We are currently accepting submissions for the 2018-19 Reva Shiner Comedy Award. The top 10 finalists and the winner of the 2018-19 Reva Shiner Comedy Award will be announced at the end of March 2018.
"Full-length" plays will have a complete running time of between 1 hour 15 minutes (75 minutes) to 2 hours 15 minutes (135 minutes).
Plays submitted must be unpublished at the time of submission. Plays that have received developmental readings, workshop productions, or productions at small theatre companies are acceptable. No scripts with previous productions at major regional theaters will be accepted. Once entered, subsequent activity does not change the acceptability of the script.
The Yale Drama Series is seeking submissions for its 2018 playwriting competition.
The winning play will be selected by the series' current judge, Ayad Akhtar. The winner of this annual competition will be awarded the David Charles Horn Prize of $10,000, publication of his/her manuscript by Yale University Press, and a staged reading at Lincoln Center's Claire Tow Theater. The prize and publication are contingent on the playwright's agreeing to the terms of the publishing agreement.
Theatre Roulette is MadLab’s annual shorts festival, a tradition that has lasted more than 15 years. Theatre Roulette began as an “invitation-only” festival, then expanded to taking local submissions, then to taking submission from across the United States, and now receives over 2000 scripts annually from every corner of the world.
Theatre Roulette is a juried festival.
Due to the overwhelming number of scripts we received in 2016, we will only be accepting the first 1500 scripts submitted in 2017.
*** FOR MORE INFORMATION about these and other opportunities see the web site at http://www.nycplaywrights.org ***
*** JULIUS CAESAR ***
How Outrage Built Over a Shakespearean Depiction of Trump
Shortly after the presidential election, Oskar Eustis, one of New York’s most successful theater executives, knew what he wanted to do. He would direct a production of Shakespeare’s “Julius Caesar,” with the title character a provocative but inexact stand-in for President Trump.
Mr. Eustis was not alone. All over the country, from Oklahoma to Oregon, theaters have been staging “Julius Caesar” this year as a way to chew over politics, power, democracy and authoritarianism at a moment when a populist leader with a fondness for executive power has moved into the White House.
Et Tu, Delta? Shakespeare in the Park Sponsors Withdraw From Trump-Like ‘Julius Caesar’
New York’s Public Theater lost financial support from two high-profile corporate donors, Delta Air Lines and Bank of America, on Sunday amid intense criticism of its production of Shakespeare’s “Julius Caesar,” which depicts the assassination of a Trump-like Roman ruler.
The companies’ decisions came after days of criticism online and in right-leaning media outlets that was amplified by Donald Trump Jr., a son of the president, who appeared to call into question the theater’s funding sources on Twitter on Sunday morning.
Trump-like 'Julius Caesar' isn't the first time the play has killed a contemporary politician
The production of "Julius Caesar" now being put on in New York City, which depicts the assassination of a ruler who resembles President Trump, isn't the first time Shakespeare's masterpiece has seen a modern politician subbed in for Caesar. It's not even the first time the director, Oskar Eustis, has done that.
"Throughout the 20th century and into the 21st, the rule has been to create a recognizable political world within the production," Andrew Hartley, the Robinson Chair of Shakespeare Studies at the University of North Carolina at Charlotte, told CNN. "And often people in the title role itself look like or feel like somebody either in recent or current politics."
According to Hartley, the modernization of "Caesar" began with the 1937 production by Orson Welles, who made his Caesar a "Hitler, Mussolini clone" and was focused on the rise of Fascism in Europe rather than the fall of the Roman Republic.
Delta Sponsored 2012 Guthrie Theater Season Which Featured Obama Inspired Julius Caesar
On Sunday night, Delta Air Lines announced that they were ending their four-year-old sponsorship agreement with The Public Theater over their current Shakespeare in the Park production of JULIUS CAESAR. The play, which is set to open at Central Park's Delacorte Theatre on Monday, depicts the Roman dictator in a way that calls to mind President Donald Trump.
While the 71st Annual Tony Awards were airing, Bank of America announced that it had joined Delta and pulled its sponsorship of The Public Theater as well.
BroadwayWorld has learned that in their 2012 season, during which Delta Airlines was a Business Circle sponsor - The Guthrie Theater in Minneapolis presented an Obama inspired Julius Caesar co-produced with The Acting Company.
Though information on the level of financing Delta contributed for the year 2012 was unavailable, this year they donated between $100,000 and $249,000 to the Gurtrie Theater.
Donald Trump Jr., shortly after Rep. Steve Scalise, a Republican aide and security personnel were shot at a baseball practice in Virginia on Wednesday, took to Twitter to connect the shooting to the recent controversy over a rendition of "Julius Caesar" that features the assassination of a ruler that resembles Donald Trump.
Trump's son retweeted political commentator Harlan Z. Hill, who opined, "Events like today are EXACTLY why we took issue with NY elites glorifying the assassination of our President."
Trump Jr. supported the comment, adding: "This."
In Defense of the Trumpian “Julius Caesar”
On Monday evening, this season’s free production of Shakespeare in the Park’s “Julius Caesar” will open to an unusual quantity of attention. As audiences beyond the Delacorte Theatre have already heard, the production, which is directed by Oskar Eustis, the longtime artistic director of the Public Theatre, presents Shakespeare’s interpretation of Roman history as a contemporary parable. The setting is one of political upheaval and extreme civil unrest. At the play’s opening, protesters dressed in costumes that suggest contemporary activists ranging from Black Lives Matter to Anonymous plaster political posters on the walls; Caesar, the ascendant leader of the Roman Republic, is presented as President Trump.
Played by Gregg Henry, this Caesar wears a navy-blue suit and red tie, has a filigree crest of golden hair, and comes bearing a cell phone in stubby fingers. Eustis’s interpretation highlights Caesar’s preening and his pleasure in adulation. At the beginning of the play, he is already the tyrant whose dangerous ascent Brutus and his other over-throwers fear. The effect of watching Caesar-as-Trump is outrageous, comical, and—especially if you number among those for whom the election of this President has felt like an appalling and dangerous swerve into farce—cathartic in its use of satire.
What is not played for laughs in this production, however, is Caesar’s death, which comes, as Shakespeare’s text dictates, at the hands of a group of conspirators—and ends with Caesar as a bloodied lump on the floor. It’s this sequence from the play that has made its way, via audience videos taken in previews, to Web sites like the Daily Caller. Over the weekend, the play became a subject of discussion in conservative media and in the Twitter feed of Donald Trump, Jr., who tweeted, “I wonder how much of this ‘art’ is funded by tax payers? . . . when does ‘art’ become political speech & does that change things?”
A production of “Julius Caesar” in Central Park was disrupted on Friday evening by two protesters who objected to the bloody scene in which the title character, played by an actor costumed and styled to resemble President Trump, is knifed to death.
A woman who later identified herself on social media as Laura Loomer jumped onto the stage just after the assassination of Caesar and began shouting, “Stop the normalization of political violence against the right,” and, “This is violence against Donald Trump.” Ms. Loomer describes herself as a “a right-wing investigative journalist and activist” who has previously worked with James O’Keefe, the conservative activist known for selectively edited undercover video investigations.
Ms. Loomer’s interruption of the scene was being recorded by a man in the audience who began shouting, “You are all Goebbels,” a reference to the Hitler aide and Nazi propagandist Joseph Goebbels. On social media, Jack Posobiec, an activist who supports President Trump and has been associated with conspiracy theories, identified himself as Ms. Loomer’s collaborator.
The show was paused briefly, with the actors still on stage, as security officers removed the two protesters from the Delacorte Theater, the 1,800-seat outdoor amphitheater in which Shakespeare in the Park is staged. The audience tried to shout down the protesters, and applauded as they were removed.
Forget Julius Caesar – Trump is more like Richard III, Shakespeare’s satanic joker
Two US companies have pulled their sponsorship from a New York production of Julius Caesar because it depicts a Trump-like character – grisly ending and all. But the bard has other characters that better fit the US president
Sponsorship, a British director once told me, is implicit censorship. As if to prove the point Delta Airlines and Bank of America have pulled out of funding a New York Shakespeare-in-the-Park production of Julius Caesar on the grounds that the Roman dictator is played as a blond-haired bully with an American tie-pin and a Slavic wife. A spokesperson for one of the sponsors said the portrayal of Caesar was clearly designed “to provoke and offend”, which some of us thought was one of theatre’s basic functions.
But is there scope for re-casting other Shakespeare plays with Trump lookalikes? Some may be tempted by the idea of a Trump Lear in that Shakespeare’s monarch has a shaky grasp of reality, carves up his kingdom among his family and is confronted by his daughters’ ingratitude; but, although Ivanka Trump allegedly tried to persuade her father not to pull out of the Paris climate agreement, the mad Lear has a tragic grandeur entirely missing in Trump. It’s easier to envisage a Trump-like Richard III. After all, the character is a satanic joker who systematically wipes out all obstacles to ultimate power, puts on a false face to deceive the populace and is ultimately confronted by his own hollowness. As he says on the eve of battle: “There is no creature loves me; and if I die, no soul shall pity me.”
Trump's cabinet meeting was a lot like the opening of 'King Lear'
The first full cabinet meeting of the Trump administration, held on Monday at the White House, was like the opening of King Lear (if not something out of The Godfather or Goodfellas) as each member paid their respects to President Trump and poured praise over him like syrup over a pile of orange pancakes.
The public, photo-op portion of the affair began with Trump's usual bluster, blaming Democrats as "obstructionists" (irony!) and the typical chest-puffing of accomplishments before he turned it over to the cabinet to introduce themselves.
Along with the introductions came praise for the chief executive who made no secret of how much his enjoyed soaking up the adulation.
Twitter trending hashtag:
What if all of Shakespeare was really written about Donald Trump? What would the titles be?
King Lear --> King Leer.
But soft, what light through yonder window breaks?
It is the FBI, and Comey's in the Drapes.
Much Ado About Crowd Size
If you prick us do we not have blood coming out of our wherever?
Neither a borrower nor a lender be - unless it's a loan from Russia, always take those!
Friends, Russians, Businessmen. Lend me your Covfefe.
To thine own self be lewd.
A Midsummer Night's Scheme
To tweet, or not to tweet- that is the question: Whether 'tis nobler ... screw it - I'm going to tweet anyways
Alas, poor Yorick / He had a pre-existing condition
First, let's call all the lawyers
All's Well That Ends in Impeachment
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China should promote peace overseas to enhance its reputation
China will resume imports of Norwegian salmon. They had been embargoed following the awarding of the Nobel Peace Prize to human rights activist Liu Xiaobo (劉曉波).
Beijing was punishing Norway commercially, as it is the host country of the Nobel [peace prize] committee. However, this boycott seriously damaged the international image of China, making its leaders appear petty, cruel and vindictive.
To be awarded the Nobel Prize is a great honour for a person and his or her country, and should not be politicised.
The Peace Prize, in particular, far surpasses in prestige the awards given for science or economics, because it calls for great bravery and sacrifice.
China is using its wealth to invest in overseas projects and gain greater recognition – a kind of “soft power”. When these projects are accompanied by military personnel and bases (“hard power”), they are viewed with some suspicion. This is similar to the tactics of past imperialist powers.
It would be wiser and more beneficial for China’s image if some its wealth was given to those who promote social harmony and world peace. I can envisage a prestigious “Noble Prize for Peace” given internationally, not as a rival, but as a complement to the Nobel Prize.
This may seem idealistic because most political leaders and their military allies follow the doctrines of Niccolò Machiavelli who advised princes to be feared, not loved. The Chinese author of The Art of War, Sun Tzu, is also studied by many who view peace-building as naive and a threat to their nation.
China is spending huge amounts to expand its navy. Just a small fraction of that expenditure could be used to set up a prize fund that would receive international acclaim. The effect would be to dilute and reduce some of the fear and tension now arising from China’s commercial and military assertiveness. An additional benefit would come from encouraging Chinese citizens to work toward better social cohesion and understanding, to supplement ruling party efforts within China.
In our modern world, a nation is respected and admired not for its nuclear missiles or military parades, but for the health, dignity, freedom and dedication of its citizens. Perhaps some day a Chinese “noble peace prize” will be awarded to many of China’s peace-loving citizens.
To build railroads, bridges and sea ports overseas is good; to build social harmony and international peace is even better.
Jason Kuylein, Stanley
This article appeared in the South China Morning Post print edition as:
China should promote peace overseas to enhance its reputation
Pasha (PA-shuh, PASH-uh, puh-SHAH) : A person of high rank or importance. From Turkish pasa, from Persian padshah, from pati (master) + shah (king). Pasha was used as a title of high-ranking officials in the Ottoman Empire.
Loquacious (Loh-KWAY-shus) full of excessive talk : wordy, given to fluent or excessive talk: garrulous. Loquacious made its first appearance in English in the 17th century and, with poetic license, stretched its meaning to include such things as the chattering of birds and the babbling of brooks. In less poetic uses, loquacious usually means "excessively talkative." The ultimate source of all this chattiness is loqui, a Latin verb meaning "to speak." Other words descended from loqui include colloquial, eloquent, soliloquy, and ventriloquism.
Ayatollah (ah-yuh-TO-luh) 1. A high-ranking religious leader of the Shiite Muslims. 2. A person having authority and influence, especially one who’s dogmatic. From Persian ayatollah (literally, sign of god), from Arabic ayatullah, from aya (sign) + allah (god).
Moue: (MOO) a little grimace: pout. Moue is one of two similar words in English that refer to a pout or grimace; the other is mow, which is pronounced to rhyme either with no or now. Mow and moue share the same origin—the Anglo-French mouwe—and have a distant relationship to a Middle Dutch word for a protruding lip. (They do not, however, share a relationship to the word mouth, which derives from Old English mūth.) While current evidence of moue in use in English traces back only a little more than 150 years, mow dates all the way back to the 14th century. Moue has also seen occasional use as a verb, as when Nicholson Baker, in a 1988 issue of The New Yorker, described how a woman applying lip gloss would "slide the lip from side to side under it and press her mouth together and then moue it outward…."
Baksheesh (BAK-sheesh) A payment, such as a tip or bribe. From Persian bakhshish, from bakhshidan, from baksh (to give). Ultimately from the Indo-European root bhag- (to share) that is also the source of nebbish, Sanskrit bhagya (good fortune), and words related to -phagy (eating), such as onychophagia (the biting of one’s nails) and xerophagy (the eating of dry food).
Engender (in-JEN-der) 1: beget, procreate 2: to cause to exist or to develop : produce 3: to assume form : originate. When engender was first used in the 14th century, it meant "propagate" or "procreate," but extended meanings soon developed. Engender comes from the Latin verb generare, which means "to generate" or "to beget." Generate, regenerate, degenerate, and generation are of course related to the Latin verb as well. As you might suspect, the list of engender relatives does not end there. Generare comes from the Latin noun genus, meaning "birth," "race," or "kind." From this source we have our own word genus, plus gender, general, and generic, among other words.
Dervish (DUHR-vish) 1. A Muslim monk of various ascetic orders, some of whom take part in ecstatic rituals such as whirling dances or chants. 2. Someone who exhibits frenzied movements. From Turkish, from Persian darvish (poor, beggar).
Squinny (SKWIN-ee) To look or peer with eyes partly closed: squint.
“I remember thine eyes well enough. Dost thou squiny at me?" So asks Shakespeare's mad King Lear of blind Gloucester, marking the first known use of the verb squinny. It is likely that Shakespeare formed the word from an earlier English word squin, meaning "with the eye directed to one side." Shakespeare also uses the more familiar squint in King Lear: "This is the foul fiend Flibbertigibbet.… He gives the web and the pin, / squints the eye … mildews the white wheat, / and hurts the poor creature of earth." Although this is not the first known use of the verb squint, it is the first known use of the verb's transitive sense.
Prodnose (PROD-nohz) verb intr.: To pry. noun: A prying person. After Prodnose, a pedantic and nosy character, who appeared in the columns of J B Morton in the Daily Express. Earliest documented use: 1954.
Penchant (PEN-chunt) A strong and continued inclination; broadly: liking.
Like its synonyms leaning, propensity, and proclivity, penchant implies a strong instinct or liking for something. Penchant, a descendant of Latin pendere (meaning "to weigh"), typically implies a strongly marked taste in the person ("a penchant for jazz music") or an irresistible attraction in the object ("a penchant for taking risks").
Ascetic (uh-SET-ik) 1: practicing strict self-denial as a measure of personal and especially spiritual discipline 2: austere in appearance, manner, or attitude. Ascetic comes from askētikos, a Greek adjective meaning "laborious." Ultimately, it comes from the Greek verb askein, which means "to exercise" or "to work." There aren't many other English words from askein, but there's no dearth of synonyms for ascetic. Severe and austere, for example, are two words that share with ascetic the basic meaning "given to or marked by strict discipline and firm restraint." Ascetic implies abstention from pleasure, comfort, and self-indulgence as spiritual discipline, whereas severe implies standards enforced without indulgence or laxity and may suggest harshness (as in "severe military discipline"). Austere stresses absence of warmth, color, or feeling and may apply to rigorous restraint, simplicity, or self-denial (as in "living an austere life in the country").
Calaboose (KAL-uh-booss) jail; especially: a local jail. Calaboose is Spanish in origin; it's from the Spanish word calabozo, meaning "dungeon."
“Suppose the strong had become master in everything, even in moral valuations. Self-contempt on the part of the weak would be the result, and they would try to disappear and extinguish themselves. Would we really want a world in which the influence of the weak with their subtlety, consideration, spirituality, and pliancy was lacking?”—F. Nietzsche, The Will to Power