1. A IS FOR PLAYWRITING CONTEST
DEADLINE: July 1st
WEBSITE: https://www.aisfor.org/contest
The subject of reproductive justice is one too often simplified by our current dialogues, and too often the voices and perspectives of the people most affected by restrictions, legislative prohibitions, and cultural prejudices are excluded from our artistic institutions.
A is For seeks to change that. We believe the theatre is an especially powerful platform with which to share stories, debunk myths, and disempower fears. We believe the theatre can transform. We want to amplify voices which can reframe the conversation, to support and promote artists who can dispel myths and misconceptions. We want to change the way people think about abortion and reproductive justice. We want to hear the stories you want to tell.
In that spirit, the stories we hope to bring to the fore will be diverse in perspective as well as imagination. These plays may be personal and realistic, or they may be allegorical. They may be fantastic, sprung from dreams, or they may be grounded in naturalism. From the surrealist, to the literal. From magical realism, to documentarian. Whatever form or shape they may take, we hope to receive a wide range of works from all over the country, reflecting the great variety of experiences that reproductive justice demands we all recognize.
In highlighting these stories, we’re broadening the emotional vocabulary of the American audience, and opening up our theaters to a fuller and more honest exploration of the human experience.
Grand Prize will be awarded to one play which will receive $5,000. The Second Place winner will be awarded $3,000, and the Third Place winner will be awarded $1,500.
Submit one-act plays about reproductive justice, including (but not limited to) the topic of abortion.
You may submit as many plays as you wish.
Plays must be no longer than 60 minutes. Plays do not have to be as long as 60 minutes. They can be shorter. They can be as short as a single page if you feel that’s sufficient to tell your story.
Please submit your files in PDF only.
Plays in languages other than English will be accepted as long as an accompanying English translation is also provided.
Plays should include a cover page that includes the name of the playwright, and all relevant contact information, including representation, if applicable.
2. VAN LIER NEW VOICES FELLOWSHIP
DEADLINE: July 2nd
WEBSITE: https://thelarktheatre.submittable.com/submit
The Lark is accepting applications for its Van Lier New Voices Fellowship program, supported by The New York Community Trust’s Edward and Sally Van Lier Fund with support from the Jerome Foundation.
The Van Lier New Voices Fellowship supports playwrights of color age 30 and under, who demonstrate financial need. During a year-long residency, Fellows will work on multiple artistic projects through an individually-tailored program of Lark play development programs, and form relationships with other theater makers at various career stages from all parts of the world. The Fellowship includes a cash award of $35,000, plus access to a $5,000 Opportunity Fund and to a wide range of Lark resources, including artistic program participation, office and rehearsal space, and staff support.
In the 2021-22 cycle, The Lark will award two Fellowships. Applications will be accepted through July 2, 2021. Finalists will be notified in August 2021. The 2021-22 Fellowship period begins September 15, 2021 and ends June 30, 2022.
3. AERY THEATRE 20/20 ONE ACT PLAY FESTIVAL
DEADLINE: July 2nd
WEBSITE: http://philipstowndepottheatre.org
Aery Theatre Company, along with the Philipstown Depot Theatre, is accepting submissions for the 15th Annual Aery Theatre 20/20 One-Act Play Festival. The Festival will be held at PHILIPSTOWN DEPOT THEATRE’S 67-SEAT STAGE in Garrison, NY, the weekends of SEPTEMBER 10-26TH.
The 20/20 has been established to provide audiences with short, quality plays from promising new playwrights, while offering a professional venue for theatre artists. Playwrights (or their representatives) are responsible for the production of their plays – including casting, rehearsals, props, etc., with the theatre providing limited set pieces, lighting and sound equipment and production staff. (In other words, take in/take out.)
Submissions must be typed in play-script format and are limited to 20 (numbered) pages in a 12-point font size. Only plays with running times of 20 minutes or less will be eligible for prizes. Plays that run beyond 20 minutes, or are presented with significant changes in script upon presentation, may be subject to disqualification. Submissions must include playwright contact info on the title page – separate from the script, for purposes of blind judging. (Please DO NOT include playwright resumes, as these will not enter into consideration.)
A maximum of two submissions per playwright will be accepted. (Please don’t send more.) · There will be a mandatory pre-production on-line ZOOM meeting for all playwrights or their representatives sometime during the week of JULY 21st, 2021. (TBA)
Additional inquiries may be made to plennon122@aol.com or by phone at (845) 526-2600.
4. THE GREATER GOOD COMMISSION & FESTIVAL
DEADLINE: July 4th
WEBSITE: docs.google.com/forms/d/e/1FAIpQLSfP0foRtz1Xg-zN4qGcxhBinakfmYXiUElxdRuVsTX26U9_3g/viewform
Founded by playwright Darrel Alejandro Holnes, the Greater Good Commission offers $500 mini grants to Latinx playwrights to write short plays, innovative in form, that reflect the times. The commission’s second round will focus on LGBTQIA+ Latinx- identifying playwrights. The year’s commissioned plays will be presented at the second annual Greater Good Theater Festival produced by the Latinx Playwrights Circle (LPC) and Pregones Theater/PRTT. The festival will be streamed online in the fall and the plays will later live in digital archives.
Eligibility Checklist:
Do you identify as Latinx (any race may apply)?
Do you identify as a member of the LGBTQIA community?
Are you at least 18 years of age?
Have you had no more than one professional theater productions of a full-length play?
College productions and workshop productions do not count as professional theater productions. College students are eligible to apply. People of the global majority/people of color, women, and individuals with disabilities who meet the above eligibility requirements are strongly encouraged to apply.
Requirements
The Greater Good Commission is open to any self-identified Latinx playwrights who also identify as LGBTQIA+ (Lesbian, Gay, Gender Non-Conforming, Bisexual, Transgender, Queer and/or Questioning, Intersex, Asexual, and more).
Please include the following 5 items with your application: Artist Statement: In 1 page or less, introduce yourself; tell us about your work. Please talk about what work your writing does to represent or engage the Latinx community, and your experience as an LGBTQIA+ community member. Artist Resume, 1-2 pages. Writing Sample: Your writing sample should be a play that runs ten minutes or less or an excerpt for a full-length play, max 10 pages (English, Spanish, and Spanglish submissions are all welcome). Short Play Proposal: 1 page or less, describe a short play about ACCESS that you’d like to write if selected for this commission; max of 5 actors per show for digital production
5. GINGKO BIOWORKS CREATIVE RESIDENCY
DEADLINE: July 4th
WEBSITE:https://www.ginkgobioworks.com/creative-residency/
At Ginkgo, we’re continually looking for innovative ways to design with biology. Multidisciplinary thinking has the power to catalyze critical insights into our shared futures on this planet and beyond, and so, as biology becomes easier to engineer, we are eager to open up our foundry to creative collaboration. A joint initiative spearheaded and curated by Ginkgo Bioworks and design agency Faber Futures, the Ginkgo Creative Residency (GCR) provides an experimental platform for creative thinkers to explore both the potential and implications of synthetic biology. That’s where you come in!
If DNA is the “code of life”, what new perspectives can help us read, think, story and make worlds with biology? Human-centered language is represented through sound, gesture, spoken word, written script or visual elements. These are context-specific symbols, and through their various forms constantly evolve as both passenger and shape-maker to the society and culture they exist within. For language to “work”, a sender and a receiver need to enter into active exchange or dialogue.
For our 5th iteration of the Ginkgo Creative Residency, we invite submissions from practitioners whose creative work investigates how language interacts with technology, and who are able to bring that knowledge to explore meaning in the field of synthetic biology.
Synthetic biology relies on a plethora of metaphors, analogies, origin stories and science fiction narratives to describe its technical underpinning and utility, as well as its promise for planetary betterment. Depending on who is doing the talking, to whom, and to what end, the field borrows language from fields like computer engineering: “parts” can be “standardised” and “assembled” to create “self replicating machines”. Meanwhile theological references like “Noah’s Ark” are commonly used to depict the benevolence of research areas like metagenomics for the preservation of biodiversity. Reducing biological systems to components pieces while removing the parts we don’t understand, enables us to focus on what can be controlled to make biology predictable and therefore easier to engineer. In the lab and removed from the ecological context of biology, what meanings are lost, what meanings are created? What other ways exist of crafting language and therefore outcomes in synthetic biology?
Whether your medium is written fiction, poetry, sound, coding, linguistics, anthropology, philosophy, and/or visual art and design, we invite you to submit a project proposal for stories, poems, artwork, and other creative outputs that engage with this years’ theme on MEANING. You’re someone who’s able to bring a critical lens to the brief, have some experience building relationships and collaborating outside of your field, and able to adapt in a new setting.
Through an international open call process, we invite you to submit a project proposal in response to the theme MEANING. This year the residency has the possibility of either being virtual or in person. If you choose to work virtually, your proposal should reflect the possibilities of remote working, and suggest what kinds of strategies you might want to use to engage with your work and disseminate it. We are here to support you and will work closely to tailor the program to your needs as much as is possible. Residents will retain copyright and ownership over work created at Ginkgo Bioworks during their residency, sharing image usage rights with the company.
Residents will receive a $5000 monthly stipend. Any additional project development budget will be based on project scope.
6. INTERCHANGE ARTIST GRANT
DEADLINE: July 5th
WEBSITE: https://interchangeartistgrant.art/apply/
Interchange is a program of Mid-America Arts Alliance made possible with support from The Andrew W. Mellon Foundation. Interchange is designed to strengthen communities and individual artists within our region by supporting artist-led projects focused on social impact.
Interchange grants will be awarded to sixteen artists with an active socially-engaged creative practice in the Mid-America Arts Alliance region through:
$20,000 in direct project support
Professional development retreats with Interchange grantees
Mentoring
What determines a socially-engaged creative practice?
A current and ongoing artistic practice that includes working with communities (defined by geography or characteristics) to make change.
A creative practice that responds to social issues, challenges, and opportunities.
A creative practice characterized by processes and products directly linked to their intended social impact.
Artists working in and across a range of disciplines may apply. You will be asked to identify the primary discipline that applies to the project you are proposing.
Performing Arts (e.g., dance, theater, music, opera, puppetry, storytelling, playwriting, performance art, spoken word, sound art)
Traditional Arts (work that is made based on artistic traditions shaped by values and standards of excellence that are passed from generation to generation through demonstration, conversation and practice – may include crafts, storytelling, dance, music or functional art)
Literary Arts (e.g., fiction, nonfiction, poetry, playwriting)
Visual Arts (e.g., painting, sculpture, ceramics, fiber, film screenwriting, video, media arts, photography, mixed media, wearable art, experimental)
Humanities
Multidisciplinary
You are not eligible to apply if you are:
A nonprofit organization, K-12 school or post-secondary educational institution.*
A full-time student.
Not currently a resident within the six-state region of M-AAA (Arkansas, Kansas, Missouri, Nebraska, Oklahoma and Texas).
The Interchange Artist Grant program is interested in projects that make change in communities by actively engaging people around social issues, opportunities and challenges. A community may be defined geographically (e.g., town, neighborhood) or by relationships and characteristics (e.g., identity, heritage). Interchange grants will support a new project, or a significant component and/or further development of an ongoing project. Projects do not necessarily have to take place in the community where you reside. Depending on scope and intent, projects may have a reach outside of the city or town where you live. You will, however, be required to make a public presentation about your project in your community of residence in 2020. Priority will be given to projects that take place in the M-AAA region (Arkansas, Kansas, Missouri, Nebraska, Oklahoma, Texas).
A competitive project application must:
Demonstrate the social need for the project.
Articulate a theory of change for the project (what is the change you intend to make with your project and how does your project and the intervention of you as an artist facilitate that change).
Envision what success looks like and propose a means of measuring impact of the project.
Explain your relationship and connection to the community impacted by the project.
List any partners (e.g., civic institutions, nonprofit organizations, other artists) and how they will participate in and/or inform your project.
Provide a communications strategy for disseminating project information in order to increase impact. (How will this project be communicated to stakeholders?)
Include a budget with categories that correspond to your project description.*
Provide an artist statement that reflects your commitment to a socially engaged creative practice and a resumé that includes your previous community-facing work.
Include work samples that demonstrate both artistic merit and community engagement.
The grant may be used for project-related expenses (e.g., documentation, artist fees, travel, or the purchase of equipment or materials). The budget should show both expenses and income and include in-kind contributions.
You are required to participate in one iteration of the four-part webinar series, titled “Interchange: Social Practice In Conversation,” organized by Mid-America Arts Alliance, where you will discuss the process of your project with other Interchange grantees before the end of the grant period.
7. NEON MUSEUM NATIONAL ARTIST RESIDENCY
DEADLINE: July 11th
WEBSITE: https://www.neonmuseum.org/education/artists-in-residence
The Neon Museum is now accepting submissions for the 2021 National Artist Residency (AIR.) Now in its sixth year, The Neon Museum National Artist Residency (AIR) is designed to expand the interpretive potential of the museum collection. The selected artist, working in the fields of digital, performance or visual arts, will have the opportunity to develop a project inspired by The Neon Museum collection. Engagement with the community is an important residency component through a workshop or specific engagement project. A virtual artist talk is scheduled at the beginning of the residency and a studio open house at the residency conclusion.
The 2021 residency program will span six weeks from Monday, October 25 through Sunday, December 5, 2021. The first two weeks will be conducted virtually and the final four weeks completed on location in Las Vegas. U.S.-based artists over the age of 18 are eligible to apply.
The following is provided to artists accepted for participation in the Museum's National AIR Program:
Honorarium - $2,500
Travel - $800
Self-contained apartment and studio space in downtown Las Vegas
Materials - up to $3,000
Access to onsite collection and archives
Curatorial support as needed
Marketing and publicity
Documentation
The Neon Museum isn't able to provide neon-bending facilities and neon production is not a prerequisite of the residency project. However, if a resident artist is interested in producing neon work, a list of local neon fabricators will be provided. The Neon Museum requires the artist contribute a mutually agreed upon artwork to the Museum collection at the completion of the residency.
8. LOGHAVEN ARTIST RESIDENCY
DEADLINE: July 15th
WEBSITE: https://loghaven.org/residencies/apply/
Loghaven Artist Residency’s mission is to serve artists by providing them with a transformative residency experience and continued post-residency support. The residency is located on ninety acres of woodland in Knoxville, Tennessee. Artists live in five historic log cabins that have been both rehabilitated and modernized to create an ideal setting for reflection and work, and they have access to new, purpose-built studio space. All Loghaven Fellows are awarded stipends to support the creation of new work during the residency.
Practicing artists of all backgrounds and at any stage of their career are eligible to apply for a Loghaven residency. International artists and artists currently enrolled in a degree-seeking program are not eligible. Artists must be at least twenty-one years old and live more than two hours away from Knoxville. This distance requirement is designed to ensure that artists are able to be fully immersed in their residency experience and can take advantage of the retreat-style environment.
Application Timeline and Qualifications
Applicants are judged by the same criteria across disciplines. Panelists are looking for artistic excellence, defined by a depth of conceptual content, sustained impact, and boldness of vision. The panel seeks those with sophisticated technical knowledge, whether the applicant displays a high level of traditional skill or, conversely, subverts that knowledge in new or challenging ways. The panel values potential in emerging artists and evidence of commitment and evolution in more established or mid-career applicants.
References
All applicants are required to submit two professional references. Please provide the name, contact information, and a very brief description of the nature of your professional relationship for each reference. References would be contacted by either email or phone and would not submit a formal letter.
THEATER
Submit either two or three videos or PDFs. If you submit via video, they should total no more than fifteen minutes together in MP4 or MOV format or by Vimeo link. If you submit via PDF, they should total no more than 250MB or two or three PDFs of scripts or librettos, totaling no more than twenty pages.
POETRY
Submit eight to ten short poems or excerpts of poems. The total should not exceed 15 pages and should be in PDF format.
FICTION, NONFICTION, & SCREENWRITING
Submit two to three work samples in the genre that you wish to work in during your residency. The total should not exceed 20 pages and should be in PDF format.
INTERDISCIPLINARY WORK
Submit three to five work samples. The work samples can be in one type of media or a mixture of media including images (jpegs should be no more than three MB each), PDFs, video (MP4/MOV should be no more than 250 MB), Vimeo link, or audio (MP3 should be no more 30MB each).
Collaborative Groups
Loghaven invites collaborative teams of up to and including nine people to apply. Each collaborative team member must apply and be accepted individually. Collaborative groups share working space and may be expected to share living space.
9. ARS NOVA PLAY GROUP
DEADLINE: July 18th
Play Group is a two year residency in which members become a part of the Ars Nova Resident Artist community. In addition to biweekly meetings where members share new work and receive feedback from their Play Group peers, members also receive dramaturgical support and artistic match-making advice from the Ars Nova artistic staff; invitations to Ars Nova shows, Resident Artists mixers, and to see the work of Play Group alums around the city; two Play Group writing retreats; and the opportunity to further develop and showcase one of their plays in a weeklong workshop that can culminate in a public reading. Click here for a list of Play Group alumni.
SELECTION CRITERIA:
All playwrights who identify as emerging are eligible to apply. In selecting new members, we will take into account the strength of the submitted play, how the writer stands to benefit from membership at this point in their career, what they would offer the other writers in the group, and the overall balance of voices and styles in Play Group. Writers of all races, genders, backgrounds and abilities are strongly encouraged to apply!
10. NYFA CITY ARTIST CORPS GRANTS
DEADLINE: July 20th/Aug 10th
WEBSITE: https://www.nyfa.org/awards-grants/city-artist-corps-grants
New York Foundation for the Arts (NYFA) is pleased to partner with the New York City Department of Cultural Affairs (DCLA), with support from the Mayor’s Office of Media and Entertainment (MOME) as well as Queens Theatre, to launch City Artist Corps Grants.
City Artist Corps Grants is part of City Artist Corps, a new $25 million recovery initiative designed to help artists who were both hard hit by the pandemic and who may have been left out of other local and federal funding opportunities.
City Artist Corps Grants are intended to support NYC-based working artists who have been disproportionately impacted by COVID-19. The program will distribute one-time $5,000 grants to over 3000 artists to help sustain their practice and engage the public across New York City’s five boroughs this summer beginning July. Artists working in any discipline are eligible to apply. City Artist Corps Grants applications and grant announcements will roll out over the summer in various cycles. For all cycles, artists will be screened for eligibility and grant recipients will be selected by lottery.
All grant opportunities through City Artist Corps Grants will follow the same criteria:
The proposed creative engagement activity:
Must have an arts or creative focus
Must be presented live and in person
Artists with a disability and/or who are immunosuppressed for whom it is unsafe to engage in live in-person performance are welcome to apply for live digital creative engagement activities.
Must occur in NYC (any of the five boroughs)
Must be free to the public. Ticketed programs are eligible, but all tickets must be free.
Can occur indoors or outdoors
Artists may present more than one activity but can only receive one $5,000 grant
It is strongly recommended that a portion of the grant be used to support artist fees, both for the applying artist and any other artist that are engaged to support the activity
Artists can choose to partner with a venue or present on their own
Must be documented with a minimum of 2 photographs taken during the activity (these photos will need to be shared with your final report along with attendance numbers once the activity is completed)
Creative engagements do not need to feature new work; they can be restaging of preexisting works / shows / exhibitions.
As long as the activities meets this criteria, City Artist Corps Grants can be used to supplement an already established activities set to happen in the summer in NYC between the dates of July 10 to October 31, 2021
Types of eligible creative engagement activities might include:
A live music, dance, theatre, literary reading performance
An in person art-making workshop with community members
A public screening of a film or other media work
An art exhibition in a community center or other public or private venue (including apartment gallery set-ups)
A live art making experience, such as painting of a mural
Already established or recurring creatively focused program that is planned to happen in the summer/fall
All of the above can be scheduled independently or featured as part of an existing festival or program already scheduled for the summer
WHO CAN APPLY?
Applicants must be current residents of New York City (5 boroughs) and have maintained residency since January 2020.
Applicants must be artists with a demonstrated sustained, ongoing creative practice in any creative discipline
Applicants must provide documentation of their creative practice from anytime in the past 2 years (2019 and/or 2020).
Applicants must apply with a creative public engagement activity that meets the above criteria. Applicants can apply with an activity that is yet to be confirmed (in terms of presentation date and location).
Artists can only apply once in each Cycle and can only receive one (1) grant through the City Artist Corps Grants program.
Applicants can be past recipients of any of NYFA’s grant programs, including 2020/2021 COVID-19 Emergency Grants
Applicants must be able to provide a W-9 with a Social Security Number (SSN) or Individual Taxpayer Identification Number (ITIN) or EIN (after selection).
Applicants must be 21 years or older on of before June 8, 2021
A family member, friend or a support person may apply on behalf of an artist who is unable to complete the application on their own.
Applicants cannot be enrolled in a degree-seeking program
Applicants cannot be an employee of NYFA, the City of New York, or any partnering organization supporting the City Artist Corps Grants program. This includes board members of these organizations or an immediate family member to any of those listed.
NOTE:
All funded creative engagement activities must take place between July 10 and October 31, 2021
All grant recipients need to submit a final report by November 12, 2021
After reviewing applications for completeness and eligibility, qualifying applicants will be selected for funding via a lottery process.
All eligible public engagement activities (with flexible activity dates) that are not selected in Cycle 1 will automatically be placed into the upcoming cycle lottery for selection. The applicant will not need to complete a new application form.
Funded creative engagement activities and activity location, along with the applicant’s name may be made public throughout the duration of the program, by NYFA or the City.
Funds will be distributed in 2 installments:
Installment 1 $4,000 – on selection
Installment 2 $1,000 – on successful completion of the final report.
All funded creative engagement activities must be visually documented with a minimum of 2 photographs taken during the activity, with documentation provided in the final report.
11. THE DRUID NEW WRITING SCRIPT SUBMISSIONS
DEADLINE: July 30th
WEBSITE: https://www.druid.ie/get-involved/new-writing
For the open submission process, a reading panel assists the Artistic Director in assessing your play and ensures that a range of perspectives are brought to bear on each submission.
The open submission process takes place alongside commissions, workshops, mentoring, public readings and other playwright development initiatives as part of Druid’s commitment to bring new work into production.
Scripts are only accepted via our online form. This form allows you to upload your script, supply your contact information and provide us with some basic information. It is imperative that you read the guidelines below before considering submitting a script. You will be asked to confirm that your script adheres to all guidelines. Please do not email scripts to Druid. Scripts will only be accepted via our online form.
GUIDELINES
Submit only one script per submission window. Once submitted a new draft cannot be resubmitted unless requested.
Submit original work only.
Submit only those plays that have not had a full professional or amateur production. In this light, plays emerging from student productions or from a reading/workshop will be accepted.
Writers whose work has previously been produced by amateur theatre companies are asked to submit only those plays that are not currently intended for a future production.
Druid is not in a position to accept historical / biographical plays. For example, the company is more likely to produce a contemporary, more traditionally-structured play that has a connection to Ireland than an experimental opera about a historical figure with no connection to Ireland.
Druid is not in a position to accept radio scripts, TV scripts or screenplays. Submitted plays must be written for the stage. Druid is not in a position to accept musicals or plays for children. Plays should be fully completed and have a running time of at least 40 minutes.
Please ensure that you are familiar with Druid’s work before submitting your script. You are expected to submit your script to Druid only if you believe it would be of interest to the company.
The aim of the New Writing process in Druid is to find new writers and voices that can be nourished rather than a finished polished piece of work. Druid looks forward to collaborating, guiding and nurturing writers, building a relationship with those voices who will grace our stages for years to come.
12. LANESBORO ARTIST RESIDENCY
Deadline: July 30th
Website: https://lanesboroarts.org/artist-residency-program/residency-program-guidelines/
The Lanesboro Artist Residency Program offers two or four week residencies to emerging artists driven to explore ways in which their work can be applied to the community and how Lanesboro’s rural community can inform their work.
The Lanesboro Artist Residency Program, located in Lanesboro, MN (pop. 754), is supported by the Jerome Foundation and aims to provide an immersive, meaningful experience for emerging artists from Minnesota and the five boroughs of New York City. The program is unique in that it provides an entire rural community and its myriad assets as a catalytic vehicle for engagement and artistic experimentation, with staff working with each resident to create a fully-customized residency experience.
Lanesboro Arts’ goal is to be flexible and accommodating to artists, allowing them access to local resources needed for conceptualizing and realizing their place-based work. Lanesboro Arts recognizes “place-based work” as work that is specifically inspired by and designed for the place in which the work takes place; it can be a new project, or an interpretation of the artist’s current work tailored to engage the community of Lanesboro. The residency program was designed to align with and amplify Lanesboro Arts’ vision for communities–especially rural communities–to embrace artists as economic drivers, culture bearers, community builders, and problem solvers.
Artists must be legal residents of Minnesota or one of the five boroughs of New York City to be eligible to apply. To be considered, eligible artists must submit their application through the online webform on Lanesboro Arts website. Complete program details are below. Please
contact Kara Maloney at 507-467-2446 or kara@lanesboroarts.org with any questions.
13. THE CROSSROAD PROJECT: DIVERSE PLAYWRITING INITIATIVE
Deadline: August 15th
Website: https://finearts.illinoisstate.edu/crossroads-project/
The 2022 Diverse Voices Playwriting Initiative welcomes submissions for full-length, unproduced plays by Black, Indigenous, and People of Color (BIPOC) playwrights in accordance with the mission statement of the Crossroads Project (see below). A diverse panel of judges including faculty, staff, students, and alumni will select one playwright as the winner.
The Crossroads Project was founded in 2000 by Illinois State University (ISU) School of Theatre and Dance (SOTD) to promote diversity and inclusion in the theatre at ISU and the surrounding communities. The Crossroads Project recommends plays to the SOTD production committee that address the issues and experiences of underrepresented U.S. ethnic peoples and global cultures. Crossroads emphasizes community outreach for each theatre production it is involved in, especially seeking ways to promote theatre to underrepresented groups and immigrant communities.
The winning playwright will receive:
An invitation to Illinois State University in Bloomington-Normal, IL as a guest artist in residence for a one-week new play development workshop, culminating in a public staged reading. This residency will also include class visits and an all-School colloquium.
Travel (within the U.S.), housing, and meals during the residency.
An honorarium of $500 for the residency.
To be eligible to win, the playwright must be available for a one-week residency in late March.
Because our staff and resources are limited, we can only consider the first 100 submissions.
Please include in your submission:
A representative sample from your play up to 15 pages. This does not have to be the first 15 pages of the play.
A synopsis of the play (max. 250 words).
A character list with short descriptions for each character (age, ethnicity, gender, occupation, family relationships, etc.)
A playwright’s statement (max. 400 words). In the statement, describe your inspiration for writing the play, address where you are in the development process, and discuss how a workshop in a university setting can facilitate that process.
Please follow these guidelines when submitting your play:
Submissions must be:
A full-length play.
Musicals are not accepted. However, plays with limited music requirements are accepted.
The primary language of the play must be English.
There are no other restrictions in subject matter or style.
A playwright may only submit one play per year. The work must be submitted by the playwright rather than a literary agent or other third party.
Submissions must be the original work of the playwright, which may include adaptations of fictional or factual material. Translations of other playwrights’ work are not accepted. The submitting playwright must be either the owner and controller of the copyright or provide written proof that they have acquired the legal right to use copyrighted material in their work.
Plays that have been produced or published professionally are ineligible for the competition. Plays that have been presented through staged readings, workshops, university productions, or community theatre productions are eligible.
A playwright may submit a play that they submitted in a previous year (including finalists) if there have been substantive revisions.
To submit your play, use the play submission form . Please try the link first to check if the contest is still open.
Inquiries about the Diverse Voices Playwriting Initiative should be directed to:
Kee-Yoon Nahm, D.F.A.
Assistant Professor in Theatre Studies
Chair, The Crossroads Project
Email: knahm@ilstu.edu
14. BMI WORKSHOP
DEADLINE: Aug. 1st
WEBSITE: https://www.bmi.com/theatre_workshop/application_requirements
Application Materials
Composer: Three contrasting compositions - uptempo, comedy song, ballad. Please include copy of score which includes lyrics.
Lyricist: Three contrasting lyrics in PDF format - uptempo, comedy song, ballad.
Composer/Lyricist: Three contrasting songs - uptempo, comedy song, ballad. Please include copy of score which includes lyrics.
Note that if you apply as a composer and a lyricist, you will be accepted as one or the other (that is, as either a composer or a lyricist) and you will be assigned different collaborators over the course of the year. If you apply as both a composer/lyricist and a librettist and are accepted as both, you will spend your first year as a composer/lyricist only, as the two groups meet at the same time.
Select applicants will be invited to audition in early September. Librettists are accepted on the basis of their written materials and are not required to audition. At the auditions, composers and composer/lyricists will be asked to perform at least two contrasting theatrical compositions; lyricists will be asked to recite samples of their theatrical lyrics. All auditions must be done live, using a piano.
The Workshop runs September through May in New York City. Prospective members must make their own living arrangements in the city or be able to commute weekly. During the first year, composers and lyricists are paired off and are asked to create appropriate songs based on scenes from various sources. The writers perform their assignments, which are then discussed by the other writers and the moderators. There are analyses and discussions of current and past musicals, with an eye to understanding form and structure. Every effort is made to insure that each writer retains his or her individual style.
In the Workshop’s final phase (Second Year), teams work on a musical. The Workshop functions as a forum and a sounding board for works in progress, as music and lyrics are critically evaluated and open dialogue is encouraged. At the end of each Second Year, the Workshop Committee determines which writers from the group are invited to join the Advanced Workshop. Not everyone is asked. This Workshop is intended for writers of professional caliber who are expected to contribute to the vitality of the musical theatre scene.
15. RYGA OPEN SUBMISSIONS
DEADLINE: Aug. 1st
WEBSITE: http://www.rygajournal.ca/submit.html
Ryga welcomes submissions of previously unpublished poetry, prose and short plays from emerging writers. Writers interested in submitting must have no more than three previous publications in other journals or magazines, and must not have published any book-length works to date.
Submit your work by email to rygaeditor@okanagan.bc.ca. Submissions should adhere to the following guidelines:
Include a cover letter in the body of the email with your name, email address, date of submission, and the title(s) of your piece(s). You may also include a short bio (no more than 100 words).
Attach your piece(s) as a single document in .doc or .rtf format
Poetry should be single-spaced. Prose and plays should be double-spaced.
A standard, readable font should be used, in 12-point type.
Each page should be numbered and include the author’s name and the title of the piece in the header.
Prose and play manuscripts must not exceed 6,000 words, and should indicate a word count on the first page.We will strive to respond to your submission within four weeks, but our response time will vary according to the volume of submissions. Please don’t contact us about the status of your submission unless you haven’t heard from us for two months.
If your work is accepted, ryga buys First North American serial rights and non-exclusive WWW rights. Payment is $50.
16. TEDx ASBURY PARK
DEADLINE: Aug. 1st
WEBSITE: tedxasburypark.submittable.com/submit/182305/1act-1idea-play-submission-for-tedxasburypark?fbclid=IwAR2u-PQXBuz85zqXW_EFzt7Af-IBJ-f275-XQXNaNrliop3q7Uj2aFJD17M
In its 10th season, TEDxAsburyPark is broadening its commitment to ideas by seeking short original plays to be produced and directed for a Zoom audience.
Plays must have a running time of less than 25 minutes, involve a small cast and be suitable for Zoom or a simple production. As a lab, our directed and rehearsed productions will involve the playwright, and all sessions, including the final production, will be recorded.
Submissions should include a tight summary with character descriptions and a working script.
The final production will be offered to a live online audience where we typically host 200-800 attendees, to be followed by a panel discussion with the playwright, director and cast.
The final production will be hosted on our YouTube channel, which has had over 6 million views. If selected, the playwright will grant a limited use license of the recorded work to be hosted on YouTube, with links to our social media, and at our option, to be produced for a live audience by TEDxAsburyPark and its affiliates. Casting will be an open call with director, and the playwright is free to invite actors as part of the process.
Important: We can only review small cast plays between 10 and 30 minutes in length.
Submissions will be evaluated on originality, an idea worth spreading, language, and suitability for virtual production. We will only retain about 10% of submitted plays for potential productions and readings. We will get back to you promptly, usually within 30 days of submission.
TEDxAsburyPark performers, writers, speakers do not receive any monetary compensation, or airfare/transportation costs. If you are accepted, we will ask you to sign the TED.com open-commons release form and we will direct, produce, record and edit a video of your work making it available to you, and also under a creative commons license on the web on our website, on YouTube and other video sites, and possibly on TED.com. We reserve the right to keep the online video live just like TED talks.
17. 2022 PLAYWRIGHTS RETREAT AND 28TH FESTIVAL OF NEW PLAYS
WEBSITE: theautry.org/events/signature-programs/native-voices-annual-call-for-scripts
DEADLINE: Aug. 2nd
Native Voices is currently accepting submissions of full-length plays (60+ pages) by American Indian, Alaska Native, Native Hawaiian, and First Nations playwrights addressing all themes and topics.
The Retreat and Festival bring artists to Los Angeles to work on 3–4 plays through a rigorous directorial and dramaturgical commitment for 8–10 days in May/June. The Retreat culminates in public staged readings of the plays at the Autry Museum of the American West in Los Angeles and La Jolla Playhouse in San Diego. Selected playwrights receive artistic support as well as an honorarium; out-of-town artists receive roundtrip airfare plus lodging in Southern California.
Selection Process: Full-length plays (60+ pages) received by August 2, 2021 will be read and evaluated. A select number of playwrights will be invited to submit formal proposals detailing their developmental goals should their play be chosen for the short list. Scripts will then be sent to a committee of nationally recognized theatre artists for further evaluation. With their help, Native Voices selects up to four plays for the Playwrights Retreat and Festival of New Plays. Playwrights will be notified in February 2022.
Months prior to residencies, selected playwrights participate in dramaturgical conversations with an assigned director and dramaturg. Workshops with these creative teams and a cast of professional actors commence once the playwright arrives on-site. It is important to note that these conversations and workshops are playwright driven, allowing the writer to shape their own developmental path. Selected playwrights should be prepared to dedicate adequate time to this process prior to arriving on-site.
We accept scripts all year long. Do you have a full-length script that has been developed and produced that you’d 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 2022 General Production Consideration.
Please do not send treatments or outlines. Previously submitted plays should only be resubmitted if the play has undergone significant dramatic changes. Previously produced plays should be submitted under the 2022 General Submission for Production Consideration. Plays that are not selected are kept on file for consideration for future opportunities. 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.
18. RUBYS ARTISTS GRANTS
DEADLINE: Aug. 15th
WEBSITE: https://www.rwdfoundation.org/apply-for-the-rubys#rubys-current-grant-cycle
The Rubys were established in 2013 to provide project-based support for individual artists. The goal of the program is to provide meaningful support to individual artists to allow for the creation of new work. The Rubys supports the notion of risk-taking (in practice, content, process, and/or outcome) and equally values artistic integrity, strong ideas, feasibility, and communal meaning. The program is open to artists at any stage of their career and favors projects that have significant creative work left to accomplish.
Artistic Categories:
LITERARY ARTS
Includes but is not limited to: nonfiction; fiction; poetry; graphic novels; cross-disciplinary; experimental/emerging fields.
MEDIA ARTS
Includes but is not limited to: film; audio and video projects; animation; computer graphics; sound art; digital arts; screenplay; teleplay; cross-disciplinary; experimental/emerging fields.
PERFORMING ARTS
Includes but is not limited to: dance; music; theater; musical theater; opera; puppetry; performance art; playwriting; spoken word; storytelling; traditional/folk art; cross-disciplinary; experimental/emerging fields.
VISUAL ARTS
Includes but is not limited to: painting; photography; sculpture; works on paper; craft; installation; traditional/folk art; cross-disciplinary; experimental/emerging fields.
The grant request maximum remains $15,000. That money may be used to support any part of your creative project, as described in the eligible expenses section of the guidelines. Moreover, eligible expenses have been expanded to allow a line item for personal overhead. Personal overhead can be used for any sort of basic living expense: rent, mortgage, childcare, utilities, groceries, etc... These expenses do not need to be detailed to the penny in your budget; simply provide us with an amount that is supportive for you to offset some of your expenses during the course of your Rubys project. We understand that art is not made in a vacuum, and in order to support art-making it is also important to support the whole artist.
Will I have a stronger application if my project (a) includes an art education component (b) is related to social justice or (c) is directly connected to Baltimore?
No. If any of these items are inherent and authentic to your art practice – great! However, the Rubys supports artistic projects of any content, background, or theme. Being authentic to your art practice makes for the strongest application.
That said, it can be a benefit to include a sentence or two to define your place in the creative community. We have found that strong applications are those that talk about what role will their project have in the greater community and/or in your artistic field.
Projects are assessed on:
● Creative vision and artistic integrity
● Artistic capacity and feasibility of the project, including likelihood that the project can be
realized, based on the project budget and the proposed timeline.● Artistic merit of the work represented in the work samples.
To a lesser degree, other factors that influence a jury’s score include:
● A project that is stretching the applicant in artistic process, subject matter, or approach
● A project that is early in its lifespan and/or has significant creative work left to be done.
● A project that does not appear to be an unchanged continuation of the artist’s current practice
● The artist’s understanding of their place in the local art community, and/or understanding of how their project will be relevant to the local art community.
19. YALE DRAMA SERIES PLAYWRITING COMPETITION
Deadline: August 15th
Website: https://yalebooks.yale.edu/yale-drama-series-submissions
The Yale Drama Series is seeking submissions for its 2022 playwriting competition. The winning play will be selected by the series' current judge, Paula Vogel. The winner of this annual competition will be awarded the David Charles Horn Prize of $10,000, publication of their manuscript by Yale University Press, and a staged reading or virtual performance. The prize and publication are contingent on the playwright's agreeing to the terms of the publishing agreement.
There is no entry fee. Please follow these guidelines in preparing your manuscript:
This contest is restricted to plays written in the English language. Worldwide submissions are accepted.
Submissions must be original, unpublished full-length plays, with a minimum of 65 pages. Plays with less than 65 pages will not be considered. Translations, musicals, and children's plays are not accepted.
The Yale Drama Series is intended to support emerging playwrights. Playwrights may win the competition only once.
Playwrights may submit only one manuscript per year. Only manuscripts authored by one playwright are eligible.
Plays that have been professionally produced or published are not eligible. Plays that have had a workshop, reading, or non-professional production or that have been published as an actor’s edition will be considered.
Plays may not be under option, commissioned, or scheduled for professional production or publication at the time of submission.
Plays must be typed/word-processed and page-numbered.
The Yale Drama Series reserves the right to reject any manuscript for any reason.
The Yale Drama Series reserves the right of the judge to not choose a winner for any given year of the competition and reserves the right to determine the ineligibility of a winner, in keeping with the spirit of the competition, and based upon the accomplishments of the author.
If you are submitting your play electronically, please omit your name and contact information from your manuscript and submission file name. The manuscript must begin with a title page that shows the play's title, a 2-3 sentence keynote description of the play, a list of characters, and a list of acts and scenes. Please enter the title of your play, your name and contact information (including address, phone number, and email address), and a brief biography where indicated in the electronic submission form.
If you would like to submit an electronic copy of your manuscript please go to: https://yup.submittable.com/submit.
20. RAUSCHENBERG EMERGENCY GRANTS
DEADLINE: Rolling
WEBSITE: rauschenbergfoundation.org/programs/grants/rauschenberg-emergency-grants
The Robert Rauschenberg Foundation is partnering with New York Foundation for the Arts (NYFA) to administer the Rauschenberg Emergency Grants, an emergency grant program that provide one-time grants of up to $5,000 for medical or dental emergencies. The grants are available to visual and media artists, and choreographers living anywhere in the United States or U.S. Territories. This program was established in the tradition of the artist's Change, Inc., a non-profit foundation established in 1970 by Robert Rauschenberg to assist professional artists of all disciplines in need of emergency medical aid. Learn more about the program, including application requirements and how to apply, on NYFA's Rauschenberg Emergency Grants website. Though funded by the Rauschenberg Foundation, the program is administered by the NYFA and all questions should be directed to emergencyfunds@nyfa.org.
21. FOUNDATION FOR CONTEMPORARY ARTS EMERGENCY GRANTS
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.
INEVITABLE FOUNDATION
DEADLINE: Rolling
WEBSITE: https://inevitable.foundation/fellowship
Inevitable Foundation started the Screenwriting Fellowship to substantially increase the number of disabled screenwriters working in film and TV. The Fellowship is for disabled screenwriters working in the industry with ample talent and ambition. Fellows receive $25,000, which is meant to cover 4-6 months of living expenses, and the money is unrestricted—you can use it to cover living expenses and other project-related fees.
SUBMISSION DETAILS: You will submit an application that includes an original feature film or pilot, a project synopsis and logline, a personal statement, a resume, and a list of other projects you are working on.
22. AUDIBLE EMERGING PLAYWRIGHTS
Deadline: Year round
Website: https://www.audible.com/ep/audible-theater
In 2017, Audible launched a theater initiative, intended to radically increase access to exceptional plays and performances. A core pillar of the initiative is the Emerging Playwrights Fund, a program that invests in and nurtures self-identifying emerging playwrights, some of our most inventive, delightful, and provocative storytellers. Through the Fund, Audible aims to connect extraordinary performers with remarkable original work, amplifying new voices and harnessing the power and potential of audio to reach millions of listeners. The Fund specifically supports the creation of original dramatic work, written with audio in mind, but theatrical in spirit. If you are looking to submit an idea for an audio project that is not a play, please visit www.audible.com/pitch.
Audible is dedicated to commissioning, developing, and producing work that reflects the diversity of our members and our world. To accomplish this, Audible is committed to granting at least 50% of emerging playwright commissions to artists of color and women.
Submission Guidelines: To be considered as an applicant for a commission, please submit all of the following to AudibleTheater@audible.com:
1. One full-length script for an original or adapted play (in English language only) that represents your voice ("Script"). The Script can be in any genre and may include one-acts and solo pieces;
2. A short biography; and A brief statement about why audio plays appeal to you.
If you have an idea for an original audio play, you are welcome to include a pitch or summary along with your statement (this is encouraged, but not required).
Any applicant over the age of 18 may submit a Script. Employees or independent contractors, or immediate family members (spouses, domestic partners, parents, grandparents, siblings, children, and grandchildren) or those living in the same household of employees or independent contractors of Audible Inc., Amazon or any entity involved in any aspect of the Theater Fund may not submit a Script for consideration, unless it is determined by Audible in its sole discretion in accordance with Audible’s then current policies and procedures that no conflict of interest exists in connection with accepting the relevant submission for consideration.
Submissions are accepted year-round. Due to the number of Scripts that Audible receives, Audible will only consider one Script at a time from each applicant and will not consider resubmissions, including those that have been significantly revised. The Audible team evaluates submissions on a rolling basis, and applicants will be notified regarding the status of their submissions via email. Thanks in advance for your patience while we process your Script; our typical response time is 6-8 months.
23. CAPITAL THEATRE
Deadline: Open
Website: https://www.capitaltheatre.net/submissions
Capital Theatre in Frankfort, Kentucky is now accepting submissions from new and established Black playwrights and musical writers/composers for the 2021-2022 season and future seasons. Visit www.capitaltheatre.net for more information about submissions. Submissions are open year round.
Capital Theatre is a Black-owned theatre company located in the heart of Downtown Frankfort, Kentucky. Our goal is to tell the stories of the Black experience through live theatre. Our shows will not only feature works of prominent Black playwrights, but of up and coming writers as well. We strive to create a space in which anybody can come and enjoy live theatre.
All Submissions are treated as confidential. Due to the number of submissions we are not able to respond to every submission and will only respond to ones that we are interested in.
24. ARTIST RESCUE TRUST
Deadline: Ongoing
Website: https://artistrescue.org/
The mission of Artist Rescue Trust is to provide relief funding to musicians and artists totaling $1,500 over three months and amplify their stories, performances and art to the world. We invite eligible artists and musicians who are facing financial complications from cancelled events and bookings to fill out the application form to be considered. Qualifying applicants who meet the eligibility requirements will be entered into a pool. A new fund recipient will be randomly selected from the qualified pool each time $1500 is donated to A.R.T. We are continuing to accept applications, so if you feel you would be eligible, please apply! The longevity of this effort will be assessed by, 1) the status of COVID-19 and its economic effects. 2) The impact of this program to date. The need is great. So we will continue our work and help as many as possible.
Basic requirements to be eligible for our grants are:
Be 18+
Be a U.S. citizen or permanent resident in the United States, District of Columbia, or U.S. Territories (e.g. citizen, green card holder, and/or permanent resident who can provide a W9 and SSN or ITIN).
Be a professional, actively practicing musician or artist whose primary source of income is made through live performances, tours, gallery openings, book tours/readings, or other bookings/events and not working on a regular salary basis for one employer.
Demonstrate a commitment to current and ongoing activity in their artistic discipline/s.
Show a demonstrated need for emergency relief to recover the immediate loss of income through cancellations and bookings due to COVID19.
Not be enrolled in unemployment benefits.
Not a full-time employee, board member, director, officer, or immediate family member of any of the coalition partners.
Not previously awarded a relief grant from this fund.
25. REPERTORY THEATRE ST LOUIS
Deadline: Rolling
Website: http://www.repstl.org/play-submissions
Currently, we accept full-length play submissions for season consideration and our upcoming New Works Festival.
Please email plays to the Artistic team with the subject line: “Submission: TITLE OF PLAY.”
In the body of the email, please include:
• A brief synopsis of the play
• The development history of the play
• A brief, personal bio
Submissions made under these guidelines may be sent to The Rep by email.
26. CLEVELAND PUBLIC THEATRE
Deadline: Rolling
Website: https://www.cptonline.org/artist-opportunities/general-submissions/
CPT is dedicated to producing bold, adventurous, new work. We champion creators of new performance-devising ensembles, directors, playwrights, choreographers, performance artists, etc. Though we seek projects from national and international artists, we also make a special investment in local creators.
CPT receives proposals in three ways:
Request For Proposal process exclusively for local artists open to directors, choreographers, performance artists, and playwrights for consideration for our season of full productions.
Request For Proposal application process exclusively for local artists to submit work for our New Play Development Series.
The General Proposal process for our season of full productions (see below) for non-local artists.
The General Proposal process requires more from submitting playwrights, but through this process we can better guarantee that each application receives more attention.
Step One: Familiarize yourself with CPT’s past seasons by clicking here. If you can see a show at CPT this would also help.
Step Two: Honestly assess whether your project fits well in CPT’s aesthetics and at our level of productions.
Step Three: You must have a writers profile with NPX (New Play Exchange) for us to accept your proposal. If you do not currently have a profile with NPX, you can sign up for one here. Please include your profile information along with your proposal.
Step Four: Fill out the following application and submit via email as a word doc or pdf to artistic@cptonline.org. Please note that CPT will only accept proposals electronically.
Step Five: You will receive an email notification within 9-12 months. The email notification will be a standard rejection notice or a request for a full script proposal. Playwrights who are offended by standard rejections or do not have complete scripts for proposal should not submit.
CPT will not review general proposals that do not utilize this application process.
Please send the following materials in an email as a single attachment – Word or PDF. Send email to artistic@cptonline.org. The three questions must be answered in no more than two pages. Your resume is not counted in the page count and can be as long as you feel is appropriate. Above all, please be frank and honest.
1. Describe why your project fits well in CPT’s programming agenda. Use specific examples of past CPT projects that you feel are parallel to your proposal in some way. Explain how your work is particularly bold or adventurous, by noting its unique aesthetic, manner of connecting to audiences, or path of investigation of a particular theme. Note why you feel the themes/aesthetics will be important to CPT audiences and how you feel it will challenge artists and audiences alike
2. Summarize your project.
3. Please explain how you hope a CPT production will be of service to you in your ongoing growth as an artist. Do you hope to develop the script further, or is it pretty much finished? How will it impact you as an artist? Do you have resources to travel to CPT for a production or do you think that you would use royalties from the CPT production to travel to CPT (not necessary for selection)? Please note if your proposal is for a world-premiere, or second/third production. Also, please note if you have any other artists already attached to the project (director, actors, etc.) and any potential partnerships (theatres or interested organizations).
Please include an appropriate resume or bio. Only list scripts that have been produced at some level or published. Summarize: production level (staged reading, workshop, full production), location, producer, director, publication. List other relevant experiences in theatre or film. If you choose the “bio” format also include a list of plays as noted above.
27. STOCHASTIC LABS
Deadline: Rolling
Website: https://stochasticlabs.org
Stochastic Labs awards fully sponsored residencies to exceptional engineers, artists, scientists, and entrepreneurs from around the world. Residencies in San Francisco are of variable length and include a private apartment at the mansion, co-working and/or dedicated work space, shop access (laser cutter, 3D printer etc), a $1k monthly stipend and a budget for materials. Residents become part of Stochastic’s creative community, participating in weekly dinners and invitation events. Residents may apply as individuals or as teams. While applicants may be at any stage in their career, the selection is highly competitive.
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