
By Nandita Dinesh. What happens when we release the idea that dramatic texts must conform to predetermined durations and allow them, like life itself, to take the time they need?
SOURCE: HowlRound at 06:22AM[SHARE]By Nandita Dinesh. What might applied playwriting actually look like, and what might it do that neither applied theatre nor conventional playwriting can do alone?
SOURCE: HowlRound at 06:11AM[SHARE]By Nandita Dinesh. Applied theatre has always been about people: whom it's for, whom it's with. How do these questions transform when the work moves from the field to the page?
SOURCE: HowlRound at 05:57AM[SHARE]By Nandita Dinesh. When we can no longer enter the field, how do we grapple with the ethical layers to our decisions about the real-world contexts our texts address?
SOURCE: HowlRound at 05:36AM[SHARE]By Nandita Dinesh. What does it mean to be intentional when writing applied, closet dramas? How do we articulate—and interrogate—the purpose behind our work?
SOURCE: HowlRound at 05:05AM[SHARE]By Nandita Dinesh. What happens when an applied theatre practitioner is forced to step away from the field?
SOURCE: HowlRound at 03:45PM[SHARE]

