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
Happy New Year! Yes, we made it. We crossed over into 2022. For many, we’re leaving behind a year that pushed us personally, challenged us creatively, and left us wondering if we’d ever see the sight of a stage again or if we’d only see the black squares of Zoom. Yet even in the midst of all of that, new work did arise as seen through End of Play.®, classes through the DGI, and even accountability groups formed to encourage writing in community.
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is a trained journalist, dramatic writer, and published author who has more than 25 years of experience writing for multicultural, mainstream, and faith-based audiences.
is a playwright, screenwriter, and theatre artist. Her original plays include A Last Supper, Meritocracy The Willing, God in the Midst of it All, and Lil’ Bard. Triza is proud to serve as the South Carolina Ambassador for The Dramatists Guild.