Selling Tesla Stock

 I sold almost all of my Tesla stock in the spring of 2024. This was before Elon Musk backed Trump in the fall. It was a tough decision b/c I had the stock for several yrs and it was extremely valuable. So what did it? It was not a political decision. Rather, it was a decision based about the psychological makeup of the CEO and the business culture he was fostering.

On Oct 16, 2023, I went to a public talk on Northwestern's campus w/ famed biographer Walter Isaacson. He was releasing a book on Musk after several yrs of research and interviews. In September 2023, I met Isaacson in New Orleans b/c he came and saw "A Wonderful World" at the Saenger Theatre. He enjoyed the show so we had drinks and kept in contact. A month later I'm in Chicago for AWW and I get a tix to this public talk. 

David Axelrod, former advisor President Obama was interviewing Isaacson and doing a fantastic job asking laser-sharp questions. Isaacson said something to the effect that Musk has an engineer's mind and thinks of himself as a cartoon action hero saving the world. He thinks all problems are solvable through engineer thinking. Axelrod asked what he thought of Musk buying Twitter in 2022 and Isaacson paused for a moment. Paraphrasing here but Isaacson said there's going to be a problem with Twitter b/c Musk going to 'fix it' like it's a rocket or an EV. But Twitter is not a design problem.  It's a fast-shifting, social microcosm. It is the largest printing press in human history in which the readers are also the content creators, cranking out millions of stories every minute.  In trying to 'fix' Twitter and given Musk's 'social skills' it could be a PR nightmare, which could bleed over into his other businesses. 

Afterward, all the audience members got Isaacson's newly printed Musk biography. I got my copy and took the train back to my hotel. Prior to that talkback I had never spent much time thinking about Musk as a person. He was just another rich guy who talked big and stood on massive stages with projection screens about the sci-fi future of our tools and robots. Isaacson was delving into the psychology of someone who was now in control of a lot of things: Twitter, SpaceX, a lot of gov contracts with the Defense Dept, top secret stuff. And he was also the guy who liked to play video games online and be 'one of the boys' and frequently jumped on reactive bandwagons to fit in. 

I thought about that interview a lot. It was like getting warned about a human tsunami months in advance. I started paying attention to what Musk was saying on Twitter in Dec 2023 and into the new year. The narcissism and fanboy need for adulations. Hmmm..thinking of oneself as 'Ironman saving the world' makes one very suggestible to flattery. In short, that personality type seems like an easy person to brainwash b/c they thinks they are SO smart that they will only surround himself with ppl who also think they are the smartest guy ever, which ends up making one incredibly stupid. 

The smartest ppl I've ever met are constantly in the 'don't know' phase of figuring things out. We become smarter through dynamic tension, being challenged, have peers who push us. It's the reason why rich parents so often raise thoroughly mediocre narcissists. Now if you're the richest guy on the planet, have all this power, and what you seek on a deep level is superhero praise, then you don't need the highest quality ppl challenging you. It's the psychological trap of people who believe they are genetically superior and the main character in every situation.

When Texas Instrument was the biggest/baddest computer corp in the world, they didn't need to think ahead...which is what allowed a Texas Instrument exec to go back to Taiwan and start up the richest company in the world: Taiwan Semiconductor Manufacturing Company. America could've had the future of tech, but arrogant businessmen allowed Morris Chang to walk back home to Taiwan and change the course of business history. Meanwhile Texas Instrument was stewing in it's own ego with H Ross Perot and now the company is a shell of itself. Narcissists implode. They are an easy target for con men, Russian bots, authoritarian movements, and just a general incompetence. The most inquistive ppl leave your presence. Your company starts experiencing a Texas-Instrument level brain drain. Tesla truck parts are stuck together with glue, Boeing airplane doors start flying off. 

I sold my Tesla stock in the spring of 2024 and donated the profits to charity. I felt good. Then I started to doubt myself so I crept back in and bought small 2k of Tesla stock in the summer b/c it was rising again. Then Musk backed Trump, re-organized Twitter and the algorithm shifted. I noticed my page was filled with the Republican party anthems. There was a lot of anti-transgender anti-DEI messaging, xenophobia, and street brawls. The lurch toward right-wing fear and hatred was on...oddly enough it was started by someone who wanted to save the planet. 

What Musk really wanted for the adulation of a superhero saving the planet. Because if he really watched superhero movies he knows that real heroes don't get a lot of praise. You save someone and then get complaints, envy, jealousy, and bootlickers. Every superhero story is an anti-hero b/c to be that great you have to go through the highs and lows to keep a balanced personality. The only people who experience praise are the Lex Luthor super villains who surround themselves with sycophants. And that really is the key different between the superhero and the super villain. Often both are trying to 'save the world' in their own warped way. But real superheroes frequently self-correct, have challenges, and then grow from them. Supervillains only seek to crush challenges to their power b/c they are so focused on getting praise for 'saving the world' that they are willing to destroy it. 

So I am comforted that some charity orgs benefited from my Tesla stock sale. While I watch my measly 2k investment dwindle down I think about the superhero (or villain) that Musk has become in his own mind. So persecuted by the left, so adored by the right, and perpetually misunderstood as he cries into the echo chamber of his own algorithms. 

Radical Right, Radical Left, Radical Change

 It's so easy to radicalize ppl when they're mentally compromised, angry, lonely, or desperate for community. The radicalization is the symptom of a larger sickness, not the cause. And I know this b/c I was researching a story a few yrs ago and I found about about 2 blk men converting so-called racists.  The two Daryl's. 

Daryl Davis is a blues musician who has gotten dozens of KKK members to leave the org. He is personally responsible for disassembling of a branch in Maryland b/c he converted so many ppl that things fell apart. Then that KKK branch was rebuilt by a new leader, who Davis then converted away from the movement.  All he did was talk directly to the KKK members about their beliefs, where they got them from, what they actually think? He's been doing this for years and he's still alive, living his life as a musician, and then meeting ppl and asking them 'what do you really think?'

Daryl Lamont Jenkins is a black anarchist and punk rock fan who has converted hundreds of skinheads (btw, what's up with Daryl's changing the world?) Like Daryl Davis, Daryl Jenkins goes into areas and talks to skinheads and finds that 90% don't even care about the movement and its beliefs. That's why it's so easy to convert through conversation. Lamont thinks most skinheads are just mentally compromised, on drugs, and/or lonely. And right-wing and fascists groups feed on the loneliness and offer community to many people in the middle of the country who feel left out. 

Both Daryl's said the one thing that does not work is yelling at KKK members and skinheads and condemning them. That only gets the damaged ppl to double down on the community they feel apart of, since the rest of the world is calling them 'evil.' 

I think about Elon Musk and Kanye West. Psychologically compromised by mental illness and drug use. They have all the money in the world and they look so lonely and desperate. They have found community in the far-right and trolling ppl online with Nazi gestures and swatizka t-shirts. They have found a community and mimic the community's beliefs for adoration and power. But I wonder if they REALLY feel that way? Musk was hanging out in Hollywood and desperate to be liked for years. He bought an electric car company b/c he wanted to save the planet. Not exactly the profile of a far-right winger when he started off. Kanye West's mother taught Af-Am history and literature. His early albums were filled with brilliant layers of artistry on black life and love. I don't hate these men. I disagree with the things they have said and done but I don't waste any energy on hating them. That not only pushes them further into their adopted community and it wastes my energy. Boo'ing them or stirring up negative emotions when I see their name does nothing but hurt me and spreads the very hatred I want to eradicate.

I think social media is great for 'booing people' and terrible for actual dialogue. The two Daryl's are heroes b/c all they do is talk and connect. And so many of the so-called evils of the world melt away when people feel seen, love, heard, understood, and apart of something. 

If the left-wing every wants to rebuild itself, it should remember the roots of the modern American movement were in the black church, freedom riders, forming multiracial communities around love, and non-violence. It was not in shaming, taunting, cancelling, and sending ppl into social media exile. Talk to your so-called troubled friend who you disagree with and not to yell at them. Really listen. 

I grew up in Florida before the internet so I had some *whew* rough conversations with white ppl. And whenever I would really press them 'do you REALLY think that? Why do you think that?' 99% of the time they would crumble. They were so used to ppl reacting to hatred that they didn't respond when a blk person was in front of them connecting as a human being. "I'm not saying you're right, I'm not saying you're wrong...but why do you think that? What proof do you have? What if I could show you something different?'

Years ago, I moved out of a South Park Slope apt and helped my roommate Max interview new prospective tenants. One prospy was Russian student. My roommate called me up days later saying 'I can't let the Russian live here. He's racist!' And then he told me some of things the Russian said about black ppl. And I told my roommate 'well as a white person (or white presenting b/c Max is Jewish) you have an excellent opportunity here' because he's not going to say those racist things to my black face. But he said it to you b/c he's looking for a brother. Then we talked through some conversation pointers. Weeks later Max called me up amazed. The Russian guy was just ignorant and fearful. All the beliefs melted in the light of someone talking to him.

Get What You Want: March 2025

 1. MITU HYBRID ARTS LAB

DEADLINE: March 10, 2025

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

Mitu’s Hybrid Arts Lab supports women, trans, and non-binary artists working at the intersection of performance and technology.

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. The program culminates in a series of studio visits that invites our community to engage in the fellows’ arts practice and join a conversation about art and innovation.

2025 marks our sixth annual Hybrid Arts Lab. Mitu will convene a cohort of three artists for eight months. Each artist will receive support to develop their practice bridging performance and technology. This support includes: a $3,000 award; five weeks of studio space, equipment, and technology at MITU580; mentorship and workshops with Founding Artistic Director Rubén Polendo; training and classes with guest artists modeling creative uses of hardware and software tools in art-making; and a materials budget to support a series of public studio visits.

APPLICATIONS FOR THE PROGRAM OPEN FEBRUARY 17, 2025!

ELIGIBILITY:

Artists are required to be local in New York City and prepared for all in-person activities. Virtual or remote participation will not be an option.

This program is focused on supporting BIPOC women, trans, and non-binary artists working at the intersection of performance and technology.  We welcome applications from everyone interested in the program or the organization, however we will be prioritizing BIPOC women, trans, and non-binary artists for acceptance. 

This program is dedicated to emerging and early career artists who are not currently enrolled in a degree granting program.

As an arts practice fellowship, a commitment to work at the intersection of performance and technology, a commitment to acquire new skills, and a willingness to publicly share in-process aspects of your work are required to participate in the program.

PROGRAM SCHEDULE:

The following schedule is subject to change based on participant needs and organizational capacity but reflects the overall time commitment required to participate in the Hybrid Arts Lab.

The Hybrid Arts Lab begins in April and ends all in-person activities by November 30th 2025.  

During most of the fellowship, participants will generally between one and four times per month for meetings, classes, or guest artist sessions. Additionally artists will be granted five weeks of studio space where fellows will be expected to maintain a schedule of in-person working hours developing work and exploring new elements of their practice.  Fellows will be expected to maintain a minimum of 20 hours of work time each studio week.

Each participant will receive five exploratory weeks with shared use of MITU580 and shared access to the venue’s lighting, audio, video equipment, and software. The first two-week period will be held in July. The second three-week period will be held in November.

The cohort will culminate the second period of studio weeks in November by presenting a series of in-process studio visits with our community.  Fellows must be available for this time in order to participate in the program.

After submitting your application, you will be required to email one attached copy of the following to info@theatermitu.org

Artistic C.V.

Work samples of 2-4 recently completed works with accompanying links or digital portfolio.

Contact Information for two references: relationship, email, and phone number.

A recent photograph of yourself.

2. LIVE AND IN COLOR MUSICAL THEATRE

Deadline: March 15

Website: https://liveandincolor.org/musicalsubmissions

Live & In Color is looking for playwrights, composers, and lyricists of color and/or other underrepresented communities interested in developing their new musical. The selected musical submission will have a one-week workshop in the fall at The Bingham Camp in Salem, Connecticut culminating in a staged presentation to an invited audience.

Writers receive a $1,000 stipend plus housing, meals, and travel. We provide support including a several-month development period based on needs of the composer/writers leading up to the retreat. Live & In Color staff will continue the support the development of your piece beyond the retreat including a reading for industry and Broadway Alums.

MUSICAL SUBMISSION GUIDELINES

The musical must be performed:with 4 actors (or less)

All submissions should include:

Resumes + CVs (a one-page PDF document for each team member's resume and CV)

Artistic Statement (can be authored by individual team members, or as a joint statement)

Single page synopsis*

Single page character breakdown*

Demo of score (2-3 songs)*

Sample of dialogue (~15 pages)*

Brief production/development history (properties with prior full productions not accepted)*

Optional: a PDF of the full script (please note, if you move forward to the Semi-Finalist round, a full script and score will be required)

*Submission Materials must be in a single PDF document of all

3. ROGUE THEATRE FESTIVAL

Deadline: March 15

Website: https://www.roguetheaterfestival.com/

Now accepting new works for the seventh annual and uniquely hybrid Rogue Theater Festival! Rogue is looking for new works by emerging writers and artists to present live for an audience OR virtually for an audience. We encourage anyone who feels they have a story to tell to submit their piece to the festival. This year Rogue is proud to be accepting full length one acts for either Fully Staged or Staged Reading shows, Short Shows, and recorded shows of all lengths to stream. 

4. EDWARD F. ALBEE FOUNDATION SUMMER/FALL RESIDENCY

Deadline: March 16, 2025

Website: https://www.albeefoundation.org/guidelines--submitting.html

The Edward F. Albee Foundation exists to serve writers and visual artists from all walks of life, by providing time and space in which to work without disturbance.

Using only talent and need as the criteria for selection, the Foundation invites any and all artists to apply.

Founded in 1967 by Edward Albee, after proceeds from his play Who's Afraid of Virginia Woolf? proved abundant, the Foundation has maintained the William Flanagan Memorial Creative Persons Center (better known as "The Barn") in Montauk, on Long Island in New York, as a residence for writers and visual artists.

The Center is open almost year-round and can accommodate four creative persons at a time. Residencies are for calendar-month periods (with rare, pre-approved exceptions). The standards for admission are, simply, talent and need.

Located approximately two miles from the center of  Montauk and the Atlantic Ocean, "The Barn" rests in a secluded knoll  which offers privacy and a peaceful atmosphere. The Foundation expects all those accepted for residence to work seriously and to conduct themselves in such a manner as to aid fellow residents in their endeavors.  Writers and visual artists are offered individual en-suite bedrooms and separate working studios. Residents are responsible for their food, travel, and other expenses. The environment is simple and communal.

5. LIVE & IN COLOR MUSICAL THEATRE DEVELOPMENT PROGRAM

Deadline: March 15, 2025 

Website:  liveandincolor.org

Live & In Color is looking for playwrights, composers, and lyricists of color and/or other underrepresented communities interested in developing their new musical. The selected musical submission will have a one-week workshop in the fall at The Bingham Camp in Salem, Connecticut culminating in a staged presentation to an invited audience.

Writers receive a $1,000 stipend plus housing, meals, and travel. We provide support including a several-month development period based on needs of the composer/writers leading up to the retreat. Live & In Color staff will continue the support the development of your piece beyond the retreat including a reading for industry and Broadway Alums.

MUSICAL SUBMISSION GUIDELINES 

The musical must be performed with 4 actors (or less)

All submissions should include:

Resumes + CVs (a one-page PDF document for each team member's resume and CV)

Artistic Statement (can be authored by individual team members, or as a joint statement)

Single page synopsis*

Single page character breakdown*

Demo of score (2-3 songs)*

Sample of dialogue (~15 pages)*

Brief production/development history (properties with prior full productions not accepted)*

Optional: a PDF of the full script (please note, if you move forward to the Semi-Finalist round, a full script and score will be required) *Submission Materials must be in a single PDF document of all: https://artistcommunities.org/directory/open-calls/edward-f-albee-foundation-summerfall-residency

6. EDWARD F. ALBEE FOUNDATION SUMMER/FALL RESIDENCY

Deadline: March 16, 2025

website: https://www.albeefoundation.org/guidelines--submitting.html

The Edward F. Albee Foundation exists to serve writers and visual artists from all walks of life, by providing time and space in which to work without disturbance.

Using only talent and need as the criteria for selection, the Foundation invites any and all artists to apply.

Founded in 1967 by Edward Albee, after proceeds from his play Who's Afraid of Virginia Woolf? proved abundant, the Foundation has maintained the William Flanagan Memorial Creative Persons Center (better known as "The Barn") in Montauk, on Long Island in New York, as a residence for writers and visual artists.

The Center is open almost year-round and can accommodate four creative persons at a time. Residencies are for calendar-month periods (with rare, pre-approved exceptions). The standards for admission are, simply, talent and need.

Located approximately two miles from the center of  Montauk and the Atlantic Ocean, "The Barn" rests in a secluded knoll  which offers privacy and a peaceful atmosphere. The Foundation expects all those accepted for residence to work seriously and to conduct themselves in such a manner as to aid fellow residents in their endeavors.  Writers and visual artists are offered individual en-suite bedrooms and separate working studios. Residents are responsible for their food, travel, and other expenses. The environment is simple and communal.

7. DEMOCRACY CYCLE COMMISSIONS 2025

Deadline: April 1st

Website: https://pacnyc.org/the-democracy-cycle-submission-guidelines/

Over a 5-year period, The Democracy Cycle – a collaboration between the Perelman Performing Arts Center (PAC NYC) and Civis Foundation (an affiliate of Galvan Initiatives) – will commission and develop a total of 25 new performing arts works across the fields of theater, dance, music, opera, and multi-disciplinary performance that express themes related to the nature and practice of democracy, particularly as it is practiced in the United States.

Purpose

Our hope is that the commissioned projects will enrich and expand discussion of and participation in democracy – be it in the national, state, regional, or hyperlocal community realm – as it is practiced within the United States and worldwide. The Democracy Cycle project is inspired by the following beliefs:Democratic values are a global expression of humanity’s striving to live with one another with respect and in peace.

Democracy, as practiced in the United States, includes a history of founding exclusions. It has been, and must continue to be, the ongoing work of our society to expand upon the ideals of inclusivity embedded in our founding documents.

Democracy faces significant perceived and actual threats in the current moment, both domestically and internationally.

The Intersection of capitalism and democracy creates both opportunities and tensions.

Artists are the beating heart of democratic values because of their ability to imagine new worlds, envision new possibilities, and provoke meaningful discourse across divides.

The primary focus of The Democracy Cycle will be on democracy as it is currently being practiced in the United States. However, commissioned projects may include references to democracies worldwide provided they have potential for informing and deepening our understanding of American democracy.

The Commission

Each selected artist will receive $60,000 in support, consisting of a commission of $30,000 to create the new work as well as an additional $30,000 in support of the work’s development process (research, readings, workshops etc.).

8. NES ARTIST RESIDENCY (IN SKAGASTRÖND, ICELAND)

Deadline: Rolling

Website: https://neslist.is/apply/

As one of the largest residencies in Iceland, NES currently hosts between 90–120 artists per year. NES provides artists with a workspace and living quarters within Skagaströnd, and the freedom to create as they wish. Artists receive a $175 stipend/week, with housing accommodations.

9. DRAMATISTS GUILD FOUNDATION EMERGENCY GRANTS

Deadline: Ongoing

website: https://dgf.org/grants/

2025 applications will open on January 6th, 2025

The Dramatists Guild Foundation’s Bridge Grants are need-based awards of up to $500, now available to support dramatists with non-emergency and essential daily life expenses. Crisis Relief Grants support writers in times of need so that they can get back to doing what they do best. DGF provides emergency financial assistance to individual playwrights, composers, lyricists, and librettists in dire need of funds due to severe hardship or unexpected illness.

Applications will be processed based on severity of need. Please be advised: DGF cannot process grant requests for funds toward artistic projects through this application process. Funds are most often used for necessary life expenses like groceries, utility bills and medical expenses. If you have previously received a DGF Emergency Grant since the start of the COVID-19 pandemic or hold a minimum of $15,000 in your combined bank accounts, we kindly ask that you refrain from re-applying at this time.

10. CLUBBED THUMB BIENNIAL COMMISSION

Deadline: March 20

Website: https://www.clubbedthumb.org/biennial-commission/

Every other year Clubbed Thumb invites playwrights to propose plays inspired by a particular prompt. The application is open to all, and the anonymous proposals are read by a panel of theater artists. The winning proposal(s) receive (or split) a $15,000 award and development support. We are pleased to announce our next Biennial Commission.

This year we lost one of our great comic dramatists: Christopher Durang. We’ve been reflecting on how powerful and much-needed savage humor like his is in a world like ours today.

So, for the 10th Biennial Commission, please consider his work, especially from the 1980’s. We read Sister Mary Ignatius Explains It All For You, Beyond Therapy, The Marriage of Bette and Boo, and Baby with the Bathwater, but feel free to engage with any of his work. We highly suggest reading out loud.

Go to their website for submission guidelines because they are extensive and specific: https://www.clubbedthumb.org/biennial-commission/

11. ALPINE FELLOWSHIP PRIZE

Deadline: April 1

Website: https://alpinefellowship.com/theatre-prize

Awarded for the best playwriting response on the theme of Fear.

To apply you will be asked to submit the following:

A completed play that responds to the theme of Fear. The response is up to you and if you think your work is a response, then you are eligible to submit. Plays must be longer than 30 minutes (which is likely around 30-pages)

A short statement about how your work responds to the theme.

A brief summary of your past work and writing experience.

Rules:

-Open to all nationalities.

-Applicants must be aged 18 or above at the time of entry.

-All entries must be written in English.

-You can enter multiple prizes.

-Plays must not have been professionally produced (this means a run of more than a week for which the audience must buy tickets, it does not include rehearsed readings or workshops.)

-Submissions are judged anonymously so please do not include your name on your script.

The winner and runners-up will receive financial support in the following amounts:

Prizes

First place: £3,000 

Second place: £1,000 

Third place: £1,000 

12. CARLO ANNONI INTERNATIONAL PLAYWRITING PRIZE

Deadline: April 30

Website: https://premiocarloannoni.eu/?lang=en

The Carlo Annoni International Playwriting Prize is now open for submissions of short and full-length plays with topics concerning the LGBTQ+ community worldwide, including love, diversity and identity in a time of gender fluidity.

€1000 will be awarded to two best plays (one in English and one in Italian). There are also special jury mentions in multiple categories.

The award ceremony will take place in September 2025 in Milan, Italy.

We accept plays that have already premiered.

Please submit your entries by midnight (CET) of 30 April. This is an ongoing yearly opportunity.

Get What You Want: February 2025

 

1. TEXAS A&M NEW WORKS

DEADLINE: February 3, 2025

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

The College of Performance, Visualization and Fine Arts at Texas A&M University is excited to invite applications for its New Work Development Artist Residency program. The college 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 college 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). Since 2022, the college has added programs in Music Performance, Devised Theatre, Music Technology, Graphic Design, Choreography and Virtual Production. The New Work Development Artist Residency is designed to build on these existing areas of strength, and the college’s emerging areas of new research. Artists in residence are invited to take advantage of the varieties of expertise and resources available in the college 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 college, 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.

The college will provide the selected artist in residence with:

$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 college facilities, including rehearsal and performance spaces, recording studios, visual art studios and technology resources.

Undergraduate and/or graduate student assistance.

Professional documentation of public presentations.

Visa support for international artists.

Our New Work Development Artist Residency provides artists the opportunity to live and work outside of their usual environments, to explore and reflect, conduct research and network with artists and scholars, and develop a new work or body of works. The duration of the award is nine weeks, Aug. 4 to Oct. 4, 2025. In the first two weeks, residents will have extended access to college facilities and resources, before students return and the semester begins in Week 3. As a Tier 1 research institution, Texas A&M is committed to forging new paths in creative research, and the work of the artist in residence should reflect a compelling portfolio of arts research. The artist in residence will be expected to spend the bulk of the residency developing a new work or body of works. In addition, the artist in residence will be immersed in the life of the college and will develop opportunities for students and faculty to engage with their creative practice. Such engagement could include

Open studios and open rehearsals. Class visits, artist talks and workshops. Collaborations with faculty and students. Other forms of curricular and co-curricular integration.  The artist in residence will report to James R. Ball III, associate dean for industry and community engagement, and they will attend regular Artist and Scholar in Residence Committee meetings (once per month). Social engagements with the campus community will also take place.

At the end of the program, the artist in residence will publicly present what they have accomplished during the residency. Future exhibitions and presentations of the work should also indicate that it was developed in residence at the College of Performance, Visualization and Fine Arts at Texas A&M University.

Applicants are strongly encouraged to contact potential collaborators at the college before applying.

Timeline

Fall 2025 Residency

• Call for applications open: Dec. 1, 2024.

• Applications due: Feb. 3, 2025.

• Notification of applicants: Feb. 14, 2025.

• Final acceptance due: March 1, 2025.

• Residency: Aug. 4–Oct. 4, 2025.

2. THE PLAYWRIGHTS REALM WRITERS PROGRAMS

DEADLINE: February 10, 2025 

WEBSITE: https://www.playwrightsrealm.org/

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. To be eligible you must:Live within commuting distance to Midtown Manhattan, and be able to make it to regular evening writers meetings, rehearsals, and events.

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

Please note: short plays, solo plays, plays with multiple authors, and musicals are not eligible for the Writing Fellowship.

Scratchpad Series

Scratchpad Series jumpstarts The Realm’s relationship with early-career playwrights from around the country. Participants 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. If the playwright is based outside of New York, The Realm will provide travel and housing or per diem. To be eligible you must: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.)

Be able to be present in New York City for a process of between 3-6 days, at a time agreed upon by both you and The Realm. Please note: short plays and solo plays not eligible for the Scratchpad Series.

If you apply for both:

Please be prepared to discuss how you think your script could benefit from the two different opportunities these distinct programs offer. To use this form you must:

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

Understand that you are applying to both programs with a single script. We accept just one play, per playwright, per season.

SUBMISSION FORM

Applicants for the Writing Fellowship and/or Scratchpad Series will submit:

• Online application - short-answer questionnaire (see details here)

• Artistic résume (PDF format)

• Complete draft of the play that you wish to develop (PDF format), with your name and the play title on the cover page.

• Music samples (if applicable)

3. MACDOWELL FELLOWSHIP

DEADLINE: February 10, 2025

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

About 300 artists in seven disciplines are awarded Fellowships each year and the sole criterion for acceptance is artistic excellence. There are no residency fees, and need-based stipends and travel reimbursement grants are available to open the residency to the broadest possible community of artists.

MacDowell encourages applications from artists of all backgrounds and all countries in the following disciplines: architecture, film/video arts, interdisciplinary arts, literature, music composition, theatre, and visual arts. Any applicant whose proposed project does not fall clearly within one of these artistic disciplines should contact the admissions department for guidance. 

MacDowell provides time, space, and an inspiring residential environment to artists of exceptional talent. A MacDowell Fellowship, or residency, consists of exclusive use of a studio, accommodations, and three prepared meals a day for up to six weeks. There are no residency fees, and MacDowell offers financial assistance to reimburse the costs of direct travel to and from the residency, as well as expenses that artists expect to incur while in residence, including rent, lost income, and childcare.

MacDowell Fellows are selected by our admissions panels, which are comprised of a revolving group of distinguished professionals in each artistic discipline who serve anonymously for up to three years.

For questions, please contact admissions@macdowell.org.

4. ISA FASTTRACK FELLOWSHIP

DEADLINE: February 13, 2024

WEBSITE:  https://www.networkisa.org/contest/view/fasttrackfellowship

 Looking for representation or to connect with working directors or producers? Get on the Fast Track!  For 21 seasons, the ISA Fast Track Fellowship has been the premier screenwriting fellowship for writers on the rise. Fast Track Fellows have:

*Signed with major agencies like CAA, Paradigm and ICM.
*Been introduced to and then signed with management companies.
*Had their scripts optioned, leading to development deals.

Two ISA Fast Track Fellows meet with eight top level agents, managers, producers and executives during a whirlwind week of career acceleration with guidance from an ISA Development Executive. Past seasons' executive meetings include writers, producers, directors and execs from WandaVision, Dear White People, Ted Lasso, LA LA Land, Whiplash, Harriet, Lessons in Chemistry and What Women Want among others. Fellows are then accepted onto the ISA Development Slate for a minimum of one year. Throughout the year, ISA development executives champion and pitch these writers and their projects to our industry partners actively looking for material to produce.   

Seven Category Selections will receive $500 cash each, be evaluated for acceptance onto the ISA Development Slate and go on to be considered for the two Fast Track Fellowships. We are looking for the freshest, most original, and most personal writing in all of these categories:

Action/Adventure
Comedy
Drama
Historical/Biographical
Sci-Fi/Fantasy 
Suspense (Mystery, Crime, Horror, Thriller) 
Spec Scripts ----> NOW ACCEPTING SPECS!

Please note: We define a spec script as an episode based on an existing television show. If your script is not based on existing IP, please submit to the television category.

5. RHINEBECK WRITERS RETREAT

DEADLINE: February 12th, 2025

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

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.

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If you submit your application before February 5th at 6:00pm EST, there is no fee.
If you submit your application between February 5th at 6:01pm EST and the final deadline of February 12th at 6:00pm EST, there is a $30 application fee. If the fee poses a problem for you, please email us at asst@rhinebeckwriters.org.

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There are two rounds of evaluation. In the first round, each application is reviewed by 2 readers. You will know by mid-March whether or not your application will continue to the final round. In the final round, all applications are read by 6 readers. Our reviewers are artists, artistic directors, producers, and other leaders in the musical theatre field.  We pay our readers, as we believe it is important that artists are paid for their time. They review the musical as well as the writers' goals for their week as stated in your application's "Background and Artistic Goals." The participants will be announced in mid-April.

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Before you begin the online application, all writers on the team must read "Eligibility & Guidelines". 

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This page lists all you need to gather to complete the application and has the link to the online application. You will need to have all your information ready before you begin the application.  You will not be able to save your work and come back to it; it has to be completed it in one sitting.  

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If you have any questions at all, don’t hesitate to email asst@rhinebeckwriters.org.

6. THE RELENTLESS MUSICAL AWARD

DEADLINE: February 15, 2024

WEBSITE: www.americanplaywritingfoundation.org/copy-of-2022-relentless-musical-award

The American Playwriting Foundation will begin accepting applications for the 2025 Relentless Musical Award in honor of Adam Schlesinger on January 15, 2025. The creators of the winning submission will receive $65,000, the largest prize in American theater presented in recognition of an unproduced musical.  

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The Relentless Awards, founded in honor of Philip Seymour Hoffman, place special emphasis on works that are fearless in their choice of subject matter, featuring audacious, honest storytelling. 

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The Relentless Musical Award will honor works that:  

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* Are challenging. * Exhibit fearlessness. * Exude passion. * Are relentlessly truthful.  

 

Our criteria for submission cast a wide net of eligibility; we encourage submissions by both first-time composers, lyricists, and book writers, as well as musical veterans who may have a particularly challenging piece that has not yet received a production.  

 

Our goal is to discover and promote talented, ambitious voices which may be less conventional and more daring than most mainstream musical theater, and to celebrate exceptional craft in songwriting.  

 

Eligibility/Criteria for Submission:   

• Only full-length works of musical theater are eligible for the 2025 Relentless Musical Award.  

• The work must be unproduced (ie., eligible for world premiere status) and may not have a current production commitment. If the project is a commission, the commissioning entity must either have declined to offer the work a production, or let its option expire. 

• Applications are limited to shows by writers with United States citizenship, or who are authorized to work in the United States.  

• Musicals that utilize extant music not written by the applicant(s) (e.g. “jukebox musicals” or musicals with parody lyrics) are ineligible.  

• All creators must be at least 21 years old at the time of submission.  

• Creators who have authored (book, music, and/or lyrics of) a musical that has been produced on Broadway are ineligible.  

• Works may be based on underlying material, in which case proof of authorization or right to adapt the underlying material must be uploaded with the application (if it is not in the public domain.)  

• We welcome musicals that include non-English languages, but request that an English translation be included for any non-English text.  

• Musicals considered to be “Theater for a Young Audience” are ineligible.  

• Musicals that have previously been submitted to the Relentless award *are* eligible for resubmission. However, each member of the creative team (book writer, lyricist, or composer) may only submit one work per cycle. Additionally, if a previously submitted work has been publicly cited (as an honorable mention, semi-finalist, or finalist), it is not eligible for consideration in future cycles.  

 

As all work will be evaluated anonymously; writer/composer names and personal information must be removed from all documents and file names.    

Submission materials required:  

1) A musical demo of the score. This should contain no fewer than 12 and no more than 35 minutes of representative material from the musical.  

Note: All rough and raw demos are welcome. No preference or advantage will be given based on the production value of any recordings--we do not require anything professional, finished, or elaborate. Please do not let concerns about the quality or sophistication of your recordings discourage you from applying.  

All score materials should be uploaded in the form of music/audio files or zipped folder containing music/audio files. PDFs of sheet music cannot be accepted.  

2) A 1-2 page synopsis and/or outline of the story/concept/beats/characters.  

3) All the songs that have been written/recorded, representing at least 50% of the planned score.  

4) A full script, without any author information (or, if a full script is not yet complete, as much of it as you have). Please include song lyrics in the body of the script.  

All materials must be uploaded electronically along with the application form information. We cannot accept hard copies.   

 

*Please note: the Relentless Award uses a blind submissions process (the names and identifying details about the authors are hidden from all judges.) It is imperative that all submitting writers create a draft of their submission with all identifying information (name, contact information, representation information if applicable, development history, dedications or acknowledgements) redacted. Failure to do so may disqualify your materials and render them ineligible for consideration.   

7. THE WATERMILL CENTER

DEADLINE: February 19, 2025

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

The International Summer Program is an exceptional residency that brings 20 artists together for four weeks at The Watermill Center.

Participants are invited to develop new works alongside emerging artists and established creative professionals from various countries and disciplines. They exchange ideas, share practices, attend workshops, and collaborate on projects in a communal and experimental environment that encourages them to push the boundaries of contemporary creative practice. Participants also have opportunities to work with Founder/Artistic Director Robert Wilson on workshops, rehearsals, and installations.

The program culminates in a festival of works developed during the residency, alongside works by renowned artists across dance, visual arts, theater, music, and performance art.

During the program, artists are immersed in an extensive collection of resources, including The Watermill Center Collection, the Library of Inspiration, and ten acres of landscaped grounds and sculpture gardens.

8. EST YOUNGBLOOD

DEADLINE: February 28, 2025

WEBSITE:www.ensemblestudiotheatre.org/youngblood

Youngblood is Ensemble Studio Theatre’s OBIE-winning collective of emerging early-career playwrights. Founded in 1993, Youngblood serves as a creative home for the next generation of theater artists. Youngblood provides artistic guidance, peer support, regular feedback and a fertile production environment which allows our member playwrights to hone their skills and explore their craft. We also provide exposure to the public and the press, professional outreach to the industry, and opportunities for production and publication.

Plays by current and former Youngblood playwrights have been performed on Broadway and in London's West End (Robert Askins' TONY-nominated Hand to God, which premiered at EST/Youngblood), at The Royal Court Theatre, Lincoln Center, Playwrights Horizons, Second Stage, Actors Theatre of Louisville, the Mark Taper Forum, the Vineyard Theater, the Atlantic Theater Company, Rattlestick Playwrights Theater and many others, including award winners such as Annie Baker's John, The Flick and The Aliens and Amy Herzog's 4000 Miles, and have been adapted by film and television companies, including alumni Lucy Alibar's Juicy and Delicious which was adapted into the Cannes Caméra d'Or-winning film Beasts of The Southern Wild.

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.

9. BROOKLYN BOTANIC GARDEN ARTIST IN RESIDENCE

DEADLINE: February 28, 2025

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

Brooklyn Botanic Garden’s Performing Artist in Residence program allows artists and visitors to experience the Garden through a different lens.

The theme for the 2025 residency is Natural Connection.

Explore the relationship between humans and nature and their dynamic and sometimes fraught interdependence. Highlight how human actions reshape the environment, while nature’s responses and constant shifts influence human lives, ideas, emotions, and futures. Challenge the audience to think about their role and responsibility within this cycle, examining the human-nature relationship here in Brooklyn or beyond.

One artist will be selected for a residency in 2025. During the residency, the artist will spend time creating work in and inspired by the Garden and the theme, Natural Connection. They will host two public classes, seminars, or activities, then showcase their final work in September 2025.

Residency Support

• Access to the Brooklyn Botanic Garden library and archives

• Research meetings with gardeners and staff

• Access to the Garden, including outside of public hours by arrangement

• Access to BBG’s events and programs

• A shared desk area and Wi-Fi

• Artist stipend of $8,000 plus additional funds for production & performer support

2025 Timeline

• Application deadline: February 28

• Selection: May 1

• Residency: June 1 to September 30

• Final presentation: September 21 & 22

10. KIMMEL HARDING NELSON CENTER

DEADLINE: March 1, 2025

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

The mission of the Kimmel Harding Nelson Center for the Arts is to support established and emerging writers, visual artists and composers by providing working and living environments that allow uninterrupted time for work, reflection and creative growth and to present and support arts-related programming that expands public awareness and appreciation of the arts. 

Since 2001, KHN has hosted more than 50 working artists each year which include a combination of visual artists, writers, composers, and interdisciplinary artists. Each has found privacy in which to create along with ample opportunities to interact with fellow artists in a vibrant and friendly community located in the rolling bluff country of eastern Nebraska.

Residency awards come with a weekly $175 stipend. All residents are provided housing that includes a private bedroom, bathroom, and studio space. Writers and visual artists generally share an apartment with one other resident, with shared kitchen, living room, and balcony space. Composers are generally housed in a garden-level studio apartment.

All travel expenses are the responsibility of the awardee, with the exception of cab fare from Omaha or Lincoln on the day of arrival and/or departure.

There are two airports about an hour away: Omaha Eppley Airfield (OMA) and the Lincoln Airport (LNK). To get from either airport to Nebraska City, residents can arrange for transportation with Nebraska City's Tree City Cab at least 24 hours prior to their arrival or departure. The taxi fare ($100 per trip) will be paid for by the Kimmel Foundation.

Residents can also consider traveling by train or bus to Lincoln or Omaha. The same arrangement with the taxi service applies. The Kansas City Airport (KCI) is two hours away. However, taxi service will not be paid for from Kansas City to Nebraska City.

11, MITU HYBRID ARTS LAB

DEADLINE: March 10, 2025

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

Mitu’s Hybrid Arts Lab supports women, trans, and non-binary artists working at the intersection of performance and technology.

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. The program culminates in a series of studio visits that invites our community to engage in the fellows’ arts practice and join a conversation about art and innovation.

2025 marks our sixth annual Hybrid Arts Lab. Mitu will convene a cohort of three artists for eight months. Each artist will receive support to develop their practice bridging performance and technology. This support includes: a $3,000 award; five weeks of studio space, equipment, and technology at MITU580; mentorship and workshops with Founding Artistic Director Rubén Polendo; training and classes with guest artists modeling creative uses of hardware and software tools in art-making; and a materials budget to support a series of public studio visits.

APPLICATIONS FOR THE PROGRAM OPEN FEBRUARY 17, 2025!

ELIGIBILITY:

• Artists are required to be local in New York City and prepared for all in-person activities. Virtual or remote participation will not be an option.

• This program is focused on supporting BIPOC women, trans, and non-binary artists working at the intersection of performance and technology.  We welcome applications from everyone interested in the program or the organization, however we will be prioritizing BIPOC women, trans, and non-binary artists for acceptance. 

• This program is dedicated to emerging and early career artists who are not currently enrolled in a degree granting program.

• As an arts practice fellowship, a commitment to work at the intersection of performance and technology, a commitment to acquire new skills, and a willingness to publicly share in-process aspects of your work are required to participate in the program.

PROGRAM SCHEDULE:

The following schedule is subject to change based on participant needs and organizational capacity but reflects the overall time commitment required to participate in the Hybrid Arts Lab.

• The Hybrid Arts Lab begins in April and ends all in-person activities by November 30th 2025.  

• During most of the fellowship, participants will generally between one and four times per month for meetings, classes, or guest artist sessions. Additionally artists will be granted five weeks of studio space where fellows will be expected to maintain a schedule of in-person working hours developing work and exploring new elements of their practice.  Fellows will be expected to maintain a minimum of 20 hours of work time each studio week.

• Each participant will receive five exploratory weeks with shared use of MITU580 and shared access to the venue’s lighting, audio, video equipment, and software. The first two-week period will be held in July. The second three-week period will be held in November.

• The cohort will culminate the second period of studio weeks in November by presenting a series of in-process studio visits with our community.  Fellows must be available for this time in order to participate in the program.

After submitting your application, you will be required to email one attached copy of the following to info@theatermitu.org

• Artistic C.V.

• Work samples of 2-4 recently completed works with accompanying links or digital portfolio.

• Contact Information for two references: relationship, email, and phone number.

• A recent photograph of yourself.

12. LIVE & IN COLOR MUSICAL THEATRE DEVELOPMENT PROGRAM

DEADLINE: March 15, 2025 

WEBSITE:  liveandincolor.org

Live & In Color is looking for playwrights, composers, and lyricists of color and/or other underrepresented communities interested in developing their new musical. The selected musical submission will have a one-week workshop in the fall at The Bingham Camp in Salem, Connecticut culminating in a staged presentation to an invited audience.

Writers receive a $1,000 stipend plus housing, meals, and travel. We provide support including a several-month development period based on needs of the composer/writers leading up to the retreat. Live & In Color staff will continue the support the development of your piece beyond the retreat including a reading for industry and Broadway Alums.

MUSICAL SUBMISSION GUIDELINES 

The musical must be performed with 4 actors (or less)

All submissions should include:

• Resumes + CVs (a one-page PDF document for each team member's resume and CV)

• Artistic Statement (can be authored by individual team members, or as a joint statement)

• Single page synopsis*

• Single page character breakdown*

• Demo of score (2-3 songs)*

• Sample of dialogue (~15 pages)*

• Brief production/development history (properties with prior full productions not accepted)*

• Optional: a PDF of the full script (please note, if you move forward to the Semi-Finalist round, a full script and score will be required) *Submission Materials must be in a single PDF document of all

https://artistcommunities.org/directory/open-calls/edward-f-albee-foundation-summerfall-residency

13. EDWARD F. ALBEE FOUNDATION SUMMER/FALL RESIDENCY

DEADLINE: March 16, 2025

WEBSITE: https://www.albeefoundation.org/guidelines--submitting.html

The Edward F. Albee Foundation exists to serve writers and visual artists from all walks of life, by providing time and space in which to work without disturbance.

Using only talent and need as the criteria for selection, the Foundation invites any and all artists to apply.

Founded in 1967 by Edward Albee, after proceeds from his play Who's Afraid of Virginia Woolf? proved abundant, the Foundation has maintained the William Flanagan Memorial Creative Persons Center (better known as "The Barn") in Montauk, on Long Island in New York, as a residence for writers and visual artists.

The Center is open almost year-round and can accommodate four creative persons at a time. Residencies are for calendar-month periods (with rare, pre-approved exceptions). The standards for admission are, simply, talent and need.

Located approximately two miles from the center of  Montauk and the Atlantic Ocean, "The Barn" rests in a secluded knoll  which offers privacy and a peaceful atmosphere. The Foundation expects all those accepted for residence to work seriously and to conduct themselves in such a manner as to aid fellow residents in their endeavors.  Writers and visual artists are offered individual en-suite bedrooms and separate working studios. Residents are responsible for their food, travel, and other expenses. The environment is simple and communal.

14. NES ARTIST RESIDENCY (IN SKAGASTRÖND, ICELAND)

DEADLINE: Rolling

WEBSITE: https://neslist.is/apply/

As one of the largest residencies in Iceland, NES currently hosts between 90–120 artists per year. NES provides artists with a workspace and living quarters within Skagaströnd, and the freedom to create as they wish. Artists receive a $175 stipend/week, with housing accommodations.

15. DRAMATISTS GUILD FOUNDATION EMERGENCY GRANTS

DEADLINE: Ongoing

WEBSITE: https://dgf.org/grants/

2025 applications will open on January 6th, 2025

The Dramatists Guild Foundation’s Bridge Grants are need-based awards of up to $500, now available to support dramatists with non-emergency and essential daily life expenses. Crisis Relief Grants support writers in times of need so that they can get back to doing what they do best. DGF provides emergency financial assistance to individual playwrights, composers, lyricists, and librettists in dire need of funds due to severe hardship or unexpected illness.

Applications will be processed based on severity of need. Please be advised: DGF cannot process grant requests for funds toward artistic projects through this application process. Funds are most often used for necessary life expenses like groceries, utility bills and medical expenses. If you have previously received a DGF Emergency Grant since the start of the COVID-19 pandemic or hold a minimum of $15,000 in your combined bank accounts, we kindly ask that you refrain from re-applying at this time.

JOB OPPS:

Full-Time Faculty Position in Playwriting at Bennington College
Review of applications will begin on January 15, 2025

Bennington College invites applications for a full-time faculty position in playwriting to join its nationally recognized undergraduate program in Drama starting Fall 2025. Responsibilities include teaching 5 courses per year, academic advising, working with colleagues to mentor students, and service. The successful candidate will be a teacher/practitioner with a strong record of accomplishment in playwriting and who is well-versed in inclusive teaching practices. The position entails teaching playwriting courses with a wide scope and conceptual variety to students with a range of interests and skill levels. Candidates who are comfortable with multiple styles and genres (which might include writing for musical theater and devising), and who can nourish voices and styles different from their own will be particularly competitive for the position. Candidates who meet the above requirements and who also have experience in directing and/or screenwriting will be given preference in the search. Thanks to Sherry Kramer for sharing this opportunity.

 

Assistant or Associate Professor of Theatre Arts (Performance) SUNY New Paltz
Applications will be accepted until the position is filled; priority given to applications received by January 15, 2025.

The Department of Theatre Arts at the State University of New York (SUNY) at New Paltz invites applications for a full-time, tenure-track Assistant or Associate Professor of Theatre Arts (Performance) beginning in the Fall Semester of 2025. The position is a ten-month contract which carries a 3/3 load.

Duties of the role include but are not limited to: Teaching courses in beginning, intermediate, and advanced Levels of acting. A diversity of approaches is encouraged; awareness of leading 20th and 21st Century performance teachers and their pedagogy is important. Opportunities to teach courses in affiliated performance areas exist.