2020-alice-judson-hayes-fellowship
The Alice Judson Hayes Writing Fellowship is an annual award in memory of Alice Hayes, who created the Ragdale Foundation in what had been her family home. All her life she was committed to working for a just and peaceful world. An 18- or 25-day residency, free of charge, and a $500 stipend will be given to a writer who is working on a project designed to bring awareness to a contemporary issue having to do with peace, social justice, education, or the environment. Projects can be nonfiction or fiction (including journalism, essays, memoir, script-writing, creative nonfiction). No academic writing.
One Alice Judson Hayes Fellowship is awarded annually. Ragdale encourages applications from artists representing the widest possible range of perspectives and demographics, and to that end, emerging as well as established artists are invited to apply. While there are no publication, exhibition or performance requirements for application, applicants should be working at the professional level in their fields.
Ragdale encourages artists of all backgrounds to apply, and does not discriminate against anyone on the basis of age, disability, gender, origin, race, religion, or sexual orientation.
7. GENEVA RESIDENCY
Deadline: May 15th
website: http://www.eofa.ch/en/applications/
Embassy of Foreign Artists (EoFA) is a place of residence for artists in Geneva. Our spaces welcome the different stages of the creative process, from the first gropings and reflections to its presentation in a finished form. EoFA's first vocation is to host artists in residence and to set up a program that promotes interaction with the local public, whether professionals, amateurs or curious. EoFA also organizes wider events where local artists and residents meet around different artistic practices (music, dance, performance, installations, conferences, etc.). Thanks to its many activities and appointments, EoFA has established itself as a place of choice for the discovery of original proposals.
The Republic and Canton of Geneva, in partnership with the association Laps, opened a residence in Maison Baron, located in the heart of the "Praille-Acacias-Vernets" perimeter in 2012. This project called Embassy of Foreign Artists aims to create, through the presence of creators from elsewhere and their exchanges with local artists and cultural organizations, a network of interactions conducive to the development of innovative views and reflections on contemporary urban transformations.
The Embassy of Foreign Artists is launching calls for themed projects, open to all types of practice. These reflect our areas of interest and our aim to offer research time and visibility to original projects that examine their subject critically.
The stay provides:
• A private room as well as a working space and access to common areas shared with other residents.
• A residency of three or six months (the desired length of stay must be specified on the Application Questionnaire).
• A grant of 1200.- Swiss francs per month for the length of the stay.
8.. STUDIOS OF KEY WEST RESIDENCY
Deadline: May 17th
Website: https://tskw.org/residency-about/
The Studios offers a residency program for emerging and established artists and writers designed to encourage creative, intellectual and personal growth. The program grants nearly 35 artists each year the time and space to imagine new artistic work, engage in valuable dialogue and explore island connections.
The Studios’ residency program is community-based and built upon the hope that visiting artists will take inspiration from Key West’s rich artistic past and present, and will engage with — and be inspired by — the remarkable people and culture that surrounds them.
Key West’s official motto, “One Human Family” reflects our commitment to living together as caring, sharing neighbors dedicated to making our home as close to paradise as we can. To that end, we encourage artists of all races, nationalities, gender identities, sexual orientations, and abilities to apply.
Residencies are almost a full month, and run from the 16th of the month through the 14th of the next. There is a $40 application fee.
9. AUSTIN FILM FESTIVAL - PLAYWRITING COMPETITION
Deadline: May 21st
website: https://austinfilmfestival.com/submit/play/
Three finalists from the Playwriting Competition will have live readings during the festival which will be performed in front of an audience including the industry professionals already in attendance at the Conference. One winner will be selected and will receive a $1000 cash prize, AFF’s Bronze Typewriter Award, and reimbursements of up to $500 for travel and up to $500 for lodging if used during the 2019 Festival. There is a $25 application fee.
At Austin Film Festival, our mission is to champion all writers across mediums. Our Playwriting Competition (open to full-length plays) gives 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.
AFF has always promoted story as the most important element of film and TV. So giving playwrights their own story exposure and a chance of crossover into film and TV only advances our mission. There are many other playwriting competitions out there, but AFF offers playwrights broader access to successful writers and professionals in all the other related fields.
Deadline: May 21st
Website: https://www.nycplaywrights.org/2021/02/mixing-it-up-productions-spring-2021.html
Mixing It Up Productions encourages playwrights to take this opportunity to introduce their scripts to our judges’ panel of theatre professionals and receive recognition for their work.
Please carefully read and follow our submission requirements and guidelines below.
SUBMISSION REQUIREMENTS:
This contest is limited to the first 100 qualifying full length play submissions.
Plays must be between 70-115 pages.
Scripts must be original and in English, adaptations are ineligible.
Submissions are limited to one script per playwright.
No musicals will be accepted.
Scripts that have been produced by Equity or professional companies or published are ineligible; Scripts that have had a workshop or reading are acceptable.
Plays may be in any genre i.e. drama, comedy, youth.
Plays that have been previously submitted to this company’s contests are ineligible.
SUBMISSION GUIDELINES:
Please use MIU Contest 2021 in your email’s subject line.
Your email should include two attachments:
1. The submission must begin with a separate attachment of a cover page that includes the work’s title and the playwright’s name, address, telephone number, and email.
2. A separate attachment for the script must also include a title page with the title, genre, and number of pages of dialogue. (Please omit your personal information from the title page of the script and throughout the script to preserve anonymity).
All submissions will be judged with the playwright’s name withheld.
Scripts must be standard sized in PDF format.
Standard Dramatists Guild format is preferred with pages numbered.
No changes or resubmissions may be made once a script has been submitted.
Any extraneous information such as the play’s history or the playwright’s bio should not be included in your submission.
11. THE THEATER J TRISH VRADENBURG JEWISH PLAY PRIZE
DEADLINE: May 31st
WEBSITE: https://theaterj.org/new-play-prizes2/
The Theater J Trish Vradenburg Jewish Play Prize will award $15,000 to an established playwright in honor of a new play that celebrates, explores, and/or struggles with the complexities and nuances of the Jewish experience. The Prize is dedicated to the memory of philanthropist, playwright, and Alzheimer’s research advocate Trish Vradenburg, who served on Theater J’s Council for 13 years.
Plays must be submitted by a theatrical agent or artistic staff members of a professional theater company. We expect established playwrights to have had productions of their plays on Broadway, at major off-Broadway theaters, and/or at multiple LORT theaters, or other markers of attaining significant accomplishments and/or national attention as a playwright. Unproduced plays are eligible, as are plays professionally produced after July 2018 or currently scheduled for an NYC premiere.
12. THEATRE J’S PATTY ABRAMSON JEWISH PLAY PRIZE
DEADLINE: May 31st
WEBSITE: https://theaterj.org/new-play-prizes/#1578333239264-518a200e-71f3
The Theater J Patty Abramson Jewish Play Prize will award $3,000 and a stage reading to a promising emerging woman, trans, or non-binary playwright in honor of a new play that celebrates, explores, and/or struggles with the complexities and nuances of the Jewish experience.
The Prize is dedicated to the memory of philanthropist and venture capitalist Patty Abramson. Plays must not have been produced, but a future professional production (outside of the DC metro region) may be scheduled. Eligible playwrights must not have had more than two productions at LORT or off-Broadway theaters (multiple productions of the same play will be counted) but may have been produced at other professional theaters. Submitted plays will be read by a committee of Theater J staff and collaborators.
DEADLINE: MAY 31st
WEBSITE: http://9ttc.org/submissions.php
9Thirty Theatre Company (9TTC) accepts submissions from March to May each season. Please note that due to our small staff we are unable to respond to submissions that are not accepted. Please adhere to the guidelines below. Send submissions in either a .doc or .pdf format to Submissions@9ttc.org. In respect of our commitment to the environment please do not mail submissions to our office.
9TTC produces works that incorporate environmental issues as part of the part, characters, or theme. We are uniquely dedicated to Eco Theatre, connecting humanity and nature, in various forms.
We accept original one acts, and full length plays and musicals. We do not accept one-person shows, children's shows, screenplays, or works without environmental themes. 9Thirty Theatre Company also does not produce works that have already been produced in New York City.
To have your work considered, please submit the following as one file:
• cover letter, including your contact information
• brief synopsis of piece (500 words or less)
• character descriptions
• 20 page dialogue sample
• brief production history of the work (if applicable)
• bio for yourself and any other collaborators
• if submitting a musical, please include at least 3 recorded demo tracks
Please include the project name, history and plan of action, project description (please include what your work is exploring or a synopsis), and any research you have done.
DEADLINE: May 31, 2021
WEBSITE: https://femmefataleplayfestival.com/2021-submissions
The 2021 Femme Fatale Festival will be virtual. Virtual Performance: August 6-8, 2021
Requirements
1. All playwrights must identify as female.
2. Script can be no longer than 60 minutes in total.
3. Script can have limited previous productions.
4. Submission limited to 1 play per playwright
15. THE PEN/HEIM TRANSLATION FUND GRANTS
Deadline: June 1st
Website: https://pen.submittable.com/submit/191304/2022-pen-heim-translation-fund-grants
The PEN/Heim Translation Fund Grants were established in the summer of 2003 by a gift from Priscilla and Michael Henry Heim in response to the low number of literary translations currently appearing in English. Its purpose is to promote the publication and reception of translated world literature in English.
Who is eligible:
The PEN/Heim Translation Fund provides grants to support the translation of book-length works of fiction, creative nonfiction, poetry, or drama that have not previously appeared in English in print or have appeared only in an outdated or otherwise flawed translation. Works should be translations-in-progress, as the grant aims to provide support for completion.
There are no restrictions on the nationality or citizenship of the translator, but the works must be translated into English.
The Fund seeks to encourage translators to undertake projects they might not otherwise have had the means to attempt.
Anthologies with multiple translators, works of literary criticism, and scholarly or technical texts do not qualify.
Translators who have previously been awarded grants by the Fund are ineligible to reapply for three years after the year in which they receive a grant.
Please note that projects that have been previously submitted and have not received a grant are unlikely to be reconsidered in a subsequent year.
Projects may have up to two translators.
Translators may only submit one project per year.
How to apply:
The application form, with all items completed:
A 1-2 page, single-spaced statement outlining the work and describing its importance.
A biography and bibliography of the original author, including information on translations of their work into other languages.
A CV of the translator, no longer than 3 pages.
If the book is not in the public domain and the project is not yet under contract, please include a photocopy of the copyright notice on the original (the copyright notice is a line including the character ©, a date, and the name of the copyright holder, which appears as part of the front matter in every book), and a letter from the copyright holder stating that English-language rights to the book are available. A letter or copy of an email from the copyright holder is sufficient.
If the translation is currently under contract with a publisher, please submit a copy of the contract.
DEADLINE: June 7th
WEBSITE: https://form.jotform.co/33177331513852
*Please note that we only accept submissions written for the stage or theatre by American Indian, Alaska Native, Native Hawaiian, and First Nations artists.
For the 11th Annual Short Play Festival, Native Voices wants to know What is Home? For so many around the world this past year, “Home” – literal or metaphorical – has become the centerpiece of many of our lives.
What is Home? Is it a structure? Is it where you are? Or where you come from? Is it the communities in which you surround yourself, or the communities that shaped you? We want to hear from you! Share with us a glimpse of home. The only limitation is that your play must be no longer than 10-minutes. For ten minutes, you can take the audience on any journey you want. We cannot wait to see what you bring to life!
Plays chosen to participate in the 11th Annual Short Play Festival will also be entered to win the Von Marie Atchley Excellence in Playwriting award – a $1,000 cash prize!!
Scripts longer than 15 pages or read aloud at longer than 10 minutes will not be accepted. Fresh, surprising perspectives are welcome, and unique theatricality is a must.
17. AUDIBLE EMERGING PLAYWRIGHTS
Deadline: Year round
Website: https://www.audible.com/ep/audible-theater
In 2017, Audible launched a theater initiative, intended to radically increase access to exceptional plays and performances. A core pillar of the initiative is the Emerging Playwrights Fund, a program that invests in and nurtures self-identifying emerging playwrights, some of our most inventive, delightful, and provocative storytellers. Through the Fund, Audible aims to connect extraordinary performers with remarkable original work, amplifying new voices and harnessing the power and potential of audio to reach millions of listeners. The Fund specifically supports the creation of original dramatic work, written with audio in mind, but theatrical in spirit. If you are looking to submit an idea for an audio project that is not a play, please visit www.audible.com/pitch.
Audible is dedicated to commissioning, developing, and producing work that reflects the diversity of our members and our world. To accomplish this, Audible is committed to granting at least 50% of emerging playwright commissions to artists of color and women.
Submission Guidelines: To be considered as an applicant for a commission, please submit all of the following to AudibleTheater@audible.com:
1. One full-length script for an original or adapted play (in English language only) that represents your voice ("Script"). The Script can be in any genre and may include one-acts and solo pieces;
2. A short biography; and A brief statement about why audio plays appeal to you.
If you have an idea for an original audio play, you are welcome to include a pitch or summary along with your statement (this is encouraged, but not required).
Any applicant over the age of 18 may submit a Script. Employees or independent contractors, or immediate family members (spouses, domestic partners, parents, grandparents, siblings, children, and grandchildren) or those living in the same household of employees or independent contractors of Audible Inc., Amazon or any entity involved in any aspect of the Theater Fund may not submit a Script for consideration, unless it is determined by Audible in its sole discretion in accordance with Audible’s then current policies and procedures that no conflict of interest exists in connection with accepting the relevant submission for consideration.
Submissions are accepted year-round. Due to the number of Scripts that Audible receives, Audible will only consider one Script at a time from each applicant and will not consider resubmissions, including those that have been significantly revised. The Audible team evaluates submissions on a rolling basis, and applicants will be notified regarding the status of their submissions via email. Thanks in advance for your patience while we process your Script; our typical response time is 6-8 months.
18. CAPITAL THEATRE
Deadline: Open
Website: https://www.capitaltheatre.net/submissions
Capital Theatre in Frankfort, Kentucky is now accepting submissions from new and established Black playwrights and musical writers/composers for the 2021-2022 season and future seasons. Visit www.capitaltheatre.net for more information about submissions. Submissions are open year round.
Capital Theatre is a Black-owned theatre company located in the heart of Downtown Frankfort, Kentucky. Our goal is to tell the stories of the Black experience through live theatre. Our shows will not only feature works of prominent Black playwrights, but of up and coming writers as well. We strive to create a space in which anybody can come and enjoy live theatre.
All Submissions are treated as confidential. Due to the number of submissions we are not able to respond to every submission and will only respond to ones that we are interested in.
19. ARTIST RESCUE TRUST
Deadline: Ongoing
Website: https://artistrescue.org/
The mission of Artist Rescue Trust is to provide relief funding to musicians and artists totaling $1,500 over three months and amplify their stories, performances and art to the world. We invite eligible artists and musicians who are facing financial complications from cancelled events and bookings to fill out the application form to be considered. Qualifying applicants who meet the eligibility requirements will be entered into a pool. A new fund recipient will be randomly selected from the qualified pool each time $1500 is donated to A.R.T. We are continuing to accept applications, so if you feel you would be eligible, please apply! The longevity of this effort will be assessed by, 1) the status of COVID-19 and its economic effects. 2) The impact of this program to date. The need is great. So we will continue our work and help as many as possible.
Basic requirements to be eligible for our grants are:
Be 18+
Be a U.S. citizen or permanent resident in the United States, District of Columbia, or U.S. Territories (e.g. citizen, green card holder, and/or permanent resident who can provide a W9 and SSN or ITIN).
Be a professional, actively practicing musician or artist whose primary source of income is made through live performances, tours, gallery openings, book tours/readings, or other bookings/events and not working on a regular salary basis for one employer.
Demonstrate a commitment to current and ongoing activity in their artistic discipline/s.
Show a demonstrated need for emergency relief to recover the immediate loss of income through cancellations and bookings due to COVID19.
Not be enrolled in unemployment benefits.
Not a full-time employee, board member, director, officer, or immediate family member of any of the coalition partners.
Not previously awarded a relief grant from this fund.
20. REPERTORY THEATRE ST LOUIS
Deadline: Rolling
Website: http://www.repstl.org/play-submissions
Currently, we accept full-length play submissions for season consideration and our upcoming New Works Festival.
Please email plays to the Artistic team with the subject line: “Submission: TITLE OF PLAY.”
In the body of the email, please include:
• A brief synopsis of the play
• The development history of the play
• A brief, personal bio
Submissions made under these guidelines may be sent to The Rep by email.
21. CLEVELAND PUBLIC THEATRE
Deadline: Rolling
Website: https://www.cptonline.org/artist-opportunities/general-submissions/
CPT is dedicated to producing bold, adventurous, new work. We champion creators of new performance-devising ensembles, directors, playwrights, choreographers, performance artists, etc. Though we seek projects from national and international artists, we also make a special investment in local creators.
CPT receives proposals in three ways:
Request For Proposal process exclusively for local artists open to directors, choreographers, performance artists, and playwrights for consideration for our season of full productions.
Request For Proposal application process exclusively for local artists to submit work for our New Play Development Series.
The General Proposal process for our season of full productions (see below) for non-local artists.
The General Proposal process requires more from submitting playwrights, but through this process we can better guarantee that each application receives more attention.
Step One: Familiarize yourself with CPT’s past seasons by clicking here. If you can see a show at CPT this would also help.
Step Two: Honestly assess whether your project fits well in CPT’s aesthetics and at our level of productions.
Step Three: You must have a writers profile with NPX (New Play Exchange) for us to accept your proposal. If you do not currently have a profile with NPX, you can sign up for one here. Please include your profile information along with your proposal.
Step Four: Fill out the following application and submit via email as a word doc or pdf to artistic@cptonline.org. Please note that CPT will only accept proposals electronically.
Step Five: You will receive an email notification within 9-12 months. The email notification will be a standard rejection notice or a request for a full script proposal. Playwrights who are offended by standard rejections or do not have complete scripts for proposal should not submit.
CPT will not review general proposals that do not utilize this application process.
Please send the following materials in an email as a single attachment – Word or PDF. Send email to artistic@cptonline.org. The three questions must be answered in no more than two pages. Your resume is not counted in the page count and can be as long as you feel is appropriate. Above all, please be frank and honest.
1. Describe why your project fits well in CPT’s programming agenda. Use specific examples of past CPT projects that you feel are parallel to your proposal in some way. Explain how your work is particularly bold or adventurous, by noting its unique aesthetic, manner of connecting to audiences, or path of investigation of a particular theme. Note why you feel the themes/aesthetics will be important to CPT audiences and how you feel it will challenge artists and audiences alike
2. Summarize your project.
3. Please explain how you hope a CPT production will be of service to you in your ongoing growth as an artist. Do you hope to develop the script further, or is it pretty much finished? How will it impact you as an artist? Do you have resources to travel to CPT for a production or do you think that you would use royalties from the CPT production to travel to CPT (not necessary for selection)? Please note if your proposal is for a world-premiere, or second/third production. Also, please note if you have any other artists already attached to the project (director, actors, etc.) and any potential partnerships (theatres or interested organizations).
Please include an appropriate resume or bio. Only list scripts that have been produced at some level or published. Summarize: production level (staged reading, workshop, full production), location, producer, director, publication. List other relevant experiences in theatre or film. If you choose the “bio” format also include a list of plays as noted above.
22. STOCHASTIC LABS
Deadline: Rolling
Website: https://stochasticlabs.org
Stochastic Labs awards fully sponsored residencies to exceptional engineers, artists, scientists, and entrepreneurs from around the world. Residencies in San Francisco are of variable length and include a private apartment at the mansion, co-working and/or dedicated work space, shop access (laser cutter, 3D printer etc), a $1k monthly stipend and a budget for materials. Residents become part of Stochastic’s creative community, participating in weekly dinners and invitation events. Residents may apply as individuals or as teams. While applicants may be at any stage in their career, the selection is highly competitive.
