The Dramatists Guild Presents: TALKBACK: Where Art, Community, and Inclusion Meet. It's time to expand the canon. Our new season of DG's Talkback podcast examines how we can challenge the status quo. Over the course of six episodes, host Christine Toy Johnson and special industry guests explore how we can expand the canon of which plays are taught, read, programmed, and used to define the idea of what constitutes a classic in American theatre. We also discuss the idea of igniting the concept of the canon with new, actionable strategies. How can we be intentional in the ways that we make space for diverse, and inclusive stories, while also reimagining often the produced ones, so that the American landscape of storytelling is truly reflective of the gorgeous tapestry of people who inhabit it?
https://broadwaypodcastnetwork.com/podcast/talk-back/
Gesamtlänge aller Episoden: 20 hours 30 minutes
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episode 1: "The Spark" - The Canon in Education with Julianne Wick Davis and Stephen Kaplan
The first episode of The Dramatists Guild Presents: Talkback Season 5 features a conversation with theatre artists and educators Stephen Kaplan and Julianne Wick Davis. Host Christine Toy Johnson speaks with Stephen and Julianne about how to teach difficult or controversial theatrical works in the classroom, how to include more recent plays and musicals in a school curriculum, how teachers can use scripts and scores for educational purposes without infringing on the writer's copyright, and more...
episode 1: “The most dangerous question in the world: Why?” Redefining Power in the Canon
This week, playwright and activist Roger Q. Mason speaks with podcast host Christine Toy Johnson about how power influences the canon. Roger shares how spirituality plays a key role in their writing process and also discusses the importance of thinking critically -- especially when facing both canonical and new theatrical works. In the fifth season of The Dramatists Guild Presents: Talkback, we examine how we can expand the canon and challenge the status quo...
episode 2: ”English Canon vs. Global Canon” The Canon and Global Language with Diana Burbano and Jason Ma
Playwrights Diana Burbano and Jason Ma speak with Talkback host Christine Toy Johnson about the interaction between language and the expanding definition of the American theatre canon. They discuss the challenges of using playwriting software when writing shows that utilize non-Western languages, what it's like to write for audiences for whom English is a second language, how deeper meanings can get lost when certain texts are translated into English, and more...
episode 3: If I Look at Roses, I Hear Bells” Neurodiversity in the Canon with Harmon dot aut
How does theatre help a neurodivergent artist navigate the challenges of being on the spectrum? In this episode, playwright Harmon dot aut speaks with Talkback host Christine Toy Johnson about their writing process and their experience at Spectrum Theater Ensemble, where Harmon is a playwright in residence. Discover how the theatre's NICE program supports neurodiverse, inclusive theatre practices and what it means to create sensory friendly entertainment...
episode 4: “They’re not museum pieces. We make them because they still have something to say” The Modern Canon Joseph Haj
Discover why the American theatre canon is not a static entity. In this episode, Guthrie Artistic Director Joseph Haj speaks with Talkback host Christine Toy Johnson about how his theatre seeks to include both traditional classics and new works to diversify and educate the audience in each theatre season...
episode 6: “That insatiable desire to be seen and be heard.” The Future of our Canon
This season's final episode features a conversation with two of the most produced playwrights in America: Lauren Gunderson and Lynn Nottage. The two women writers speak with host (and fellow woman writer) Christine Toy Johnson about how they were motivated to start telling stories in order to create roles that were missing from the narrative. They also address the importance of bringing theatre to communities- especially marginalized communities- instead of expecting them to come to the theatre...
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