Tag Archives: kirsten greenidge

Link Roundup! – 7/8/16

Link Roundups feature articles and bits of internet goodness that our dramaturgy team digs up. If you find something you want to send our way, drop us a line on Facebook or Twitter!

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Photo Chapman’s Homer, Christchurch by Duncan C, published on Flickr, Creative Commons License.***

Photo Chapman’s Homer, Christchurch by Duncan C, published on Flickr, Creative Commons License.***

ArtsJournal has a piece examining the difference between community and consumers when it comes to the arts:

…I argue that in the US arts and culture sector we have for too long ignored or denied the costs of so-called progress in the arts–meaning, for instance, the costs of professionalization, growth, and the adoption of orthodox marketing practices including so-called customer relationship management and I suggest five ways that arts organizations may need to adapt their philosophies and practices in relationship to their communities if their goal is deeper, more meaningful engagement.

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A post on Bitter Gertrude looks at the recent controversy at Profiles Theatre in Chicago and offers some suggestions for how to stop the cycle of abuse in the theatre industry:

Pay close attention to the behavior of the people you have on staff. People will not always be brave enough to come forward about bad behavior. Sometimes people gaslight victims by claiming that the abuse is “just the way he is,” “not a big deal,” or “just because he’s a genius and passionate about his work.” Victims begin to second-guess themselves and worry about the consequences of coming forward when others are minimizing or excusing bad behavior. There could easily be problems, even abuse, in your house without anyone coming forward to tell you about them directly.

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Link Roundup! – 2/26/16

Link Roundups feature articles and bits of internet goodness that our dramaturgy team digs up. If you find something you want to send our way, drop us a line on Facebook or Twitter!

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 The playwright Kirsten Greenidge, whose “Baltimore” is a beneficiary of the Big Ten New Play Initiative. Credit Kayana Szymczak for The New York Times

The playwright Kirsten Greenidge, whose “Baltimore” is a beneficiary of the Big Ten New Play Initiative. Credit Kayana Szymczak for The New York Times

The New York Times highlights C1 playwright alum Kirsten Greenidge in a story about the Big Ten New Play Initiative:

Giving more such practice to female undergraduates is a major objective of the program that commissioned “Baltimore” and is rolling it out in productions at several universities this academic year. The Big Ten New Play Initiative — yes, schools better known for football or basketball are behind it — has begun seeding the canon with a fresh crop of works by women.

Naomi Iizuka, Rebecca Gilman and Madeleine George are the other playwrights tapped so far for the project, which is intended in part to address one of American theater’s most pressing concerns: the need to put more plays by women onstage. But the initiative goes a significant step further. Each script is bound by just one rule, said Alan MacVey, who oversees the $10,000 commissions: It must include at least six substantial roles for young women.

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A group of 27 women and people of color talk about what it’s like to work in Hollywood for a huge feature for the New York Times:

In 1985, I’m sitting in the casting office of a major studio. The head of casting said, “I couldn’t put you in a Shakespeare movie, because they didn’t have black people then.” He literally said that. I told that casting director: “You ever heard of Othello? Shakespeare couldn’t just make up black people. He saw them.” I started carrying around a postcard of Rubens’s “Studies of the Head of a Negro.” The casting director actually was very kind to me. He referred me to my first agent.

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