Workshop Production

EMOS 2015 – Call for Scripts

This post comes from Chantal Bilodeau’s Artists and Climate Change Blog

Earth Matters On Stage

EMOS ~ Ecodrama Playwrights Festival & Symposium ~ 2015
Hosted by the Department of Theatre and Dance
At the University of Nevada, Reno in May 2015

CALL FOR SCRIPTS

First place Award: $1,000 and workshop production
Second place Award: $500 and possible workshop production
Honorable mentions: public staged reading

Deadline for Submissions is April 1, 2014. 

The mission of EMOS’ Ecodrama Playwrights Festival is to call forth and foster new dramatic works that respond to the ecological crisis and that explore new possibilities of being in relationship with the more-than-human world.  The central questions EMOS asks are “when we leave the theater are things around us more alive? Do we listen better, have a deeper or more complex sense of our own ecological identity?”[i]  If your play does, send to us!

The EMOS Festival includes workshop performance/s of winning script, readings, talkbacks and discussions of the scripts that are finalists in the Playwrights’ Contest.  A concurrent Symposium will includes speakers, panels and discussions that advance scholarship in the area of arts and ecology, and help foster development of new works.

Past EMOS Winners:

  • 2012– Sila, the first play of The Arctic Cycle, by Chantal Bilodeau, in which “a climate scientist, an Inuit activist and her daughter, two Canadian Coast Guard Officers, an Inuit Elder, and a polar bear—see their values challenged as their lives become intricately intertwined.”
  • 2009 – Song of Extinction, by Los Angeles playwright EM Lewis, in which a musically talented teen and his father whose mother/wife is dying come to understand the deeper meanings of “extinction” from a Cambodian science teacher.  Song of Extinction premiered in Los Angeles and was recently published by Samuel French.
  • 2004 – Odin’s Horse, by Chicago playwright Rob Koon, in which a writer learns something about integrity from a tree sitter and a lumber company executive, went on to premier in Chicago in 2006.

Judges: A panel of distinguished theatre artists from the USA and Canada will choose the winning plays from five finalists.  Finalist will be read by past EMOS festival directors, Larry Fried, Theresa May and Wendy Arons, as well as EMOS artistic staff at the University of Nevada, Reno.  Past judges have included:  Robert Schenkkan, playwright; Martha Lavey, Artistic Director, Steppenwolf Theatre, Chicago, IL; José Cruz González, playwright; Ellen McLaughlin, playwright; Timothy Bond, Artistic Director Syracuse Stage, NY; Olga Sanchez, Artistic Director, Teatro Milagro, Portland, OR; Diane Glancy, playwright; Marie Clements, playwright, British Columbia.

Guidelines for Playwrights

Scripts must be original works which have not been published and have not had an Equity or “premiere” citation production.  (Readings or informal workshop productions are okay.)

Thematic Guidelines

We are looking for plays that do one or more of the following:

  • Put an ecological issue or environmental event/crisis at the center of the dramatic action or theme of the play.
  • Expose and illuminate issues of environmental justice.
  • Explore the relationship between sustainability, community and cultural diversity.
  • Interpret “community” to include our ecological community, and/or give voice or “character” to the land, or elements of the land.
  • Theatrically explore the connection between people and place, human and non-human, and/or between culture and nature.
  • Grow out of the playwright’s personal relationship to the land and the ecology of a specific place.
  • Theatrically examine the reciprocal relationship between human, animal and plant communities.
  • Celebrate the joy of the ecological world in which humans participate.
  • Offer an imagined world view that illuminates our ecological condition or reflects on the ecological crisis from a unique cultural or philosophical perspective.
  • Critique or satirizes patterns of exploitation, consumption, or other ingrained values that are ecologically unsustainable.
  • Are written specifically to be performed in an unorthodox venue such as a natural or environmental setting, and for which that setting is a not merely a backdrop, but an integral part of the intention of the play.

Submission Process

We are looking for full-length plays that are written primarily in English (no ten-minute plays, please; one-act plays are okay if 30+ minutes in length; no musicals, please).  Submitted plays should address the thematic guidelines as listed above. Deadline: April 1, 2014  ~ Early submission highly encouraged. / Electronic submissions may be sent; see #2 below for instructions.

  1. All submissions should include a cover page with:
  2. Two blind copies of the FIRST 30 PAGES OF THE SCRIPT ONLYPlease do not put the author’s name on the script, only on the title page.
  3. A synopsis of the play and cast requirements.
  • Play Title
  • Author Name
  • Contact Information
  • Additional requirements for Electronic Submissions:
    • Files must be saved in PDF; cover page may be a separate PDF file
    • Send to Jonathon Taylor at emos@unr.edu by April 1, 2014

Paper submissions must be received by April 1, 2014 to:

EMOS Festival
Jonathon Taylor, Department of Theatre and Dance,
University of Nevada, Reno
1664 North Virginia Street / MS 0228
Reno, NV 89557-0228

Evaluation Process

After reading the first 30 pages of all submitted plays, we will narrow the pool of submissions.  We will then request two full paper copies be sent to us by July 1, 2014.  Winners will be selected from this smaller pool.

Questions?  See our FAQ on the EMOS Website.  If you still have a question, email: emos@unr.edu.

Artists and Climate Change is a blog by playwright Chantal Bilodeau that tracks artistic responses from all disciplines to the problem of climate change. It is both a study about what is being done, and a resource for anyone interested in the subject. Art has the power to reframe the conversation about our environmental crisis so it is inclusive, constructive, and conducive to action. Art can, and should, shape our values and behavior so we are better equipped to face the formidable challenge in front of us.

Go to Chantal Bilodeau’s Artists and Climate Change Blog

Powered by WPeMatico

CALL FOR SCRIPTS: EMOS (Earth Matters on Stage)™ Ecodrama Playwrights Festival ~ 2012

At the University of Oregon’s Miller Theatre Complex, May 24-June 3, 2012

CALL FOR SCRIPTS

First place Award: $1,000 and workshop production

Second place Award: $500 and workshop production

Honorable mentions: public staged reading

The Guidelines for Playwrights below describe the focus of the Festival. Please read. The Deadline for Submissions is July 1, 2011.

The mission of EMOS’ Ecodrama Playwrights Festival is to call forth and foster new dramatic works that respond to the ecological crisis, and that explore new possibilities of being in relationship with the more-than-human world. The Festival is ten days of readings, workshop performance/s, and discussions of the scripts that are finalists in the Playwrights’ Contest.  Some readings and workshops will be followed by facilitated talkbacks with the playwrights.  In addition, a symposium on the second weekend of the Festival includes speakers, panels and discussions that will advance scholarship in the area of arts and ecology, and help foster development of new works.   The call for proposals for scholars and those wishing to participate in the Symposium can be found at www.uoregon.edu/~ecodrama.

The EMOS award includes a workshop production. The winning plays will be chosen by a panel of distinguished theatre artists from the USA and Canada. Past judges have included:

  • Robert Schenkkan, Playwright, winner of 1990 Pulitzer Prize
  • Martha Lavey, Artistic Director, Steppenwolf Theatre, Chicago, IL
  • José Cruz González, Playwright, SCR Hispanic Playwrights Project; faculty Cal State LA
  • Ellen McLaughlin, Playwright, NY
  • Timothy Bond, Artistic Director Syracuse Stage, NY
  • Olga Sanchez, Artistic Director, Teatro Milagro, Portland, OR
  • Diane Glancy, Playwright, Native Voices Award, faculty Macallister College
  • Marie Clements, Playwright, British Columbia

Guidelines for Playwrights

What kind of theatre comes to mind when you hear “ecodrama”? Political plays that advocate for environmentalism, or educational theatre about recycling? While these examples would fit, please let your imagination soar WAY beyond them!

Ecodrama stages the reciprocal connection between humans and the more-than-human world. It encompasses not only works that take environmental issues as their topic, hoping to raise consciousness or press for change, but also work that explores the relation of a “sense of place” to identity and community.

Help us create an inclusive ecodrama that illuminates the complex connection between people and place, an ecodrama that makes us all more aware of our ecological identities as a people and communities; ecodrama that brings focus to an ecological concerns of a particular place, or that takes writer and audience to a deeper exploration of issue that may not be easily resolved.

While many plays might be open to an ecological interpretation, others might be called “ecodrama,” Examples are diverse in form and topic: Ibsen’s An Enemy of the People, in which the town’s waters have become polluted and a lone whistle blower clashes with powerful vested interests; Schenkkan’s The Kentucky Cycle, the epic tale of a land and its people – Indigenous, European, African – over seven generations; August Wilson’s Two Trains Running that bears witness to the loss of inner city sustainability; Moraga’s Heroes and Saints, about the embodied impact of industrial agriculture; Marie Clements’ Burning Vision, which documents the impact of Canadian uranium mining on first nations communities and land; Giljour’s Alligator Tales, a one-woman play by a Louisiana Cajun native about her relationship to her neighbors, the weather, the oil rigs off the coast and the alligators on her porch; Norman’s Secret Garden in which nature consoles a child’s grief; Albee’s The Goat, or who is Sylvia, that confounds human species taboos.

  • Winner of the 2004 EMOS Festival ~ Odin’s Horse, by Chicago playwright Rob Koon, in which a writer learns something about integrity from a tree sitter and a lumber company executive, went on to premier in Chicago in 2006.
  • Winner of the 2009 EMOS Festival – Song of Extinction, by Los Angeles playwright EM Lewis, in which a musically talented teen and his father whose mother/wife is dying come to understand the deeper meanings of “extinction” from a Cambodian science teacher.  Song of Extinction premiered in Los Angeles and was recently published by Samuel French.

For us at EMOS, the central questions are” “when we leave the theater are things around us more alive? do we listen better, have a deeper or more complex sense of our own ecological identity?”

We need your voice, so does the theatre, so does our world.  Imagine! Write! Submit!

Thematic Guidelines

We are looking for plays that do one or more of the following:

  • Put an ecological issue or environmental event/crisis at the center of the dramatic action or theme of the play.
  • Expose and illuminate issues of environmental justice.
  • Explore the relationship between sustainability, community and cultural diversity.
  • Interpret “community” to include our ecological community, and/or give voice or “character” to the land, or elements of the land.
  • Theatrically explore the connection between people and place, human and non-human, and/or between culture and nature.
  • Grow out of the playwright’s personal relationship to the land and the ecology of a specific place.
  • Theatrically examine the reciprocal relationship between human, animal and plant communities.
  • Celebrate the joy of the ecological world in which humans participate.
  • Offer an imagined world view that illuminates our ecological condition or reflects on the ecological crisis from a unique cultural or philosophical perspective.
  • Critique or satirizes patterns of exploitation, consumption, or other ingrained values that are ecologically unsustainable.
  • Are written specifically to be performed in an unorthodox venue such as a natural or environmental setting, and for which that setting is a not merely a backdrop, but an integral part of the intention of the play.

Submission Guidelines

We are looking for full-length plays that are written primarily in English (no ten-minute plays please; one-act plays are okay if 30+ minutes in length).  Submitted plays should address the thematic guidelines as listed above.

  1. All submissions should include a cover page with:
    • Play Title
    • Author Name
    • Contact Information
  2. Two blind copies of the FIRST 30 PAGES OF THE SCRIPT ONLYPlease do not put the author’s name on the script, only on the title page.
  3. A synopsis of the play and cast requirements.

Submissions must be received by July 1, 2011 to:

EMOS Festival/Theresa May, Artistic Director
207 Villard Hall, Theatre Arts
University of Oregon
Eugene, OR 97403

Deadline: July 1, 2011

Early submission encouraged. / No electronic submissions please.

Evaluation Process

After reading the first 30 pages of all submitted plays, we will evaluate the submissions to reduce the size of the pool.  We will then request two full paper copies be sent to us by Sept. 15, 2011.   Winners will be selected from this smaller pool.

Questions?  See our Frequently Asked Questions on the EMOS Website at www.uoregon.edu/~ecodrama.  If you still have a question, email: ecodrama@uoregon.edu

Quantum Poetics: A Science Experiment for the Stage

Stolen Chair launches its 8th season with a workshop presentation of its 13th original work, developed in conjunction with America’s first Community Supported Theatre:

Quantum Poetics: A Science Experiment for the Stage

June 11-13, 2010

“Scrappy”-American Theatre “Endearingly eclectic” -Village Voice “Inventive” -TimeOut NY “Smashes genres in an aesthetic supercollider” -NY Press

Laboratory theatre meets laboratory science in Kiran Rikhye’s latest “unholy hybrid,” Quantum Poetics: A Science Experiment for the Stage. Directed by Jon Stancato, the one-weekend workshop production runs June 11-13 at the Connelly Theatre.

Quantum Poetics is a mind-bending science experiment for the stage. Setting out to prove the existence of his creations, God, a god, enlists the support of a quantum physicist, a 19th century children’s book author, a 13th century mystic nun, a 16th century alchemist, a 7-year old girl, and, stepping straight from the pages of a storybook (or movie musical), Lancelot and Guinevere, taking the audience on a time-travelling adventure through the multiverse. Impossible paradoxes and cognitive dissonance abound in this Escher-esque philosophical romp.

The production stars returning Stolen Chair veterans David Berent, Liz Eckert, Liza Wade Green (Gemini Collisionworks’ George Bataille’s Bathrobe), Chris Hale, Timothy McCown Reynolds (Untiled Theatre #61’s Rudolf II), and Noah Schultz, welcoming Sarah Engelke (Banana Bag & Bodice’s Sandwich) and Miriam Lipner, with production design by David Bengali. The production was made possible, in part, by the Nancy Quinn Fund and public funds from the New York State Council on the Arts. It was created in Stolen Chair’s Community Supported Theatre (CST). Drawing inspiration from Community Supported Agriculture (CSA), Stolen Chair’s pilot CST brought theatre-goers into the studio with theatre-makers each month for the entire development process, offering work-in-progress sharings of Quantum Poetics paired with thematically linked cultural activities, like an intimate talk with quantum physicist Gabriel Cwilich, a screening with science cartoonist Odd Todd, and the science-themed Atoms & Eves Valentine’s party. The CST is made possible by The Field’s Economic Revitalization for Performing Artists (ERPA) program, supported by the Rockefeller Foundation’s 2008 Cultural Innovation Fund

Named “Best Genre-Bending Theatre” by New York Press, Stolen Chair is a theatre laboratory dedicated to the creation of playfully intellectual, wickedly irreverent, and exuberantly athletic original works. Since its inception in 2002, Stolen Chair has created 13 critically-acclaimed original works including the absurdist noir Kill Me Like You Mean It, the Weimar child’s-play cabaret Kinderspiel, and the vaudevillian memento-mori, Theatre is Dead and So Are You.

Quantum Poetics runs Jun 11-13, Friday & Saturday at 8pm and Sunday at 6pm, with a free post- show panel with the company, science journalists, and physicists following the Saturday performance. The Connelly Theater is located at 220 East 4th Street, accessible from the F at 2nd Ave-Houston St or the 6 at Bleeker. Free wine at all performances.

Tickets are $12, available at 1-800-838-3006 or www.stolenchair.org