The Innovation Issue
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Masthead of The Innovation Issue
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Editor’s Notes on The Innovation Issue
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Dear Dramatist – March/April 2022
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DG Glossary: Work For Hire
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Jason Robert Brown: Ten Questions
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Marsha Norman: What I’m Teaching Now
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The Listening Party
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Innovative Dramatists
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Innovation is Nothing New
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Midnight Oil Collective
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Dreaming the Queer Future
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How Should We Go On? The Great Realignment Begins
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New Works Now In The Public Domain
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Atlanta: Staying Optimistic
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Kentucky: Roots of the Bluegrass New Play Award
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Michigan: A More Inclusive Theatre Community
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New England – West: Ample Innovation
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The Carolinas: Crossing Over Into 2022
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Ohio: A Cincinnati Update
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Oregon: Whipping Up a Flurry of Creativity
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Philadelphia: The Hand that Holds the Quill
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Puerto Rico: The Santaliz Archive (Archivo Santaliz)
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California – South: Art in the Time of Omicron
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Twin Cities: A Certain Solidarity
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New York State: Hudson Valley & Capital Region Funding Roundtable
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Dramatists Diary – March/April 2022
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New Guild Members as of January 15, 2022
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Guild News – March/April 2022
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Classified Ads – March/April 2022
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Nikkole Salter: Why I Joined the Guild
My primary takeaway from this issue is that the act of innovating is nothing new, and what’s considered innovative often isn’t entirely new, either. Looking at innovation in theatre from the past few years, one can clearly see elements of history and tradition that exist in tandem with revolution, expansion, and disruption. Innovation isn’t created in a vacuum; it comes from somewhere, and that should be acknowledged, perhaps confronted or appreciated depending on the source.
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is a playwright and editor of The Dramatist.
is a playwright and a screenwriter, and the first woman in history to win two Pulitzer Prizes for Drama. Her plays have been produced widely in the United States and throughout the world. She serves on the Dramatists Guild Council.
is a writer from Brooklyn, NY. His play El Coquí Espectácular and the Bottle of Doom received its world premiere at Two River Theater in January 2018. He was recently a Playwright Observer at the Eugene O'Neill Theatre Center’s 2017 National Playwrights Conference. Matt received his MFA from Columbia University.