Satyagraha and Non-violent Resistance

 Disclaimer: ppl can protest however they want. But they should also be prepared to have other ppl react...however they want. 

Story: 10 yrs ago I was a National Black Theatre "I am Soul" fellow playwright. I was asked to design a program for the community. I pitched a workshop on non-violent resistance and non-violent art based upon the roots of it: Satyagraha. I wanted to create a program about the actual practice b/c a lot of what I was seeing back then was not rooted in any text or truth. It was performative protest and therefore ineffective. 

Nonviolent resistance is rooted in Hindu and Buddhist's concept of mental seeds, aka karma. I am seeing something that needs to be purified in my own heart. I will be the agent of that purification by being the thing I want to see. It is not based on thinking the oppressed and oppressor are separate from each other.  Therefore it is not the duty of the oppressed to teach someone else. It is a religious task of fasting and purification one's own heart in order to see the change outside of yourself. 

Gandhi developed the idea of 'Satyagraha' which means being a 'truth force.' You show love where there is hatred b/c you want the world to be love. You plant the seeds for love by your actions. The action has to match how you want the world to be.  Gandhi's fasting was a religious/political fasting to purify. It was not a hunger strike, like a child refusing to eat their vegetables until the parents gave them candy. It was/is spiritual purification. 

Unfortunately, the West interpreted Gandhi's actions as...hunger strike to force the British to give them what they wanted. Most Westerners did not understand the religious/spiritual aspect or mental seeds. They only saw the outward performance and without the intention and began imitating the performance. And then came Martin Luther King Jr...

In college, MLK studied Satyagraha and he wanted to bring that actual form with all its intention and power to the United States for the civil rights movement. Before MLK, there were non-violent protests for blk civil rights. But he was one of the first that was actually practiced with the intention of planting the seeds through non-violent acts of love...to counteract the hatred. Needless to say, he was the most successul. But once again and unfortunately, most Americans misinterpreted MLK's action as performance without karmic intention. So across America college students took up the aggressive, angry, 'yell at the officer' with hatred form of non-violent protest, the 'I'm right, you're wrong, change your views.' And needless to say, non-violent protests have been having diminishing returns every since then. 

SATYAGRAHA PRINCIPLES

Nonviolence (ahimsa)

Truth – this includes honesty, but goes beyond it to mean living fully in accord with and in devotion to that which is true

Not stealing

Non-possession (not the same as poverty)

Body-labour or bread-labour

Control of desires (gluttony)

Fearlessness

Equal respect for all religions

Economic strategy such as boycotts of imported goods (swadeshi)

On another occasion, he listed these rules as "essential for every Satyagrahi in India":

Must have a living faith in God

Must be leading a chaste life and be willing to die or lose all his possessions

Must be a habitual khadi weaver and spinner

Must abstain from alcohol and other intoxicants

RULES FOR A SATYAGRAHA CAMPAIGN 

Harbor no anger.

Suffer the anger of the opponent.

Never retaliate to assaults or punishment, but do not submit, out of fear of punishment or assault, to an order given in anger.

Voluntarily submit to arrest or confiscation of your own property.

If you are a trustee of property, defend that property (non-violently) from confiscation with your life.

Do not curse or swear.

Do not insult the opponent.

Neither salute nor insult the flag of your opponent or your opponent's leaders.

If anyone attempts to insult or assault your opponent, defend your opponent (non-violently) with your life.

As a prisoner, behave courteously and obey prison regulations (except any that are contrary to self-respect).

As a prisoner, do not ask for special favourable treatment.

As a prisoner, do not fast in an attempt to gain conveniences whose deprivation does not involve any injury to your self-respect.

Joyfully obey the orders of the leaders of the civil disobedience action.

Now...you can go back to thinking, protesting, counterprotesting however and whenever. I just wanted to post about the actual roots of non-violent resistance and how it's suppose to change the world (through planting the seeds of the change through our action.)

NYC is #1?

According to Timeout, New York City is the #1 metropolis in the world. 

At first I laughed. Then I thought 'my God, nyc is the best humanity can do... that's depressing." Now I am sobering up to the strange idea. Look, it's not easy living in nyc. And after a while I equate 'living difficulty' for wretchedness. Yeah, it's dirty, expensive, dangerous (although not as dangerous as the 1970s).  It seems like our gov is dysfunctional, major institutions are broke, and more old landmarks are becoming weed shops and CVS's. But when I traveled to all those diff countries in 2022 and told people where I lived...their eyes would light up. Some of the ppl even professed their hatred for America and then would say "Death to America...ehhhh, but I would like to visit NYC. See the Statue of Liberty. Maybe take in a musical." When ppl talked about their wish to visit nyc, I felt it was my duty -as a resident- to lead with everything that was awful about the city. Maybe I was trying to keep rent prices down through shit-talking. Or maybe as a resident it's a part-time hobby to complain about NYC. It's a badge of honor even. This sucks, that's a piece of crap, and on and on and on. 

Yet when I lived in LA for a year, I was on a plane back to nyc whenever I had a free moment. And in LA I had all the amenities: great job, bungalow apt with a patio, walkable neighborhood with wide variety of restaurants, so many great health options that I lost 60 lbs by just eating cleaner and going to the gym. But I craved something more. 

The thing I missed most about nyc were the ppl. The shit-talking, complaining, artistically tortured, neurotic, dick-ish, sardonic attitude. The accents...the nasally old school Upper East Side whine, the Harlem swag, the Brooklyn Jewish Flatbush flavor, the old Poles in South Slope living next to the new Mexicans, the Innwood Blatino creole. All these people and accents and humor and music just flowing together on the subways and streets. That flavors everything about this city. That's the energy that never sleeps. Not the buildings. You can find better and newer skyscrappers in Dubai. You can find better subways in Tokyo, even Chicago is a much better designed city than this shithole. But it's the ppl in this shithole. This accident of history and geography. 

Over the summer I let a few friends stay in the apt when I was away. A Norwegian I met in Oslo wistfully talked about visiting NYC as well as an Austrian tech person. I told them 'you talk so much about New York, here! Get it out of your system. Stay in my apartment. You'll hate it, the ppl suck, and go try this good Chinese dive across the street."  There were Canadian forest fires that covered the city in smoke. I would text them from some country and ask 'so whaddya think? It's dirty, right? It's not as clean as Oslo...or affordable as Serbia." And they all said a) yes, this place is too expensive and we could not afford to live here b) it's really dirty c) we love it. 

When I asked them why they loved it their circled around the answer...the buildings, oh the museums. But really it was the ppl they were meeting. The energy that was coursing through the city and their veins. 

So in conclusion...please don't come here or move here. You'll hate it, poo-poo, yucky. You'll get stabbed and break your hip and end up in a midtown pothole. Blah! We hate our mayor. We always hate our mayors and the Mets are never good.

Get What You Want: February 2024

 1.HERE ARTIST RESIDENCY PROGRAM

DEADLINE: February 1, 2024

WEBSITE: https://here.org/programs/harp/

One of the most robust residency programs in the country and serving as a national model, HARP provides a commission, developmental support, career planning, and an opportunity for a full production to cross-genre artists within a collaborative environment of peers working across disparate art forms – including theatre, dance, music, puppetry, visual art, and new media. Each HARP artist receives significant long-term support of $125,000, which includes $50,000 in cash and more than $75,000 in equipment, space, and services over 2-3 years to tailor each residency to each artist’s individual needs.

With the launch of URHERE (our new digital and outdoor platform), HERE has expanded our HARP cohort to include digital and outdoor artists. Selected artists will partake in a 1-2 year residency to create digital native and/or outdoor works that will premiere on URHERE. URHERE HARP residents will receive $50,000 ($25,000 in cash and $25,000 in equipment, space, and services) over 1-2 years. Through significant investment of time and resources, dynamic work within a strong community is created.

Throughout the year, we offer a window into the creative process of the artists in our nationally recognized HERE Artist Residency Program (HARP). Watch for RAW / Resident Artist Works to catch these fresh in-process works!

While in residence, the artist or team’s residency is linked to a specific project in development and an exploration of ideas and processes intrinsic to their artistic growth. HERE believes that artists must be in control of the work that they create. This control goes hand in hand with a responsibility to participate in all phases of their artistic projects from inception through all development stages to full production. HARP is designed to respond to the ideas and needs of its artists.

The artists must be proactive in bringing those ideas and needs to HARP and each other; they shape workshop and discussion offerings, create performances, and work with HERE staff to publicize and promote HARP events. We expect our artists to be both good citizens of the HERE community as well as ambassadors to the public.

Send any questions to programming@here.org or call 212-647-0202 x 320.

2. WAVE FARM TRANSMISSION ART RESIDENCIES

DEADLINE: February 1, 2024

WEBSITE: https://www.rhinebeckwriters.org/application-2024

This residency will emphasize “Live Performance for an Expanded Studio Audience.” During a 10-day residency at Wave Farm, artists will develop new transmission artworks informed by access to a research library, equipment, unique workspace resources, and on-site staff support. An artist fee of $1,000 will be provided to each resident artist.

3. EAST VALLEY CHILDREN’S THEATRE PLAYWRIGHT SEARCH

DEADLINE: February 1, 2024

WEBSITE: https://evct.org/aspiring-playwrights/

East Valley Children’s Theatre is searching for aspiring playwrights to become a part of the theatre’s future seasons of performances. As an organization dedicated to providing enriching experiences for young audiences, EVCT recognizes the importance of nurturing new voices and fresh perspectives in the world of theatre. This call for playwrights opens doors for talented individuals to have their works showcased and celebrated on EVCT’s stage, captivating young minds and inspiring imaginations.

EVCT believes in the power of storytelling and understands that original plays have the ability to create unique and captivating experiences for audiences. By welcoming aspiring playwrights into their creative community, EVCT aims to foster a vibrant and diverse repertoire of performances that reflect the creativity, imagination, and unique voices of the next generation of playwrights.

Contest rules and prizes are listed on their website.

Winner will be announced by April 1, 2024

4. ASIAN STORY THEATER PROJECT CALL FOR BIPOC WRITERS

DEADLINE: February 1, 2024

WEBSITE: https://asianstorytheater.org/

A new collaborative theater project is looking for up to 10-minutes or 10 pages from qualifying BIPOC writers. 

At least 10 selected scripts will be featured in an online showcase for directors working with Asian Story Theater, San Diego Black Ensemble, Teatro Máscara Mágica, and additional theaters of color in San Diego, Los Angeles, and the bay area. 

We are looking for SMART and FUNNY material, the more creative the better. Material may include original music, standup, spoken word, screenwriting. Edgy politics are welcome, adult humor, even puppets. 

Pieces selected for this reading will receive $100. 

There is no fee to apply. 

Please submit online by NOON ON THURSDAY, FEBRUARY 1, to INFO@ASIANSTORYTHEATER.ORG. 

Check online for submission details. 

5. THE JANE CHAMBERS AWARD

DEADLINE: February 5, 2024

WEBSITE:womenandtheatreprogram.com/jane-chambers

The Jane Chambers Playwriting Award recognizes new feminist plays and performance texts created by women and genderqueer writers for the stage that present a feminist perspective and contain significant opportunities for female performers. We welcome plays that experiment with form and/or that feature non-binary characters. This annual award is given in memory of lesbian playwright Jane Chambers who, through her plays A Late Snow, Last Summer at Bluefish Cove, My Blue Heaven, Kudzu, and The Quintessential Image, became a major feminist voice in American theatre.

This award is administered by the Women and Theatre Program (WTP) in partnership with The Association for Theatre in Higher Education (ATHE).

Authors and nominators need not be ATHE members. Self-nominations are welcome. In order to be considered plays should have been written recently but do not need to have premiered. However, to qualify as “new” for this contest, any premiere or publication needs to have occurred no more than 18 months prior to the submission deadline. Playwrights may submit only one play per year.

A shortlist of finalists will be publicized on the ATHE website by the third week in June, followed by the announcement of the Winner by July 20, annually. The winner will receive an award of $1K from the WTP Program, up to $500 towards travel expenses (reimbursement), conference registration and two nights in the conference hotel from ATHE.

Student Submissions should be sent separately and directly to the Student Coordinator per the WTP website and student guidelines. All guidelines must be followed–including sending the play to the current coordinator’s address–to be considered.

For questions about the Jane Chambers Playwriting Award, contact Subcommittee Chairs Jennifer-Scott Mobley and Maya Roth, or, if you are signed in, via the 'contact' form.

6. PLAYWRIGHTS REALM WRITING FELLOWSHIP AND SCRATCHPAD SERIES

DEADLINE: Feb 5, 2024

WEBSITE: https://playwrightsrealm.org/submit

→ WRITING FELLOWSHIP

The Writing Fellowship is at the heart of what we do: helping writers write. Four early-career playwrights receive nine months of resources, readings and feedback designed to help them reach their professional and artistic goals. The culminating event of the program is our INK’D Festival, which features public readings of each Fellows’ play.  Fellows are provided a $5,000 award.

To be eligible you must:

1.  Live within commuting distance to Midtown Manhattan, and be able to make it to regular evening writers meetings, rehearsals, and events.

2. Have a full length script that would benefit from a nine-month, intensive development  process.

Fellows develop a single, new play.

• Monthly group meetings provide a collaborative space for writers to share and refine their work.

• One-on-one meetings with Realm artistic staff support each writer's process.

• Fellows collaborate with a director, design consultants, and actors for two readings.

• Personalized professional development resources are tailored to the group - mentor opportunities, meet-and-greets, and professional seminars are designed to shed light on the business of theatre, and empower the Fellows to be active, informed participants in their own careers.

• The culminating event of the program is the INK'D Festival, featuring a public (either in person or virtual) presentation for each Fellow.

→ SCRATCHPAD SERIES

Scratchpad Series jumpstarts The Realm’s relationship with early-career playwrights from around the country. Participants will receive dramaturgical support from the Realm and will spend a week in New York City for a developmental reading of their play with top-notch professional collaborators—director, cast, and The Realm’s artistic staff.   Playwrights will receive a stipend and if the playwright is based outside of New York, The Realm will also provide travel and housing support. 

To be eligible you must:

1. Have a script that would benefit from dramaturgical conversation with The Realm and 15-hour developmental reading process reading. (Plays can be anything from a rough first draft to a play that is close to production-ready.)

2. Be able to be present in New York City for a process of between 3-6 days, at a time agreed upon by both the writer and The Realm.

Playwrights may submit to both opportunities.

7. TOFTE LAKE RESIDENCIES

DEADLINE: February 5, 2024

WEBSITE: https://www.toftelake.org/

Individual ArtIST Residency- This year we are offering two Individual Artist Residencies. These residencies are focused on individual artists and/or small collaborative teams of all disciplines (literary, performing and visual arts) who wish to create work in the natural environment and in community with other artists. There is also time for play and rejuvenation - all in support of each artist’s goals, needs and interests. This residency is open to artists of any discipline, career stage, and geographic location who are over the age of 18.

Minnesota BIPOC artist residency- This week-long residency provides space for 6 BIPOC artists of any discipline to retreat and create in community. The residency balances personal worktime with group interaction and optional sharing of work or performance, as well as time for play and rejuvenation - all in support of each artist’s goals, needs and interests.

Artists must: Reside in the state of Minnesota

Identify as Black, Indigenous, Latinx, AAPI, SWANA-Arab American, or an artist of color

Be over the age of 18

Minnesota BIPOC Arts Educators Residency

This week-long residency provides space for 6 BIPOC arts educators to center themselves and their work as artists first and get the well-deserved rest and rejuvenation they need. The residency balances personal worktime with community interaction and optional sharing of work and process - all in support of each artist’s goals, needs and interests.

Artists must:

Reside in the state of Minnesota

Identify as Black, Indigenous, Latinx, AAPI, SWANA-Arab American, or an artist of color

Currently teach at a K-12 or higher educational institution

Minnesota FAMILY ArtIST Residency- This week-long residency for Minnesota parent-artists offers the opportunity for single parent artists and artists who wish to bring their spouse/partner and 1-2 children. The residency enables these artists to focus on their work while the child/ren enjoy age-appropriate, supervised activities onsite and in town. Daytime youth activities are supervised by a childcare professional for a portion of the days.

Artists must:

Identify as a parent artist

Reside in the state of Minnesota

Children must be between the ages of 6-13

8. ROYAL CULTURAL FOUNDATION PERFORMANCE GRANTS

DEADLINE: February 6, 2024

WEBSITE:caferoyalculturalfoundation.org/performance-page

Royal Cultural Foundation awards performance grants to individuals and groups focused on the production of theater, music, dance, and performance art.

Performer(s) applying must be a United States Citizen or Resident Alien and a resident of New York City and have lived in New York City for a minimum of one year prior to applying and plan to be a resident through the completion of their project.

If your performance is a play, it must be a full production. Readings will not qualify.

To ensure that each submission receives the attention it deserves we will be only accepting 40 application for each of our categories.

Submissions: Our Winter 2024 Grant cycle is currently open and ends on Monday February 6th, 2024 at 9:00 am Eastern Time or when reach our limit of 40 applications, which ever comes first.

9. MACDOWELL FELLOWSHIP

DEADLINE: February 10, 2024

WEBSITE: https://www.macdowell.org/apply/apply-for-fellowship

MacDowell encourages applications from artists of all backgrounds and all countries in the following disciplines: architecture, film/video arts, interdisciplinary arts, literature, music composition, theater, and visual arts. About 300 artists in seven disciplines are awarded Fellowships each year and the sole criterion for acceptance is artistic excellence.

10. THEATRE MITU HYBRID ARTS LAB

DEADLINE: February 11, 2024

WEBSITE: https://theatermitu.org/programs/hybrid-arts-lab/

The Hybrid Arts Lab is a program supporting trans, non-binary, and women artists working at the intersection of performance and technology. This support includes a $5,000 stipend, creation and exhibition space, technical resources, training, and mentorship for the exploration, development, and expansion of their practice and new artwork.

With a focus on early career BIPOC artists, this program offers studio and creation space, technical resources, training, and mentorship to a small cohort for the exploration, development, and expansion of their practice and a new artwork. The program culminates in a series of in-process studio visits that invites our community into a conversation about process and innovation.

11. WATER’S RISING FESTIVAL OF NEW CLIMATE ACTION PLAYS

DEADLINE: February 12, 2024

WEBSITE: gloucesterstage.com/waters-rising

Gloucester Stage is seeking full-length plays with themes concerning climate change. Although coastal climate change is at the top of mind here, we are open to all plays tackling any theme of 

climate action.

Unproduced plays will take priority, but fully-produced work can also be submitted. 3 plays from the submitted pool will be selected by the Literary Team for the weekend of performances. Once selected, we will find a local director who shares a similar interest and aesthetic for the piece. Casting will be decided amongst the director, playwright, and GSC’s Artistic Director.

By pairing art with advocacy, we can deepen our connection to our earth’s future.

Each play will be paired with a climate expert(s) to keynote the talkback after each performance, addressing the themes of the theatrical piece, highlighting organizations that are taking action, and elaborating on how it affects Gloucester and the global landscape.

The readings will take place between Thursday, April 25 – Sunday, April 28, 2024. We would love to have the playwrights participate in the festival weekend, either virtually or in-person, so please note your availability when applying.

12. RHINEBECK RETREAT

DEADLINE: Feb. 12, 2024

WEBSITE: https://www.rhinebeckwriters.org/application-2024

*If you submit before February 5th, there is no fee. After February 5th, the fee is $30.* 

Rhinebeck Writers Retreat is hosting 9 consecutive weeklong residencies between June 23 and August 25 in summer 2024 for 9 musical theatre writing teams. The writers live together in their own home in the Hudson Valley near Rhinebeck, NY. Only one musical theatre writing team is in residence each week. There are no actors or musicians available.  For our retreat, you focus solely on writing and are working only with your writing collaborators during your weeklong residency.

-All the writers' costs are covered by our generous donors including the National Endowment for the Arts, New York State Council on the Arts, The ASCAP Foundation Bart Howard Fund, The Noël Coward Foundation, and hundreds of individual donors. Thanks to them, Rhinebeck Writers Retreat provides each writing team:

-A fully furnished private home for one week, Sunday to Sunday

-Food – you shop on your first day and cook for yourself

-Pianos – an upright acoustic piano and Yamaha P125 digital keyboard.

-Travel – For writers living in the New York City area, we cover round trip train from NYC to Poughkeepsie.  If you have a car, we reimburse your gas.  If you live outside of NYC, we will reimburse you for coach plane and train travel up to $1,000.  We pick you up in Poughkeepsie and drive you to the writers’ home.

-All the supplies you need.

-A $550 stipend for each writer

-Peer advisor – We'll decide together which of our Sounding Board members (artistic advisors) will work with you before you arrive in Rhinebeck to provide dramaturgical guidance and discuss your goals for your week. Your peer advisor will be connecting with you remotely either through Zoom, phone call, or other means that work for all.

13. ​MARTIN HOUSE CREATIVE RESIDENCY PROGRAM

DEADLINE: February 16, 2024

WEBSITE: https://martinhouse.org/visit/creative-residency-program/

Frank Lloyd Wright’s Martin House (Buffalo, New York) is searching for applications to its Creative Residency Program. The residency provides individuals from multiple disciplines a thought-provoking environment in which to produce new works of the imagination inspired by one of the great examples of 20th century architecture. Residents will receive a stipend of $5,000. Travel expenses of up to $1,000 will also be provided to residents who are from outside the Buffalo-Niagara region.

Creative makers who are selected to participate will generally spend 2-4 weeks onsite either consecutively or incrementally within the specified residency term. Length of stay is project-based and determined by the needs of the applicant and in alignment with the Martin House schedule.

Residents are also expected to deliver a free public program, performance, exhibition, or other creative presentation in order to share their Martin House-inspired work with the larger public.

End-products may revolve around many of the themes central to the Martin House. Subjects of inquiry may relate to architecture, art, art history, landscape, building and design, social history, state and local history, issues of gender, race and class, modernism, urbanism, housing and gentrification, business and industry, the history of technology, cultural studies, engineering and applied sciences, for example.

14. WATERMILL CENTER 

DEADLINE: February 16, 2024

WEBSITE: https://www.watermillcenter.org/summer/

Culminating in The Watermill Center’s Annual Summer Benefit, the Summer Program allows artists to develop their practice in a communal and experimental environment. Participating artists share meals, exchange ideas, collaborate on projects, attend workshops, and participate in the daily life of The Watermill Center. The program also provides opportunities to work with Founder/Artistic Director Robert Wilson and his collaborators on workshops, staging rehearsals, and installations.

Artists-in-Residence are immersed in an extensive collection of resources, including; 20,000 square feet of multi-purpose interiors and outdoor stages; a theater production archive; The Watermill Center Library; The Watermill Center Collection; and ten acres of landscaped grounds and sculpture gardens.

15. EST YOUNGBLOOD

DEADLINE:  Feb. 26, 2024 

WEBSITE:www.ensemblestudiotheatre.org/youngblood

Keep an eye out for information on our virtual Info Session with current Youngblood members to learn more about applying to the group.

Applications are open to New York City metro area resident playwrights. While Youngblood works primarily with writers under 31 years old, we recognize that there are many definitions of "early-career" (new to the field, recently graduated from grad school, etc.). If you are over 31 but believe you qualify as an early career playwright please include an explanation in your letter.

Membership includes attendance at all weekly meetings, monthly (or more frequent) performances, readings, and retreats. If you have any questions, please contact youngblood@estnyc.org.

APPLICATION

Please complete the form below and include the following materials:

WRITING SAMPLE - up to 25 pages. This can be part of a longer piece or a one-act. Send whatever you think best represents where you are as a playwright right now.

LETTER - The "why Youngblood" letter. Tell us about yourself and why you are interested in membership in the group.

RESUME - Your current playwriting resume.

FULL-LENGTH PLAY - A completed full-length play in its entirety. Note: this can be the full play from which the initial 25 pages was excerpted, or an entirely different piece. In most cases, this additional material will only be read if you are selected as a finalist.

PLEASE NOTE: Combine the above items, in that order (sample, letter, resume, full-length), into a single PDF file.

The file name should be your last name and first initial - i.e., TOLAN_R.pdf.

16. 2024 RESIDENDY- SHANDAKEN: STORM KING 

DEADLINE: February 28 

WEBSITE: shandakenprojects.org/storm-king/apply

Established in 2015 by Shandaken Projects and Storm King Art Center, the Shandaken: Storm King residency is a unique collaboration that cultivates a process-focused artist experience at Storm King Art Center. Since its founding, the program has grown into a renowned opportunity for artists from across the country to invest uninterrupted time in process while living within one of the world’s most important outdoor museums.

Residency Overview

Shandaken: Storm King provides free housing and studio facilities with the aim of supporting process and experimentation. For the 2024 season, the residency will welcome applications from individual artists, artists who wish to travel with their child/ren, and collectives. Artists who wish to travel with their child/ren are also welcome to bring a partner and/or other family members to reside with them at Storm King.

The facilities of Shandaken: Storm King are well suited for painting, drawing, collage, research, writing, reflection, performance, and work that is community-driven or socially-based, land-based, or ephemeral.

Visit the Shandaken website for additional details and an FAQ.

17. BROOKLYN BOTANIC GARDEN: 2024 ARTIST IN RESIDENCE

DEADLINE: February 29, 2024

WEBSITE: https://www.bbg.org/about/art_in_the_garden_performing_artist_in_residence_2024

One artist will be selected for a residency in 2024 that includes a $7,000 stipend. The artist will spend time creating work in and inspired by the Garden from June 1 to September 30. They will host one or two public classes, seminars, or activities, then showcase their final work in September 2024. The theme for the 2024 residency is Natural Attraction, celebrating the plant-pollinator relationship through the lens of BBG’s vast and varied collections and the native insects to which they are inextricably linked.

18. KIMMEL HARDING NELSON CENTER

DEADLINE: March 1, 2024

WEBSITE: https://www.khncenterforthearts.org/residency/how-apply

This July 1-December 20, 2024 residency offers a $175/week stipend and a private studio. Established and emerging visual artists, writers, composers, and interdisciplinary artists from across the country and around the world are eligible to apply. Application fee: $35.

19. NEW VICTORY THEATRE LABWORKS

DEADLINE: March 1, 2024

WEBSITE:newvictory.org/about/labworks/labworks-application/

New Victory® LabWorks is for artists who identify as Black, Indigenous, and People of Color (BIPOC) creating original work for kids and families. We welcome and uplift all BIPOC artists, including those who identify as LGBTQIA+ and who identify as disabled. As an artistic home for artists of all disciplines, New Victory LabWorks explores, devises and reimagines what theater for families can be.

Once all applications are reviewed, a select group of applicants will be contacted to participate in an interview with members of the New Victory Artistic Programming staff. From there, final applicants will be notified of their acceptance. All applicants will receive notification of final decisions. No phone calls, please.

Artist(s) must identify as Black, Indigenous or a Person of Color.

Artist(s) must be 18 years of age or older.

Artist’s work must be intended for family audiences (artist does not need prior experience in creating work suitable for families).

Artist’s project(s) must be in development, but may be at any point during development, including initial concept.

Artist(s) must be interested in actively participating in all aspects of the New Victory LabWorks program, including professional development, monthly meetings with the 2023-24 LabWorks cohort, peer-based exchange and peer and/or audience feedback.

Application Instructions: If you are interested, you can review the questions and required materials before applying. Please note the application is a Google Form, which cannot be saved as you go.

Please complete the application and include support materials via a Dropbox link or Google Drive folder. If you have physical materials to submit, please let us know by emailing LabWorks@New42.org.

20. REPLENISH RESIDENCIES AT STUDIO IN THE WOODS (New Orleans)

DEADLINE: March 13, 2024

WEBSITE: https://www.astudiointhewoods.org/apply-for-replenish-residencies-2024-25/

Replenish Residencies provides 1-2 week restorative visioning retreats to local BIPOC artists and culture bearers; the heart of New Orleans culture. In light of the many racial disparities still present in our society at large and the arts economy specifically, we offer these residencies to provide time to rest and restore, vision, and create. The call is open to BIPOC artists and culture bearers from the Greater New Orleans area who have not attended a residency before.

The Studio focuses on interrelated areas of programming, including residencies for artists and scholars, forest restoration, and science-inspired art engagement for children and adults. We center interdependence, wonder, care, and inclusivity in all of our work and believe the essential and transformative powers of art and the natural environment are central to a thriving future for all.

SUPPORT – Recipients will be provided with a $1600* stipend, a one to two week residency, staff support and an opportunity to have a documentation session with a photographer. We additionally fund optional field trips such as boat rides and eco/history tours. Depending on the needs of the artist, we may be able to assist artists in accessing Tulane University faculty consultants or research collections. Selected residents receive full room and board including food, utilities for living, and studio space. Residents are expected to cover personal living expenses, additional materials and supplies, and any other expenses relating to the cost of producing work incurred while in residence. 

SELECTION PROCESS – A multidisciplinary jury will judge proposals on the creativity and integrity of the proposal as well as the artist’s demonstrated commitment to their practice. Submissions will be judged solely on the content of the proposal and work samples, not the quality of the documentation.

21. BOGLIASCO FELLOWSHIP

DEADLINE: March 14, 2024

WEBSITE: https://www.bfny.org/en/about

Bogliasco offers an intimate and intellectually nourishing environment on the Italian Riviera in which a wide diversity of Fellows, each involved in a different field of the arts and humanities, have complete freedom to focus, reflect, and open themselves to expansive creative thinking. Conversing over shared daily meals, carefully designed cohorts of 8-10 residents learn to communicate beyond personal and professional boundaries, often establishing new collaborations.

Long after Fellows leave the Center, the lessons of the experience continue to enrich their work and communities: yielding greater appreciation for the arts and humanities, expanding knowledge and aesthetic experience, and amplifying engagement between global citizens.

Deadlines are open for residencies during the Spring 2025 semester.  Please note that application fees are $30 for the regular deadline, and $45 for the extended deadline.

22. ISA FELLOWSHIP 

DEADLINE: March 14, 2024

WEBSITE: https://www.networkisa.org/contest/view/isa-diversity-intiative

Exceptional writers will be considered for acceptance onto the ISA Development Slate, the top tier of ISA writers. The ISA supports, applauds and promotes these writers to producers, managers and agents in Hollywood and beyond, forging relationships and building careers. 

Selected Projects to Be Considered By: 

Mark Maley of Big Swell Entertainment

Gabrielle Utsey (VP of Development) POV Entertainment

Morgan Begg of Lucky Chap Entertainment

More partners to be announced.

Consideration for Option

Consideration for option from Creative Cypher 

Mentorship from Creative Cypher and their industry partners

Strong consideration for the Creative Cypher XLerator

Development Slate Invitation

Up to 3 writers will be invited onto the ISA Development Slate, where our team of development execs will champion them and their work to industry partners. Industry partners include but are not limited to: Harpo Productions, Max, Lifetime, Unanimous Media, ABC Signature, MGM, ICM, LakeShore Entertainment, Lucky Chap Entertainment, Miramax, Disney+, CAA, Nickelodeon, POV Entertainment, Big Swell Entertainment, Paramount Players and more.

Career Consultation

Selected writers will have a career consultation session with Felicity Wren, the ISA's VP of Development. 

Additional Benefits

A 12-Month ISAConnect Membership

23. TEXAS A&M NEW WORKS

DEADLINE: March 15, 2024

WEBSITE: https://pvfa.tamu.edu/asir/new-work-development-artist-residency/

The school will provide the selected artist in residence (open to artist working in a list of disciplines) with a $10,000 stipend for living expenses and project materials, on-campus lodging (two bedroom/one bath apartment) for the duration of the residency, shared office space and access to school facilities, including rehearsal and performance spaces, recording studios, visual art studios and technology resources, undergraduate and/or graduate student assistance, and visa support for international artists.

The School of Performance, Visualization and Fine Arts at Texas A&M University is excited to announce its inaugural New Work Development Artist Residency program. The school is committed to inspiring our campus and community by incubating new works of art in an environment of creative reciprocity between scholars and artists that crosses, blurs and erases disciplinary lines.

The school was founded by three intrinsically interdisciplinary units: Dance Science (combining dance and the biological and health sciences), Visualization (uniting the fine and visual arts with computer science) and Performance Studies (a conjunction of music and theatre drawing on anthropology and related humanities fields). The New Work Development Artist Residency is designed to take advantage of these existing areas of strength, and the school’s emerging areas of new research (including music performance, music technology, devised theatre, graphic design, photo and video, painting and illustration, sculpture, choreography, virtual production, games, animation, visual computing and materials-based research). Artists in residence are invited to take advantage of the varieties of expertise and resources available in the school as they develop a new work or body of works. 

While this is a development residency, artists in residence will be expected to integrate their work into the life of the school, providing opportunities for undergraduate and graduate students to take part in their creative process and engaging with faculty and the wider campus community throughout the residency period. This program is designed to be mutually beneficial to the artist in residence and our students, providing the latter a high-impact educational opportunity to be present at and contribute to the creative work of the former.

24.  YOUNG PLAYWRIGHTS FESTIVAL

DEADLINE: March 15, 2024

WEBSITE: theblank.com

ELIGIBILITY: Playwrights must be 19 years or younger as of March 15, 2024 and reside or attend school in the US; co-authored plays are welcome provided all authors meet these eligibility requirements

 DEADLINE: Plays or musicals must be received or postmarked between January 9 and March 15, 2024

 FEES: There are no submission fees!

 CONTENT: We welcome original plays or musicals of any length or genre and on any subject

 LIMIT: Up to three plays per playwright or team - please complete a separate submission form for each piece

 FORMAT: All plays must have a title page and numbered pages

 NOTIFICATION: We will contact competition winners in April 2024

 PRIZE: Winning plays will be mentored, directed and performed by professional artists in July 2024

 SUBMIT ONLINE: Visit TheBlank.Submittable.com to create a FREE account and submit - please create a separate submission form for each play you'd like to send in

25. BAU ARTS RESIDENCY (CAMARGO FOUNDATION, CASSIS, FRANCE)

DEADLINE: March 31, 2023

WEBSITE: http://www.bauinstitute.org/index.php?page=cassis-france

The BAU Institute Residency offers international mid-career artists, who have been working independently for over ten years, apartments and workspaces at no cost. Hosted at the Camargo Foundation, the BAU Institute’s Residency award supports artists working in the visual arts, film, performance, and writing on a secluded campus in Cassis, France.

The BAU Institute Residency provides artists a singular opportunity to devote intense focus on projects within an inspiring campus perched above the Mediterranean Sea. Residents are free to create their own schedule of studio practice combined with group dinners and outings. Film screenings, readings and studio presentations also support a vibrant community among Fellows. The setting enables undisturbed creativity, while still offering interaction with the local village of Cassis and the nearby city of Marseille.

26. BAYARD RUSTIN RESIDENCY 

DEADLINE: April 1, 2024

WEBSITE: https://www.penington.org/rustin-residency/

The Bayard Rustin Residency at Penington Friends House (PFH) is envisioned as an ongoing ladder to empowerment for Black Indigenous and People of Color (BIPOC) working to end Systemic Racism and to create a culture of anti-Racism and intersectional equality in the United States of America. It will provide up to one year of room and board to a person who demonstrates a strong creative project  ( arts or activist based) that addresses ending Systemic Racism. They will reside at the Penington Friends House located in New York City’s Lower East Side of Manhattan.

Beginning in September of 2024, this residency will provide up to one year of room and board to a person who demonstrates a strong project that addresses ending Systemic Racism and who has a necessity to be in New York City for up to one year. They will reside at the Penington Friends House located in New York City’s Lower East Side of Manhattan. The Bayard Rustin Resident will demonstrate a need to live in Manhattan. Areas of focus of their work can include activism in the arts, policy change, human rights, community organizing, and other areas of activism focusing on ending racism and strengthening equality. Residents will meet regularly with the Residency Manager and will be expected to share their progress with the New York City community in the form of presentations or workshops.

The resident does not have to be Quaker but their work should be shaped by and in harmony with our tenants of Simplicity, Peace, Integrity, Community, Equality, and Stewardship. The resident will be expected to be a full-time resident of PFH and be participating member of this intentional community. This includes eating chef prepared dinners with the other residents and participating in shared light house chores. ( 1 1/2 hour commitment per week on average.) The Penington Friends House’s approach to living collaboratively may be new to you. We encourage to look at our website and instagram account (@Penington_friends_house) to gain a better understanding of what we are. Feel free to call us as well with questions. We are LGBTQ embracing community. We believe Black Lives Matter. We are always working to be a safe space and an anti-racist community.

27. PERELMAN PERFORMING ARTS CENTER

DEADLINE: April 1, 2024

WEBSITE: https://pacnyc.org/the-democracy-cycle/

The Perelman Performing Arts Center (PAC NYC) and Galvan Initiatives (Galvan) launched The Democracy Cycle, a new commissioning program designed to support new works that illuminate the promise, practice, imperfection, and opportunity of democracy. Proposals are requested for new performing arts works following that theme from artists working in theater, dance, music, opera, and multi-disciplinary performance.

What is The Democracy Cycle?

Over a five-year period, The Democracy Cycle will commission and develop 25 new performing arts works across the fields of theater, dance, music, opera, and multi-disciplinary performance. The commissioned works, to be selected over the course of three annual Rounds of Open Calls, the first opening on January 16, 2024, will explore themes relating to the nature, practice, and experience of democracy.

The Cycle will provide a $30,000 commission to each awarded project. The Cycle will also provide an additional $30,000 towards each commissioned project’s development process (research, readings, workshops etc.). The commissions will be awarded across three annual Open Calls, beginning in January 2024. In the first Open Call, The Democracy Cycle will commission eight projects.

28. CREATIVE CAPITAL AWARD

DEADLINE: April 4, 2024 (opens March 4, 2024) 

WEBSITE: https://creative-capital.org/about-the-creative-capital-award/

For our 25th Anniversary in 2025, Creative Capital welcomes innovative and original new project proposals in visual arts, performing arts, film/moving image, technology, literature, multidisciplinary, and socially engaged forms.

The Creative Capital Award provides unrestricted project grants up to $50,000 which can be drawn down over a multi-year period, bespoke professional development services, and community-building opportunities.

Grants are awarded via a democratic, national, open call, external review process. The first round of the application process consists of 6 questions. Our goal is to fund approximately 50 individual artists creating conceptually, aesthetically, and formally challenging, risk-taking, and never-before-seen projects. 

29. THE JEWISH PLAYS PROJECT

DEADLINE: Rolling

WEBSITE: www.jewishplaysproject.org/guide

AN IMPORTANT NOTE: SUBMISSIONS ARE OPEN TO ARTISTS OF ALL 

BACKGROUNDS, DENOMINATIONS, FAITHS, CREEDS, RELIGIONS, and other IDEALS. 

SUBMISSION PROCESS: Fill out the Project Application Form and attach a play to the form as a PDF. You must submit your play with your name and other identifying information removed (we review all plays blind). We will consider submitted plays and musicals:

MUSICALS: Submitted musicals must include links to recordings of at least 3 songs to be reviewed. Please note, we review musicals on a different timeline than our other programming.

ELIGIBILITY:

 The following must be true of a submitted play or musical:

• It contains significant Jewish themes, characters, content, or points of view.

• It is in English, or primarily in English—we love plays that play with language as a theatrical tool, and plays that explore the differences in language. It just needs to be primarily accessible to an English speaking audience.  (We welcome translations.)

• It is full length, meaning over around 75 minutes in length. (For a guide, that usually means 60 pages or more. We DO NOT review 10 or 20 minute plays.)

• It has not had a full production in the NY Metro region or a major regional theater (LORT C or above).

• It has never been published in any form.
  NOTE: We are most interested in submissions that embrace and depend on Jewish identity at their dramatic core, while avoiding stereotypical forms that rely on cultural or ethnic shorthands in lieu of dramatic development. This holds true whether dealing with the historical gravity of the Holocaust or employing stereotypical tropes for comic effect.

The JPP brings all the tools of new play development to bear on the plays we select: dramaturgical consultation and research; the involvement of collaborating artists - including directors, designers and actors - at all stages as needed; private and public presentations; and industry advocacy. We partner with great writers who not only have a great idea for a play, but have a heartfelt intention to write a Jewish play. To us, this means that during the development process, the writer is committed to making decisions about the progress of the play (or musical) that enhance and deepen the Jewish content, spirit, ideas and values in the work.

30. NATIVE VOICES PRODUCTION SUBMISSIONS 

DEADLINE: Rolling

WEBSITE: theautry.org/events/signature-programs/native-voices-annual-call-for-scripts

We accept scripts all year long. Do you have a full-length script that has been developed and produced that you would like us to consider for a future Native Voices production in Los Angeles? Please follow the Checklist for All Submissions below and in the Native Voices Script Submission form check the box for 2023 General Production Consideration.

Checklist for Call for Scripts

• Please label script attachment as follows: PlayTitle_Author’s Last Name, First Initial (Example: MyNewPlay_Doe, J.doc).

• All submissions must conform to a standard play-script format (one-inch margins, #12 Times or Courier font, all pages numbered).

• Include a title page with full contact information (mailing address, phone numbers, e-mail address) and a draft or revision date.

• Include a character breakdown at the beginning of your script.

• Provide a biography of 75–100 words. Please label attachment as follows: Bio_Author’s Last Name, First Initial (Example: Bio_Doe, J.doc).

• Provide a press ready photo of at least 300dpi. Please label attachment as follows: Photo_Author’s Last Name, First Initial (Example: Photo_Doe, J.doc).

• Provide development history for the play. Label attachment as follows: DevHistory_PlayTitle_Author’s Last Name, First Initial (Example: DevHistory_MyNewPlay_Doe, J.doc).

• To submit, fill out our online form and upload your submission materials here: Native Voices Script Submission Form

Please do not send treatments or outlines. Previously produced plays should be submitted under the 2023 General Submission for Production Consideration. Playwrights are encouraged to make multiple submissions (up to three per event), but selection will be limited to only one play per playwright, per event.

31. AUDIBLE EMERGING PLAYWRIGHTS FUND

DEADLINE: Rolling

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 t he creation of original dramatic work, written with audio in mind, but theatrical in spirit. 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.

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 

3. 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. 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.

32. THE STOCHASTIC LABS

DEADLINE: Rolling

WEBSITE: https://stochasticlabs.org/residencies/

The Stochastic Labs offers fully-sponsored residencies to engineers, artists, scientists, and entrepreneurs from around the world. Residencies include a private apartment at the mansion, co-working and/or dedicated work space, shop access, a $1,000 monthly stipend and a budget for materials.

33. THE FOUNDATION FOR CONTEMPORARY ARTS

DEADLINE: Rolling

WEBSITE: https://www.foundationforcontemporaryarts.org/grants/emergency-grants/

Created in 1993 to further FCA's mission to encourage, sponsor, and promote work of a contemporary, experimental nature, Emergency Grants provide urgent funding for visual and performing artists who:

• Have sudden, unanticipated opportunities to present their work to the public when there is insufficient time to seek other sources of funding

• Incur unexpected or unbudgeted expenses for projects close to completion with committed exhibition or performance dates

Emergency Grants is the only active, multi-disciplinary program that offers immediate assistance of this kind to artists living and working anywhere in the United States, for projects occurring in the U.S. and abroad.VEach month FCA receives an average of 95 Emergency Grant applications and makes approximately 12-15 grants. Grants range in amount from $500 to $3,000, and the average grant is now $1,700. We recommend that artists review all of our eligibility guidelines and FAQs before applying. You may also complete our Eligibility Questionnaire, but please note that the questionnaire is not a substitute for a thorough review of program guidelines.

34. THEATRE ARIEL OPEN SUBMISSIONS
DEADLINE: Open

WEBSITE: http://www.theatreariel.org/opportunities

Theatre Ariel is always seeking the next great Jewish play to present to our audiences. Theatre Ariel is looking for plays that engage with the rich world of Jewish life, thought and practice; plays where Judaism, Jewish identity or Jewish perspectives are significant or driving factors in the story (In other words, not plays where the characters ‘happen’ to be Jewish or that have a few yiddishisms or “Jewish jokes” in them, but plays where Jewish life/thought/history is integral or particularly relevant to the story.). Theatre Ariel seeks plays with casts of five actors or less.

You do not have to be Jewish to have your work considered by Theatre Ariel. 

All our performances are presented as salon-style theatre readings in people’s homes, following a long tradition of Jewish theatre. For the foreseeable future, we will be presenting in a hybrid model of both in-person and virtual performances. To have your script considered, please email the following to submissions@theatreariel.org: 

Brief cover letter introducing yourself and your play, as well as a short plot summary and character breakdown (indicating doubling, if any)

Ten minute excerpt from the script (if these are not the first ten pages, then please supply a brief explanation of where we are in the story when your sample picks up)

Theatre Ariel is committed to reading and responding to every submission we receive. Please allow three to six months for a response. Please forward any questions you may have to the same email address listed above.

35. THE DOROTHY ROSS FRIEDMAN RESIDENCE

DEADLINE: Rolling 

WEBSITE:  https://actorsfund.org/services-and-programs/housing-resource-center?mc_cid=1266183bf9&mc_eid=7436d341a2

and

https://actorsfund.org/sites/default/files/Friedman-Application-Revision-7-21-20.pdf?mc_cid=1266183bf9&mc_eid=7436d341a2

The Friedman Residence, located at 475 West 57th Street, offers affordable housing for senior citizens, working professionals, and persons with HIV/AIDS. All apartments are complete with dishwasher, washer, dryer, central heating and air conditioning. Many apartments have terraces and feature spectacular Manhattan views. The Friedman Residence also features 24-hour security.

Eligibility for The Friedman Residence is based on federal guidelines for Low-Income Housing Tax Credits. An applicant’s annual income from all sources (employment, benefits, asset interest) must be more than $28,500 and less than $47,760. The annual income of a household of two should be at least $30,000 and cannot exceed $54,600.

36. WILD CULTURE, WILD PROJECT

DEADLINE: Rolling

WEBSITE:  http://www.thewildproject.org/programs/wild-culture/

Wild Culture is a program where wild project partners with a cross-section of independent, downtown performance artists to help both professional and emerging theater performers nurture, broaden and advance projects that are in various stages of development. Wild Culture gives artists free or subsidized space at wild project’s 89-seat eco-friendly theater, a stipend, box-office split, tech staff, marketing and community outreach to sustain the innovative creativity of downtown performance and unburden independent artists from prohibitive production costs. The program generally grants each project limited engagements of one to three performances. Projects that wish to submit to Wild Culture should align with wild project’s mission to enrich and educate the community, explore issues relating to female, BIPOC, and LGBTQIA+ artist communities, and demonstrate a clear performance aesthetic.

Wild Culture adapts each partnership to the specific needs and artistic vision of the project. Wild Culture is an ongoing program throughout the year. If you have a project that might be suitable for a Wild Culture partnership, please email Producing Artistic Director Ana Mari de Quesada at adequesada@thewildproject.org to get the conversation going to partner with us.

37. NY THEATER FESTIVAL SPRING/SUMMERFEST

DEADLINE: Rolling

WEBSITE: http://newyorktheaterfestival.com/summerfest-festivals/

ACCEPTING APPLICATIONS FOR 2024. 

We strongly believe that self producing a play or a musical can offer a very important tool for the growth of every playwright’s work. Once a playwright sees their work onstage, it provides an opportunity for the playwright to improve or modify their story. It’s also a great opportunity to invite people from the industry to see your production. People are more likely to go see a show than to read an unsolicited script, as some industry people receive on average thousands of submissions per month, and they understand that the journey for a show to be successful often goes through several productions.

Our team is completely dedicated to help get your work seen. We are always with you to help, from the first moment of your tech rehearsal to the closing of your last show.  You will never be left alone during the process. We will help you to choose some of the 85 set/furniture props we offer to dress your stage for your run, and give you a complete crash course on how to use the audio/light/video system, which are intentionally very user friendly. After we show you how to use the tools we provide and how to utilize the space, you will be able to rehearse your tech rehearsal with whatever plan works best for you and your production. A team member will be present to provide prime responses to every inquiry, as well as a telephone # you can call anytime during relevant hours throughout the run of your show. In 11 years and 19 seasons we have successfully hosted 1,200 plays and 300 musicals and rewarded with cash prizes over 300 artists who participated in our Festival. 

PRIZES:

We offer up to $8,000 in Prizes. $3,500 alone goes to the season’s best production (either a play or a musical) 

JOBS

HEAD OF COLUMBIA’S MFA PLAYWRIGHT PROGRAM

WEBSITE: https://apply.interfolio.com/138929

Columbia University School of the Arts is looking for a new head of the MFA Playwriting concentration, following David Henry Hwang stepping back to part time and a couple of years of excellent interim leadership from Leslie Ayvazian.

We seek a full-time faculty member of distinction in playwriting, with a proven track record of well-received productions of their original plays and substantial expertise in guiding and mentoring emerging playwrights. The successful candidate will oversee the MFA Playwriting Concentration starting either January 1, 2025 or July 1, 2025. Duties include: leading in the selection of MFA playwriting candidates; teaching and mentoring students; and recommending part-time adjunct faculty for appointment for classes in theatre, film, and television writing. The Program aims to attract a dynamic and dedicated teacher with a commitment to service and collaboration across disciplines with the Directing, Dramaturgy, and Acting Concentrations.

Columbia University School of the Arts is committed to equity, diversity, and inclusion. We encourage applications from historically underrepresented groups.

The Columbia University School of the Arts offers Masters of Fine Arts Degrees in four disciplines: Film, Theatre, Visual Arts and Writing; a Masters of Arts degree in Film Studies; and undergraduate majors in Creative Writing, Film Studies and Visual Arts.