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Sunday, October 15, 2017

Puffin Foundation Grant Award

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For the upcoming 2018 cycle we will review grants only in the following fields: Music, Photography, & Theater. The Puffin Foundation Ltd. continues to make grants that encourage emerging artists whose works might have difficulty being aired due to their genre and/or social philosophy. Your potential application should meet this criteria. You can find out additional information about our grants using the FAQ section of the website located under the 'Grants Info' tab.


Application forms are not available electronically, but can be requested by sending a SASE (#10 business letter sized, self-addressed stamped envelope) to the address below beginning in September 2017. Requests for application forms must be received by December 12, 2017

Completed applications for the 2017 cycle will be accepted from November 1st until the deadline of December 30, 2017 postmarked by midnight. Applications postmarked after this date will not be reviewed.

After September 1st, to receive an application packet please send a SASE (#10 self-addressed stamped envelope) to:

Puffin Foundation Ltd.
Application Request
20 Puffin Way
Teaneck, NJ 07666-4111

The Foundation requests that previous grantees allow a one-year hiatus prior to reapplication. This allows our grants to be available to an even wider number of applicants. Applicants may only submit one proposal per year. Requests for the same project should not be made by multiple applicants.

Grants from the Puffin Foundation, Ltd. can only be awarded to permanent residents and citizens of the United States. U.S. citizens whose projects encompass work in other countries are still eligible to apply.


We are not able to provide status reports about the disposition of submitted applications, so PLEASE do not call seeking such information. Applicants will be notified on an ongoing basis about the decision on their application from January 15th through July.

The Foundation does not have the means to fund large film/documentary proposals, grants for travel, continuing education, or the writing or publishing of books. Average grants are approximately $1,250. The maximum grant size is $2,500. Please note that organizations with an annual budget of more than $500,000 and any project whose total budget exceeds $250,000 are not eligible for funding.

We thank you again for your interest.

Respectfully,

Gladys Miller-RosensteinGladys Miller-RosensteinExecutive Director

Saturday, October 14, 2017

Call for Unproduced Latin@ Plays

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Submission Deadline: Sunday, October 15, 2017

The 50 Playwrights Project (#50PP) is currently soliciting unproduced plays by Latin@ playwrights for our second annual 50PP’s Best Unproduced Latin@ 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, 2018 are eligible.

#50PP Script Guidelines:

* The script is a work by a Latin@ 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, 2018.

* Playwrights can only submit one script.

Submission Information:

*Playwrights must submit their script in a PDF file via email by Sunday October 15, 2017 before midnight CST, with the submission information requested below. Playwright information, including name, should not be included anywhere in the script. We only accept blind submissions.

*In addition to the script, please submit (in a separate PDF file): Playwright name, email address, phone number, title of play, a 100-word overview of the play, and a brief autobiography/playwright background.

*Selected plays will be announced in late-February 2018.

*E-mail submissions to: 50Playwrights@gmail.com

The Female Gaze seeks monologue

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DEADLINE: 8TH JANUARY 2018

The Female Gaze is an online film magazine run by playwright Sarah Gonnet. Our entire staff of contributors are women or of a non-binary gender. We feature reviews and longer pieces on film and TV. You can find us here: https://thefemalegazemagazine.wordpress.com/ .

So why an open call for monologues?

To further its work highlighting the key role women play in the film world; the staff at The Female Gaze have decided to put together a play about the history of women in film. The idea is that the play would be performed live, alongside workshops about women in film and a published version of the script.

How will the play work?

The play will be made up of monologues (written by people from this open call), joined together by a narrative (written by Sarah Gonnet).

At the end of this document you will find a list of women in film. These are directors, actors, producers, screenwriters, critics and theorists from a wide range of backgrounds. They are the women I am asking you to write a monologue about for this submission. The monologue should have only one character speaking, and this does not have to be in the voice of the woman you have chosen; instead it might be someone the woman knows, or a fictional character which you make up, as long as they are speaking about the woman you have chosen.

I would suggest you pick a woman at random from the list and do a quick Wikipedia search on them to see if you are interested in them (and if you’re not repeat until you find someone you are interested in.) We are not expecting monologues back on all women from the list, there will only be a limited amount of space in the play. The list is there so that there is a wide choice of women. However if there is a woman you are desperate to write about, who isn’t on the list, go for it.

After the deadline, ten monologues will be chosen for the final play. Remember that if you choose to write about one of the more obscure women on the list, there will be less competition. If there are more than ten monologues which we want to use, there will be other ways to utilise some more of the work- for example in workshops and in the printed book of the project.

How long do I make my monologue?

We are looking for monologues of five minutes in length. This is about three pages. We will
not be able to consider monologues longer than four pages.

Who can submit work?

If you currently express your gender as female, or non-binary, you are welcome to submit a piece. We are looking for women from a wide range of backgrounds. LGBTQ+ and BAME women are encouraged to apply, as are women of all ages.

The play will be performed in the North-East of England, but you don’t have to live here to apply.

We are also looking for further collaborators on the practical side of things. If you are a theatre company, theatre venue or independent cinema (or any other kind of potential collaborator) and you are interested in the project, we would love to hear from you.

Where do I send my submission?
sarahgonnet44@outlook.com
When is the deadline?
8th January 2018

The List:
 I would suggest you pick a woman at random from the list and do a quick Wikipedia search on them to see if you are interested in them (and if you’re not repeat until you find someone you are interested in.)

  • Lois Weber: ACTOR and SCREENWRITER and PRODUCER and DIRECTOR- A FEATURE FILM (1879-1939)
  • Germaine Dulac: DIRECTOR and FEMINIST (1882-1942)
  • Fatma Begum: ACTOR and RAN HER OWN PRODUCTION COMPANY
  • Dinah Shurey: DIRECTOR and PRODUCER (1888-1963)
  • Daisy Burrell: ACTOR (1892-1982)
  • Mary Pickford: ACTOR and PRODUCER (1892-1979)
  • Lillian Gish: ACTOR (1893-1993)
  • Bryher: CRITIC (1894- 1983)
  • Iris Barry: CRITIC (1895-1969)
  • Djuna Barnes: CRITIC (1892-1982)
  • Dorothy Arzner: DIRECTOR and INVENTED THE BOOM MICROPHONE (1897-1979) JuanitaHall: ACTOR (1901–1968)
  • Leni Riefenstahl: DIRECTOR (1902-2003)
  • Muriel Box SCREENWRITER and DIRECTOR (1905-1991)
  •   Alice Guy-Blaché (1873-1968)
  •  FIRST FEMALE DIRECTOR OF
  • DIRECTOR OF FIRST EVER NARRATIVE FILM
  •  Ruby Grierson DOCUMENTARY DIRECTOR (1904-1940) Lorenza Mazzetti DIRECTOR
  • Louise Beavers: ACTOR (1902 – 1962)
  • Tazuko Sakane: DIRECTOR (1904-1975)
  • Brigitte Helm: ACTOR (1906-1996)
  • Vivien Leigh: ACTOR (1913-1967)
  • Kay Mander: DOCUMENTARY DIRECTOR (1915-2013)
  • Ingrid Bergman ACTOR (1915-1982)
  • Margaret Tait DIRECTOR (1918-1999)
  • Pauline Kael CRITIC (1919-2001)
  • Ngozi Onwurah DIRECTOR
  • SetsukoHara:ACTOR (1920-2015)
  • JaneWhite:ACTOR (1922-2011)
  • Carol Morley: DIRECTOR and SCREENWRITER (1926--)
  • Jane Arden: ACTOR and DIRECTOR and SCREENWRITER (1927-1982) Agnes Varda: DIRECTOR (1928--)
  • Susan Sontag: CRITIC (1933-2004)
  • Carol J. Clover: CRITIC (1940--)
  • Laura Mulvey: THEORIST and DIRECTOR (1941--)
  •  Pam Cook: CRITIC (1943--)
  • Rita Mae Brown: SCREENWRITER (1944--)
  • Sally Potter: DIRECTOR (1949--)
  • Penny Woolcock: DIRECTOR (1949--)
  • Kim Longinotto: DIRECTOR (1950--)
  • Kathryn Bigelow: DIRECTOR and PRODUCER and SCREENWRITER (1951--) bell hooks: CRITIC (1952--)
  • Jane Campion: SCREENWRITER and DIRECTOR and PRODUCER (1954--) Annie Billson: CRITIC (1954--)
  • Pratibha Parmar: DIRECTOR (1955--)
  • Mira Nair: SCREENWRITER and DIRECTOR (1957--)
  • Callie Khouri: SCREENWRITER and PRODUCER and DIRECTOR (1957--) Mieko Harada: ACTOR (1958--)
  • Joanna Hogg: DIRECTOR and SCREENWRITER (1960--) JillSoloway:SCREENWRITER (1965--)
  • Lana Wachowski SCREENWRITER and DIRECTOR (1965--)
  • Sarah Turner DIRECTOR and THEORIST (1967--)
  • Lynne Ramsey: DIRECTOR (1969)
  • Lee Young-ae: ACTOR (1971--)
  • Sofia Coppola: SCREENWRITER and DIRECTOR and PRODUCER (1971--)
  • Ava DuVernay: DIRECTOR and SCREENWRITER (1972--)
  • Laverne Cox: ACTOR and ADVOCATE (1972--)
  • Courtney Kemp Agboh: SCREENWRITER and PRODUCER (1977--)
  • Desiree Akhavan: ACTOR and DIRECTOR and SCREENWRITER and PRODUCER (1984--) Alice Lowe: ACTOR and SCREENWRITER and DIRECTOR (1977--)
  • Anna Biller: DIRECTOR AND SCREENWRITER
  • Ana Lily Amirpour: DIRECTOR and SCREENWRITER and ACTOR and PRODUCER Julia Ducournau: DIRECTOR and SCREENWRITER (1983--)

 

Friday, October 13, 2017

PRIMARY STAGES: Everything is Action (Throwback)

10th Anniversary Throwback: Everything is Action with Martyna Majok
A Primary Stages ESPA Classic Workshop, offered in honor of our 10th anniversary

Character. Setting. Stakes. Ideas. All manifestations of the most fundamental elements of playwriting: dramatic action. This workshop will explore the ways in which "action" supports each of the essential building blocks of a play that summon a complete theatrical world. Led by Martyna Majok, you will explore through exercises and discussion with the group how to effectively create dramatic action as it applies to the structure, pacing, and world of the play.

Instructor: Martyna Majok (Writer, Cost of Living at MTC, Ironbound at Rattlestick/Women's Project)
Saturday, November 4 and Sunday, November 5
2:00pm – 6:00pm both days

Flexible, outrageously affordable Payment Plans available.

Primary Stages ESPA is a home for all artists, in all stages of their careers. For more information, call 212.840.9705 x215 or email espa@primarystages.org.

FUTUREFEST 2018

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$20 submission fee. This fee will be waived for members of the Dramatists Guild. Checks and money orders should be made payable to “Dayton Playhouse”. 
ELIGIBILITY
Entry must be an original work (NO musicals or plays for children) that has not been published or produced where admission was charged prior to FF 2018. Staged readings/workshop productions are not necessarily disqualifying factors.

DEADLINES
Submissions will be accepted August 1 through October 31 (postmark).

SCRIPTS
Submit a blind copy (no name/contact info) of your script,in standard play format with pages numbered. After the title page include a brief synopsis, character breakdown, setting, and scene breakdown, if applicable. Your script(s) should be accompanied by a cover letter, including playwright contact information (address, phone #, e-mail address) and resume. If applicable, also submit a photocopy of your Dramatists Guild membership card.

Please note that entries that do not comply with our guidelines will be disqualified. Scripts may be submitted electronically or via Media Mail. Eliminated scripts will not be returned. Script evaluations will not be provided.

CONSENT
Playwright gives the Dayton Playhouse permission to photocopy scripts for reading/production purposes.

Should your script be selected and produced as one of the six finalists, you must be available to attend the weekend festival (July 20-22, 2018) and participate in all events. Finalists must acknowledge the Dayton Playhouse when script is published. The winning playwright awards the Dayton Playhouse the option to produce the winning play as part of its main stage season royalty free.

AWARDS
A $1000 honorarium will be awarded to the winning playwright; runners-up each receive $100. The Dayton Playhouse provides the six finalists travel (within the continental U.S.) to Dayton and housing for FutureFest weekend.

SELECTION PROCESS
Each entry is guaranteed a minimum of three reads. The original play readingcommittee, following many months of discussion and voting, narrows down the entries to 15 – 18, which are then read by the entire committee before they select the 12 semi-finalists. A second committee selects the six finalists. During FutureFest weekend, the plays are staged and publicly adjudicated by a panel of five theatre professionals (New York based and regional). Following the final production of the weekend, the adjudicators vote and select the winner.

FINALISTS
Finalists will be posted on the Dayton Playhouse website (www.daytonplayhouse.com) in May 2018.

SUBMIT TO
futurefest@thedaytonplayhouse.com or Dayton Playhouse FutureFest, P.O. Box 3017, Dayton, OH 45401-3017.

QUESTIONS
Contact Fran Pesch, FutureFest Program Director, at 937-424-8477, or email futurefest@thedaytonplayhouse.com

EST/Sloan Project

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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

Thursday, October 12, 2017

2018 Van Lier New Voices Fellowship

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Application Guidelines

VISION

The Van Lier 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. Van Lier 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.

DESCRIPTION

The Lark is accepting applications for the third round of its Van Lier New Voices Fellowship program, supported by The New York Community Trust’s Edward and Sally Van Lier Fund.

The Van Lier New Voices Fellowship supports playwrights of color under 30 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 up to $3,000 in health insurance premium reimbursement, along with access to a wide range of Lark resources, including artistic program participation, office and rehearsal space, and staff support.

In the 2018 cycle, the Lark will award two Fellowships.

Applications will be accepted from August 15 to October 31, 2017.
Selected fellows will be notified in early December 2017.

The 2018 Fellowship period begins January 1, 2018 and ends December 31, 2018.

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 health insurance stipend
Please note that the fellows will receive a Form 1099 for the 2018 calendar year 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 under the age of 30 at the time of application;
Not be enrolled in a college, conservatory or advanced training program during the fellowship period;
Not be a previous recipient of a Van Lier fellowship at The Lark or any other organization;
Demonstrate financial need; and
Make a case for how the Fellowship and participation in The Lark’s community would promote transformative artistic and professional growth.

APPLICATION:

Please submit:
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.
Finalists will be notified in November.  Selected fellows will be announced in December.

Applications may be emailed in MS Word or PDF to VanLierNewVoices@larktheatre.org

Electronic submissions are encouraged.   Mailed submissions can be sent to: The Lark, Attention: Van Lier New Voices Fellowship, 311 W. 43rd Street, Suite 406, New York, NY 10036.  Applications are due October 31, 2017.

If you have accessibility questions about the application process please contact Accessibility Coordinator Megan McClain at meganm@larktheatre.org or (212) 246-2676 x222.

Wednesday, October 11, 2017

Target Margin Theater TMI Institute Fellowship

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We are looking for five artists who have demonstrated a serious commitment to their artistic practice and an interest in the TMT’s principles, and are ready to move in a radical new direction. Fellows should be poised to embrace the open-ended questioning that guides the Institute.

Applicants may emerge from any theatrical discipline (actors, designers, writers, directors, producers, stage managers, administrators, etc.). We will also accept applications from other artistic elds (music, visual art, literature, etc.) as long as the connection to performance is clearly articulated.

APPLICANTS SHOULD HAVE SUBSTANTIAL PROFESSIONAL EXPERIENCE OR AN ADVANCED DEGREE.

The Institute is a substantial time commitment and given the Institute’s unstructured nature, Fellows must be energetic and motivated to initiate and shape their work. The Institute is for artists who have already established a serious professional practice and are now looking to extend, disrupt, and transform it.

HOW TO APPLY

WHAT IS THE TIMELINE?

WE ARE ACCEPTING 2018 INSTITUTE APPLICATIONS FROM SEPTEMBER 15 – OCTOBER 16, 2017.

We will then review applications and conduct interviews, with the aim of choosing our Fellows by December 15, 2017.

OUR FIRST INTENSIVE WILL TAKE PLACE OVER 3 DAYS IN LATE JANUARY 2018.
All Intensives are mandatory and if you are not available at this time we advise you to apply in a later year. The remaining three Intensives sessions (in summer and fall) will be scheduled in consultation with the Fellows.

FOCUSED EXPERIMENTS COMMENCE IN LATE FALL 2018.

Exact dates will be scheduled in consultation with the ve Fellows, however if you are already aware that you have extensive con icts in Fall 2018 we recommend that you apply in a later year.

BREAKFASTS BEGIN JANUARY 2018.

We meet once a month at Junior’s Restaurant on Flatbush & Dekalb in the great state of Brooklyn. Our rst breakfast will be scheduled (and those thereafter) in consultation with the Fellows.

Monday, October 9, 2017

Reva Shiner Comedy Award

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The fee will be waived for Dramatist Guild members with an enclosed photocopy of a membership card. 


The Reva Shiner Comedy Award presents an unpublished full-length comedy with a cash prize of $1,000, a full production as part of the Bloomington Playwrights Project’s Mainstage season, along with travel reimbursement. We are currently accepting submissions for the 2018-19 Season. Scripts must be postmarked by October 31, 2017

We are currently accepting submissions for the 2018-19 Reva Shiner Comedy Award. The top 10 finalists and the winner of the 2018-19 Reva Shiner Comedy Award will be announced at the end of March 2018.

"Full-length" plays will have a complete running time of between 1 hour 15 minutes (75 minutes) to 2 hours 15 minutes (135 minutes).
Plays submitted must be unpublished at the time of submission. Plays that have received developmental readings, workshop productions, or productions at small theatre companies are acceptable. No scripts with previous productions at major regional theaters will be accepted. Once entered, subsequent activity does not change the acceptability of the script.
Each submission must include a synopsis (1 page or less) including the cast size. A separate page should include a brief bio of the playwright, and production/development history if applicable.
Each submission must include a cover letter with contact information and a $10.00 reader fee. 

Agent submissions require no fee. The fee will be waived for Dramatist Guild members with an enclosed photocopy of a membership card. 

It is preferable for musicals to include a demo CD. The complete score is not necessary but may be included. All plays are read by BPP's literary personnel led by and including the Literary Manager and Artistic Director.
We do not accept e-mail submissions. Scripts will not be returned. Blind submissions are not necessary. Please include all contact information. Plays submitted in previous years will be accepted.
The BPP reserves the right not to name a winner and/or name a winner but not commit to a reading or production.

Send to:
Bloomington Playwrights Project
107 W. 9th Street
Bloomington, IN 47404
For further information, write BPP, 
Attn: Literary Manager, 
107 W. 9th Street, Bloomington, IN 47404. For faster replies, please e-mail us at literarymanager@newplays.org

Sunday, October 8, 2017

Theatre Southwest 13th Annual Reader's Theatre

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We are now accepting submissions to the 13th Annual Reader's Theatre! General guidelines are listed below. Time to get writing!

Submission Deadline: October 25, 2017

Approximately 8-12 selected plays will be read and voted on by the attending audience. Two fifty-dollar ($50) prizes will be awarded, one selected by the event readers and one voted on as Audience Favorite.

General guidelines
  • Limit of two entries per playwright of an original work that has not been published or produced.
  • Monologues and one person plays are not accepted.
  • All genres are accepted (light comedies, heavy dramas, thrillers, mystery, sci-fi, satire) with no regard to language or subject matter.
  • All plays should be 5 to 10 minutes long, no exceptions. (If using standard play format a good gauge is 4-11 pages, excluding title page).
  • Plays should be conducive to Reader's Theatre with simple stage directions and a story expressed through dialogue, not action.

Submission guidelines

  • Scripts are accepted via mail only (no email, no PDFs) and must be postmarked by October 25, 2017. Scripts are not returned.
  • Scripts should have a title page that includes the play title and playwright's contact information, as well as a list of characters and a brief synopsis of the play. Script pages should be numbered.
  • ALL scripts should be stapled in the upper left-hand corner.
  • There is NO ENTRY FEE.


Playwrights selected will be informed prior to the event.

Mail entries to:
Theatre Southwest
8944-A Clarkcrest
Houston, TX 77063
Attn: TSW-RTM

The Dare Tactic seeks plays & musicals

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Deadline November 1, 2017
Seeking original plays and musicals for staged readings or full productions coinciding with the Dare Tactic's mission: "to stage innovative original works by underrepresented voices."

Submit:
Name, Project name, Website, preference for full production, workshop, staged reading, attached director/cast (if applicable), if the piece has been previously produced or publicly presented, 100-word maximum synopsis of piece, 8-page sample of piece, cast breakdown, resume 

NYCPlaywrights Write a Monologue for Me project selections

NYCPlaywrights received 55 submissions to the WaM4M project and it was hard to pick only three, but finally we did:
  • HOW TO MANAGE YOUR STRESS by S. L. Daniels
  • MONOLOGUE FOR TONY WHITE by Laszlo Zsolt Fulop
  • PERSON OF GREAT INTEREST by Lucy Wang
Of the three, Tony selected MONOLOGUE FOR TONY WHITE to record. We will be posting the video on the NYCPlaywrights web site soon.

Thanks to everybody who participated in this installment of WaM4M. We will be presenting the next actor looking for a monologue very soon.

The playwrights have kindly permitted NYCPlaywrights to share their work on this web site. If you would like permission to perform any of the monologues or reproduce them for any reason, please contact the author directly via the email address at the beginning of each script.


ABOUT THE SCRIPTS

HOW TO MANAGE YOUR STRESS (click to view as a PDF)

S. L. Daniels writes:
Dark comedy is my happy place, so when I saw that Tony White liked it too, I wanted to write something for him. I was thinking about Tony, his face, he has such a lovely calm look, and so my first thought was “stress.”

S. L. Daniels' short and full-­length plays have been produced in theatres in around the world, including in New York, Chicago, Los Angeles, London, and Melbourne. Credits also include: Winner of the Hurricane Season Award (Los Angeles), the Illinois Artist Award for Playwriting, Oxford Short Play Competition, Samuel French One-­Act Competition, Seven Devils Playwriting Conference, and finalist for the Cunningham Prize, the O'Neill Conference, and Actors Theatre of Louisville's Heidemann Award. Television work includes episodes for Nelvana Productions, HBO IND/FOX TV, and a pilot for NBC. Thank you to NYCPlaywrights for being such an amazing site!!


MONOLOGUE FOR TONY WHITE (click to view as PDF)

Laszlo writes:
I was working on a full-length play script about an immigrant who is an engineer. The play starts with a monologue. That's when I saw the ad about the "Write a Monologue for Me" project and I thought I could send in this monologue. But it didn't work because the original monologue was an introduction to a piece and didn't stand well in itself. I could use only a few sentences from that monologue. So I started thinking about what is a "theatrical" space, when one is "on stage" in front of an audience. And there should be a lot at stake for those involved, especially the "actor." The execution/death penalty came to mind. There is a lot--everything--at stake for the "actor," who is actually not an actor at all since he or she doesn't have any agency any more. Looking at it with a European eye, the death penalty is an outmoded, cruel, inhumane form of justice-making. But I didn't want to make it political. All I wanted is to give a little bit of "agency" to the "actor" in this paradox situation. 
Laszlo Zsolt Fulop is an immigrant. He was born and raised by Hungarian parents in the Transylvanian region of Romania under Ceausecu's dictatorship. He teaches film- and theater-related subjects at the University of New Orleans. 

PERSON OF GREAT INTEREST (click to view as PDF)

Lucy writes:
My monologue was inspired by my effort to sell my 2003 Porsche Boxster, which I named the "Silver Menace."  A trainer from my gym said he might know a buyer.  I showed the trainer my car, and he was impressed by its great condition and very low mileage. He seemed genuinely taken with the car, so I said, "Maybe you want to buy it. How about taking a spin in my Boxster S?"  The trainer, who is African-American, immediately responded.  "Are you kidding?  Have you seen GET OUT? If we go riding in this car together, the police will arrest me for kidnapping you. If I take your car out myself, the police will arrest me for grand theft auto. I can't buy your Porsche, I'm black!"  He had me in stitches because it was hilarious, and often the best comedy reflects uncomfortable elements of truth.
Lucy Wang writes, teaches and performs. She recently performed IT AIN'T EASY BEING CHINESEY in PanAsian Rep's NuWork Festival 2017. You can see excerpts of her show CHINESE GIRLS DON'T SWEAR, performed in NY, L.A. and Akron, OH, here: https://youtu.be/IbcqZCYZbik Her plays have been performed all over, and are available at Original Works Publishing, JAC Publishing, Amazon, and YouthPLAYS. Wang has also written two short films (one of which she directed), and sold a pilot to Disney. Her awards include the Kennedy Center Fund for New American Plays, Best New Political Social Play from the Katherine and Lee Chilcote Foundation, Berrilla Kerr Foundation, James Thurber Fellowship, CAPE’s New Writers TV Award, NATPE Diversity Fellow, William and Flora Hewlett Foundation Honorary Fellow, Annenberg Community Beach House Writer in Residence. She currently teaches at www.escriptws.com and writes for American Journal of Nursing.

Saturday, October 7, 2017

Rover Dramawerks fourth annual 10-Minute Play Contest

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Rover Dramawerks announces our fourth annual 10-Minute Play Contest! We are seeking 10-minute comedies or farces to be a part of our Eighteenth Season.

  • Submissions will be accepted from September 20 to October 20.
  • Only the first 300 10-minute plays will be accepted.
  • No musicals.
  • Plays may have been produced previously but not in the DFW Metroplex.
  • Plays may not be published.
  • Playwrights may submit only one 10-minute play. Additional plays submitted by a single person will result in disqualification.
  • A cast list and brief synopsis must be included.
  • Only PDF files will be accepted. Other formats will not be read.
  • Name and contact info must not appear anywhere on the script (i.e. this is a blind submission process).
  • Submissions will ONLY be accepted using the form provided: https://form.jotform.us/72551326286155
  • There is no fee.

Five to nine plays will be chosen to be a part of Rover’s 10-Minute Play Festival, June 21-30, 2018, with all winners receiving a $50 prize. The audience will also vote on the “Best of the Fest,” and that overall winner will receive an additional $100.

Rover Dramawerks performs in a reconfigurable black box theatre that seats 80-100. Please take this into consideration when presenting your work to us for consideration. We recommend that you check out our website at www.roverdramawerks.com to see the types of plays we generally produce.

Please note: The judges reserve the right not to award prizes or productions if they feel the caliber of plays received does not warrant a winner.

Camargo Foundation residency


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The Camargo Foundation, with generous support from the National Endowment for the Arts and the Jerome Foundation, is excited to announce a four-week residency program for mid-career/established African-American and African playwrights.

Four participants from the United States and four from the African continent, all of whom are interested in the intersection and interaction, whether historic or contemporary, between the United

Eligible applicants have an interest in the African diaspora as an influence and factor on their craft, work, and thinking.

• Eligible applicants are established or mid-career artists who assume primary responsibility for creating the texts of theatrical productions and/or performance. This program recognizes that practice is increasingly interdisciplinary (including performances that embrace a combination of live theatre/dance/film, for example), can include both spoken and musical work, and can assume different scales and forms (from solo performances to story telling to large scale theatrical spectacle). This program is designed for artists who play a primary or exclusive role in creating the text component of live theatrical or performance work where spoken language is a critical and primary component, whatever the scale and form. Text creators of course may play additional roles, such as directing, designing and/or performing without compromising their eligibility. Actors, choreographers, designers, directors, etc who have not been a primary creator of texts, however, are not eligible to apply.

• Eligible applicants have had at least three different texts/plays fully produced for public audiences.

• If prior grantees of the Camargo Foundation, Jerome Foundation or National Endowment for the Arts, eligible applicants have successfully complied with all reporting requirements, including (where applicable) submission of all required final reports.

• Students enrolled in undergraduate or graduate degree programs at the time of application are not eligible to apply.

• Eligible applicants are at least 21 years old at the time of application.

• Work developed during the residency may be in any language. In the interests of Camargo’s interdisciplinary, multicultural community, eligible applicants are able to communicate well in English. A basic knowledge of French is useful, but not required.

Applications must be submitted no later than October 19, 2017 (midnight Paris time). Late applications will not be reviewed.

Applications should be submitted via Submittable and can be accessed at: https://camargofoundation.submittable.com/submit Applications must include the following:
1. Proposal Name;

2. Proposal Summary (up to 100 words): a brief summary of the proposed project or possible areas of research that you would like to engage in during this exchange;
3. Proposal Narrative and Relevance of Resources (up to 1,000 words): please describe in detail any proposed project or possible areas of research you would like to engage in during this exchange. Please articulate specifically how the resources provided by the Camargo Foundation will support your proposed project or research;
4. A rationale (up to 300 words) for wanting to participate to the program (up to 500 words): please describe how your work expresses an interest in the African diaspora as an influence and factor on your craft, work and thinking; 

5. A current CV, including a list of plays fully produced, with year of first full production; 

6. Work samples, either in the form of written work sample, audio recording, or video. Recent work is strongly encouraged, but applicants should feel that the samples represent fully accomplished and finished work; works in progress are strongly discouraged. All work samples should be drawn from work created in the last five years. All panelists will read at least 10 pages of all scripts and/or view up to 5 minutes of a recording. Applicants who choose to submit a full script or longer performance tape should specify which 10 pages (or 5 minutes) the panel should read (or view), and attach a short description. The applicant must be the primary creator of the submitted sample. Student work is not acceptable.
7. Two references: submitters whose applications manage to get to the final stages of review might be asked to provide recommendation letters from their referees at a later stage.

Technical questions about the application should be directed to <apply@camargofoundation.org>.

Cape Cod Theatre Project 2018

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Applications for the 2018 Season are now open.

Playwrights may send us one play per season for consideration. The proposed play must still be in development and cannot be receiving a professional production prior to August 2018.

To apply, please email a PDF of the script to capecodlit@gmail.com. Please label the document using your first and last name as well as the play’s title. For example: janesmithplaytitle.pdf

In addition, please include in your email a short biography and a brief artistic statement on how you propose to use your development time at CCTP. The bio and statement of intentions should be one page combined, sent as a PDF or Microsoft Word Doc and labeled with your first and last name. For example: janesmithbio.doc

As we rely on the kindness of our donors for housing, we usually limit our cast sizes to no more than six actors.

As of November 1, 2011, we no longer review hard copies of scripts sent by mail.

Applications will be accepted from September 1, 2017 through October 15, 2017.

The CCTP staff regrets that we cannot provide feedback on any submitted materials.

We look forward to reading your work.

Tree City Playhouse 10-Minute Play Competition

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Fee is waived with Dramatist Guild membership

Tree City Playhouse
10-Minute Play Competition Rules

Cash awards of $250 for 1st place, $100 for 2nd place, and $50 for 3rd place will be presented.
Winning plays will be produced by Tree City Playhouse.

To enter please send the following items to the address below:

1. Completed entry form
2. Bio of the playwright(s) – must be 100 words or less
3. Play synopsis including character descriptions
4. Three copies of the script
5. $5 entry fee or copy of current Dramatist Guild membership card
 (checks should be made out to SCAC)  

Mail to: Keith Ramsdell 
Tree City Playhouse  
10-Minute Play Competition
5725 Main Street 
Sylvania, OH 43560

Competition Rules:
1. The competition is open to all playwrights 18 years of age and older. Only one play per
playwright may be entered per year. Plays may be co-written by more than one playwright,
but the names of all playwrights must appear on the entry form.
2. Entries must be one-act stage plays with performance times of 8 to 12 minutes. Full-length
plays, musicals, children’s plays, film and TV scripts, and plays previously entered in this
competition are ineligible.
3. Submissions are restricted to original dramatic works – no adaptations – that have not been
previously published or submitted to this playwriting competition.
4. While all reasonable care will be taken, Tree City Playhouse and SCAC do not assume any
responsibility for lost, misplaced or damaged scripts.
5. There are no restrictions on genre or theme.
6. Scripts will be judged on concept, dramatic action, characterization and dialogue. Preference  
will be given to plays with 2 to 4 characters, limited staging requirements, and content/language
sensitive to the “family-friendly” value of Tree City Playhouse. The decisions of the judges are
final. No critiques will be given, and no scripts will be returned.
7. Tree City Playhouse will produce the winning plays royalty-free during its 2018 Festival of
10-Minute Plays. This includes the right to make rehearsal copies of the script, to use the title
of the play and the author’s name in publicity and promotion, and to videotape the play for
archival purposes. The playwright will receive a program and DVD from the production.
All future production and publication rights remain the property of the playwright.
8. The deadline for entries is a postmark of October 15, 2017. 

Late scripts will not be
accepted, and revisions cannot be made once a script has been submitted.

Formatting Instructions:
1. To ensure anonymity during the judging process, no personal information should appear
anywhere on the submitted script. The entry form will contain this information.
2. All scripts should be printed on 8-1/2” x 11” white paper, typewritten on one side only and
submitted in acceptable play manuscript format. Each copy should be bound with a staple.
Pages must be numbered, and the name of the play should appear on each page.
3. The entry form, bio, synopsis and fee or copy of DG card should be clipped together.

More Information:

Please contact Keith Ramsdell at keith@sylvaniaarts.org with any questions you may have.
You may also visit us on the web at www.sylvaniaarts.org/treecityplayhouse
Tree City Playhouse

10-Minute Play Competition Entry Form Here

Winterfest Theater Festival

web site

Submission Accepted from Everywhere in the US
Equity Productions Welcome
NYwinterfest@gmail.com

Shows from outside NY and NJ can only run if the entire cast and crew are from New York City.

Submissions must be between 5 and 90 minutes long

Categories:

SHORT – 5 to 20 minutes
ONE ACT – 20 to 45
FULL LENGTH – 45 TO 90

How to Submit your work to Winterfest

In order to submit a play please send the following via email:
  • A 60 word synopsis of the play
  • Character breakdown
  • Your telephone number and home address, plus the phone number of one other person in your production that we can contact
  • Your bio
  • All genres of shows are welcome to submit to our festivals
  • Shows that have already been staged can also participate as long as they participate in Winterfest with AN ENTIRELY NEW CAST AND CREW
  • Production’s history of the play submitted and length of your play
  • Please tell us where did your hear about the festival
  • Length of the Play or Musical submitted
As soon as your play is accepted, you will be sent the festival guidelines. All plays will be given a three-performance run at the theater.
Prizes

$2,500 prize of Best Play. and 3 shows for the Best Short play category
In Addition to the Best Play there will also be several nominations:
Best actress ($500 prize) • Best Actor ($500) • Best Director ($500) • Singer and Best Musical Score $300 Each • Best Original play, Set Designer, Stage Manager and Lighting Design each $200

Winners will be announced during a special prize ceremony at the end of the festival to which the cast and crew of all nominated productions will be invited.

If your play/musical is accepted in our festival there is a payment of $75 if it is a SHORT, $150 if it is a ONE ACT, $250 if it is a FULL LENGTH.

SOLO SHOWS FALL IN A CATEGORY ON ITS OWN. PLEASE SEND US AN EMAIL TO INVESTIGATE POSSIBLE WAYS TO HAVE THEM PART OF OUR FESTIVAL.

Friday, October 6, 2017

Talk Back Theater seeks plays by women

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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.

This call for submissions is for plays by women, about women. We invite all woman-identifying playwrights to submit a piece that both highlights a significant social, political, or environmental issue AND features woman-identifying characters. Topic can include, but is not limited to, women's rights and gender inequality. For instance, plays about immigration or the impact of global warming that centers around female characters are just as eligible as plays about unequal pay or reproductive rights, so long as the playwright also identifies as a woman.

Submissions are open October 1 through October 31!

At the beginning of November, we will commence our play selection process. We will announce the chosen play in late-December or early-January. The reading will take place in Orange County, California in March 2018. While we highly encourage playwrights to attend rehearsals and readings, we understand that it may be impractical in some cases and do not require it. We do not discourage non-local playwrights from submitting, however we are only accepting applications from playwrights based in North America..

In addition to a desire to foster conversation within our diverse community, TBT also seeks to support new voices in North 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 the SUBMISSION FORM button on the TBT web site to access the application. 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.

NEED MORE DETAILS ABOUT ELIGIBILITY? Click here for FAQ.

Thursday, October 5, 2017

HERE Artist Residency Program

web site

HERE Artist Residency Program (HARP)

HARP is designed to support collaboration across disparate art forms by nurturing hybrid artists in the development of dynamic live performances. HARP provides significant long-term artistic, financial, and administrative support, tailored to each artist's individual needs.

“In these times, it's become increasingly hard for artists to find a place to take risks, a safe haven where they can develop daring new work. One theater has regularly bucked the trend, making its mission to ensure that artists have a home for their R&D, and that theatergoers can sample the exciting results.” - OBIE Committee, on the Ross Wetzsteon Award to HERE

About HERE:

Since 1993, HERE has been one of New York’s most prolific producing organizations and today stands at the forefront of the city’s presenters of daring new work. A collaborative multi-arts space with two theatres and a gallery/lounge, HERE developed such acclaimed works as Eve Ensler’s THE VAGINA MONOLOGUES, puppeteer Basil Twist’s SYMPHONIE FANTASTIQUE, Trey Lyford and Geoff Soebelle’s ALL WEAR BOWLERS, and Taylor Mac’s THE LILY’S REVENGE. For over 15 years, HERE has invested in long-term developmental relationships with individual artists and artist collaborations. HERE builds a community that nurtures career artists as they create innovative hybrid live performance in theatre, dance, music, puppetry, media and visual art. Our artist residencies support the singular vision of the lead artist through commissions, long-term development, and production support. HERE’s programs and performances promote relationships among local, national, and international artists. Our space is a destination for audiences who are passionate about groundbreaking contemporary work and the creative process behind it.

'One of the most unusual arts spaces in New York---and possibly the model for the cutting edge arts space of tomorrow, ' (The New York Times); "the Downtown Lincoln Center" (Paper Magazine) "...HERE still manages to be the forum for fresh talents." - Ben Brantley of The New York Times



About HARP:

HARP nurtures the development of mid-career hybrid artists and their audiences, through cross-disciplinary exchange, peer-driven workshops, and panel discussions. HARP was conceived in 1999 to address an urgent need in the artistic community: a void of artistic and administrative support for mid-career artists. This lack of support was causing talented artists, in the most fertile periods of their careers, to leave the field. HARP was initiated to provide a much-needed forum to assist artists who are developing unique artistic voices and experimenting with new approaches to expanding the parameters of performance work.

As the works being developed are complex hybrid projects, each Residency will last for 2 to 3 years, renewed annually. At the end of each residency year, the artist and HERE mutually decide whether to continue the residency. It is unlikely that any project accepted in 2018 will go to production before 2020.

HARP RESIDENCY EXPECTATIONS:

Artists or collaborative teams chosen for HARP are expected to participate in the program by developing the work as outlined in their application and by actively participating in the member and public activities associated with the program. Since HARP is designed to respond to the ideas and needs of its members, the members themselves must be proactive in bringing those ideas and needs to HARP and to each other. We expect our members to be both good citizens of the HERE community as well as ambassadors to the public.

During the residency, HARP Artists participate in monthly artistic meetings, bi-monthly work groups focused on both artistic and business topics, regular individual meetings on budgeting, production, and fundraising issues, and formal and informal work-in-progress showings.

At the monthly meetings, artists show work, give feedback to other artist projects, engage in and contribute to artistic skill sharing. At the bi-monthly work groups, artists share career skills and learn from others, as well as from HERE staff and outside experts on topics ranging from grant writing to touring to budgeting to work samples.

Artists are also encouraged to show work in each stage of development. A number of work-in-progress showings, both public and private, allow members of HARP to contribute to the growth of their peers. Through this component, we create a balance of practical and theoretical work that exposes the whole group to a comprehensive experience. Each season, we present 8-10 public showings of HARP works-in-progress and provide HARP artists with a more formal opportunity to present stages of their work in CULTUREMART, our annual winter festival of workshop productions, before a public paying audience.

Each year, HARP artists participate in a one-week retreat at an artist colony where they are able to dedicate all of their energy to the creative process without the distractions of daily life. At times, when possible, we offer one- and two-week project-specific intensive retreats for second- and third-year HARP artists.

Three to five projects that are in development are selected for production each year. Each selected artist participates in all development activities, and collaborates with HERE to raise funds and develop appropriate resources and support for their production. Projects are produced at the scale appropriate to the work – there is no set formula for producing in the season – chamber or mainstage, four performances or 20, one performer or 25. It is our expectation that the works being developed in the program are being scaled to fit and will be produced in one of our spaces. Most works developed through HARP are fully produced by HERE.

The artists themselves shall retain ownership of all work initiated, developed, or workshopped during their residency. For the works that go to full production, HERE and the artists will negotiate a separate ownership and rights agreement. However, in all public materials about the artist or team the following must appear: "(Name of Artist or Team) was/is a member of HERE’s Artist Residency Program (HARP), 20 __ - 20__, NYC", and in all public materials relating to the work’s development, the following line shall appear: “Development of (Name of Work) was made possible through the HERE’s Artist Residency Program (HARP), 20_ - 20_, NYC." For works that go to full production the following line shall appear: “(Name of Work) was commissioned, developed, and produced through the HERE Artist Residency Program (HARP), 20_ - 20_, NYC.”



RESOURCES FOR HARP ARTISTS:

Artistic Development:

While in residence, the artist or team’s residency is linked to a specific project in development and an exploration of ideas and processes intrinsic to their artistic growth. HERE believes that artists must be in control of the work that they create. This control goes hand in hand with a responsibility to participate in all phases of their artistic projects from inception through all development stages to full production. HARP is designed to respond to the ideas and needs of its artists. The artists themselves must be proactive in bringing those ideas and needs to HARP and to each other; they shape workshop and discussion offerings, create performances, and work with HERE staff to publicize and promote HARP events.

Career Development:
HARP also includes hands-on administrative sessions to supplement our already strong artistic development process. We believe that in order for these artists to stay in the field, they must have the necessary skills to function as viable creative enterprises. HARP offers advice on business issues such as grant writing, project planning, budgeting, marketing, and nonprofit incorporation. Administrative sessions are led either by a HARP artist with the necessary skill, an appropriate HERE staff member, or an outside expert.

HARP artists also have access to an online resource managed by HERE that fosters these skills and asks the artists to participate in an online community discussion by posting work and responding to others’ work between meetings and presentations. Most important, frequent meetings provide community and address the needs of the whole artist. In addition, each member of the HERE staff dedicates significant one-on-one time with each artist to articulate the vision for the project in terms of producing strategy, audience development, marketing, fundraising, finance and production.

Facilities and Equipment:
HARP Artists have access to the HERE staff, including development, marketing, and general management team, and access to sample contracts, grants, and budget templates. Due to the lack of on-site rehearsal space and the heavy use of our theatre spaces, HARP is not primarily a space residency. However, HERE offers resident artists limited rehearsal space and equipment on an as-needed, as-available basis in our theatres. The Mainstage Theatre is a flexible black box theatre with a sprung wood floor which measures 46' x 46'. It can seat up to 150 (depending on the configuration of the seating platforms), and usually seats 99. The theatre has a complete lighting package including 92 dimmers and a complete sound system. The Dorothy B. Williams Theatre is a charming proscenium-style theatre with a 14' x 38' stage. The theatre also has the capability to transform into a flexible black box space. It has a fixed grid, a state-of-the-art lighting package including 75 dimmers and a complete sound system. The theatre has 63 seats and 8 stools. HERE has an extensive inventory of high quality equipment available for our artists’ use. HERE also actively develops partnerships with other organizations and landlords to offer dedicated rehearsal space to our resident artists.

Funding:
In addition to the extensive range of community, development, and production resources listed above, HERE offers each resident artist a developmental commission, work-in-progress (WIP) and workshop fees in order to develop their project. The developmental commission, paid out in monthly installments, is up to $5,400 total for a 3-year residency. HERE also provides each artist with an annual WIP fund of $1,000, as well as a fee of $2,000 for each workshop in our annual CULTUREMART festival. All of these funds may be used as each artist deems fit for their individual project. In addition, there are fees for creators and their collaborators in the budget for the final production. The budget is developed jointly by HERE and the artist. HERE allocates at least $30,000 towards the final production in addition to partnering with the artist to raise project-specific funding. Over a 3-year residency, HERE invests over $45,000 in cash in each project.

SELECTION CRITERIA:
HARP is designed to assist mid-career individual artists or collaborative teams (writers, performers, composers, directors, designers, dramaturgs, puppeteers, dancers, singers) working in a hybrid form in live performance. Hybrid form refers to the full integration (not just as backdrop) of two or more genres (theatre, dance, music, puppetry, media, and visual art) in the work.

We define a mid-career artist as one who has:

(1) completed their education within the last 8-15 years

(2) had at least a few significant residency or commissioning opportunities,

(3) created a body of work over at least 5 years and at least one full evening-length work, and

(4) earns some income from their art practice.

Artists must also meet the following criteria:

*The artist or team are residents of the NY metro area.

*The artist or team find themselves at a point in their career where they are developing a distinctive form/style/content of work, or are interested in stretching the previously accepted boundaries of their work by experimentation with form/style/content.

*The artist or team is interested in actively participating both in the community of HERE and in a peer-based program aimed at exchanging resources, ideas, critique, and support.

*The artist or team are proposing a project that is very early in its development process, meaning at its inception and has not been previously workshopped, and any underlying rights for pre-existing material for the project have already been secured.

Additionally, HERE believes that diversity is extremely important within the makeup of our residency program. HARP actively seeks this diversity both from the work itself in terms of genre and content, and in the background of the artists.

The selection panel includes HERE leadership, artists, and performing arts curators from NYC.

TIMELINE

Application Due Date: February 2, 2018 12 noon
Final Decisions Announced: March 16, 2018

Residencies Begin: April 1, 2018

The residence year extends annually from April 1 to March 31, with the exception of when a project is heading into final production.

APPLICATION INSTRUCTIONS FOR HARP RESIDENCY:

Name/Address:

Please provide full name and address of applicant. Only residents of the New York Metro area will be considered.

Project Summary:

Please provide a summary of your project.

Project Description:

What do you envision on stage and what will the audience experience be? Why does your project need the time our residency offers? Because of the long-term development process that we offer, we look for proposals that are in the very early stages of their growth - the seeds of an idea or an outline. A project that has already been workshopped is probably too far along to benefit from what the program offers. Please feel free to use bullet points if space demands are too limiting.

Artist Statement:

Please briefly tell the panel about your interest in this project, why this residency is a good fit for you right now, how you see yourself as a mid-career artist, and how you hope to develop over your residency. If more than one primary artist is included in this application, each primary artist should provide a statement in the space provided. If an ensemble is applying, one shared statement is appropriate.

Project Timeline:

This should be a 2-3 year timeline of how you will develop the work during the residency, indicating potential works in progress. This obviously will change and adapt over time, but it is helpful for the panel to see how you might use the flexible opportunities offered by the residency.

Short narrative bio and/or resume of the lead artist(s):

Please provide a resume or narrative bio.

Collaborators:

Please list other collaborators on the project. If you don’t know your collaborators yet, please indicate what kind of collaborators you may intend to bring into the project.

Work Sample & description:

Please pay close attention to work sample instructions listed below on the form and then tell us why this work sample is relevant to the proposed project. Please include year, performers, and contributing artists.



SUBMISSION REVIEW PROCESS:

After applications are reviewed by the panel, finalists will be interviewed by Kristin Marting, Artistic Director and Kim Whitener, Producing Director. Application DEADLINE: February 2, 2018 at 12 noon. Final decisions will be announced by March 16, 2018. Questions can be addressed to programming@here.org or 212-647-0202 x320.

Wednesday, October 4, 2017

A Primary Stages ESPA Classic Workshop, offered in honor of our 10th anniversary

10th Anniversary Throwback: Everything is Action with Martyna Majok

Character. Setting. Stakes. Ideas. All manifestations of the most fundamental elements of playwriting: dramatic action. This workshop will explore the ways in which "action" supports each of the essential building blocks of a play that summon a complete theatrical world. Led by Martyna Majok, you will explore through exercises and discussion with the group how to effectively create dramatic action as it applies to the structure, pacing, and world of the play.

Instructor: Martyna Majok (Writer, Cost of Living at MTC, Ironbound at Rattlestick/Women's Project)
Saturday, November 4 and Sunday, November 5
2:00pm – 6:00pm both days

Flexible, outrageously affordable Payment Plans available.

Primary Stages ESPA is a home for all artists, in all stages of their careers. For more information, call 212.840.9705 x215 or email espa@primarystages.org.

Shakespeare in the ‘Burg Fifth Annual One-Act Playwriting Competition

web site

Shakespeare in the ‘Burg is pleased to announce our fifth annual one-act playwriting competition, in conjunction with our Shakespeare in the ‘Burg theater festival. Dates of the 2018 festival will be announced on our website. The festival will be held at The Hill School, Middleburg, VA. There is no fee for this competition. We will choose three winners and each will have a staged reading during the Shakespeare in the ‘Burg festival. The readings will be performed by Shakespeare in the Square acting company from New York City.

Please note that you can write in any style you choose; this is not a “Shakespeare” writing competition, so plays in any genre are welcome.

Also new for 2018: The staged readings will be videotaped so if winners can’t be present, they will still be able to see their plays performed by skilled actors.

Please bear in mind that your script will be performed for an audience of all ages.

Competition Rules:
  • Open to all playwrights
  • Scripts must be original. Musicals, monologues, film scripts and television scripts are not eligible.
  • Running times of no less than 25 minutes and no more than one hour.
  • No more than one submission per playwright. Give us your best work!
You may email your script to: genie@printmanagementinc.com, and in fact, we prefer emails. In the subject line, please write: Shakespeare in the ‘Burg One-Act Play

If sending a hard copy, please number the pages and staple or paperclip your submission. Send hard copies to Genie Ford, 3803 Bayside Circle, Bradenton, FL 34210. Include a self-addressed stamped envelope if you would like confirmation of receipt—or include your email address and I will write to you.

Submissions should include:
Playwright bio.
Contact page with name, address and telephone number of the playwright,
On all pages, please place the title of the play at the top of each numbered page.

The deadline for entries is a postmark or email at end of day, October 15, 2017.

Thank you and good luck!

Tuesday, October 3, 2017

The Sauk plays in development

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The Sauk (Jonesville Michigan) is currently seeking entries to consider for our 2018 Plays-In-Development. We are seeking unproduced plays. These can be any style (comedy, drama, children's play and/or musical) and any length (one-act or full-length). A completed draft of the play must be submitted. It is understood that changes can be made to the script between initial submission and performance. 

The goal of Plays-in-Development is help playwrights continue to develop plays that have yet to be produced. By working with a director and actors, the playwright can learn vital information about their work. After the public readings, playwrights are able to participate in a talkback with the audience. We want playwrights to leave the experience with positive and constructive feedback to improve their plays.

Selected playwrights will be asked to be involved in the Plays-in-Development process. The plays will first go through notes with the executive director in early 2018. A director will then be assigned to each play and work with the playwright prior to an audition draft being submitted. Auditions will take place in early June with two weeks of rehearsals prior to public readings. Playwrights are encouraged to make changes to their scripts throughout the rehearsal process (often handing in new drafts on a weekly or even daily basis). The public staged readings will take place on June 29 and 30, 2018. A royalty is provided to the selected playwrights and The Sauk is seeking funding to help pay travel expenses to and from The Sauk for performances.

Draft copies of scripts can be sent to Executive Director Trinity Bird at trinitylbird@gmail.com. The deadline for submission is 5 p.m. on Friday, October 6, 2017.

The play selection committee will review all submissions and select the scripts to be part of the process. For more information, contact the e-mail above.

Monday, October 2, 2017

Manhattan Rep's Playwright's Showcase

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Seeking never produced before 1 act plays 10 to 25 minutes
(cast, directed and ready to be performed November/December 2017)
for Manhattan Rep's Playwright's Showcase
(Extended November through December 2017)
at the New Manhattan Repertory Theatre, 17-19 West 45th St.

Each 7 - 25 minute play will be given:
A tech rehearsal with our technician to run your sound and lights, a full dress rehearsal with the other plays participating, a minimum of 2 performances, (even more if your show is selling well), at the brand new Manhattan Repertory Theatre on 45th St. in Midtown Manhattan a block from Times Square!

To submit your 7 - 25 minute play production please email:

The complete script of the play as a .pdf,
a synopsis of the play,
the character breakdown,
the set and lighting requirements,
the play's history (readings etc etc.)
your mailing address, and a creative team leader contact email address to:

manhattanrep@yahoo.com by October 15, 2017
Please put “Playwright's Showcase” in the subject heading.
We will contact you within a week, if not sooner, as to your acceptance.

Plays that we love will be accepted on a First-Come First-Served basis. The earlier you submit the better chances you have of being accepted for we may end submissions before October 15, 2017, if we fill up all available performance slots

There is no submission fee. NON-EQUITY ONLY.

Once accepted, there is a $40 participation fee.
For more information: www.manhattanrep.com

American Antiquarian Society Fellowships for Creative and Performing Artists and Writers

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The American Antiquarian Society (AAS), a national research library and learned society of American history and culture, is calling for applications for visiting fellowships for historical research by creative and performing artists, writers, film makers, journalists, and other persons whose goals are to produce imaginative, non-formulaic works dealing with pre-twentieth-century American history. Successful applicants are those whose work is for the general public rather than for academic or educational audiences. The Society's goal in sponsoring this program is to multiply and improve the ways in which an understanding of history is communicated to the American people.

The fellowships will provide the recipients with the opportunity for a period of uninterrupted research, reading, and collegial discussion at the Society, located in Worcester, Massachusetts. At least three fellowships will be awarded for residence of four weeks at the Society at any time during the period January 1 through December 31.

For fellows who reside on campus in the Society’s scholars' housing, located next to the main library building, the stipend will have the room fee deducted from the $1850 stipend. (Room fees range from $700 to $500 per month.)

The stipend will be $1,850 for fellows residing off campus. Fellows will not be paid a travel allowance.

Funding for this program began with a grant to AAS from the Lila Wallace-Reader's Digest Fund. Additional funding for the awards is derived from income from endowments established by the Robert and Charlotte Baron Fellowship, William Randolph Hearst Foundation, and Jay and Deborah Last.

Fellowship projects may include (but are not limited to):
  • historical novels
  • performance of historical music or drama
  • poetry
  • documentary films
  • television programs
  • radio broadcasts
  • plays
  • libretti
  • screenplays
  • magazine or newspaper articles
  • costume designs
  • set designs
  • illustrations and other graphic arts
  • book designs
  • sculpture
  • paintings
  • other works of fine and applied art
  • nonfiction works of history designed for general audiences of adults or children


Application Procedure

Applications are due October 5, 2017.

Application instructions for the Fellowships for Creative and Performing Artists and Writers are included in the online application.

Please note:

CURRENT RESUME should include a listing of any awards, scholarships, or grants received.

STATEMENT should not be more than five typed, double spaced pages which briefly summarizes the applicant’s educational and professional background and goals, describes the research for the project, including readings in primary and secondary sources, and indicates the nature of the research program proposed for the fellowship. You must demonstrate how you will use the Society’s collection materials for your project.

WORK SAMPLES will be distributed to reviewers and the selection committee.
Written works (play and video scripts; prose and poetry; works of non-fictions, etc.) cannot exceed 25 pages in length
Two to three copies of full, completed works, in addition to the 25-page work sample, may be mailed to the Society
If you are submitting CDs or DVDs, please send only 3 copies of each
If your samples can be viewed on the web, please send us all relevant web addresses
You are strongly encouraged to include any relevant reviews of your work by professional critics
If you would like your samples returned to you, please include a self-addressed, stamped envelope

TWO LETTERS OF REFERENCE should be emailed by individuals familiar with your career accomplishments and goals. Please have letters sent to Cheryl McRell, Program Administrator at AAS, at cmcrell@mwa.org.

For further information about the Fellowships for Creative and Performing Artists and Writers, please contact Cheryl McRell, Program Administrator at AAS, at cmcrell@mwa.org.

Call for Submissions - Hidden Hate / Hidden Love

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A series of art and conversations exploring hate and love, hidden and made visible.

Presented by the Institute on the Arts and Civic Dialogue,
Founding Director Anna Deavere Smith


Event dates: Oct 28-29 and December 9-10, 2017.
Submissions due Friday, October 13th, 2017 by 2:00pm ET.

We’ll be reviewing submissions on a rolling basis. Please be mindful of the following parameters when submitting your work:

Dramatic writing: a pdf no longer than ten pages in length.
Poetry/prose samples: a pdf no longer than five pages in length.
Music/dance/film: the link to a video no longer than five minutes in length.
Art/photography: one jpg.

With questions, please contact iacd [at] nyu [dot] edu.



Downtown Urban Arts Festival (DUAF) seeking plays

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The Downtown Urban Arts Festival (DUAF) is currently accepting staged plays that illustrate city life for its 2018 annual season to be held during April and May in downtown New York City.
For more info about DUAF, visit www.duafnyc.com

THEATER @ DUAF (16th Anniversary season) will accept up to 18 theatrical works (plays, musicals and solo works) with running times up to 70 minutes. Each work is performed only once during the festival. There will be $1,000 awards in the categories of Best Play, Best Short and Audience. There is no submission or participation fee and each playwright will receive a monetary production stipend at the start of the festival to defray some of the production costs of presenting their work.
To submit, please forward the following to duafnyc@gmail.com.
(1) Playwright’s bio with contact info – name, address, phone # and email
(2) Photo of playwright
(3) Synopsis of theatrical work
(4) Complete script of theatrical work
(5) Estimated running time of work
(6) Actor/director/crew bios, if available
(7) Description of stage set (if any) and production needs (i.e. sound and lighting)

THE SUBMISSION DEADLINE IS SUNDAY, OCTOBER 15, 2017.
Creative Ammo Inc.
Downtown Urban Arts Festival
18 East 41st Street, Suite 1806
New York, NY 10017
info@duafnyc.com

Visit us online at:
http://www.duafnyc.com
https://www.facebook.com/dutfnyc
https://twitter.com/DUAFNYC

Sunday, October 1, 2017

Jewish Women's Theater seeks

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THEME:

The Accidental Activist – January 20 – Feb 6

A moving and humorous show about people who act to right a wrong, help the helpless, or bring forth a smile where there was no hope. We are looking for material that tells a story about helping, acting to change something that strongly affected you, your success and/or lessons learned. It can also be someone else’s story.

Deadline for submissions: October 15, 2017.
Submission Guidelines
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!
  • 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 the 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.

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