The new subscription model shows how local theaters can work together to build audiences instead of treating each other as competition.
Articles on Playwriting
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One of the most critically acclaimed playwrights of our age, Tom Stoppard, has died at 88. He assumed his audience was as well read and inquisitive as he was.
I’ve measured out my life in Cops – the old strategies of cultural engagement with the climate emergency peaked some time ago.
Black British women have been staging plays in recent years about Britain’s role in slavery, a history the country is too eager to forget.
Looking closer at the Spanish writer’s life work shows that social and cultural prejudices have kept us from seeing the full picture
Creating a play and seeing it performed is an empowering journey.
The 1970s transformed Australian drama. It was a time of imaginative brilliance as the Empire wrote back.
The stage is the perfect place to explore dark thoughts.
No other Australian playwright has mined their own life as much as Dorothy Hewett. In this expressionist drama, she depicts a girl of yearning heart, looking for love and hungry for life.
The plays of Alex Buzo captured the spirit of rebellion of a new generation of theatre artists.
A development festival for Indigenous Australian playwrights showcased a range of stories: from the sharply comic tale of a woman hunting for her wayward husband to a powerful exploration of prison violence.
There was once a sense of excitement about creating a genuinely Australian culture and making our own way in the world. What’s happened to that optimism?
Attributing a Shakespeare work to another writer attracts plenty of critics. But an attribution specialist says his team’s decision to name Christopher Marlowe as a co-author is based on state of the art research.
The first Australian National Playwrights Centre (ANPC) was founded in 1973 – the age of bongs, thongs and social wrongs. Australian drama was by then well into its Biggest Renaissance Ever. The Pram Factory…
A new production of Edward II by the ‘bad boy of Elizabethan drama’ breathes fresh life into the play, accentuating the story’s political and psychological dimensions.
You’d be forgiven for thinking Double Falsehood was recently “found” and confirmed as being by Shakespeare. But that’s not what the researchers behind the computational tests actually said. So what’s up?
Playwriting occupies a weak position in Australian culture because its historical role is not to be “good”, but to be socially acceptable. We need now to take a modern attitude to drama.
Anyone who has seen a play can tell you whether it “works” or not – but very few people can tell you exactly why. We all need a better grasp of this. Why? So that playwriting can better represent contemporary Australia.
Top contributors
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Professor of Creative Arts, Griffith University
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Professor in English Literature and Cultural Studies, University of Southern Queensland
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Lecturer in English, University of Tasmania
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Professor of Shakespeare and Early Modern Drama, The University of Melbourne
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Senior Lecturer in Screenwriting and Media Production, Northumbria University, Newcastle
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Professor of English, University of Newcastle
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Head of Writing for Performance, National Institute of Dramatic Art
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Playwright and PhD researcher in Education and Drama, University of Winchester
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Catedrático de Teoría de la Literatura y Literatura Comparada, Universidad de Valladolid
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Professor of Black Theatre and Performance, Royal Holloway, University of London
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Assistant Professor of Theatre, Villanova University
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Associate professor, Monash University
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Professor of scriptwriting and playwright, University of East Anglia