The Dream Machine: Thirty Years of New Play Development in America

1988 ◽  
Vol 32 (3) ◽  
pp. 55 ◽  
Author(s):  
Douglas Anderson
Keyword(s):  
New Play Development ◽  
Play Development

TYA new play development in academia: The New Plays for Young Audiences model

2019 ◽  
Vol 34 (1) ◽  
pp. 66-77
Author(s):  
Teresa A. Fisher
Keyword(s):  
Young Audiences ◽  
New Play Development ◽  
Play Development

Scriptwork: a director's approach to new play development

1995 ◽  
Vol 33 (04) ◽  
pp. 33-2067-33-2067
Keyword(s):  
New Play Development ◽  
Play Development

New Play Development: Facilitating Creativity for Dramaturgs, Playwrights, and Everyone Else by Lenora Inez Brown

2017 ◽  
Vol 27 (2) ◽  
pp. 175-176
Author(s):  
Lynn Deboeck
Keyword(s):  
New Play Development ◽  
Play Development

Capitalizing (on) new writing: New play development in the 1990s

2012 ◽  
Vol 32 (2) ◽  
pp. 209-225 ◽  
Author(s):  
Jacqueline Bolton
Keyword(s):  
New Play Development ◽  
Play Development

ABSTRACT: Application of Paleogeographic Maps for New Play Development in West Africa

AAPG Bulletin ◽  
2002 ◽  
Vol 86 ◽  
Author(s):  
Steven G. Henry1, Al Danforth2
Keyword(s):  
West Africa ◽  
New Play Development ◽  
Play Development

Scriptwork: A Director's Approach to New Play Development (review)

1997 ◽  
Vol 49 (2) ◽  
pp. 262-263
Author(s):  
Julie Bleha
Keyword(s):  
Development Review ◽  
New Play Development ◽  
Play Development

Post-Show Discussions in New Play Development

2014 ◽  
Author(s):  
Teresa A. Fisher
Keyword(s):  
New Play Development ◽  
Play Development

Engaging Indigenous Artistic Process through Embodied Practice

2021 ◽  
Vol 187 ◽  
pp. 30-34
Author(s):  
Yolanda Bonnell ◽  
Spy Dénommé-Welch
Keyword(s):  
New Play Development ◽  
Artistic Process ◽  
Entry Points ◽  
The Creation ◽  
Embodied Practice ◽  
Play Development

This essay explores a variety of questions about embodied approaches to Indigenous storytelling, artistic process, and methodology, and the ways which they are taken up in the creation of new theatre work. By engaging in a discussion with Yolanda Bonnell, creator of the play bug, this article examines some of the implications of embodied storytelling and new play development. The article also considers how new Indigenous theatre works and performances at festivals such as SummerWorks can offer audiences entry points and sites for engaging difficult topics and issues that pertain to Indigenous/non-Indigenous relations. Further, the reader is invited into a discussion that teaches about an artist’s own process and methodology and how these are mobilized and activated through Indigenous storytelling, memory, and embodied practice.

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