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Jason Grote

Jason Grote is the author of 1001, Maria/Stuart, and Hamilton Township. He is writing the screenplay for What We Got: DJ Spooky's Quest For The Commons, and co-hosting the Acousmatic Theater Hour on WFMU.

Siting NYC:
Six Nights in September

A perennial New York issue that we can expect to be aware of during the Republican Convention is space, or the lack thereof.

THE ONLY HOLE THAT MATTERS: Radiohole’s FLUKE at the Collapsable Hole

As William Carlos Williams said, the pure products of America go crazy, and in the case of Radiohole they’ve gone crazy in a really, really interesting way.

In Conversation

He said...SHE SAID WaxFactory reconstructs Duras with Jason Grote

Playwright Jason Grote had an e-mail conversation with performer Erika Latta and director Ivan Talijancic, the artistic co-directors of the international theater company WaxFactory, and playwright Simona Semenic, production dramaturg and executive producer of …SHE SAID. Created in cooperation with Mini teater Ljubljana (a Slovenian NGO producing contemporary theater and puppet theater) …SHE SAID will be performed at the Brooklyn Lyceum from November 3-13, as part of the Act French Festival; for more information, visit www.actfrench.org and/or www.brooklynlyceum.org.

In Dialogue

Elana Greenfield

In the work of Elana Greenfield, there is a mistrust of borders and boundaries that seems to extend to the medium of writing itself. While she is putatively a playwright, her work defies classification, occupying an indeterminate space between poetry, fiction, playwriting, and sub-genres like radio plays, oral storytelling and prose poetry.

In Dialogue

bad, clown, bad Jeffrey M. Jones and his nasty circus

Playwrights Sheila Callaghan and Jason Grote recently saw the Undermain Theater’s production of Jeffrey M. Jones’s play A Man’s Best Friend, and they discussed the play in Sheila’s Brooklyn kitchen.

In Dialogue

In Dialogue: A Poetics of Terror: Ken Urban

The world of Ken Urban’s plays is extraordinarily complex. It evokes the globalized world, where exotic, fearsome jungles of terrorism and ethnic cleansing coexist with banal landscapes of turnpikes, strip malls and subdivisions.

In Memory: Harold Pinter

Harold Pinter was an inspiration—if not a model—for many theater artists working today. What follows is just a small sample of the ways Pinter's work has influenced us all.

Funny, Strange, Provocative: Seven Plays from Clubbed Thumb

I often find myself saying that American theater in general, and playwriting in particular, are enjoying something of a creative renaissance at the moment.

In Dialogue

Fractured Language: Ann Marie Healy

BOOTS: Now that is something. Some thing. NANETTE: … BOOTS: I tell you. I just saw something….

In Dialogue

Watching With Similar Eyes: Lucy Thurber

It’s a truism that the discussion of class is a taboo in American society. In fact, however, it’s discussed quite often, whether in the language of the rightist, “blue-collar” backlash, or the various liberal pieties of NPR and The New York Times.

Politics is a Drag

At first glance, Larry Bogad’s informative and engaging Electoral Guerilla Theatre seems an odd book to exist, chronicling three underreported satirical election campaigns.

Revolution at the Gates: Mac Wellman and Young Jean Lee’s New Downtown Now

In the course of the past decade or so, theater has reached a sort of watershed moment. There may be more multivalent, creative theater being created today than in any other time in U.S. history. Whereas theatrical movements of the recent past have privileged spectacle over text or collage over narrative, or have involved a reassertion of traditional forms, much contemporary work exists comfortably in multiple theatrical traditions, or in no tradition at all.

On Innocence and Depravity

I have a theory—half-baked and probably impossible to confirm—that new British plays seen by New York audiences don’t even come close to representing the most interesting work happening in the UK at any given time.

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The Brooklyn Rail

JUL-AUG 2020

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