Here are a few posts from last week's Greenpage that might be worth your time:
Digital Drama: The technology transforming theatre
BBC News: "Vidiots, they sometimes call us," admits Timothy Bird. Some people in the theatre industry don't take kindly to the innovations that Mr Bird and his team at Knifedge are introducing to the stage. Innovations like a computer-generated avatar sword-fighting an actor live on stage in his most recent show Pippin, transporting the audience to the world of a computer game.
Minnesota Theater Alliance Presents National Conference on Sustainable Practices in Theatre
Stage Directions: Concerned about how “Green” (or not) your theatre is? The Minnesota Theater Alliance and the Twin Cities Sustainable Theatres Group are presenting "Sustainability in Theater Conference,” a national conference on sustainable practices for the performing arts. The conference will be hosted by Brave New Workshop. In a nice touch, you can attend without traveling there and incurring all sorts of carbon debt. There will be a live Webcast through QwikCast and online collaboration through Google+ Hangouts On Air.
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Out West Arts: Last week the Spring for Music Festival, an annual New York-based concert series at Carnegie Hall celebrating adventurous programming by North American orchestras, announced a contest to pick the best English-language culture blogger in North America. The contest involves bloggers writing responses to a series of prompts while a panel of judges and the voting public slowly whittles away the dross to determine a virtual champion. As a member of the likely target audience for this endeavor, I wasn’t particularly taken with the idea for several reasons. Chief among these was the first writing prompt. To wit: “New York has long been considered the cultural capital of America. Is it still? If not, where?”
The Importance of Beginning: the Changing Relationship of Artists, Organizations, and Communities
HowlRound: We’re living through a major shift in the way people make and consume culture, one that we can’t yet see the end of. Theater institutions must respond to this change or face increasing irrelevance. So, what is essential to theater-making and what can be discarded? What is the particular value of live performance? And, if you’re an artistic director who wants to shift your relationship with your audience, where should you start?
The State of (New) Play in DC, Part V
Gwydion Suilebhan: I don’t know what it’s like to be a playwright in New York; I’ve never done it. (And I don’t intend to.) I sometimes think all the competition must make it stressful. (Then again, that’s what I think about life in New York in general.) I imagine always being the fifth playwright in line for a three-play opportunity, or burning the midnight oil all the time to try to meet the right people, or worrying about making ends meet in a demanding financial environment. Of course, New York also sometimes seems like the land of plenty: opportunities, collaborators, shows to see, and so on. I’m sure it comes with more than its fair share of benefits, or we wouldn’t have so many playwrights living there.
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