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Showing posts with label commissions. Show all posts
Showing posts with label commissions. Show all posts

Thursday, October 1, 2020

EST/Sloan Project new play commission

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Proposals for new play commissions
will next be accepted from October 1 - December 1, 2020.

Script submissions for rewrite commissions
will next be accepted from November 1, 2020 - January 1, 2021.

Proposals for regional development grants
will next be accepted from October 1 - December 1, 2020.
If your proposal includes a workshop or performance with specific dates, those dates must be after June 1, 2021 to be eligible for consideration.


The EST/Sloan Project commissions, develops and presents new works delving into how we view and are affected by the scientific world. These plays examine the struggles and challenges scientists and engineers face from moral issues to the consequences of their discoveries.

The Project is designed to stimulate artists to create credible and compelling work exploring the worlds of science and technology and to challenge existing stereotypes of scientists and engineers in the popular imagination. The Project commissions and develops new works throughout EST’s developmental season, including one Mainstage Production, as well as workshops and readings in an annual festival called FIRST LIGHT.

Now in its 21st year, the EST/Sloan Project has awarded commissions totaling more than $3,000,000 to more than 300 artists and theatres. Previous commissionees include: Billy Aronson, Mike Daisey, Jason Grote, Ann Marie Healy, Michael Hollinger, Israel Horovitz, Tina Howe, Shirley Lauro, Emily Levine, Romulus Linney, Quincy Long, Cassandra Medley, Dan O’Brien, Carey Perloff, Bill Pullman, Jaquelyn Reingold, Tommy Smith, Caridad Svich, Vern Thiessen, Alex Timbers, Bridgette Wimberly, David Zellnik, Stillpoint Productions, and The Royal Shakespeare Company.
COMMISSION AWARDS

Commissions will be awarded to individuals, groups and creative teams for full-length and one-act plays and musicals. Commissions range from $1000 to $10,000. Commission amounts are determined on a case-by-case basis, as are deadlines for drafts, finished work, and research support (if appropriate). Extant, full-length works may be submitted and are judged on a script-by-script basis by the EST/Sloan Project staff. Rewrite commissions for existing scripts range from $1,000 to $5,000.

Commissions are also available for regional theaters who wish to sponsor a local project focused on science and technology, either by commissioning a new script or developing an extant piece. Regional commission amounts are determined on a case-by-case basis, ranging from $2,000 - $5,000.

SUBMISSION GUIDELINES

The EST/Sloan Project is open to a broad range of topics related to the issues, people, ideas, processes, leading-edge discoveries, inventions, and/or history of the "hard" sciences and technology.

HARD SCIENCES INCLUDE THE FOLLOWING AREAS:
  • Mathematics
  • Physics (geological, nuclear, theoretical, etc.)
  • Biology (evolution, zoology, animal behavior, ecology, molecular, genetics, etc.)
  • Chemistry (industrial, biochemistry, etc.)
  • Neuroscience
  • Anthropology and Archaeology

TECHNOLOGY INCLUDES:
  • Computer Science
  • Software Development, Computer Development
  • Engineering (civil, chemical, mechanical, electrical, aerospace, vehicle design)
  • Space Research

AREAS NOT CONSIDERED FOR COMMISSIONS INCLUDE:
  • Science Fiction
  • Medical Conditions and/or Victims of Disease
  • Psychology and Human Behavior

HOW TO APPLY

NEW COMMISSIONS

Individuals, creative teams and theatre companies interested in receiving an EST/Sloan Project commission should submit the following as their application for a grant:

A one-page description or a simple outline/synopsis of the project. This document should describe the story you want to put on stage. All the science should be discussed as part of the story, not as a separate section. Focus on plot and character development, as well as the aesthetic style you envision for the piece.

A resume or biography of each collaborator involved.

REWRITE COMMISSIONS

Individuals, creative teams and theatre companies interested in receiving an EST/Sloan Project rewrite grant should submit the following as their application:

A draft of the script.

A one- or two-page cover letter detailing the development history of the play, your goals for a rewrite commission, and any questions you have about the current draft.

A resume or biography of each collaborator involved.

A selection committee evaluates the proposals and makes the final decisions. Candidates may be asked to revise aspects of their proposals, provide writing samples, and/or arrange a meeting to discuss their project as part of the selection process.

REGIONAL DEVELOPMENT COMMISSIONS

Theatre companies interested in receiving an EST/Sloan Project regional development grant should submit the following as their application for a grant:

A current draft of the script, or a one- to two-page description or outline of the project.

A resume or biography of each collaborator involved.

A one- to two-page cover letter detailing the development history of the project and your goals for the commission.


An estimated budget for the project.

DELIVERING YOUR SUBMISSION

A submission form will be available here once submissions are open.

Please contact us with any questions.

Best of luck to you,
EST/Sloan Project Staff
sloanproject@ensemblestudiotheatre.org

Saturday, August 29, 2020

Livermore Shakespeare Festival commission seeks playwright of color

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Deadline:

Up to $6,000 playwright commission (full length play) with Livermore Shakespeare Festival (LSF).

This commission is for a playwright of color to celebrate scientists of color while exploring a current science theme. The selected playwright will be tasked with writing an original play which includes a component about scientific research currently pursued by our local Lawrence Livermore National Laboratories (LLNL). Many possibilities include using supercomputers to identify a COVID-19 vaccine and treatment candidates. We will partner the selected playwright with advisory support from scientists at the LLNL and/or Sandia National Laboratory.

Here is a link to the request for qualifications (RFQ) as well as the details of the commission. www.Livermoreshakes.org/ScienceAtPlay . There you will see our program called “Science At Play” under which this commission falls. The RFQ goes into much greater detail about the commission. Please know that you MUST follow the submission guidelines. Failure to adhere to submission guidelines will disqualify you from the commission opportunity.

Thank you to all who submit according to the guidelines.

Specific details about this commission: www.Livermoreshakes.org/ScienceAtPlay

Type of Opportunity: Semi-staged reading with possibility of full production

Restrictions: 
  • Person of color, US citizen only, must have a B.A. or B.S. 
  • Must have completed at least one full length script, on any subject, that has been produced in a festival, by a professional theatre, writers foundation or as a series of developmental readings with a professional theatre company or playwright's foundation. Self-production does not fit these guidelines. 
  • If you are in an MFA playwright program, please feel free to email if you have not had a play produced.
Submission guidelines:

1. Playwright must submit a 10 page writing sample in pdf format (Do not send more than 10 pages directing us to pages you wish us to consider).

2. Resume (theatrical) in pdf format

3. Letter of interest (3 page maximum, 11-12 point font, in Arial, Times New Roman, Verdana or Calibri) addressing the following questions 4 questions A - D: (in pdf format)

A. Why are you attracted to a science play? And/or what is your connection to science?

B. Have you had a writing project where you collaborated with a dramaturg or an advisor? If so, describe the process and the value you received from said process.

C. Are you willing to work with a dramaturg and/or science advisors? What do you imagine that process would look like?

D. Would you be comfortable with a remote working situation where interactions will take place over the computer and phone?

4. File naming convention for your 3 documents (in .pdf format) must be as follows:

-YourLastname_10Pages_SAP. (Ex. Williams_ 10Pages_SAP.pdf)

-YourLastName_Resume_SAP (Ex. Williams_Resume_SAP.pdf)

-YourLastName_LOI_SAP (Ex. Williams_LOI_SAP.pdf)

5. Deadline: 9/26/2020 One submission per playwright only. No fee.

6. Submit via email to Michael Wayne Rice, Resident Director: Michael@LivermoreShakes.org

Saturday, August 22, 2020

AUDIBLE THEATER EMERGING PLAYWRIGHTS FUND


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

3. 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). In your submission, please indicate where you heard about the Fund.

For more information, check here: https://www.audible.com/ep/audible-theater

Thursday, August 6, 2020

WARREN MILLER PERFORMING ARTS CENTER/ MONTANA REPERTORY THEATRE INDIGENOUS ARTIST COMMISSION

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Deadline: August 31, 2020
The Warren Miller Performing Arts Center and Montana Repertory Theatre seek proposals for a new theatrical work to premiere at Montana Repertory Theatre in its 2021/2022 season, followed by a statewide tour.

We seek proposals from Native American, Alaska Native, Native Hawaiian, and First Nations theater artists, with a particular interest in supporting a new work by an artist with a personal or ancestral relationship or association with Montana or a tribe in Montana.

While there are no restrictions as to content, we hope the commissioned work will speak directly to Montana and its people. We are especially interested in reviewing proposals for works that attempt to address the epidemic of missing and murdered Indigenous women.

The commissioned artist will receive a fee of $10,000; development support in the form of an artist’s retreat in Big Sky and a workshop in the Bitterroot Lab at Montana Repertory Theatre; and research support from the University of Montana School of Law, the Margery Hunter Brown Indian Law Clinic, and the Payne Native American Center.

Commission parameters: The commissioned work could be a play; a piece of dance theater; an interdisciplinary performance event; or any work meant to be performed live for/with an audience.

Project timeline and process: The commissioned artist will have access to an artist retreat at Big Sky, hosted by the Warren Miller Performing Arts Center, and to a workshop in the Bitterroot Lab at Montana Repertory Theatre. The timing of these development activities will remain flexible, pursuant to ongoing social distancing advisories. The project will culminate in a premiere production at Montana Repertory Theatre in April, 2022, followed by a statewide tour of Montana.

Proposals should include:
  • An introduction to you and your previous artistic work. This could include a biography or brief personal statement; a resume or CV; and/or links to websites/media.
  • A sample of previous artistic work: for playwrights, a full-length play (60+ pages); for dancers/choreographers, performance artists, and others, documentation of a full-length work (including but not limited to script, music, and/or video).
  • A one-page proposal describing the project you would like to make.

The commissioning theaters are eager to receive proposals from any artist who feels called to this opportunity. Artists without formal resumes or CVs or documentation of their previous work are encouraged to apply. Please tell us about yourself and what you would like to make.

How to submit: Proposals will be accepted via Submittable (https://montanarep.submittable.com/submit) until August 31st. If you are not able to submit online, please call Michael Legg at 406-243-5288 to discuss other options.

Saturday, July 25, 2020

Charles Rowan Beye NEW PLAY COMMISSION

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Deadline: July 31, 2020
Presented by Urbanite Theatre

In honor of one of the earliest, most impactful and devoted Urbanite supporters, we are dedicating an annual new play commission to our dear friend Charlie Beye, who passed away earlier this year.

Along with his husband Richard Deppe, Charlie adored new work, provocative themes and challenging humor. He had a talent for illuminating the social and cultural importance of each production, and regularly wrote Urbanite blisteringly funny, poignant responses to each production, which staff members anticipated as much as reviews from critics.

To celebrate his legacy, we invite early to mid-career playwrights to apply for a $2000 commission for a new work. There will be two proposals selected.

Questions? Email us at submissions@urbanitetheatre.com

For our inaugural commission, submissions for this award are open only to writers of color.

Commissions:

Two proposals will be awarded commissions of $2000 each.
To apply, a playwright must submit:
• A one-page play proposal for a new, full-length, unwritten work
• A one-page resume
• One of your finished plays, for reference only

Free-form proposals for new plays must:

• Investigate a pressing social or cultural issue
• Utilize four performers or fewer
• Explain the use of singular, flexible or representational scenic demands
• Demonstrate how the use of humor will play a role in your script
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Eligibility Rules:

• Submissions may only be from playwrights of color
• Playwrights must reside in the United States
• One submission per playwright

Interested playwrights are encouraged to read Urbanite’s mission statement and look at our production history to get an idea of the type of work we produce.


CLICK HERE TO SUBMIT YOUR APPLICATION

(Must have a Google Account to submit - it's free)

Commission contracts will be offered in August, 2020, and will be announced upon signing.

Monday, July 20, 2020

PAC New Venture Reading Series Festival - 10 minute plays

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Deadline: August 1, 2020 5PM
Philadelphia PA



To celebrate PAC’s 10th anniversary season and to celebrate the vitality of classical themes in new work, PAC invites playwrights to submit for consideration for our first ever New Venture Reading Series Play Festival.

​The theme for the plays is Transformation.

Five plays of no more than 10 minutes each will be selected for a staged reading during our festival taking place February 14-15, 2021 at the Louis Bluver Theatre at the Drake.

WHEN?
The Submission window is: June 1 - August 1, 2020.
​The Festival takes place February 14-15, 2021.

All submissions must be received by 5pm on August 1, 2020. No exceptions. Only the first 100 submissions will be accepted. Once the 100 cap has been reached, the submission window will close. Submissions that do not meet the guidelines below will not be accepted to make room for others. One submission per writer, please. Make sure everyone can have a chance.

The selected plays will be announced November 1, 2020.

HOW?
For inspiration, take a walk through our website. Read through our mission, our past production and reading history and even take a look at the adaptations and scripts we have worked on over the years. You can find a selection of our scripts and adaptations here.

Please be mindful that while the scripts are largely in the public domain, our adaptations are not so please don't use these works for any other purpose without permission.

Create a 10-minute play that responds, resonates or retorts the themes, characters and/or essence of the work you discover. Use Transformation as your guide. It may lead to a new verse form or a new language altogether or it may be a direct rebuttal of the themes you encounter. We are looking for creativity and honesty.

THE DETAILS
  • Based on the theme of Transformation, please submit a play that:
  • Is in response to, conversation with, or inspired by classical work and ties into Transformation;
  • Is a finished piece with a beginning, middle and end;
  • Is no more than 10 minutes in length;
  • An original, never published or previously produced new work
SELECTION CRITERIA

Each of the 5 chosen plays will be selected based on:
  • Clearly demonstrated excellence of the work;
  • Relevance to the mission of PAC;
  • Incorporation of theme; and
  • Creative use of language/classical themes/conversation with the classics as outlined in the THE DETAILS section above.
DEADLINE
Please submit by 5PM on Saturday, August 1 OR until the cap has been reached. No exceptions or phone calls, please. PLEASE DO NOT SUBMIT BEFORE JUNE 1. YOUR SUBMISSION WILL NOT BE CONSIDERED. Thank you.

​IF I GET SELECTED…?
  • ​Selected playwrights will receive the following:
  • Two staged readings of their script during the New Ventures Festival on February 14 and 15, 2020 by a core group of incredible Philadelphia-based actors;
  • A dedicated dramaturg and director;
  • A commission fee of $50.00;
  • Final script approval and will be consulted on choices for shared ensemble cast;
  • Submission to National New Play Exchange;
  • The love and admiration of actors, peers, and audiences
​MORE DETAILS
  • Each script must be no longer than 10 pages (excluding title page and character list);
  • Font no smaller than 11 point please;
  • When read aloud, play should not exceed 10 minutes;
  • Please submit in PDF format. Name the file as the exact title of your play.
  • We are new to this so please do not ask for comments on your submission.
  • Please submit only through the submission form
  • ​Please note: We are unable to provide local housing
  • In the event we cannot meet in person, the Festival will be transformed (see what we did there?) to an online format
  • Still have questions? Please contact Charlotte at: charlotte@philartistscollective.org

Thursday, June 11, 2020

THE CLUBBED THUMB BIENNIAL COMMISSION

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Deadline: Saturday, June 20th at 11:59pm
NYC


Every other year Clubbed Thumb invites playwrights to propose plays inspired by a particular prompt. The application is open to all, and read blind. The winning proposal(s) receive (or split) a $15,000 award and two years of development support. (CLICK HERE to read commission prompts from past years.)

For this year’s commission consider The Decameron by Giovanni Boccaccio – but don’t write about the Plague. Consider The Decameron as a piece that came from the ashes of the Plague but is decidedly a piece of the Renaissance. Consider it as a celebration of voice and style, as a compendium of stories from a wide span of sources. Consider it as an opportunity to take a deep research dive, if that’s your thing.

Then do with that what you want, jump off it in form, content, what have you. Feel free to take inspiration from just a little piece.

Your play should have no fewer than three people, and up to ten, and most of them should be female.

Very few of these characters should be blood relatives.

You may only specify three props.

You may have no stage directions longer than twelve words. You may only have seven stage directions.

Time: (of all scenes) night — except for one which can be dawn or dusk.

One very fancy costume.

An insect.

These constraints apply to the whole play.

At some point in the process, look over the Clubbed Thumb submissions guidelines, as well as our production history. We don’t have a lot of restrictions, but we hold to them.

As we are telling you about this at the very beginning of spring, we’ll close the portal on the first day of summer.

Please submit the following through the application below:
(this is a BLIND submission, see notes below)

– Completed form below
– A one-page letter of intent telling us about your proposed project
– 10 exploratory pages from the proposed project (either contiguous or from different sections of the proposed play – your choice)
– A completed play you’ve written in the past (see note below)
– A resume

IMPORTANT NOTES

No names please, on the letter, the 10 page sample or the complete play. The panel reads all submissions BLIND — the only place your name should appear is on the info form and on your resume.

The letter of intent should briefly map out the proposed piece and, if need be, orient the reader to the excerpt’s relationship to the whole. You needn’t explain or repeat anything that your 10 page sample makes clear. Then give us an idea of where the piece is coming from and where you think you want to go with it.

We request a completed play in case our readers need a greater sense of your voice. Please recommend 10 pages to look at for reference, and note any context you wish to give.

One last thing: this is a commission for Clubbed Thumb. So look around our website at our submission guidelines and production history for reference, if they are not familiar to you.

****

DEADLINE: Saturday, June 20th at 11:59pm

The proposals will be read and adjudicated over the course of the summer, and the commission(s) awarded in the fall.

The $15,000 commission — which might be split between writers if the panel so elects — will be paid out in three installments, with the first installment following the signing of a contract. Send questions to info[at]clubbedthumb.org

Thursday, November 7, 2019

The Artist Commissioning Program (ACP) Queens NYC

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APPLICATIONS DUE NOVEMBER 14  11:59PM.

APPLY NOW

The Artist Commissioning Program (ACP) awards choreographers, playwrights, and composers $10,000 each towards the creation of a new, original work. This program democratizes the traditional commissioning process, which has historically been reserved for a privileged few. The ACP supports projects that add to the canon of American art by telling an untold story of underrepresented person(s) relevant to Queens communities.

This year, the ACP is focusing on the neighborhoods of Maspeth/Ridgewood and Flushing. Proposed projects should demonstrate a connection to one of these two communities.

ACP's priority is to support artists who present a fresh perspective by creating work that defies the cultural mainstream, privileges underrepresented identities, and/or speaks to the cultural diversity of Queens by telling an untold story of underrepresented person(s).

By commissioning artists to materialize such works, the ACP aims to fill gaps in American culture by actively adding to the art historical canon. In doing so, the ACP aims to create a more democratic cultural sector that is more inclusive of the diverse narratives, cultural backgrounds, and values associated with our borough and nation.

Artists’ proposed projects should:

  • Demonstrate their new work’s connection to the communities of either Maspeth/Ridgewood or Flushing.
  • Highlight the stories of individual protagonists (e.g. heroine(s), hero(s), characters) in their proposed works to give underrepresented people a vision of themselves as leading characters. 
  • Be replicable, capable of being interpreted and produced for dance, music, or theatre by other artist(s) or third parties throughout the borough, city, and country (e.g. if a high school or off-broadway theatre wanted to produce your work, they could do so - think Summer Stock or Swan Lake). 


A cohort of seven community members, or "Art Commissioners”, will evaluate and select the artists’ projects. Deeply connected to the target neighborhoods, these art lovers demonstrate a stake in the community’s cultural life. Following your project’s selection, they will be actively involved in your project's development from inception to completion.

THE IMPORTANCE OF NEIGHBORHOODS

Flushing & Maspeth/Ridgewood

The 2019-20 ACP Neighborhoods of Focus

Every year, ACP focuses on two Queens neighborhoods to enable local art lovers to commission art for their own communities.

This year, the neighborhoods are Maspeth/Ridgewood and Flushing. For this reason, programming will be largely concentrated in these two areas.

PROGRAM STRUCTURE

Four (4) artists will be chosen by a panel of ACP Art Commissioners who include Maspeth/Ridgewood and Flushing community members, arts lovers and supporters.

Each artist will receive a commission of $10,000 towards the creation of a new work, as well as support towards its premiere production.

ELIGIBILITY

The following eligibility criteria apply for artist applicants:

  • ARTISTIC DISCIPLINE: Composers, playwrights, and choreographers are eligible to apply.
  • LOCATION: All greater NYC artists within a commuting distance to Astoria, Maspeth/Ridgewood and Flushing can apply
  • GEOGRAPHIC PREFERENCE: Preference will be given to current Queens residents
  • TIME COMMITMENT: Artists must be able to commit to program dates, with up to two allotted absences (see calendar below)
  • AGE: Must be 21 years or older as of January 1, 2020
  • STUDENTS INELIGIBLE: Students are not eligible to apply


EVALUATION CRITERIA

Local community members, or art commissioners, will be responsible for reviewing your work in a panel process. Successful artists will be evaluated based on the following criteria:

UNTOLD STORIES: Demonstrated capacity to create new art that tells an untold story by highlighting underrepresented person(s) in the cultural mainstream

CONNECTION TO TARGET NEIGHBORHOODS: The project proposals will be evaluated based on project and/or artist’s demonstrated connection to the two 2019-20 ACP neighborhoods of focus, Maspeth/Ridgewood and Flushing

ARTISTIC MERIT: Artistic merit of submitted work samples

PROJECT PROPOSAL: Quality and clarity of the project proposal

REPLICABILITY & FEASIBILITY: The ideal ACP project is replicable, capable of being interpreted by other artist(s) and interested parties throughout the borough, city, and country. The Art Commissioners will also consider the project’s overall feasibility.

LOCATION PREFERENCE: Preference will be given to current Queens residents

AWARD DETAILS

THE $10,000 COMMISSION WILL COVER:

ARTIST STIPEND: to compensate the artists for their time & creative labor

PERFORMERS’ FEES: to compensate the artists' performers, such as actors, dancers, and musicians, for their time & creative labor

REHEARSAL FEES: to book rehearsal space to create/develop the work

DOCUMENTATION FOR COMMISSION: expenses related to documenting the work and/or creating the commission’s deliverables (for choreographers, this may include video of the choreography for the commission’s deliverables; see below for details)

OTHER CREATION EXPENSES: related to the creation of the work (e.g. equipment purchase)

World Premiere production of SHED by 2017-18 Awardee in Choreography Chuan Xie at Queens Botanical Garden; photo by Nathaniel Marsh.
World Premiere production of SHED by 2017-18 Awardee in Choreography Chuan Xie at Queens Botanical Garden; photo by Nathaniel Marsh.

ADDITIONAL PRODUCTION SUPPORT:

In addition to the $10,000 commissioning fee, Queens Council on the Arts also supports the fees associated with:

EVENTS: As their projects are being developed, artists and Art Commissioners participate and/or host Monthly Convenings to touch base on the artists’ process, such as open rehearsals, art salons, and professional development events on commissioning art. QCA will cover the expenses associated with these events. Artists are expected to attend all program dates barring up to two conflicts. See Program Timeline below for specifics.

VENUE RENTAL: QCA will cover the cost of a venue rental for the artists’ World Premiere, if applicable. While artists are encouraged to have an idea of where they would like their work’s World Premiere to take place (ideally within Maspeth/Ridgewood or Flushing), if selected, the artists will work with the Art Commissioners & QCA staff to select a venue that suits their work and artistic vision for the new work's World Premiere.

OTHER PRODUCTION EXPENSES: related to the production of the World Premiere, including:

Print Marketing: World Premiere showcards and programs (graphic design and printing)

Event photography: Event photography of the artists’ World Premiere

Reception: A light reception during the project’s the World Premiere

COMMISSION DELIVERABLES

SUCCESSFUL ARTISTS WILL BE REQUIRED TO:

DOCUMENT THEIR COMMISSION: ACP Awardees will create and deliver a completed dance, music score or theater script created by  to Queens Council on the Arts by September 30, 2020. Because the purpose of ACP is to commission new culture that can be replicated and added to the American Canon, this documentation should provide enough information so that a production of this new work could be interpreted and produced throughout the borough, city, and world.

PRODUCE A WORLD PREMIERE IN QUEENS: Orchestrate a World Premiere of their Artist Commissioning Program project by September 30, 2020. This event will be produced in conjunction with, and engage the support of, the 2019-20 cohort of Art Commissioners and Queens Council on the Arts. If at all possible, World Premieres should take place in the neighborhoods of Flushing or Maspeth/Ridgewood, Queens.

RIGHTS

The artists retain all copyright and intellectual property rights associated with their work and any future productions of that work.

The documentation of commission obtained by QCA described above will be used for record-keeping and for the purpose of fulfilling the expectations of this award only.

QCA retains the exclusive right to:

Present the premiere performance of the work in Queens. This should be the first time the work has ever been presented to the public.

Be credited as the commissioner of the work in published editions, recordings, and programs of all future performances.

DEADLINES & NOTIFICATION

August 13, 2019: Application opens

November 14, 2019: Artist Application deadline

Late December 2019: Artist Notification

PROGRAM CALENDAR

The Artist Commissioning Program runs from November 2019 - October 2020. Artists are expected to be present and engaged for a variety of program dates, including a kickoff party, and monthly convenings with the cohort(s) of arts commissioners dedicated to supporting their project. Because the success of this program hinges on participant engagement, we ask that artists do not miss more than two program events. Artists are not expected or required to attend the other group's monthly check-ins.

The program calendar is as follows:

ORIENTATION AND KICKOFF PARTY

Friday, January 3 from 6 - 8pm

MONTHLY CONVENINGS (January – July 2020): Artists and art commissioners participate in and host monthly Art Salons, Studio Visits, Artist Talks, & Professional Development Events

FLUSHING GROUP MONTHLY CONVENINGS

Thursday, January 16th from 6 - 8pm

Thursday, February 20th from 6 - 8pm [all ACP]

Thursday, March 19th from 6 - 8pm

Thursday, April 16th from 6 - 8pm [all ACP]

Thursday, May 14th from 6 - 8pm

Thursday, June 18th from 6 - 8pm [all ACP]

Thursday, August 13th from 6 - 8pm

MASPETH/RIDGEWOOD GROUP MONTHLY CONVENINGS

Thursday, January 23rd from 6 - 8pm

Thursday, February 20th from 6 - 8pm [all ACP]

Thursday, March 26th from 6 - 8pm

Thursday, April 16th from 6 - 8pm [all ACP]

Thursday, May 21 from 6 - 8pm

Thursday, June 18th from 6 - 8pm [all ACP]

Thursday, August 20th from 6 - 8pm

WORLD PREMIERES

August - September 2020 (exact dates TBD)


STILL HAVE QUESTIONS?

CHECK OUT OUR FAQS, OR CONTACT ARTIST COMMISSIONING PROGRAM MANAGER KELLY OLSHAN AT KOLSHAN@QUEENSCOUNCILARTS.ORG OR (347) 505-3016.

Monday, October 28, 2019

EST/Sloan Project 2019

 web site

Deadline for artist proposals and script submissions: November 1, 2019

The EST/Sloan Project commissions, develops and presents new works delving into how we view and are affected by the scientific world. These plays examine the struggles and challenges scientists and engineers face from moral issues to the consequences of their discoveries.

The Project is designed to stimulate artists to create credible and compelling work exploring the worlds of science and technology and to challenge existing stereotypes of scientists and engineers in the popular imagination. The Project commissions and develops new works throughout EST’s developmental season, including one Mainstage Production, as well as workshops and readings in an annual festival called FIRST LIGHT.

Now in its 19th year, the EST/Sloan Project has awarded commissions totaling more than $3,000,000 to more than 300 artists and theatres. Previous commissionees include: Billy Aronson, Mike Daisey, Jason Grote, Ann Marie Healy, Michael Hollinger, Israel Horovitz, Tina Howe, Shirley Lauro, Emily Levine, Romulus Linney, Quincy Long, Cassandra Medley, Dan O’Brien, Carey Perloff, Bill Pullman, Jaquelyn Reingold, Tommy Smith, Caridad Svich, Vern Thiessen, Alex Timbers, Bridgette Wimberly, David Zellnik, Stillpoint Productions, and The Royal Shakespeare Company.

COMMISSION AWARDS

Commissions will be awarded to individuals, groups and creative teams for full-length and one-act plays and musicals. Commissions range from $1000 to $10,000. Commission amounts are determined on a case-by-case basis, as are deadlines for drafts, finished work, and research support (if appropriate). Extant, full-length works may be submitted and are judged on a script-by-script basis by the EST/Sloan Project staff. Rewrite commissions for existing scripts range from $1,000 to $5,000.

Commissions are also available for regional theaters who wish to sponsor a local project focused on science and technology, either by commissioning a new script or developing an extant piece. Regional commission amounts are determined on a case-by-case basis, ranging from $2,000 - $5,000.

SUBMISSION GUIDELINES

The EST/Sloan Project is open to a broad range of topics related to the issues, people, ideas, processes, leading-edge discoveries, inventions, and/or history of the "hard" sciences and technology.

HARD SCIENCES INCLUDE THE FOLLOWING AREAS:

Mathematics

Physics (geological, nuclear, theoretical, etc.)

Biology (evolution, zoology, animal behavior, ecology, molecular, genetics, etc.)

Chemistry (industrial, biochemistry, etc.)

Neuroscience

Anthropology and Archaeology

TECHNOLOGY INCLUDES:

Computer Science

Software Development, Computer Development

Engineering (civil, chemical, mechanical, electrical, aerospace, vehicle design)

Space Research

AREAS NOT CONSIDERED FOR COMMISSIONS INCLUDE:

Science Fiction

Medical Conditions and/or Victims of Disease

Psychology and Human Behavior

HOW TO APPLY

NEW COMMISSIONS

Individuals, creative teams and theatre companies interested in receiving an EST/Sloan Project commission should submit the following as their application for a grant:

A one-page description or a simple outline/synopsis of the project. This document should describe the story you want to put on stage. All the science should be discussed as part of the story, not as a separate section. Focus on plot and character development, as well as the aesthetic style you envision for the piece.

A resume or biography of each collaborator involved.

REWRITE COMMISSIONS

Individuals, creative teams and theatre companies interested in receiving an EST/Sloan Project rewrite grant should submit the following as their application:

A draft of the script.

A one- or two-page cover letter detailing the development history of the play, your goals for a rewrite commission, and any questions you have about the current draft.

A resume or biography of each collaborator involved.

A selection committee evaluates the proposals and makes the final decisions. Candidates may be asked to revise aspects of their proposals, provide writing samples, and/or arrange a meeting to discuss their project as part of the selection process.

Deadline for artist proposals and script submissions: November 1, 2018
Deadline for regional development grants: December 1, 2018

REGIONAL DEVELOPMENT COMMISSIONS

Theatre companies interested in receiving an EST/Sloan Project regional development grant should submit the following as their application for a grant:

A current draft of the script, or a one- to two-page description or outline of the project.

A resume or biography of each collaborator involved.

A one- to two-page cover letter detailing the development history of the project and your goals for the commission.

An estimated budget for the project.

DELIVERING YOUR SUBMISSION

We accept scripts in the following manner...
Email (preferred):
sloanproject@ensemblestudiotheatre.org


Via regular mail:
The Ensemble Studio Theatre
Attn: EST/Sloan Project
549 West 52nd St.
New York, NY 10019
Phone: 212-247-4982


Please contact us with any questions.
Best of luck to you,
EST/Sloan Project Staff

Thursday, October 17, 2019

THE ANNUAL PARITY COMMISSION seeks plays

web site

Beyond our annual productions, in concert with our mission to see more women and trans and gender nonconforming (TGNC) artists employed in the theatre, we award two commissions per year to women and TGNC playwrights who have demonstrated a singular talent for storytelling. The selected playwrights will receive $2,500 each.

Parity Productions reads submissions blind, selecting work that is in harmony with our artistic mission. Playwrights will receive regular feedback on their commissioned work within 30 days of their submission of a first and second draft. They will also receive one “closed door” reading (attended by cast, Parity Productions Artistic Director, and literary department) and at least one public reading and/or developmental production of the commissioned work. An option for Parity Productions to produce the work is included in The Commission agreement.

How do I submit my work to Parity Productions?

Our next submission period will open on October 17th, 2019 and runs until we have received 150 applications. 

Join our mailing list to stay up to date.

You can SUBMIT HERE. ​There is no fee to submit a script to Parity Productions.

Please reach out to us at commission@parityproductions.org with any questions.​

Sunday, October 28, 2018

THE ANNUAL PARITY COMMISSION 2018

web site

Beyond our annual productions, in concert with our mission to see more cis women and trans and gender nonconforming (TGNC) artists employed in the theatre, we award two commissions per year to cis women and TGNC playwrights who have demonstrated a singular talent for storytelling. The selected playwrights will receive $2,500 each.

Parity Productions reads submissions blind, selecting work that is in harmony with our artistic mission. Playwrights will receive regular feedback on their commissioned work within 30 days of their submission of a first and second draft. They will also receive one “closed door” reading (attended by cast, Parity Productions Artistic Director, and literary department) and at least one public reading and/or developmental production of the commissioned work. An option for Parity Productions to produce the work is included in The Commission agreement.

How do I submit my work to Parity Productions?

You can SUBMIT HERE.

Script submissions are open now until 11:59PM Eastern on October 31st, 2018.

Please reach out to us at team@parityproductions.org with any questions.​

It is requested that all playwrights submit two full-length plays. Please indicate in the form which play you are submitting for commission/production consideration and which play you are submitting as a writing sample. If two plays have not been completed, then playwrights can submit one full-length play and no fewer than 25 pages of a second play (or alternate form of fiction writing) as a minimum requirement for submission.

The Parity Commission is open to all cis women and trans and gender nonconforming (TGNC) playwrights. All scripts submitted to us by cis women and TGNC playwrights during our submission period and that fit the requirements outlined below will automatically be considered for The Parity Commission.

Any work that is submitted to Parity must adhere to these submission criteria:

Please note

(1) Plays submitted for consideration must be new and may not have had a previous professional production (either Equity or non-Equity). Submitted plays that have been previously produced will not be read. However, works that have had readings or workshops may be submitted.

(2) All documents must be submitted in PDF format. Your script must be neat and formatted to industry standard (e.g., Sam French, Dramatists Guild, or Final Draft format).

(3) Do not put the play title or your name on any page but the title page. Submissions with title or playwright name on any page but the title page will not be read.

(4) If you have submitted a particular play to us before, resubmission is welcome. We encourage you, however, to have evolved the piece in between submission periods.

What happens after I submit?
Once a submission is received, any information as to the playwright's identity will be removed so that the literary team can "blind" read all scripts.

What happens if my work is selected?
You will be contacted by Parity Productions directly.

Please reach out to us at team@parityproductions.org with any questions.

Thursday, October 11, 2018

EST/Sloan Project 2018

web site

Deadline for artist proposals and script submissions: November 1, 2018
Deadline for regional development grants: December 1, 2018

The EST/Sloan Project commissions, develops and presents new works delving into how we view and are affected by the scientific world. These plays examine the struggles and challenges scientists and engineers face from moral issues to the consequences of their discoveries.

The Project is designed to stimulate artists to create credible and compelling work exploring the worlds of science and technology and to challenge existing stereotypes of scientists and engineers in the popular imagination. The Project commissions and develops new works throughout EST’s developmental season, including one Mainstage Production, as well as workshops and readings in an annual festival called FIRST LIGHT.

Now in its 19th year, the EST/Sloan Project has awarded commissions totaling more than $3,000,000 to more than 300 artists and theatres. Previous commissionees include: Billy Aronson, Mike Daisey, Jason Grote, Ann Marie Healy, Michael Hollinger, Israel Horovitz, Tina Howe, Shirley Lauro, Emily Levine, Romulus Linney, Quincy Long, Cassandra Medley, Dan O’Brien, Carey Perloff, Bill Pullman, Jaquelyn Reingold, Tommy Smith, Caridad Svich, Vern Thiessen, Alex Timbers, Bridgette Wimberly, David Zellnik, Stillpoint Productions, and The Royal Shakespeare Company.

COMMISSION AWARDS

Commissions will be awarded to individuals, groups and creative teams for full-length and one-act plays and musicals. Commissions range from $1000 to $10,000. Commission amounts are determined on a case-by-case basis, as are deadlines for drafts, finished work, and research support (if appropriate). Extant, full-length works may be submitted and are judged on a script-by-script basis by the EST/Sloan Project staff. Rewrite commissions for existing scripts range from $1,000 to $5,000.

Commissions are also available for regional theaters who wish to sponsor a local project focused on science and technology, either by commissioning a new script or developing an extant piece. Regional commission amounts are determined on a case-by-case basis, ranging from $2,000 - $5,000.

SUBMISSION GUIDELINES

The EST/Sloan Project is open to a broad range of topics related to the issues, people, ideas, processes, leading-edge discoveries, inventions, and/or history of the "hard" sciences and technology.

HARD SCIENCES INCLUDE THE FOLLOWING AREAS:

Mathematics
Physics (geological, nuclear, theoretical, etc.)
Biology (evolution, zoology, animal behavior, ecology, molecular, genetics, etc.)
Chemistry (industrial, biochemistry, etc.)
Neuroscience
Anthropology and Archaeology
TECHNOLOGY INCLUDES:

Computer Science
Software Development, Computer Development
Engineering (civil, chemical, mechanical, electrical, aerospace, vehicle design)
Space Research
AREAS NOT CONSIDERED FOR COMMISSIONS INCLUDE:

Science Fiction
Medical Conditions and/or Victims of Disease
Psychology and Human Behavior
HOW TO APPLY

NEW COMMISSIONS

Individuals, creative teams and theatre companies interested in receiving an EST/Sloan Project commission should submit the following as their application for a grant:

A one- or two-page description or a simple outline/synopsis of the project. This document should describe the actual story being explored and include in the description of the story how the science being portrayed would be inherently dramatic in the piece. Focus on plot and character development, and, as it ideally will in the finished play, how the science comes out through plot and character.
A resume or biography of each collaborator involved.'

REWRITE COMMISSIONS

Individuals, creative teams and theatre companies interested in receiving an EST/Sloan Project rewrite grant should submit the following as their application:

A draft of the script.
A one- or two-page cover letter detailing the development history of the play, your goals for a rewrite commission, and any questions you have about the current draft.
A resume or biography of each collaborator involved.
A selection committee evaluates the proposals and makes the final decisions. Candidates may be asked to revise aspects of their proposals, provide writing samples, and/or arrange a meeting to discuss their project as part of the selection process.

Deadline for artist proposals and script submissions: November 1, 2016
Deadline for regional development grants: December 1, 2016

REGIONAL DEVELOPMENT COMMISSIONS

Theatre companies interested in receiving an EST/Sloan Project regional development grant should submit the following as their application for a grant:

A current draft of the script, or a one- to two-page description or outline of the project.
A resume or biography of each collaborator involved.
A one- to two-page cover letter detailing the development history of the project and your goals for the commission.
An estimated budget for the project.
DELIVERING YOUR SUBMISSION

We accept scripts in the following manner...
Email (preferred):
sloanproject@ensemblestudiotheatre.org


Via regular mail:
The Ensemble Studio Theatre
Attn: EST/Sloan Project
549 West 52nd St.
New York, NY 10019
Phone: 212-247-4982


Please contact us with any questions.
Best of luck to you,
EST/Sloan Project Staff

Sunday, August 19, 2018

CLUBBED THUMB OPEN-APPLICATION COMMISSIONING OPPORTUNITY FOR WRITERS OF COLOR

web site

Like our Biennial Commission, this application asks that writers respond to a series of prompts with a ten-page piece of initial writing and a one-page proposal for a full-length play, which will be read without the readers’ knowledge of the writer’s identity. One or more writers will be awarded (or will share) a $15,000 commission. Unlike the Biennial Commission, which is open to all writers, submissions for this award are open only to writers of color.

For this commission, Clubbed Thumb is interested in plays that employ alternative structures and shapes. We ask you to consider one of five alternative play shapes–landscape, spider web, nesting dolls, circle, double helix–and craft a proposal for how you will employ that play shape to best suit the story you wish to tell. This is subjective, of course, and meant to trigger the imagination, not be academic analysis. Some examples of what we mean:

Landscape: in which we learn about the world through accumulation

Our Town by Thornton Wilder is structured a bit like a landscape painting–we are introduced to everything all at once and Wilder zooms in and out of the landscape in order to tell the story.
Other examples might include: Wilder Gone, God’s Ear, Mlima’s Tale

Spider Web: in which we learn through disparate scenes that seem disconnected but are linked at odd angles and actually cohere around a central theme or argument
Booty Candy by Robert O’Hara could be seen as a spider web play–at first each scene feels like a vignette exploring a discrete idea, however, as more and more divergent worlds are explored we begin to realize that each world is connected in exploration of a single theme.
Other examples might include: Lear (Young Jean Lee), Doll’s House Pt. 2, Of Government

Nesting Dolls: in which we learn through analogies and juxtaposition
Mr Burns, a Post-Electric Play by Anne Washburn might be seen as a play shaped like a set of nesting dolls–each act is its own entity and the dramatic movement lies in building out from what came before.

Other examples might include: Fairview, An Octoroon, Barbecue

Circle: in which we learn through reflection
Fefu and Her Friends by Maria Irene Fornes might be a circle play. The most important dramatic events happen in the middle; act one leads us into these events and act three deals with the aftermath; the end of the play reflects themes that are present in the beginning of the play.
Other examples might include: A Map of Virtue, The Aliens, Father Comes Home From the Wars

Double Helix: in which we learn through thematic associations between the narrative threads
Stop Kiss by Diana Son could be a double helix play – the story is told in two threads simultaneously–what happened before and what happened after the inciting event–with thematic links between these narratives.
Other examples might include: Midsummer Night’s Dream (might be a triple helix), We are Proud to Present…, The Tomb of King Tot

You are also welcome to propose your own unconventional play shape. Should you choose to do that, be rigorous and make the case for it.

Your proposed play should also include the following:
1) At least three characters in every scene (no two character scenes)
2) Some simultaneous talking
3) Some found or repurposed text
4) A character pretending to be someone else
5) No indoor spaces

(Many thanks to Erin Courtney for developing this prompt with us.)

TO APPLY: SUBMIT THE FOLLOWING THROUGH THE FORM
(this is a BLIND submission, see notes below)

1) A one-page letter of intent describing your proposed project;
2) 10 exploratory pages from the proposed project (either contiguous or from different sections of the proposed play);
3) One of your finished plays, for reference;
4) Your resume

IMPORTANT NOTES

No names please — on the letter, the 10 page sample or the finished play for reference, or in any file names. The panel reads all submissions BLIND — the only place your name should appear is on the info form and on your resume.

The letter of intent should briefly map out the proposed piece, how you will use the chosen shape to tell the story and, if need be, orient the reader to the excerpt’s relationship to the whole. You needn’t explain or repeat anything that your 10 page sample makes clear. Then give us an idea of where the piece is coming from and where you think you want to go with it.

We ask you to include one of your finished plays for reference. Note (where prompted in the form) any relationship or similarities the complete play has to the proposed project, and recommend 10 pages for us to start with.

One last thing: this is a commission for Clubbed Thumb. So look around our website at our guidelines and production history for reference, if they are not familiar to you. Many of our plays have been published individually or in our anthology, “Funny, Strange, Provocative”, and are widely available to read.

DEADLINE: MONDAY, OCTOBER 8TH, 11:59PM EST
The proposals will be read and adjudicated over the course of the fall, and the commission(s) awarded by the end of 2018. The $15,000 commission — which might be split between writers if the panel so elects — will be paid out in three installments every six months, with the first installment following the signing of a contract. Send questions to info[at]clubbedthumb.org

SUBMISSION FORM
Proposals must be submitted by 11:59pm on Monday, October 8th, 2018

Tuesday, August 7, 2018

OPEN-APPLICATION COMMISSIONING OPPORTUNITY FOR WRITERS OF COLOR

web site

Like our Biennial Commission, this application asks that writers respond to a series of prompts with a ten-page piece of initial writing and a one-page proposal for a full-length play, which will be read without the readers’ knowledge of the writer’s identity. One or more writers will be awarded (or will share) a $15,000 commission. Unlike the Biennial Commission, which is open to all writers, submissions for this award are open only to writers of color.

For this commission, Clubbed Thumb is interested in plays that employ alternative structures and shapes. We ask you to consider one of five alternative play shapes–landscape, spider web, nesting dolls, circle, double helix–and craft a proposal for how you will employ that play shape to best suit the story you wish to tell. This is subjective, of course, and meant to trigger the imagination, not be academic analysis. Some examples of what we mean:

Landscape: in which we learn about the world through accumulation
Our Town by Thornton Wilder is structured a bit like a landscape painting–we are introduced to everything all at once and Wilder zooms in and out of the landscape in order to tell the story.
Other examples might include: Wilder Gone, God’s Ear, Mlima’s Tale

Spider Web: in which we learn through disparate scenes that seem disconnected but are linked at odd angles and actually cohere around a central theme or argument
Booty Candy by Robert O’Hara could be seen as a spider web play–at first each scene feels like a vignette exploring a discrete idea, however, as more and more divergent worlds are explored we begin to realize that each world is connected in exploration of a single theme.
Other examples might include: Lear (Young Jean Lee), Doll’s House Pt. 2, Of Government

Nesting Dolls: in which we learn through analogies and juxtaposition
Mr Burns, a Post-Electric Play by Anne Washburn might be seen as a play shaped like a set of nesting dolls–each act is its own entity and the dramatic movement lies in building out from what came before.
Other examples might include: Fairview, An Octoroon, Barbecue

Circle: in which we learn through reflection
Fefu and Her Friends by Maria Irene Fornes might be a circle play. The most important dramatic events happen in the middle; act one leads us into these events and act three deals with the aftermath; the end of the play reflects themes that are present in the beginning of the play.
Other examples might include: A Map of Virtue, The Aliens, Father Comes Home From the Wars

Double Helix: in which we learn through thematic associations between the narrative threads
Stop Kiss by Diana Son could be a double helix play – the story is told in two threads simultaneously–what happened before and what happened after the inciting event–with thematic links between these narratives.
Other examples might include: Midsummer Night’s Dream (might be a triple helix), We are Proud to Present…, The Tomb of King Tot

You are also welcome to propose your own unconventional play shape. Should you choose to do that, be rigorous and make the case for it.

Your proposed play should also include the following:
1) At least three characters in every scene (no two character scenes)
2) Some simultaneous talking
3) Some found or repurposed text
4) A character pretending to be someone else
5) No indoor spaces

(Many thanks to Erin Courtney for developing this prompt with us.)


TO APPLY: SUBMIT THE FOLLOWING THROUGH THE FORM BELOW
(this is a BLIND submission, see notes below)

1) A one-page letter of intent describing your proposed project;
2) 10 exploratory pages from the proposed project (either contiguous or from different sections of the proposed play);
3) One of your finished plays, for reference;
4) Your resume

IMPORTANT NOTES

No names please — on the letter, the 10 page sample or the finished play for reference, or in any file names. The panel reads all submissions BLIND — the only place your name should appear is on the info form and on your resume.

The letter of intent should briefly map out the proposed piece, how you will use the chosen shape to tell the story and, if need be, orient the reader to the excerpt’s relationship to the whole. You needn’t explain or repeat anything that your 10 page sample makes clear. Then give us an idea of where the piece is coming from and where you think you want to go with it.

We ask you to include one of your finished plays for reference. Note (where prompted in the form) any relationship or similarities the complete play has to the proposed project, and recommend 10 pages for us to start with.

One last thing: this is a commission for Clubbed Thumb. So look around our website at our guidelines and production history for reference, if they are not familiar to you. Many of our plays have been published individually or in our anthology, “Funny, Strange, Provocative”, and are widely available to read.

DEADLINE: MONDAY, OCTOBER 8TH, 11:59PM EST

The proposals will be read and adjudicated over the course of the fall, and the commission(s) awarded by the end of 2018. The $15,000 commission — which might be split between writers if the panel so elects — will be paid out in three installments every six months, with the first installment following the signing of a contract. Send questions to info[at]clubbedthumb.org

Friday, July 6, 2018

Lee Strasberg Theatre & Film Institute Clifford Odets Ensemble Play Commission

web site

The Clifford Odets Ensemble Play Commission is an annual playwriting commission that encourages emerging playwrights to write original works for large ensembles of emerging actors.

Through this commission, The Lee Strasberg Theatre and Film Institute and The Lee Strasberg Creative Center partners with emerging playwrights, directors and The Lee Strasberg Method™ trained actors and encourages the synergy of great acting with the development of new works.

This commission will provide an incubating space for the development of true ensemble plays in New York City and develop the next generation of collaborating artists.

Below is a link to our website, where you will be able to see a brief description of the commission as well as the Spring 2017 previous director and playwright, Lucy Thurber and Jenna Worsham, who worked one of the last incarnations of the program.

https://newyork.methodactingstrasberg.com/blog/2017-clifford-odets- ensemble-play-commission-artists-announced/

Essentially, the commission is a collaborative, development process where the playwright meets the NYU students who are accepted (after internal auditions) to the Practicum Program, and a text is developed from there on. All of these students are in their third or fourth year at NYU.


Below is a breakdown of important dates:

Wednesday, July 11th: deadline for playwrights to submit previous work for review.
Friday, July 20th: Playwright is selected.
August 27th: First draft of play due.
Septermber 4th: First Table Read.
December 13th–15th: Performances.

Once the playwright is selected, we will ask the playwright for a director suggestion who will then be interviewed and approved by Victoria Krane, the President of the Institute. The compensation for the commission is $1,500 for the playwright and $1,500 for the director.

Interested playwrights should submit the following:

-A PDF sample work of a full-length text.
-A PDF cover letter outlining the following:
Title of sample work.
Genre of sample work.
Synopsis of sample work.
Brief history of personal experience in ensemble programs and/or play development programs.
-Artistic résumé in PDF form.

All materials are to be submitted to Production Manager, Haydn Díaz, at haydn@strasberg.com – Questions about the program can also be directed there.

Saturday, March 3, 2018

Clutch Productions offers commission to emerging female playwrights

web site

Deadline for applications: Sunday, March 4, 2018

Clutch Productions seeks submissions from emerging female playwrights who are interested in a collaborative, interdisciplinary commission process.

In 12 months, Clutch will foster your new, full-length play from blank page to its world premiere on a New York stage. The commissioned play will feature a narrative driven from a woman’s point of view and at least 50% of the roles in each play must be for actors identifying as women.

Submissions will be evaluated by our founding members, core artists, and board of directors. Playwrights who make it to the final round of consideration will be contacted by Clutch directly to schedule an interview.

The commissioned playwright will be provided with a formal agreement that outlines expectations, draft deadlines, and disbursement of the $2,500 stipend.

Example commission timeline:
Month 1: Writer provides synopsis and outlines
Month 2: Writer begins drafting on their own
Month 3: Table reads of first draft scenes
Month 4: First Draft Due
Months 5 & 6: Revisions. Every 30 pages will be workshopped by actors and a director.
Month 7: Second Draft Due and 5-day Development Retreat
Months 8 - 10: Revisions. Every 30 pages will be workshopped by actors and a director.
Month 11: Rehearsal Draft Due
Month 12: Rehearsals, rewrites, and Production Draft Due

All applicants must provide the following in PDF form (applications missing any materials will not be considered):
Cover letter outlining a concept for this new play, why you’re the right fit for Clutch’s mission, and how you would tackle the challenge of developing a full-length, production-worthy play in less than 1 year.
Resume
Two (2) letters of recommendation
Two (2) writing samples including one full-length and one short play. Your scripts must be neat and formatted to industry standard.

Email all materials to clutchproductionsnyc@gmail.com with COMMISSION SUBMISSION in the subject line.

Sunday, October 29, 2017

The Clubbed Thumb Biennial Commission

web site

The Clubbed Thumb Biennial Commission invites playwrights to propose plays inspired by a particular prompt.

For this round, please consider the oeuvre of Caryl Churchill. We paid particular attention to Top Girls, Fen and Far Away, but by all means read and consider any and all of her plays.

Your play should feature:
  • three sections, the second of which is set in a workplace;
  • a cast of mostly (perhaps all) women—-of differing ages, cultures, and especially, classes/means/education levels;
  • a formal event (a pageant, a parade, a number, a dinner party) involving many people;
  • an ersatz mother/daughter relationship.
Embrace economy of language, and specificity and fidelity of language to character. Consider if and when those rules explode.

Submit the following through the online application form below:
  • (this is a BLIND submission, see notes below)
  • completed information form;
  • a one-page letter of intent describing your proposed project;
  • 10 exploratory pages from the proposed project (either contiguous or from different sections of the proposed play);
  • one of your finished plays for reference;
  • your resume.

IMPORTANT NOTES

No names please — on the letter, the 10 page sample or the complete play. The panel reads all submissions BLIND — the only place your name should appear is on the info form and on your resume.

The letter of intent should briefly map out the proposed piece and, if need be, orient the reader to the excerpt’s relationship to the whole. You needn’t explain or repeat anything that your 10 page sample makes clear. Then give us an idea of where the piece is coming from and where you think you want to go with it.

We ask you to include one of your finished plays for reference. Note (where prompted in the form) any relationship or similarities the complete play has to the proposed project, and recommend 10 pages for us to start with.

One last thing: this is a commission for Clubbed Thumb. So look around our website at our guidelines and production history for reference, if they are not familiar to you.

****

DEADLINE: SATURDAY, NOVEMBER 11th, 11:11PM EST
The proposals will be read and adjudicated over the course of the fall, and the commission(s) awarded by the end of 2017.

The $15,000 commission — which might be split between writers if the panel so elects — will be paid out in three installments every six months, with the first installment following the signing of a contract. Send questions to ryan[at]clubbedthumb.org

Friday, October 13, 2017

EST/Sloan Project

web site

Deadline for artist proposals and script submissions: November 1, 2017

Deadline for regional development grants: December 1, 2017

The EST/Sloan Project commissions, develops and presents new works delving into how we view and are affected by the scientific world. These plays examine the struggles and challenges scientists and engineers face from moral issues to the consequences of their discoveries.

The Project is designed to stimulate artists to create credible and compelling work exploring the worlds of science and technology and to challenge existing stereotypes of scientists and engineers in the popular imagination. The Project commissions and develops new works throughout EST’s developmental season, including one Mainstage Production, as well as workshops and readings in an annual festival called FIRST LIGHT.

SUBMISSION GUIDELINES

The EST/Sloan Project is open to a broad range of topics related to the issues, people, ideas, processes, leading-edge discoveries, inventions, and/or history of the "hard" sciences and technology.

HARD SCIENCES INCLUDE THE FOLLOWING AREAS:

Mathematics
Physics (geological, nuclear, theoretical, etc.)
Biology (evolution, zoology, animal behavior, ecology, molecular, genetics, etc.)
Chemistry (industrial, biochemistry, etc.)
Neuroscience
Anthropology and Archaeology

TECHNOLOGY INCLUDES:
Computer Science
Software Development, Computer Development
Engineering (civil, chemical, mechanical, electrical, aerospace, vehicle design)
Space Research

AREAS NOT CONSIDERED FOR COMMISSIONS INCLUDE:
Science Fiction
Medical Conditions and/or Victims of Disease
Psychology and Human Behavior

HOW TO APPLY

NEW COMMISSIONS

Individuals, creative teams and theatre companies interested in receiving an EST/Sloan Project commission should submit the following as their application for a grant:

A one- or two-page description or a simple outline/synopsis of the project. This document should describe the actual story being explored and include in the description of the story how the science being portrayed would be inherently dramatic in the piece. Focus on plot and character development, and, as it ideally will in the finished play, how the science comes out through plot and character.
A resume or biography of each collaborator involved.

REWRITE COMMISSIONS

Individuals, creative teams and theatre companies interested in receiving an EST/Sloan Project rewrite grant should submit the following as their application:

A draft of the script.
A one- or two-page cover letter detailing the development history of the play, your goals for a rewrite commission, and any questions you have about the current draft.
A resume or biography of each collaborator involved.
A selection committee evaluates the proposals and makes the final decisions. Candidates may be asked to revise aspects of their proposals, provide writing samples, and/or arrange a meeting to discuss their project as part of the selection process.

Deadline for artist proposals and script submissions: November 1, 2016
Deadline for regional development grants: December 1, 2016

REGIONAL DEVELOPMENT COMMISSIONS

Theatre companies interested in receiving an EST/Sloan Project regional development grant should submit the following as their application for a grant:

A current draft of the script, or a one- to two-page description or outline of the project.
A resume or biography of each collaborator involved.
A one- to two-page cover letter detailing the development history of the project and your goals for the commission.
An estimated budget for the project.

DELIVERING YOUR SUBMISSION

We accept scripts in the following manner... 
Email (preferred): 
sloanproject@ensemblestudiotheatre.org

Via regular mail: 
The Ensemble Studio Theatre
Attn: EST/Sloan Project
549 West 52nd St. 
New York, NY 10019
Phone: 212-247-4982


Please contact us with any questions. 
Best of luck to you, 
EST/Sloan Project Staff

Sunday, June 18, 2017

Women Playwrights International commission opportunity

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Deadline: June 20
For this call we have implemented commissions by geographical regions. This aims to give each country the possibility of forming a selection that is representative of their culture.

The commissions are:1. Latin America and the Caribbean, 2. North America (E.E.UU and Canada), 3. Africa, 4 .Asia, 5. Oceania, 6. Europe.

The juries of each committee can not send their own plays to any of the open calls.

The criteria for nomination, evaluation and selection will be the same for all commissions.

A) General Criteria
- Women playwrights from around the world can apply if they have, at least, one staged play.

- Only one text per applicant will be received. In the same way, texts that are sent to different commissions will not be accepted.

- Texts must be sent in English (*), except for those that apply to the Latin-American commission, for they will be evaluated in Spanish and Portuguese.


*TEXTS CAN BE SENT IN THEIR ORIGINAL LANGUAGES ONLY IF: THERE’S ALSO AN ENGLISH VERSION OF IT AND IF THE REGIONAL COMMITTEE AGREES TO IT. 

- Women playwrights are free to decide to what region apply, according to their place of birth or residence.


- Women playwrights chosen will receive an invitation letter through email, that will indicate the format in which their play would be presented in the conference.

WPI is a non-profit association and has no stable funding to support its activities. In the case of receiving international funding, these resources are allocated to participants from countries where the status of women is in a state of insecurity. It is for this reason that those who have been selected must contemplate personal payment of the following:

- Translation of 15 pages to Spanish or English (in the case of latin americans). Given the fact that all activities related to WPIC 2018 in Santiago, Chile, will take place in Spanish (with consecutive, simultaneous translation or subtitles to english).

- Travel costs to Chile (airplane ticket, accreditation fee, residency, etc).

B) Participation Modalities

Having in mind the main theme proposed for this conference, the theme lines are the following:

• Territory: Texts that offer a perspective about the social, political, economic and cultural landscapes that define the reality of individuals. Plays that deal with tension in cultural, political and geographic frontiers. It can also be about the rupture of frontiers, the cultural crossing as well as the clash phenomena, such as being forced to exile or political exile and being faced to possible or impossible return, migrations, post conflicts displacements, refugees crisis, economic crisis, famine, the reality of living outside the country or place of origin.

• Bodies: Texts that think about female body issues. The strategies of domination and violence that control women’s daily activities. The intersection between women’s bodies and public politics, decisions about our own bodies (contraception, abortion law). Publicity, religious or governmental commands, medicine. Also desire and pleasure poetics as well as aesthetics. Gender transition, homosexuality, bisexuality, all possible forms of sexuality.

• Memories: Writings that propose different forms of fighting against oblivion, of installing themes and problems related to knowledge and traditions transmission. Biographies, autobiographies or construction of individual, social or collective stories.

• Wars and armed conflicts: Writings that assume war experiences and its consequences. Annulation practices of all possibility of personal development, situations in which basic human rights are systematically violated, especially for women and children.

• Natural resources: Texts that reflect about the excessive exploitation of natural resources, troubles regarding hunger and access to potable water that is taking place since decades ago, and the several consequences in the life of human beings, living creatures and environment.

• Ancestral voices: Writing that rescue ancestral voices of each culture. Texts that recompose the stories and originary knowledge of each ethnicity, that reflect their predicaments, their cosmogonies and that try to give a place in present times.

Excluded of this open call are performances or installation art, due to the inherent difficulty to be fairly evaluated in relation to written texts. But, texts that incorporate the use of technology as a constituent part of aesthetic or poetic chosen by each playwright are accepted.

C) Application Formalities:

Postulants must send their application to an email in one file, PDF format. Pages should be formatted for A4, with 1,5 spacing, and text set in 12 point Times New Roman type.

With the following information:

Geographical region to which apply

Professional bio presentation (one page long max.).

Presentation of the play and its relation to one of the selection themes (one page long maximum).

Argument summary of the play (one page long max), indicating the structure.

Complete text of the play. Texts must not exceed 50 pages.

Playwrights who would like to send plays longer than 50 pages, can send an extract of their best 50 pages.

Type of public to which the play is directed to (all audiences, familiar theatre, etc.)

Emails:

latinamericareadingswpichile18@gmail.com

northamericareadingswpichile18@gmail.com

africareadingswpichile18@gmail.com

asiareadingswpichile18@gmail.com

oceaniareadingswpichile18@gmail.com

europereadingswpichile18@gmail.com

Tuesday, April 25, 2017

The 2018 Boston Project: Call for Proposals

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Submission Deadline: May 15th, 2017
Call for Proposals

The Boston Project is a new works initiative supporting the creation and development of plays set right here in our hometown. Our goal is to create more plays that explore what it means to be in this city at this moment, and tap into the full breadth of experiences and identities that make up life in Boston. We are seeking proposals for currently unwritten full-length scripts set in contemporary Boston.

The Process
Proposals for unwritten full-length plays meeting the requirements below will be accepted through May 15th, 2017.
From the submitted proposals, SpeakEasy will select two projects, and invite the playwrights to spend the 2017-2018 season writing and developing their plays with us.
Once proposals are selected, SpeakEasy will work with the playwrights to build a development schedule that fits their needs. Potential available resources include: regular dramaturgical meetings, research assistance, deadlines, casual table reads, and feedback sessions with the artistic staff. After the first draft deadline, each playwright will also be paired with a dedicated, professional dramaturg and director to assist with their process.

The development process will culminate in a two-week workshop and invited staged reading in May/June 2018, featuring professional actors from the area.
Each selected playwright will be paid a commissioning fee of $2,500.
SpeakEasy will hold an exclusive production option on the proposed play during its development process, and for a period of ninety days following the 2018 workshop.
How to Apply

To be considered for the Boston Project, please submit by 8pm EST on May 15th, 2017:
A 1-2 page proposal for an unwritten full length play (90+ minutes). The play must be set in Boston or its surrounding areas, and take place within ten years, plus or minus, of the present day.
5-10 exploratory pages for the proposed play. These pages need not be a single, polished scene, but should give a clear sense of how the play will ultimately live on stage.
A professional biography or writing resume detailing your playwriting experience.
A separate full length (90+ minutes) play by you.

All materials should be submitted in .pdf format to bostonproject@speakeasystage.com. The components may be in separate documents, but please include all materials in a single e-mail.

Proposal Submission Deadline: May 15th, 2017
Selection Announced: August 1st, 2017

Important Information

This project is designed to support the development of a brand new play. This is not the time to submit a script which you’ve already written; we want to work with you as you explore a fresh idea in its earliest stages.

The proposed play need not center on or be inspired by any real event/person. The only requirement is that it be set in contemporary Boston or its surrounding areas.

For this project’s purposes, “contemporary” means plus or minus ten years from today.

Your 1-2 page proposal should explain the play you intend to create, and may include: a synopsis of the work as best you know it, a potential cast list and/or character breakdown, a statement regarding the inspiration for the work, and any other information about the play you envision. You may also let us know any specific needs you foresee during the development process. The ultimate goal of the proposal is to show us what your play will be beyond its initial premise/inciting incident/idea.

There is no hard limit on cast size, but typically the plays that SpeakEasy produces use between four and eight actors.

While we love musicals here at SpeakEasy, we will not be considering proposals for new musicals as part of this season’s Boston Project.

You do not need to live in the Boston/New England area to submit a proposal, but SpeakEasy is unable to provide housing or travel reimbursement during the development and workshop process.
Part of SpeakEasy’s mission is to reflect the vibrance and diversity of our city. Projects which further that goal will be of particular interest in the selections process.

Proposals that most caught our eye during the first season’s consideration were those in which Boston was an essential component, and not just a generic backdrop. We hope writers will use this opportunity to explore a story that could only take place in this city, and that transcends “typical” Bostonian tropes.

Questions regarding the proposal process or the Boston Project itself can be directed to bostonproject@speakeasystage.com.

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