The Radical Hospitality Issue
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Masthead of the Radical Hospitality Issue
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Editor’s Notes on The Radical Hospitality Issue
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Lucy Wang: Ten Questions
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Stephen Kaplan: What I'm Teaching Now
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Douglas Post: What Copyright Means to Me
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What Does Radical Hospitality Mean to You?
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On Radical Hospitality, Part One
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Dramatists in Times Square
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On Radical Hospitality, Part Two
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3 Things You Can Do
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The Walking Plays
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California - North: Jeannie Barroga
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Chicago: Takeaways for a Post-Pandemic Theatre
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Dallas/Ft. Worth: A Conversation with Anyika McMillan-Herod
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DC: Meeting the Challenging Moment
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Houston: Writers Weathering The Storm
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Kansas City/St. Louis: Missouri Playwrights Keep Hope (and their Work) Alive During COVID
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Minneapolis/St. Paul: Let's Make Art
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New England - East: A Pandemic-Infused Winter
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New Jersey: Updates from the Garden State
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New York City: A Conversation With Ty Defoe
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Seattle: Isolation / Collaboration
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From the Desk of the DGCM: Who Do I Leave My Intellectual Property To?
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Arthur Kopit: Why I Joined the Guild
At DG©M we are honored by the growing number of authors who have inquired about and enrolled in our program. When I reflect upon our dramatists, I always think of Anne Hanley, who was one of the very first authors to enroll with us. I have often wondered what made Anne decide to trust her work and her legacy to a new company with (at the time) very little track record. In her own words. -
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was named Alaska Writer Laureate 2002-2004, the only playwright to receive such an honor. Her play The Winter Bear, tells the story of an Athabascan teenager who is contemplating suicide when he is sentenced to cut wood for Koyukon Athabascan elder Sidney Huntington. You can learn more about Anne and The Winter Bear at https://thedgcm.org/the-winter-bear.