Embodied Playwriting: Improv and Acting Exercises for Writing and Devising is the first book to compile new and adapted exercises for teaching playwriting in the classroom, workshop, or studio through the lens of acting and improvisation. The book provides access to the innovative practices developed by seasoned playwriting teachers from around the world who are also actors, improv performers, and theatre directors. Borrowing from the embodied art of acting and the inventive practice of improvisation, the exercises in this book will engage readers in performance-based methods that lead to the creation of fully imagined characters, dynamic relationships, and vivid drama. Step-by-step guidelines for exercises, as well as application and coaching advice, will support successful lesson planning and classroom implementation for playwriting students at all levels, as well as individual study. Readers will also benefit from curation by editors who have experience with high-impact educational practices and are advocates for the use of varied teaching strategies to increase accessibility, inclusion, skill-building, and student success. Embodied Playwriting offers a wealth of material for teachers and students of playwriting courses, as well as playwrights who look forward to experimenting with dynamic, embodied writing practices.

Playwriting is a skill under-explored in the classroom, despite the strong evidence that it's an engaging and rewarding activity for young people. Teaching Playwriting addresses this gap and is an essential resource for teachers wanting to gain the skills and confidence necessary to introduce playwriting to their students. Based on rich research and clearly explained theoretical concepts, the book explores the lessons from creativity theory that will provide the teacher with the skills and knowledge necessary to empower students' writing and creativity. It also includes extensive practical activities and writing exercises to develop students' playwriting proficiency and creative capacity. Discussing key concepts in playwriting such as idea, dialogue, character, action and structure, the book enables teachers to respond to the unique learning needs of their students and help them tell their stories and reach their potential as young playwrights.

Decentered Playwriting investigates new and alternative strategies for dramatic writing that incorporate non-Western, Indigenous, and underrepresented storytelling techniques and traditions while deepening a creative practice that decenters hegemonic methods. A collection of short essays and exercises by leading teaching artists, playwrights, and academics in the fields of playwriting and dramaturgy, this book focuses on reimagining pedagogical techniques by introducing playwrights to new storytelling methods, traditions, and ways of studying, and teaching diverse narratological practices. This is a vital and invaluable book for anyone teaching or studying playwriting, dramatic structure, storytelling at advanced undergraduate and graduate levels, or as part of their own professional practice.

To an unusual degree among writers, playwrights’ creations are not simply words on a page. Instead, a well-wrought play is an intricate machine that will be used by directors, actors, designers, and other creators to bring a fully staged, real-time performance into the world. The construction and maintenance of that machine is the playwright’s job, and it requires an array of complex, interconnected skills and techniques. Enter Justin Maxwell and The Playwright’s Toolbox, a stimulating and wide-ranging resource for both beginning and experienced dramatists. It brings together invigorating, provocative, and irreverent exercises contributed by nearly 60 leading English-language playwrights, covering all stages of the writing process. It offers an accessible roadmap for those who have never written a play before, while providing new angles and solutions for seasoned writers struggling with a particular challenge. Covered here is everything fromgenerating ideas and world-building, through dialogue and plotting, to revision and the last steps before releasing a play into the world, making this an endlessly useful guide to building better plays.

This introduction to the staging of genders and sexualities across world theatre sets out a broad view of the subject by featuring plays and performance artists that shifted the conversation in their cultural, social, and historical moments. Designed for weekly use in theatre studies, dramatic literature, or gender and performance studies courses, these ten milestones highlight women and writers of the global majority, supporting and amplifying voices that are key to the field and some that have typically been overlooked. From Paula Vogel, Split Britches, and Young Jean Lee to Werewere Liking, Mahesh Dattani, Yvette Nolan, and more, the chapters place artists’ key works into conversation with one another, structurally offering an intersectional perspective on staging genders and sexualities. Milestones are a range of accessible textbooks, breaking down the need-to-know moments in the social, cultural, political, and artistic development of foundational subject areas.

Undergraduate Research in Theatre: A Guide for Students supplies tools for scaffolding research skills alongside examples of undergraduate research in theatre and performance scholarship. The book begins with an overview of the necessity of framing theatre as undergraduate research and responding to calls for revolutionizing the discipline toward greater equity, diversity, and inclusion. Dedicated chapters for the research, skills, and methods employed by each theatre area follow: scripted theatre; devised and new works; applied theatre; scenic, costume, sound, and lighting design; and theatre theory and interdisciplinary studies. Throughout the book, undergraduate research activities are demonstrated by 36 case studies authored by undergraduates from six countries about diverse areas of theatre study. Suitable for both professors and students, Undergraduate Research in Theatre is an ideal resource for any course that has an opportunity for the creation of new knowledge or as an essential interdisciplinary connection between theatre, performance, and other disciplines.

New Playwriting Strategies has become a canonical text in the study and teaching of playwriting, offering a fresh and dynamic insight into the subject. This thoroughly revised and expanded second edition explores and highlights the wide spread of new techniques that form contemporary theatre writing, as well as their influence on other dramatic forms. Paul Castagno builds on the innovative plays of Len Jenkin, Mac Wellman, and the theories of Mikhail Bakhtin to investigate groundbreaking new techniques from a broad range of contemporary dramatists, including Sarah Ruhl, Suzan Lori-Parks and Young Jean Lee. New features in this edition include an in-depth study of the adaptation of classical texts in contemporary playwright and the utilizing new technologies, such as YouTube, Wikipedia and blogs to create alternative dramatic forms. The author’s step-by-step approach offers the reader new models for: narrative dialogue character monologue hybrid plays This is a working text for playwrights, presenting a range of illuminating new exercises suitable for everyone from the workshop student to the established writer. New Playwriting Strategies is an essential resource for anyone studying and writing drama today.