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Showing posts with label ethnicity-based. Show all posts
Showing posts with label ethnicity-based. Show all posts

Thursday, May 16, 2019

Native Voices at the Autry Call for Scripts 2019-2020

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*Please note that we only accept submissions written for the stage or theater by Native American, Alaska Native, Native Hawaiian, and First Nations playwrights.

SHORT PLAYS

Deadline: June 17, 2019

Short plays submitted by June 17, 2019 will be considered for Native Voices’ 9th Annual Short Play Festival, to take place in November 2019 at the American Indian Arts Marketplace at the Autry in Los Angeles. Read more about the theme for the Short Play Festival below.

BONES, BINGO & BLACKJACK!

The 9th Annual Short Play Festival

Whet your appetite for clever, funny, dramatic, and thoughtful 10-minute scripts. Indian gaming has served many roles and goes back to ancient times when the winning bet could be life or death. It’s brought both prosperity and problems to the REZ in modern times. What’s your story?

Short plays are fun.  Tell us the stories you like best.  Make the audience laugh or cry - but make them feel something! Many short plays go on to become full-length scripts.

Native Voices invites playwrights to answer the question: “What has gaming done for you lately?” Plays can be fun-spirited or political, funny or dramatic.

Some ideas to spark the imagination are:


  • Throwing bones - games of life and death
  • Bingo big and small
  • Casinos
  • Casinos and the Mob!
  • Per Cap
  • Wealth
  • Distribution of wealth!
  • Economic Development
  • Self-sufficiency
  • Promoting robust tribal governments
  • Tribes as the primary beneficiaries of gaming activities
  • Impact on local tribes
  • What happens at Indian Gaming and Tradeshow Conventions stays at Indian Gaming and Tradeshow Conventions!
  • National Indian Gaming Association

Scripts that are longer than 15 pages or read aloud at longer than 10 minutes will not be accepted. Fresh, surprising perspectives are welcome, and unique theatricality is a must.

Selection Process: Short plays (15 page maximum) that are related to the theme and are received by June 17th, 2019 will be read and evaluated by a national reading panel comprised of Native American theatre artists and community members along with nationally-recognized theatre artists. The panel will select 5 to 8 plays for the festival based on the creative use of the theme, originality, theatricality, structure, and execution.

Selected plays will be given a staged reading on November 10, 2019, as part of the Autry Museum of the American West’s American Indian Arts Marketplace.  A panel of judges will select the 2019 Von Marie Atchley Award for Excellence in Playwriting, a $1,000 cash prize!

Plays must be submitted using our online submission form and in the correct format. Please see our “Checklist for All Submissions” below for further details.

Checklist for All Submissions

Please label script attachment as follows: PlayTitle_Author’s Last Name, First Initial (Example: MyNewPlay_Doe, J.doc).

All submissions must conform to a standard play-script format (one-inch margins, #12 Times or Courier font, all pages numbered).

Include a title page with full contact information (mailing address, phone numbers, e-mail address) and a draft or revision date.

Include a character breakdown at the beginning of your script.

Provide a biography of 75–100 words. Please label attachment as follows: Bio_Author’s Last Name, First Initial (Example: Bio_Doe, J.doc).

Provide a press-ready photo of at least 300dpi.  Please label attachment as follows: Photo_Author’s Last Name, First Initial (Example: Photo_Doe, J.doc).

Provide development history for the play. Label attachment as follows: DevHistory_PlayTitle_Author’s Last Name, First Initial (Example: DevHistory_MyNewPlay_Doe, J.doc).

To submit, fill out our online form and upload your submission materials here: Native Voices Script Submission Form

Please do not send treatments or outlines. Previously submitted plays should only be resubmitted if the play has undergone significant dramatic changes. Previously produced plays should be submitted under the 2020 General Submission for Production Consideration. Plays that are not selected are kept on file for consideration for future opportunities. Playwrights are encouraged to make multiple submissions (up to three per event), but selection will be limited to only one play per playwright, per event.

Where to Send Submissions

We now only accept electronic submission (preferably PDF format).

To submit, fill out our online form and upload your materials here: Native Voices Script Submission Form

Monday, May 13, 2019

Little Wonder “Breaking Boundaries” Radio Play Competition 2019

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After last years competition resulted in more than 300 entries, over 70 pieces of individual feedback, and by the end of this year at least 9 published plays, we’re back. This year we will have two new competitions for original unpublished 1600-2000 word full cast audio dramas for up to 4 actors.

Competition Rules, Submission Guidelines and Dates

  1. The competition #BBLWRP2019 is organised by Little Wonder Radio Plays
  2. Entry is only open to writers who consider themselves writers of colour and/or writers with a disability.
  3. Entry is open to all writers of all nationalities or residencies, over the age of 16 (or whatever age is required to handle mature content in your home nation. #BBLWRP2019 is an adult competition, and our station contains adult content.)
  4. Submissions must be previously unpublished radio plays, in script form, in English, between 1600 and 2000 words. The word count does not include the cover page.  Make sure to include the script title on the first page.
  5. Entries must be uploaded in a *.DOC, *.DOCX or *.PDF Format via the entry form on the Little Wonder Website.
  6. Entries can be from individuals or groups of writers, but authors/groups may only enter one play.
  7. Entries must be received between From 0000 19th April – 11:59 PM 30th May European Central Time. Entries received outside this period will not be considered.
  8. Submissions should be between 1600-2000 words double-spaced in courier 12 point with page numbers at the bottom centre of each page.
  9. The cover page of your work should include the title, your name, and your contact details (address, phone and email).
  10. The first page of your work should include the title of your play, centered and underlined. No other page in the document should include your name.  Judges will read works ‘blind’ (ie. The cover page will be removed before they see the document)
  11. Below the script title should be a cast list, describing all characters in the play.
  12. Judging shall be done in two stages, with the top entries being formed into first a longlist and then a short list before final judging. In addition to the longlist by scoring criteria, a number of wild card entries may be selected to ensure representation of the diversity of material and writers submitted.
  13. Judging the longlist shall be done by current Little Wonder members and associates, and the shortlist by the Little Wonder writing team. The judging team will grade longlist according to originality, creativity and innovative use of the medium (that is, sound).  The shortlist will also take into account the writer’s ability to respond positively to feedback.
  14. Longlisted writers will receive short notes and feedback on their work, and the chance to revise and resubmit before the shortlist date.  Longlisted writers will be asked to respond to notes provided. Writers not responding to notes in a timely way may be disqualified.
  15. Shortlisted plays will be performed at a public reading in Paris
  16. Judging of the winner shall be done by Little Wonder Radio team, considering writers response to notes through long and short listing process, and the reaction and feedback in the public reading.
  17. The winner of #BBLWRP2019 competition will have their play recorded and published as a Full Cast Audio Drama within a year of the competition completion. Prior being confirmed as the winner shortlisted writers must agree not to record and publish their work through another medium within this period.
  18. Entries cannot be returned so please remember to retain a copy
  19. Entries must be an original piece of fiction and not an account of real events – either historical or current. However, stories can feature well known public figures from present day or from, take place in historical eras (e.g. the English Civil War) or use real-life experiences as a creative springboard as long as the story is FICTIONAL.
  20. The entrant warrants that they have not used material or depicted events that actually took place or used the personal details of any living persons in the story. As the stories will be published it is important that entrants do not include any personal details about themselves. The entrant must not include their name in the title or body of the story or on any page other than the cover page. Entries which do contain this information may be removed from the competition.
  21. All entries must be the original work of the entrant and must not infringe the rights of any other party. Little Wonder Radio Plays accepts no responsibility if entrants ignore these Terms and Conditions and entrants agree to indemnify Little Wonder Radio Plays against any claim by any third party from any breach of these Terms and Conditions.
  22. Little Wonder Radio plays are targeted at modern, discerning and adult Little Wonder Radio plays try to ensure as wide as possible writer discretion in content, subject, language and vernacular.   However little Wonder Radio plays reserve the right to disqualify any works which it considers defamatory, illegal in content or otherwise containing material making it unsuitable to broadcast.
  23. Entrants retain the copyright in their entries but grant to Little Wonder Radio Plays a perpetual non-exclusive royalty-free license to publish, broadcast (across all media) and post the entry online and on any other platforms yet to be envisaged. This license will be deemed to include all the necessary rights and permissions to enable such use by little Wonder Productions, to fulfil the prizes and to complete the administration of this competition.
  24. The competition operates on a right of first refusal.  By submitting your play you are granting us the right to publish your play, under the conditions described herein.  This right persists until as long as your play is still in competition.  Should you make it to the Shortlist, we will contact you directly to discuss publication of your play.  The winner will be published by Little Wonder.  Please do not submit your plays elsewhere, as you will be in breach of this condition.
  25. By submitting a story the entrant agrees that the Little Wonder Radio Plays may at its sole discretion edit, adapt, abridge or translate the entry for the purposes listed above.
  26. Little Wonders Radio’s decision as to each stage of this competition is final. No correspondence will be entered into.
  27. Little Wonder reserves the right to disqualify any entry which breaches any of these Terms and Conditions, or to withhold a prize if in its opinion entries do not reach the required standard.
  28. Little Wonder Radio plays reserves the right to amend these Terms and Conditions or cancel this competition at any stage, if deemed necessary in its opinion, or if circumstances arise outside of its control.
  29. Little Wonder Radio plays, its sub-contractors, subsidiaries, agencies and/or any other organization associated with this competition cannot accept any responsibility whatsoever for any technical failure or malfunction or any other problem with any server, Internet access, system or otherwise which may result in any entry being lost or not properly registered or recorded. Proof of sending is not proof of receipt.

Friday, May 3, 2019

Jewish Women's Theatre seeks short plays and monologues

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Okay, you’re Jewish, that’s a good start, but how “Jewish” do you have to write? When submitting material, consider the following parameters for your submission:

Please check the themes of the season and submit accordingly. We will not accept late submissions this year.  Thank you!

Sex Addiction & Love in the 21st Century
Deadline for submissions June 1st 2019

  • Please make sure your name and title of your work appear on your submission.
  • An element of Jewish resonance is important, but your submission does not need to feature being Jewish as the prominent theme or subject.
  • Feature women or a woman’s point of view, but not exclusively. Male characters are welcome.
  • Short one-acts (10 minutes max) and monologues (7 minutes max) are preferred.  Will read full-length, but unlikely will produce.
  • 1500 words or less preferred
  • Must be topical for the 21st century. While we consider plays set in another time period, we mostly select contemporary pieces.
  • Small cast a must. One-person shows okay.
  • Previously produced or published work is welcome. Please include production and/or publication history. A new version of a classic or an adaptation from another medium would definitely be of interest.

Although the primary focus of JWT is on the writing, music is often a part of our events. We encourage composers, song-writers, and performers to submit individual work. Musicals are welcome.

Submit your material to ronda@jewishwomenstheatre.org. Be sure to let us know the salon you are submitting for in the subject line of your email.

Thursday, May 2, 2019

INGENIO Milagro 2019

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Through INGENIO, Milagro seeks to create a space where Latina/o playwrights can develop their plays in a safe, supportive environment with mentors and artists to whom they can relate. INGENIO serves as an intrinsic step in the creation of new full-length theatrical works. Rehearsals and workshops culminate in concert-style readings and feedback sessions with audiences of theatre professionals and members of the public. Playwrights are strongly encouraged to be available to attend in person.'

CALL FOR SUBMISSIONS

Submissions are being accepted for INGENIO Milagro 2019, to take place September 15 – 22, 2019. Four plays will be selected, assigned directors and actors, rehearsed, and presented in concert-style readings over three days.

GENERAL GUIDELINES

  • Open to all Latina/o-identified playwrights
  • Original full-length plays, at least 70 minutes and no more than two hours in length
  • Plays can be in English, Spanish, or bilingual
  • Plays with over eight actors will require doubling; playwrights are asked to provide preferred casting breakdown
  • Chamber musicals will be considered
  • Published plays and those that have received, or are scheduled to receive, a full professional production are not eligible
  • Previously submitted plays that have received rewrites are welcome


TO SUBMIT

  • Scripts must be in PDF format and should follow the Dramatist Guild’s of America Traditional or Modern play format. Other than the cover page, the script shall have no identifying information about the playwright.
  • Include playwright’s biography (90 words/~580 characters), play synopsis (150 words/~975 characters), and play’s development history, if applicable.
  • Submit via email to ingenio@milagro.org no later than May 15, 2019. Selected playwrights will be notified by June 15, 2019.

Friday, April 19, 2019

2019 - 2021 I AM SOUL - PLAYWRIGHT RESIDENCY

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APPLICATION DEADLINE MAY 1

National Black Theatre (NBT), the nation’s first revenue-generating Black arts complex, was founded in 1968 by the late visionary artist and entrepreneur Dr. Barbara Ann Teer. Since its inception, NBT has been at the forefront of a broader movement of engaging the arts for social change, economic growth and transformation in innovative ways that build community. NBT is a leading institution engaged in intentional creative place- making by leveraging the power of theater arts with Black culture and creativity. Throughout its rich history, NBT has maintained a strong commitment to creating a space in which new and underrepresented voices can be brought to the forefront to provide unique and diverse perspectives on the myriad critical issues of equity and social justice that affect our nation today. During the last 50 years, NBT has produced over 300 original works, toured globally & launched international extensions, like the National Black Theatre of Sweden.

I AM SOUL - Playwright Residency, Launched in 2012, is the only program in the country that is dedicated to Black playwrights, whose work demonstrates exceptional artistic merit and excellence in the theatrical field, with a commitment to production. Coined as a dream MFA program this residency also seeks to unleash the soul of a playwright on the page so that they can develop, hone and explore new ways of artistic expression in a safe, supported and transformative environment. Alongside NBT’s Artistic Director, the selected playwright (s) will develop a new play during the eighteen (18) month residency. This process culminates with a Workshop Production in NBT’s following season.
With I AM SOUL, NBT seeks to deepen the artistic relationship between Black theatrical institutions and Black playwrights in order to re-establish Black theatrical institutions as the foremost supporters and producers of new works created by Black playwrights.

RESIDENCY COMPONENTS:
The I AM SOUL - PLAYWRIGHT RESIDENCY recognizes up to two Black playwrights annually. The chosen playwright(s) work must demonstrate exceptional artistic merit and excellence in the field.
The selected playwright will receive:

A min stipend of $5000 [pending funding]
Administrative support: Access to office space, and black and white printing
Artistic support: Dramaturgy, in-house readings, two 29-hour workshop
A workshop production in the 2020-2021 season for six public performances
Two Complimentary tickets to National Black Theatre productions that season, as well as additional services and opportunities that NBT has to offer.

ELIGIBILITY, CONDITIONS, & REQUIREMENTS:
• Applicants must be citizens or permanent residents of the United States.

 2019 - 2021 I AM SOUL - PLAYWRIGHT RESIDENCY

• Applicants for the residency may not have had more than two plays produced by professional theaters at the time of application or during the residency. These are defined as productions for which the author and primary artists (actors, directors, and creative collaborators) were compensated and received at least three public performances. Ten-minute or one-act plays and university, college, secondary school, amateur, and Equity showcase/waiver productions are not considered full productions. 


• TheIAMSOUL-PLAYWRIGHTRESIDENCYisavailabletoBlackplaywrights,21yearsofageorolder, who are citizens or permanent residents of the United States. 

• Students in K-12 educational programs or enrolled in undergraduate and graduate degree programs for playwriting are not eligible. 

• The resident playwright commits to spending the 18-month residency period by actively participating in the National Black Theatre community.
• The resident playwright commits to completing one full-length work, which will receive a workshop production at the National Black Theatre in the 2020-2021 season. 

• The residency period begins September 1, 2019 and ends March 31, 2021. All residency requirements must be met during that time.
• Work in partnership with NBT to curate a Playwright’s Workshop and/or Symposium open for the community to participate in.
• TheselectedplaywrightisrequiredtoserveontheSelectionCommitteeforthe20210-2022IAMSOUL-

PLAYWRIGHTS RESIDENCY.
• Applicantshavetocommittobeingpresentandactivelyparticipatingduringtherehearsalprocessofall workshop opportunities.

• Playwrights may not receive more than one residency at NBT through this program.

SELECTION PROCESS:

Applications are screened for eligibility by the National Black Theatre and evaluated by a selection committee of professional theater artists within the field who select the five to seven finalists. From that group the committee selects finalists that National Black Theatre’s Chief Executive Officer and Artistic Director will evaluate. The selected finalists receive a scheduled interview. Selection is based on artistic potential, commitment and originality. The selection process is guided by the National

Black Theatre’s mission statement:

Core Mission:
1. To produce transformational theater that helps to shift the inaccuracy around African Americans' cultural identity by telling authentic stories of Black lifestyle;
2. To use theater arts as a means to educate, enrich, entertain, empower & inform the national conscience around current social issues impacting our communities;

 2019 - 2021 I AM SOUL - PLAYWRIGHT RESIDENCY
3. To provide a safe space for artists of color to articulate the complexity, beauty & artistic excellence intrinsic in how we experience the world in the domain of acting, directing, producing, designing, play writing and entrepreneurial autonomy.

Guiding Principles:

HOME: The commitment to creating a destination dedicated to Black artists where they have a sense of being and belonging. For people of African descent, having an artistic home helps heal the wounds of historical displacement and forced migration that Black people have suffered in America ever since the establishment of slavery. “Welcome To Your Home Away From Home” -Dr. Teer

BRAVE AND SACRED: The establishment of a brave and sacred space connected to indigenous practices to welcome Black artists, activists, and NGOs within the field to exercise creative autonomy in taking risks to connect, support, train, and incubate artists.

BLACK LIBERATION: The unapologetic and intersectional love, celebration, preservation, cultivation, illumination, generation, and transcontinental connectivity of the African Diaspora.

HUMAN TRANSFORMATION: The act of creating and elevating the belief and practice that exposure to an intentional environment that celebrates and reveals the truth of the Black cultural experience and aligns it with our shared humanity promotes the purpose of liberation from systematic oppression for all people.

INTEGRITY: The incontestable practice of remaining mission-centered and engaging with others from an authentic space of honesty, love, and respect.

TO APPLY:
Using the subject line I AM SOUL - PLAYWRIGHT’S RESIDENCY, send an email to submit@nationalblacktheatre.org as a single PDF document, containing the following elements, arranged in this sequence:

1. AN APPLICATION COVER SHEET with the following information presented in clear format: NAME
COMPLETE MAILING ADDRESS HOME PHONE, OTHER PHONE EMAIL ADDRESS
PLAY TITLE
PLAY SYNOPSIS

If you are represented by an agent at that time of applying please make us aware and let us know who that agency is.

2. A WRITING SAMPLE: One full-length play that is at least 50 pages in length and has been written only by the applicant (no co-written submissions will be accepted). Please identify 20 pages that you would like for the panelists to read. Please note that the panelists are only required to read these pages. The submitted script must be a complete draft that represents your best playwriting. The submitted play should not have the playwrights name attached to it as the committee reads the plays as a blind submission.

3. Answer these following questions:
a. What inspires you and your work? [250 word max]
b. How important is collaboration within your process? [250 word max]
c. Why are you interested in doing this residency now? Incorporate three goals you wish to obtain
after going through a process like this. [500 word max]

4. A PLAYWRITING RESUME [listing all readings, productions, awards, commissions, etc.]

5. If Playwright is chosen as a finalist they will be asked to submit a one page single spaced proposal outlining ideas, story and/or subject matter they would want to focus their residency on creating. This must be a NEW play.

Name the application packet file with your last name followed by soulapp [Example: application packet sent by Jane Smith = Smithsoulapp.pdf)

Email your application packet by May 1, 2019 at 11:59 pm. No late applications will be accepted.
Receipt of application materials will be confirmed via email.

DEADLINE & IMPORTANT DATES:

Applications must be received by: Finalists will be notified on: Recipient(s) will be notified on: Residency term:
May 1, 2019 at 11:59 pm
June 5, 2019
July 10, 2019
September 1, 2019 - March 31, 2021

QUESTIONS:
Contact:
Program Coordinator : Belynda Hardin submit@nationalblacktheatre.org
CC: Kayla@nationalblacktheatre.org


Saturday, April 13, 2019

USC Bedrosian Center/Red Nation Celebration Institute seeks full length plays

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USC Bedrosian Center/Red Nation Celebration Institute is accepting submissions of full length plays written by American Indian/Indigenous authors.

Winners from outside of Los Angeles will receive travel and accommodations to USC in November 2019 to workshop their script with professional actors, director, and dramaturge.

This call for submission supports our mission to give opportunities for Native American and non-Native students to learn, collaborate, study, and amplify the stories of Indigenous peoples. We are offering a call for original scripts from Indigenous playwrights.

The selected play will be featured in the opening ceremonies of the 24th Annual Red National International Film Festival at the USC Bedrosian Center in November 2019. Travel and accommodation will be provided to playwrights outside of the Los Angeles area.

Plays with a message are preferred, though there is no preference of genre. There is no fee to enter a submission, only one submission per person.

Application requirements & instructions:
All materials for application are due July 1, 2019

Email submissions to RNCIMedia@gmail.com

The applicant must identify as American Indian or Indigenous and be over 18.
The front page of the script must list:
title of play
author’s full name
author’s date of birth
author’s home address
author’s email address
author’s phone number

Tuesday, April 9, 2019

KC Melting Pot Theatre is now accepting short plays

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KC Melting Pot Theatre is now accepting short plays (10-15 pages) for their inaugural New Works Development Festival. Six selected scripts will be assigned a director, professional cast and receive a week of rehearsals culminating in a short play festival at the end of the week.

One chosen play from the finalist will then receive a development opportunity to make their short play a full-length show and have a workshop production during 2020-2021.

The development process. At this time we are only accepting plays from African American / Black playwrights at this time.

Theme/topic can by anything however we are not accepting any musicals, children's stories or one-character plays.

1. One script per playwright

2. Please submit blind copies of your script (no identifying information on the script). Include playwright name and contact info in body of email.

3. Scripts should be in pdf or word document and written in standard play format. 12pt font in Times New Roman or New Courier.

4. Minimal tech and set requirements.

5. Playwrights will be responsible for their own travel and accommodations.

6. Submissions will be cut off after 100 entries.

7. Email your script to newplays@kcmeltingpot.com. Please include ONLY the script. No bios, resumes, synopses or headshots. 

Tuesday, April 2, 2019

New Voices Fellowship Program 2019

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Applications Now Open!
Deadline: Monday, April 15, 2019

The Lark is accepting applications for the New Voices Fellowship program, supported by The Jerome Foundation.

The New Voices Fellowship supports playwrights of color, age 30 or under, who demonstrate financial need. During a year-long residency, Fellows will work on multiple artistic projects through an individually-tailored program of Lark play development programs, and form relationships with other theatermakers at various career stages from all parts of the world. The Fellowship includes a cash award of $15,000, plus an Opportunity Fund of $3,000 for the purposes of travel, research, autonomous workshops, or other work-related expenses, along with access to a wide range of Lark resources, including artistic program participation, office and rehearsal space, and staff support.

In the 2019-20 cycle, The Lark will award two Fellowships.

Applications will be accepted from February 13, 2019 to April 15, 2019.  Selected fellows will be notified in June 2019.

The 2019 Fellowship period begins July 1, 2019 and ends June 30, 2020.

VISION

The New Voices Fellowship program is a critical component in The Lark’s acclaimed portfolio of fellowships. The portfolio is designed to engage a diverse community of extraordinary playwrights—at various places in their careers—who represent, collectively, a contemporary national vision. The Lark believes that targeted support to early-career playwrights from underrepresented backgrounds is essential to a culture of equity, access, and inclusion, and a national theater that represents the vibrancy of our collective cultural voices. New Voices Fellows will be in residence at The Lark as part of a community of artists at various career levels from across the country and around the world, gathered to explore and illuminate the most important issues of our time.

ACTIVITIES

Fellows will:

Work with Lark staff to identify individual artistic goals for the fellowship year, toward generating and developing new plays through a series of Lark programs appropriate to those goals;
Meet, collaborate, engage and work with a community of other professionals in the field, including playwrights, directors, actors, agents, producers, and other industry leaders as appropriate;
Participate in and/or observe a variety of Lark’s play development processes, whether on or offsite, including retreats, workshops, readings, etc.;
Receive support for the advancement and advocacy of work generated during the fellowship year, along with continued access to Lark development programs beyond the fellowship period.
FINANCIAL AWARD

Fellows will receive:

$15,000 fellowship stipend
$3,000 opportunity fund
Please note that the fellows will receive a Form 1099 for 2019 and 2020 and be responsible for their own taxes. Both stipends are taxable.

ELIGIBILITY

Fellowship applicants must:

  • Be legal residents of New York City;
  • Identify as playwrights of color, age 30 or under at the time of application;
  • Not be enrolled in a college, conservatory or advanced training program during the fellowship period;
  • Demonstrate financial need;
  • Make a case for how the Fellowship and participation in The Lark’s community would promote transformative artistic and professional growth.


APPLICATION:

Please submit the following in .doc or PDF form to newvoices@larktheatre.org:

  • A cover sheet, including your name, address, date of birth, phone number, and email address;
  • A current artistic resume, along with one personal or professional reference (listing the referee’s title or institutional affiliation, along with their phone number and email address). Referrer may be an artistic collaborator, professor, or educator familiar with you and your work;
  • A one-page Artistic Statement that describes (1) where you feel you are in your creative and professional life; (2) career goals; (3) a proposed strategy for using the Fellowship’s resources towards those goals;
  • A one-page Description of Financial Need, describing current income, expenses, and any outstanding financial commitments (such as student loans or other debt), including a statement on how the fellowship stipend might be used and why it would be transformative;
  • A ten (10) page sample of recent work that best represents you as a playwright (Sample may be an excerpt or self-contained 10-minute play). Finalists will be asked to submit a recent full-length play as additional support material.
  • Application Deadline: April 15, 2019


Finalists will be notified in May.  Selected fellows will be announced in June.

Saturday, March 30, 2019

Fade to Black seeks short plays by African Americans

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SCRIPT SUBMISSIONS WILL BE ACCEPTED TO APRIL 1, 2019.
  • No fee is required.
  • No restriction of theme or genre.
  • Three (3) scripts submissions are allowed per playwright.
  • Selected playwright winners will be awarded a cash prize of $100.00.

TO QUALIFY:
  • You must be the sole African-American author of the submitted work.
  • Playwright must publically and openly identify themselves as African-American, Black, or of the African diaspora.  
  • Previously published or produced work by the author or theatre/company is not allowed (See definitions below).
  • Play must run no longer than 8-10 minutes long on stage. Consider conducting an informal reading to ensure). 
  • Play should accommodate a “bare-stage” set requiring only a minimum of removable stage props and require basic lighting and sound cues.     
  • Play must not be a musical.    
  • Play must not be written for children or youth. 
  • Play must not contain characters that are under 17 years old.    
  • Play must not be a re-submission of previous Fade To Black play festival seasons. 
  • Play must not be considered a translation or adaptation.
  • Play must not be a film. Screenplays will not be accepted.  
  • Play should be "stand-alone", separate body of work that has not been extracted from a larger, previously written play.
  • Author must be at least 18 years of age.  
  • Play must be submitted in a PDF format. 


TO SUBMIT:
See submission link: https://monologuebank.submittable.com/submit/75ef900d-f987-4e0f-801d-934965b19f69/fade-to-black-play-festival-2019

Upload pdf of original work.

 DEFINITIONS:

"Produced” - Your play was marketed for production date(s) by either you (its playwright) or a theatre company and was performed before an audience who purchased tickets to see the event.  

"Published" - Your play is an officially published work and commands royalties from the producing theater each time it is performed.

Staged readings (formal or informal) are not considered productions. If your play has only had public or private readings but has not been produced as a full-scale stage performance, you are permitted to submit the play.

FAQ

Q. My plays were performed for at no charge to the audience and I did not get paid. Are they eligible for submission? 
A: We diligently research all plays submitted to ensure compliance. Whether payment was received or not, if the performance is not considered as a "reading", it is ineligible for submission. All plays selected have been certified as world premiering new works.

Q: Am I required to attend the festival to have my play produced? 
A: No. You are not required to attend. Fade To Black will cover the full cost of producing, marketing and professionally filming your play.

Q: Will you pay for my travel to Houston, room, board, food, and transportation if I am a selected playwright? 
A: The experience of the Fade To Black Play Festivals is amazing! We encourage you to attend and meet the vast community of artists that will bring your play to life, but we are not able to cover cost outside of the $100.00 honorarium each winning playwright will receive at this time.

Q: Could you expound on "bare-stage"?
A: We have a relatively small area for prop/set piece storage. We must set and strike the stage within 30-60 seconds for each play so your play should be free of the need for excessive props, furniture and major appliances (i.e. stove, refrigerator).  Your play should be very easy to mount.

Q: My play takes place in several different locations, cuts across various chronological timeframes, has lavish special effects and involves a large number of extras. 
A: This may be seen as film disguised as a play. Ideally, your play should be set in one location and if absolutely necessary, one additional "implied location". It should have no more than 5-7 characters. Most things can be adapted for stage performance, but if your piece is really a film, it will not be accepted. You must adapt screenplays into a format that will perform well on stage.

Q: I have the appearance of children written into my play. Will this be OK?
A: No. Your play must not contain characters or extras under the age of 17.

Saturday, January 12, 2019

Ain't I a Woman Playfest

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Play must be an original, unpublished and unproduced piece written by a Woman-of-color  playwright (female-identified, transsexual, transgender, or gender-queer encouraged to apply).
Maximum Length: 10-12 pages not including title page. Play should run in the 10-15 minute range.
Submissions should require minimum set, costume and technical needs.
Submissions should have a title page with the following information:
                                       
*Playwright's name
*Mailing Address
*Phone Number
*Email Address​

Submission must be submitted as a PDF to aintiwomanfest@gmail.com by January 31, 2019 .
Email header should read: SUBMISSION: AIN'T I. YOUR NAME. TITLE OF PLAY      

Thursday, November 22, 2018

Blackboard play submission guidelines

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We are looking for new work by Black Playwrights throughout the African Diaspora that tell stories of the Black experience.

Why Blackboard: With a home in Manhattan’s Chelsea, your featured reading will be in a gorgeous townhouse setting, Nancy Manocherian’s the cell, complete with a mini reception and followed by a 20 minute talk-back.  Additionally, we will record a podcast interview with you.

Please fill out the form before and upload 10 pages.

Thank You for your interest in Blackboard Plays, devoted to the stories of Black Playwrights throughout the African Diaspora.  Answer the questions below, upload your play and the donate the optional submission fee.

We will contact you regarding your submission within 1 month.

A Note: PLEASE ONLY SUBMIT 10 PAGES of dialogue that best represents your play.  You will also be submitting a synopsis so we will know what the entire play is about.  If interested in moving forward, we will request the entire script.

Any questions: info@blackboardplays.com

Wednesday, October 31, 2018

TBT seeks plays by Latinx writers featuring Latinx characters

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​TBT is dedicated to producing staged readings of full-length new work. For our purposes, "new work" means that the play has never been fully produced. Previous readings and workshops do not render the piece ineligible. We are creating a forum for conversation, and as such we are seeking plays that raise questions about pertinent social, political, or environmental issues of our time.

The next call for submissions is open through October 31. We are seeking plays by Latinx writers, featuring Latinx characters. As always, submitted plays should touch on pressing social, political, and/or environmental issues.

At the beginning of November, we will commence our play selection process. We will announce the chosen play in January. The reading will take place in Santa Ana, California in Spring 2019. While we highly encourage playwrights to attend the reading of their play, we understand that it may be impractical or impossible in some cases and do not require it. We encourage both local and non-local playwrights to submit.

In addition to a desire to foster conversation within our diverse community, TBT also seeks to support new voices in American theatre and local artists. As such, the playwright of the selected work will receive a writer's fee and will not be responsible for the payment of actors and directors nor the rental of spaces. Please note that TBT cannot provide any additional funds for travel or lodging, though we may be able to help arrange either.

To submit your play for consideration, click this SUBMISSION FORM link. Be prepared to answer some basic questions about you, your play, and the important issues your story addresses. You will be asked to upload your full script in PDF form, and we ask that you include a title page and use the file name format LASTNAME_TITLE.pdf.

PLEASE READ THESE ELIGIBILITY GUIDELINES CAREFULLY. ANY SUBMISSION THAT DOES NOT FOLLOW THE GUIDELINES WILL NOT BE CONSIDERED. These guidelines will also be posted directly on the submission form.

Talk Back Theatre currently accepts submissions via Google Forms. If you do not have a Google account or prefer not to submit through Google, you may email us for an application form to submit to us directly. DO NOT EMAIL YOUR SCRIPT WITHOUT AN APPLICATION FORM. It will not be accepted.

1. Submissions must address or highlight a pertinent social, political, or environmental issue.
Use your best judgement when selecting a play. Think about what important issues the audience and panel might discuss after the reading. Examples of topics might include immigration, women's rights, gun violence, political corruption, racial justice, disability rights, or LGBTQIA* equality, just to name a few.

2. Playwrights should identify as Latinx and the play should feature at least one Latinx character.
This time around we are seeking plays specifically representing a Latinx voice. Please do not submit your work unless you identify as Latinx.

3. Plays must be in English or up to equal parts English and Spanish.
We are not currently accepting submissions that are Spanish-only, but encourage scripts that are bilingual.

4. Submissions must be full-length plays.
This includes plays of one or more acts that are not significantly shorter that 75 pages. We are seeking plays that are over one hour in performance. This excludes 10-minute plays, stand-alone scenes, and one-act plays significantly shorter than 75 pages. We do not currently accept musicals.

5. Submissions must be unproduced scripts.
For our purposes, previous workshop performances or staged readings do not count as productions.

6. Submissions must NOT be one-person shows.
Talk Back Theatre is not currently producing readings that feature only one performer, even if that piece fits the other guidelines listed.

7. Submissions should NOT rely heavily on extensive movement/dance or media (projections, music, etc.).

Scripts are not disqualified for including any of these elements. However, our readings have minimal blocking and we cannot accept scripts that require dance or other serious movement (including fight choreography), nor can we accept scripts the require projections or other media, including music. If you do not believe your script can or should be presented without any of these elements, please choose a different play to submit.

Wednesday, October 3, 2018

Call for Unproduced Latin@/x Plays

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Submission Deadline: Sunday, October 14, 2018

The 50 Playwrights Project (#50PP) is currently soliciting unproduced plays by Latin@/x playwrights for our third annual 50PP’s Best Unproduced Latin@/x Plays List. We are compiling a list of unproduced plays that theatre companies should be producing. Only plays that will be unproduced as of March 1, 2019 are eligible.

#50PP Script Guidelines:

* The script is a work by a Latin@/x playwright.

* The script is an original full-length work.

* The script can be in English or Spanish.

* The script cannot have been produced before March 1, 2019.

* Playwrights can only submit one script.

Submission Information:

*Playwrights must submit their script in a PDF file via email by Sunday October 14, 2018 before midnight CST, with the submission information requested below. Please include your name on the script. We no longer accept blind submissions.

*In addition to the script, please submit a cover sheet with the following information (in a separate PDF file): Playwright name, email address, phone number, bio (150-words), title of play, synopsis of the play (150-words), character breakdown, and information about any prior development work for this play.

*Selected plays will be announced in late-February 2019.

*Email submissions to: 50Playwrights@gmail.com

*Email subject line: Last Name, First Name (Play Title)

Selection Committee: Will be announced in early October!

Sunday, August 19, 2018

CLUBBED THUMB OPEN-APPLICATION COMMISSIONING OPPORTUNITY FOR WRITERS OF COLOR

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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

Thursday, August 9, 2018

Tall Tales DC Productions seeking full length and short plays by South Asian playwrights

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Tall Tales DC Productions is seeking contemporary full length and short plays by South Asian playwrights not previously produced in the DC Metro area.

Simple production requirement and a cast of no more than 5.

Submit script as a PDF attachment to an e-mail with a cover letter that includes a brief synopsis of the piece, as well as any history of the production.

NO SUBMISSION FEE.

A stipend will be paid for selected work.

Email scripts and cover to info@talltalesdc.productions

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

Saturday, August 4, 2018

NEWvember Dublin New Plays Festival

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NEWvember is a festival of rehearsed readings of new plays that will take place over three days at the New Theatre in Dublin’s Temple Bar. There is no fee for submissions and all plays are read blind of name or gender by our panel.

The spirit of NEWvember is to provide a dynamic, interactive and comfortable place where writers can hear their plays read by professional actors and discuss their work and creative process. The first five festivals, co-produced with Tangent Theatre, took place in the historic village of Tivoli (in upstate New York) with our first Dublin based festival in 2017 at the historic Belvedere House.

In 2018 NEWvember will be hosted in the rehearsal rooms of the New Theatre in Temple Bar.

CRITERIA FOR SUBMISSIONS

  • submitted plays should be previously unproduced (we will consider plays that have had readings before but are still in development)
  • plays should have a cast size of 2-8
  • plays should have a running time of 30 to 120 minutes
  • we will only accept one submission per writer each year
  • we are interested in plays from playwrights based in Ireland, and Irish playwrights around the world
  • we ask that the writers of the chosen plays attend the reading of their play towards its further development and to be present for a post-reading Q&A with the audience
  • there is no fee for submissions
  • while we are open to all styles and subjects, we do have a preference for narrative and character-driven stories. Plays will be selected based on their originality, range, production potential, narrative quality and emotional resonance
  • your play must be submitted as a PDF (via the online form) without the writer’s name, email or other identifying marks on any page throughout the script, and should include a character list. Please ensure the file name of your play matches the name of the play e.g. theweir.pdf
  • The window for submissions opens Friday July 27th 2018.
  • The closing date for submissions is Friday August 17th 2018 (12 midnight GMT).
  • Please note that these criteria will be applied strictly and any submissions made after the closing date or not following the submission guidelines will not be considered. In addition, our festival’s reading panel will not be able to provide feedback on specific plays or on the status of your application.

The writers of the plays that have been shortlisted will be contacted in early September and will be asked to send any updated version of their play, as this will be the final version considered and the version read at the festival if chosen.

The invited plays will be announced in October.

CASTING: Please note – the chosen plays will be read by an ensemble of actors, each performing roles in multiple plays in the festival. While we will endeavor to provide the best match of cast for each play that is read, in terms of characters’ listed ages/ethnicities, we also need to form an ensemble to best cover the entire range of the festival’s program. We appreciate our playwrights’ understanding of our ensemble-based casting.

Wednesday, July 18, 2018

Native Voices at the Autry Call for Scripts 2018-2019

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*Please note that we only accept submissions written for the stage or theatre by Native American, Alaska Native, Native Hawaiian, and First Nations artists.

For Short Plays

Deadline: July 20, 2018

Short plays submitted by July 20, 2018 will be considered for Native Voices’ 8th Annual Short Play Festival, to take place in November 2018 at the American Indian Arts Marketplace at the Autry in Los Angeles. Read more about the theme for the Short Play Festival below.

The 8th Annual Short Play Festival

Whet your appetite for clever, funny, dramatic, and thoughtful 10-minute scripts – the theme of this year’s short play festival is FOOD. It brings us together as families, it can be both a commodity and a lack. Frybread… delicious, disastrous, or both?

FOOD… culture is delicious.

The theme of the 8th Annual Short Play Festival is FOOD. Native Voices invites playwrights to answer the question: what’s on the table in Native country? Like music or dance, food is a cultural expression. Food can be as simple as what’s served for dinner, as complicated as the legacy of frybread, or as devastating as water shortages and climate change on subsistence hunting and traditional ways of harvesting a living from the land. Plays can be fun-spirited or political, funny or dramatic. Scripts that are longer than 15 pages or read aloud at longer than 10 minutes will not be accepted. Fresh, surprising perspectives are welcome, and unique theatricality is a must.

Selection Process: Short plays (15 page maximum) that are related to the theme and are received by July 20, 2018 will be read and evaluated by a national reading panel comprised of Native American theatre artists and community members along with nationally-recognized theatre artists. The panel will select 5 to 8 plays for the festival based on the creative use of the theme, originality, theatricality, structure, and execution.

Selected plays will be given a staged reading on November 11, 2018 as part of the Autry Museum of the American West’s American Indian Arts Marketplace.  A panel of judges will select the 2018 Von Marie Atchley Award for Excellence in Playwriting, a $1,000 cash prize!

Plays that are longer than 15 pages will not be considered for the Short Play Festival. Please note that the Short Play Festival is only open to Native American, Alaska Native, Native Hawaiian, and First Nations Playwrights.

Plays must be submitted using our online submission form and in the correct format. Please see our “Checklist for All Submissions” below for further details.

For Full-Length Plays

Deadline: August 10, 2018

Native Voices is currently accepting submissions of full-length plays (60+ pages) by Native American, Alaska Native, Native Hawaiian, and First Nations playwrights addressing all themes and topics.

2019 Playwrights Retreat and 25th Festival of New Plays

The Retreat and Festival bring artists to Los Angeles to work on 3–5 plays through a rigorous directorial and dramaturgical commitment for 8–10 days in May/June. The retreat culminates in public presentations of the plays at the Autry Museum of the American West in Los Angeles and La Jolla Playhouse in San Diego. Selected playwrights receive directorial and dramaturgical support as well as an honorarium; out-of-town artists receive roundtrip airfare plus lodging in Southern California.

Selection Process: Full-length plays (60+ pages) received by August 10, 2018 will be read and evaluated. A select number of playwrights will be invited to submit formal proposals detailing their developmental goals should their play be chosen for the short list. Scripts will then be sent to a committee of nationally recognized theatre artists for further evaluation. With their help, Native Voices selects up to five plays for the Playwrights Retreat and Festival of New Plays. Playwrights will be notified in December 2018.

2019 Submission for Production Consideration

Do you have a full-length script that has been developed and produced that you’d like us to consider for a future Native Voices production in Los Angeles? Please follow the Checklist for All Submissions below and in the Native Voices Script Submission form check the box for 2019 General Submission for Production Consideration.

A Note About the Native Voices Distance Dramaturgy Process

Months prior to residencies at the Playwrights Retreat and Festival of New Plays, selected playwrights participate in dramaturgical conversations with an assigned director and dramaturg. Workshops with these creative teams and a cast of professional actors commence once the playwright arrives on-site. It is important to note that these conversations and workshops are playwright driven, allowing the writer to shape his/her own developmental path. Selected playwrights should be prepared to dedicate adequate time to this process prior to arriving on-site.

Checklist for All Submissions

Please label script attachment as follows: PlayTitle_Author’s Last Name, First Initial (Example: MyNewPlay_Doe, J.doc).

All submissions must conform to a standard play-script format (one-inch margins, #12 Times or Courier font, all pages numbered).

Include a title page with full contact information (mailing address, phone numbers, e-mail address) and a draft or revision date.

Include a character breakdown at the beginning of your script.

Provide a biography of 75–100 words. Please label attachment as follows: Bio_Author’s Last Name, First Initial (Example: Bio_Doe, J.doc).

Provide a press ready photo of at least 300dpi.  Please label attachment as follows: Photo_Author’s Last Name, First Initial (Example: Photo_Doe, J.doc).

Provide development history for the play. Label attachment as follows: DevHistory_PlayTitle_Author’s Last Name, First Initial (Example: DevHistory_MyNewPlay_Doe, J.doc).

To submit, fill out our online form and upload your submission materials here: Native Voices Script Submission Form

Please do not send treatments or outlines. Previously submitted plays should only be resubmitted if the play has undergone significant dramatic changes. Previously produced plays should be submitted under the 2019 General Submission for Production Consideration. Plays that are not selected are kept on file for consideration for future opportunities. Playwrights are encouraged to make multiple submissions (up to three per event), but selection will be limited to only one play per playwright, per event.

Where to Send Submissions

We now only accept electronic submission (preferably PDF format).

To submit, fill out our online form and upload your materials here: Native Voices Script Submission Form

Sunday, July 15, 2018

The Tank Lit Council

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APPLICATION DEADLINE: AUGUST 3
PLEASE CLICK HERE FOR THE APPLICATION FORM

In partnership with The Tank, LIT Council is a development intensive for Male Playwrights of Color. During their time with the Council (September 2018 through April 2019), writers will hone a play guided by the Bechdel Test to ensure gender equity in storytelling. The program will culminate in a reading workshop of each participant’s play, hosted at The Tank (312 West 36th Street between 8th and 9th Avenue). In order to further promote collaboration and communication between genders, each play will be attached to a female director of color, chosen from a group of professionals and mentors, who will be active presences throughout the process.

For each session, participants will receive feedback and mentorship from 3 professional Facilitators: Beto O’Byrne (playwright-in-residence at Stella Adler; 2050 Playwriting Fellow at New York Theatre Workshop), Jerome A. Parker (MacDowell and Dramatist Guild Fellow), and Akin Salawu (Inaugural Emerging Writers Group at The Public Theater; two-time Tribeca All Access Winner) are all writers of color with working experience in the industry and theatrical credits in New York City and around the country. They created LIT Council with the Tank to have a professional setting where whiteness is de-centered and the “white gaze” isn’t a deterrent or the raison d’etre for a play’s birth, voice and steps in the world. Participants will be pushed to create works where female characters are given equal weight to their male counterparts and also supported to stretch their voice in writing for, and collaborating with, women.

LIT Council seeks daring applicants of color from all levels, and ALL who identify as male, to work on a play already in progress. The chosen participants will demonstrate great appetite and aptitude for crafting uncompromised stories, while understanding the pressing need to represent “other” voices, especially those of women, fully in their work. As this is a collective, the Council looks for artists not only with experience in taking the reign of their own creative process, but also with a desire to collaborate with the other participating artists in the room. The Tank is located in New York, so applicants need to be NYC-based in order to participate in weekend meetings, readings and other program-related events.

Friday, June 29, 2018

National Native American Ten Minute Play Festival

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The Festival will take place August 1 - 5, 2018 in Saint Paul, Minnesota.

Playwrights please include on the cover page of your play:

  • Your name.
  • The name of your play.
  • Tribal affiliation or GPC Coordinates of your indigenous tribal community.
  • Indicate if you are enrolled or descendant.

Submissions open until June 30th. No exceptions for late submissions.

Send your scripts to info@newnativetheatre.org with the subject PLAY FESTIVAL SUBMISSION>

All plays must be ten minutes or shorter. Plays about the Minnesota and Upper Midwest are encouraged but not necessary.

For more information please email info@newnativetheatre.org

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