This program offers sustained dramaturgical and artistic support to one working playwright* residing on the island of Montréal. This includes dramaturgical consultation, a creation workshop, a creation production residency, followed by a laboratory presentation.
The program aims to support the artistic practice of theatre artists who identify as Indigenous (First Nations, Métis, and Inuit), Black, POC, racialized including 1st or 2nd generation immigrant artists (as defined in the Conseil des Arts de Montréal’s glossary) working creatively in one of Canada’s official languages. Additionally, it seeks to foster dialogue between Montréal’s English- and French-speaking theatre communities, as well as intercultural exchanges and greater representation for culturally diverse artists within the theatre community and on Montréal’s stages.
In order to support artists writing in French and artists writing in English, CAM and La Serre offer this program alternately with the Centre des auteurs dramatiques (CEAD) in French, and with PWM in English. This edition is intended for artists creating in the English language. PWM is an English language minority company, therefore the work with PWM will take place in English and the application must be completed in English. Please refer to the Program Presentation (PDF) for more details about what this partnership includes, eligibility criteria and other conditions. Board Members of CAM, PWM and La Serre are not eligible to apply.
* This is an opportunity for professional playwrights as defined in the Conseil de Arts de Montreal glossary: “An individual with a professional artistic practice who possesses the necessary experience and knowledge to develop this practice. This includes self-taught individuals as well as those who have studied art. This person is recognized in their artistic community (artists working in the same artistic tradition), creates, carries out or publishes works of art, is dedicated to their artistic practice and is generally paid for their work.”
THE SUPPORTING ORGANIZATIONS
CONSEIL DES ARTS DE MONTRÉAL
Founded in 1956, the Conseil des arts de Montréal identifies, supports and recognizes excellence in the professional creation, production and dissemination of the arts.
To remain in tune with the organizations and collectives it serves, the Conseil relies on its knowledge of the communities, its innovative skills, and its ability to bring the city’s artists and financial partners together.
PLAYWRIGHTS’ WORKSHOP MONTRÉAL
Founded in 1963, Playwrights’ Workshop Montréal (PWM) is a nationally-mandated theatre creation and development centre based in Montréal. PWM is led by a team of experienced dramaturgs and arts administrators. With a focus on dramaturgy, its mission is to collaborate with artists in the development of new works of theatre and performance. PWM gives artists the opportunity to create and experiment, dream and take risks. Its collaborative process draws on the team’s unique experience and is tailored to the artist’s individual needs.
At PWM, playwrights, dramaturgs, translators, directors, performance makers, and theatre companies across the country find a creative accomplice willing to invest deeply in the development of meaningful work. Through PWM’s programming and activities, individual artists and companies meet and make new connections. By fostering these artistic connections, PWM acts as a community hub for theatre-makers in Montreal and beyond.
PWM has a deep commitment to equity, diversity, and inclusion. PWM’s staff have read and reviewed the progress of the 94 calls to action from the Truth and Reconciliation Commission of Canada as well as the UNDRIP, and are committed to working towards adapting recommendations into the organization and its programming. PWM regularly partners with Indigenous (First Nations, Métis, and Inuit), Black, POC, racialized (including recent immigrants), 2SLGBTQQIPAA+, neurodivergent, and disabled artists and organizations as well as artists living with chronic illness and/or chronic pain in its programming while continuing to work to deepen its practices and address systemic issues throughout the organization.
PWM operates a 2,000 square foot creation studio and shared office space, equipped with theatre lighting, sound and digital equipment. Click here for accessibility information for our office and creative studio space: https://www.playwrights.ca/accessibility-contact/
LA SERRE – ARTS VIVANTS
LA SERRE is a structuring incubator for the improvement of the conditions under which emerging artists carry out their work in live art. It accompanies them in the expansion of their work, from the creation process to encounters with the public. It helps artists develop their autonomy, organizational maturity and artistic independence. LA SERRE acts as an activator of collaborations between artists and local, national and international partners, as well as artists from various artistic disciplines and other areas. Artistically, LA SERRE favors projects that establish evocative links between art and society, and facilitate connections between different disciplinary fields and sectors.
The recipient of the program will receive a project creation grant of $13,000 from the CAM over two years, along with numerous services provided by PWM, LA SERRE, and CAM. This is a one-time, non-renewable grant.
The program takes place over two years, and support is provided as follows:
$3,000 creation grant for a new theatrical creation
30 hours of dramaturgical collaboration with Playwrights’ Workshop Montréal
9 hours of script workshopping offered by Playwrights’ Workshop Montréal
A staged reading with actors at Playwrights’ Workshop Montréal
$10,000 creation grant for production
50 hours of production and management mentorship by LA SERRE–arts vivants
60 hours of free access to the Conseil des Arts de Montréal’s studios
An excerpt of a previously written theatrical work in English (10 pages maximum);
An excerpt of the project (10 pages maximum);
Only the required documents will be forwarded to members of the evaluation committee.
Applications will be evaluated by representatives of the CAM, PWM and La Serre. Projects will be evaluated based on merit, feasibility, and impact on the artist.
PWM is strongly committed to supporting a wide range of cultural identities and lived experiences. We strongly encourage eligible applicants who also identify as 2SLGBTQQIPAA+, d/Deaf, neurodivergent, disabled, living with chronic illness and/or chronic pain to self-identify in their application if they are comfortable doing so.
The deadline to submit applications is October 27, 2022 at 11:59PM.
If you have any questions about the eligibility of your application or your project, or the program in general, do not hesitate to contact us.
Please address questions to Fatma Sarah Elkashef, Artistic Director of Playwrights’ Workshop Montréal, at email@example.com. If you have any questions regarding accessibility, or require assistance with this application, please contact Heather at firstname.lastname@example.org.
YCU NEWS: WE’RE welcoming a new dramaturG to lead the Unit
Playwrights’ Workshop Montréal is delighted to announce that dramaturg and director Leila Ghaemi will be leading this year’s Young Creators Unit! The current leader and creator of the YCU, Jesse Stong, will work with YCU alumni this year, while continuing their work as a dramaturg at PWM with both the Queer Reading Series and the New Stories Project.
“I’m so excited to have Leila taking the Young Creators Unit into the next phase. With her passion, intelligence, and experience, I am sure she will exceed expectations!” says long-time YCU facilitator Jesse Stong.
The application period for this year’s YCU has now passed. We’d like to thank each of the creatives who applied. More news on the 2022-2023 cohort will be shared online soon.
If you’re an aspiring playwright or storyteller who is 30 or under, then Playwrights’ Workshop Montréal’s Young Creators Unit (YCU) is the place to grow your work. This incubator for learning and experimentation helps emerging artists find their voice, as they workshop an original piece of theatre over the course of several months.
Playwriting is an ever-expanding field, and workshop environments are flexible and judgment-free spaces to work collectively. Interested storytellers need only apply with an idea, a question, a theme or topic. We welcome diversity of experience in life and in theatre, and all kinds of emerging writers and theatre makers are encouraged to apply.
By taking part in group sessions every two weeks, participants establish their craft in conversation with a close cohort of creatives. A customized work plan and one-on-one mentorship supports the development of your play, alongside professional support with grant writing and networking opportunities.
PWM welcomes all applications to our programs. While recognizing that the identity of each person is fundamentally plural and multidimensional, we strongly encourage applications from artists who are: Indigenous (First Nations, Métis, and Inuit), Black, POC, racialized (including recent immigrants), 2SLGBTQQIPAA+, neurodivergent, disabled, living with chronic illness and/or chronic pain. PWM is strongly committed to supporting a wide range of cultural identities and lived experiences, therefore we encourage applicants to self-identify in their application if they are comfortable doing so.
To learn about what it’s like navigating our space click here.
how to apply
Fill out this Google Form by 11:59 PM onSeptember 27, 2022. Your application will require the following information:
A brief bio of yourself, and your experience (if any) as a storyteller/creator.
A brief description of the work you would like to develop, or a list of some ideas.
A brief description sharing why you would like to join the Unit, and what you hope to get out of the experience.
Group sessions will take place in person every 2 weeks on Tuesdays from 5PM-8PM, and will shift to a weekly format beginning in January 2023. The program runs from October 18th, 2022 to May 26th, 2023 in PWM’s studio at 7250 Rue Clark in Montreal.
There are limited spots in the program and participants are expected to attend the group sessions, one-on-one meetings, as well as commit to some additional self-directed activities. Please only apply to the Unit if you can commit to the schedule. All applicants will be informed of their results by October 12.
PWM is committed to upholding safety and comfort for in-person gatherings, with regard to COVID-19. We continue to strongly encourage the regular wearing of masks, frequent hand-washing and use of sanitizer, as well as frequent surface wipe-downs. To read more about PWM’s COVID-19 guidelines, click here.
THE SELECTION PROCESS
A selection committee will be reading all applications and selecting the participants for the Unit. There are many factors that go into the selection process in addition to the consideration of your application, such as group dynamics and the range of experience within the cohort. There are no judgements with regard to training or competencies.
Anne-Sophie Grenier is a performer, writer, curator, and arts administrator. She is excited to be returning to her home town of Montreal after having served as the Executive Director of Modern Fuel Artist-Run Centre in Kingston, Ontario for the past 3.5 years. Her career has also included documentary film production, festival management, and international development. Anne-Sophie holds a Masters of International Arts Management from HEC Montreal and Southern Methodist University, as well as a B.A., Communications Studies from Concordia University. She is passionate about creating innovative opportunities for artists at the local, national and international level and is very much looking forward to collaborating with fellow creators in Montreal’s vibrant theatre community.
Anne-Sophie is appointed to the position following the departure of former Managing Director Lesley Bramhill, who was an integral part of the PWM team for five and a half years. Given Anne-Sophie’s education in arts management, leadership experience, and her artistic practice we are excited for the impact she will make at the organization and in the Montréal theatre community at large.
“We couldn’t be more pleased with the choice of Anne-Sophie Grenier as our new Managing Director at Playwrights Workshop Montréal. Building on her experience as Executive Director at Modern Fuel, she has a solid, strategic understanding of the interrelations between operations, finances and core activities. Anne-Sophie brings a wealth of management experience as well as a passion for creating supportive spaces for artists. She demonstrates a strong commitment to applying approaches to equity, diversity, inclusion, accessibility and decolonization. We look forward to witnessing what promises to be a strong and stimulating co-leadership between Anne-Sophie and Sarah.”
– Naïma Kristel Phillips, President of the Board of Directors at PWM
Last year, in collaboration with Arts Consulting Group, we shifted our organizational structure to better support our internal leadership and honour our spirit of collaboration. The new structure of our organization supports a co-leadership between the Artistic and Managing Directors.
“I am thrilled to welcome Anne-Sophie to the team and look forward to co-leading PWM with her. Anne-Sophie is experienced in collaborative leadership and arts management and is dedicated to supporting artists- I’m excited for us to meet the future together!”
After a year of transitions and adaptations to the pandemic context, we look hopefully to the future of our organization under the new co-leadership team of Sarah and Anne-Sophie. This new chapter will yield fruitful collaborations and creative processes that we are excited to realize!
“I am honored by the trust that the Board and hiring committee have placed in me to be the new Managing Director in co-leadership with Sarah. Most recently, I was working in the visual arts while maintaining my own writing and acting practice; theatre has been my greatest love and truest friend, and I am happy to be able to bring my experience and passion to the role of Managing Director. I am excited about collaborating with the wonderful team here and the larger Montreal theatre community, putting my managerial and leadership experience towards supporting the important work done by everyone involved with PWM.”
Over the past several years, Playwrights’ Workshop Montréal (PWM) has been researching ways to create more accessible and inclusive spaces. In 2019, we hired Kéroul to conduct an accessibility audit of our physical spaces, and they gave PWM a report with many recommendations. As tenants in the building, we have been limited in what changes we can make to the physical spaces, and so we shifted our focus to areas where we have more immediate agency to make changes: digital and cultural accessibility. In 2020-2021, PWM worked with Accessibility and Inclusion Consultant Clary Chambers to find tools, resources and approaches to creating more inclusive and accessible digital and cultural spaces. As Vice President of PWM’s Board of Directors, Corrina Hodgson, describes in the article below, in the winter and spring of 2021 we invited six D/deaf and disabled artists from the community to speak with us about how PWM could become more accessible and more inclusive.
FINDING THE LOVE: PWM’S ACCESSIBILITY COMMITTEE 2020-2021
By Corrina Hodgson
CHALLENGING ACCESSIBILITY AUDITS
Like many theatre organizations in Montréal, PWM is located in an inaccessible building that it leases. Unsurprisingly, it scored low on an accessibility audit executed two years ago.
While the results of the audit were factually correct, they did not sit right with me. I am a disabled playwright and I have served as an artist member on PWM’s Board of Directors for the past four years. The audit did not capture the culture of the organization that I know.
Enter Clary Chambers.
We decided to move beyond an accessibility audit and expand our definition of accessibility to include Cultural and Digital Accessibility. This definition of accessibility came from a workshop that I’d attended in 2019 by Spark Clarity run by Clary Chambers. PWM hired Clary Chambers to train staff members and assist me with the first meeting of the Accessibility Committee.
One core learning acquired from Clary this time around was the idea that accessibility begins at the point of contact. It’s not enough to have an accessible space or event. We must make our communications accessible. This impacted how we communicated with the members of the Accessibility Committee about our meetings. Every email included an ASL video, and a separate spoken video with closed captions. This allowed our emails to be read, listened to, listened to and read at the same time, or watched. Beyond communicating the content of the email, this approach communicated that everyone’s welcome and that everyone’s accessibility needs are valid.
“ . . . [W]e are not struggling because there’s something wrong with us; we are struggling because the systems that were set in place were for a specific group of people, and they’ve never been changed.” — Clary Chambers
For six meetings over six months — 12 hours total — artists Cherie Pyne, Violette Kay, Willow Cioppa, Penina Simon, Sage Lovell, Lois Brown, and I (Corrie Hodgson) — met with PWM staff in attendance, including staff participant Heather Eaton to discuss all things accessibility and how disability, chronic pain, and chronic illness impacts our life and art, both before and during COVID (acknowledging that post-COVID has yet to exist.) We spoke of our interactions with PWM, discussed how PWM could be an ally, and future dreamed.
PWM and I urged participants to inform us of any accommodations that would make meetings more accessible for them prior to or during meetings. This seems simple, but isn’t. As one participant pointed out, we don’t always know what we need, we just know this isn’t it. And another one said that we’re so used to being asked for what we need, but not for what makes things easier — and that’s a big difference.
Some accommodations we made were that we had ASL-English interpreters and encouraged everyone to make use of chat features. Speakers identified themselves prior to speaking. Participants were welcome to turn cameras off or keep them off for the entire meeting if that felt right. They were welcome to fidget, stand up and stretch, or attend while lying in bed. Nothing was interpreted as disinterest or “unprofessional.” Instead, we welcomed all bodies in all states of being, and all modes of communication were treated equally.
This approach to meetings sent the message that you do not have to fit yourself to the meeting. Instead, the meetings were made to fit our participants. Their form was malleable so that the humans didn’t have to be.
This malleability of structure is something the committee agreed was a shared value as disabled artists. Many of the group members wondered if PWM could extend this flexible approach to other aspects of its work. For example, could PWM livestream their events for those of us who are physically incapacitated but would like to attend? Could PWM’s programs be made accessible remotely? And, of course, the ultimate malleability extends to deadlines. Many of us are writing on *Crip Time and therefore require flexibility with deadlines. In a field that defines “professionalism” as meeting deadlines (among other things), could PWM become a leader in challenging this definition and explore flexible deadlines with disabled playwrights? Could they fight for longer development time for the creation of new works? As Violette Kay pointed out, we just watched extensions be handed out universally and no one had to ask, so why do we think it’s so impossible to grant them to individual artists?
HOW COVID IMPACTED OUR ART
A common experience amongst participants was a surge in survival employment during the pandemic. While most of our peers suffered financial losses, many of us were busier than ever. After all, we are a population that lives in quasi-lockdown without a pandemic, so the businesses we have developed — from music lessons and podcasting to consulting and technical writing — are well suited to COVID circumstances.
While suddenly earning more than ever before, and doing so in a time when many were struggling, was fortunate, it came at the expense of our creativity. Many of us felt obligated to take on as much paid work as possible, knowing that when the pandemic was over, we would once again be relegated to the sidelines and our earnings would return to pre-pandemic levels. The result amongst members was a sense of pushing past limits and not having anything left to give to creative projects. And there was a mounting guilt and panic about those projects, some of which had deadlines looming and dramaturges waiting for new drafts.
Sage Lovell spoke about how COVID had reduced opportunities for Deaf artists while accessibility measures increased options for Deaf spectators. This led to questions of how PWM could attract and support Deaf creators. Sage also reminded us of the very real fatigue brought on by digital spaces — something that everyone has experienced by this point in the pandemic.
Our sense of being overwhelmed by our side gigs and day jobs happened right when we were the most disconnected from our creative communities. We didn’t get to finish work and head to the theatre to gather in person with colleagues for a reading or show. We no longer had informal hang outs in local cafés to drink coffee and write. Many members longed for some sort of casual, drop-in group on a digital platform where we could congregate and support one another while writing. Again, flexibility in this vision played a key role, so that writers could come and go as needed.
Moreover, many of us live in small abodes. Penina Simon bemoaned the loss of her beloved cafés as that’s where she was used to writing. Similarly, Willow Cioppa spoke to the difficulty of working, eating, doing therapy and then trying to be creative all at the same table in their apartment.
For many of us, defining a post-pandemic world is difficult. We struggle to imagine a time of safety after these past two years. Merely imagining physical interactions with friends — never mind strangers — induces anxiety. Willow Cioppa foregrounded the important role that consent will play in our post-pandemic world, as we will all be at different comfort levels with physical touch, with hugs, and it will all have to be negotiated.
When committee members were asked if they felt safe attending PWM as an artist or spectator in the future, we all agreed that we did. We know that PWM as an organization is thorough and careful, that safety measures will be followed.
But then someone raised the question of how would we get to PWM? How many of us felt safe on the metro? On busses? Not one of us.
And Violette Kay raised a larger, more important question, addressing in-person endurance. The thought of entering an in-person five-day workshop seemed, well, exhausting.
It’s not just a question of if we feel safe.
It’s a question of if we are ready.
Or maybe when.
And what we do until then.
PWM has striven to be a safe space and creative hub prior to and during the pandemic. We would love to see it maintain a digital presence both during and after the pandemic. That presence would bring safety and creativity to its community on a consistent basis. While we have been overwhelmed and lacking in focus throughout the pandemic, we have fought and continue to fight to maintain an artistic practice. Knowing that we can rely on PWM to remind us that we are artists first, that our art matters, and that our voices have important things to say brings a lived experience to the slogan “Access is Love.”
*Crip Time is explained by Alison Kafer in her book, Feminist, Queer, Crip as “Rather than bend disabled bodies and minds to meet the clock, crip time bends the clock to meet disabled bodies and minds.”
ABOUT CORRINA HODGSON
Corrina (she/her) is a Queer and disabled playwright and dramaturg with a passion for nontraditional story structure. Raised in Toronto, Corrina had the good fortune of being on writing units at Buddies in Bad Times Theatre and Nightwood Theatre before obtaining her MFA in Creative Writing at UBC. She has been playwright in residence at the University of Lethbridge and her work has been produced across Canada and in the US, as well as on CBC Radio One. She is the co-creator and Artistic Producer of The Rose Festival, Montreal’s multidisciplinary festival for Queer Creators.
Below is a list of actions PWM has taken since the Accessibility Committee conversations, as well as actions we are committed to taking in the coming year and beyond. These actions are informed by multiple sources, including those already mentioned, as well as PWM’s staff and board. We are learning more each week, and welcome feedback from community members so that we may continue to render our practices and spaces increasingly inclusive. To ask questions or offer feedback, please email: email@example.com
We acknowledge that PWM is evolving as a company, our dramaturgical thinking is dynamic, and we commit to the actions below being dynamic as well.
Include videos of how to get to PWM’s location and how to get to our office/studio once inside the building
Examine user experience to make accessibility information very easy to find on PWM’s website
Add alt-text & image descriptions to the website and all social media
Use a maximum of 5 words of text in all graphics
Offer general and technical guidance and assistance for applications to PWM programs/job openings
Situate accessibility information and access needs requests at the top of blog articles or event pages on the website
It is with gratitude for her dedication to our community that the Board of Directors announces Lesley Bramhill’s departure from her position as the Managing Director of Playwrights’ Workshop Montréal.
“The announcement of Lesley’s departure leaves us with many emotions: the sadness to see her go, the gratitude for her continuous work at PWM and commitment to the arts, as much as the excitement for her as she starts a new amazing opportunity.” – Tiffanie Guffroy, Treasurer of PWM
Lesley stepped into the role of General Manager with PWM in 2016. Collaborating with former Executive and Artistic Director Emma Tibaldo, Lesley impacted PWM’s sphere greatly. Her accomplishments include helping to move the organization into its location at 7250 Clark, helping to double the organization’s operating budget, and collaborating on expanding PWM’s programming and operations. She also collaborated with her colleagues in arts advocacy in Quebec and Montreal to help advance the English language arts sector. In 2019, she was awarded the Unsung Hero of the Theatre award at the META’s, specifically for this work.
“Thank you. Over the last five and a half years, I have learned so much from PWM’s staff, board, artists and community. I am really excited for my next adventure, and will miss all of you dearly.
It has been an honour to help grow PWM to where it is today, and I am proud of the new co-leadership model I am leaving behind. I know the organization’s future is strong, with our current board, staff and Sarah’s leadership in place. ”
In 2021, after five years as the General Manager at Playwrights’ Workshop Montréal, Lesley was appointed Managing Director, creating the first co-leadership team with Artistic Director Fatma Sarah Elkashef. On Lesley’s time at PWM, Sarah notes that:
“Lesley’s work has helped transform PWM in profound ways over the past 5.5 years. I am sad to see my co-leader go but very grateful to her and the Board for creating this new dynamic structure for PWM. Lesley’s positive impact will be felt for a long time to come. We will miss you and wish you all good things, Lesley!” -Fatma Sarah Elkashef, Artistic Director of PWM.
Lesley’s presence, leadership, and passion will be deeply missed by her colleagues, our Board of Directors, and the Montréal theatre community as a whole. We would like to extend the warmest thank you to Lesley for her role in advancing artistic practice at PWM.
Lesley’s last day at PWM is on February 18, 2022. Our team and board are already working towards the recruitment of a new Managing Director, who will work alongside Fatma Sarah Elkashef. We are confident that this new chapter for PWM will be fruitful and are excited for the artistic collaborations and creations to come.
We are excited to introduce a new application process for Dramaturgical Collaboration to welcome artists and projects to PWM in our 2022-2023 season.
Thank you for your interest! Applications are now closed for our 2022-2023 season. Once we finalize our current season we will open applications for next year!
How to Apply
You can apply for Dramaturgical Collaboration via the google form. Audio and video applications are also welcomed. Please forward audio or video applications to firstname.lastname@example.org.
We encourage you to familiarize yourself with Dramaturgy at PWM before submitting your application.
If you have any questions regarding accessibility, or require assistance with this application, please contact email@example.com. For accessibility information and video tours of our location, please click here.
The application form will remain open year round, but a selection committee will be formed once a year to choose projects for the upcoming season. For best consideration for the 2022-2023 season (August 2022-June 2023) please submit a form by Feb 18th, 2022 at 11:59 PM. All applicants will receive a response by email in April 2022 informing them of the outcome of their application. We welcome individual playwright/creator(s) and collectives to apply. We welcome local and national applications. If you are a theatre company, please contact PWM’s Artistic Director at firstname.lastname@example.org to discuss Dramaturgical Collaborations.
We are accepting applications for projects at any stage of development. It could be an idea, a first draft (in whatever form that may be), or a new iteration of a project that has already been shared. It could be a play, a performance, a digital work (for example: AR/VR, interactive game-based presentation, live or prerecorded virtual performance) or something hybrid in terms of language, discipline, or technology.
Dramaturgical Collaboration at PWM will include Dramaturgical Conversation and may also include one or a combination of the following opportunities to be determined mutually by PWM and the playwright/creator(s) according to the needs of the project: Workshops, Residencies, Mentorships, and Public Readings. A glossary of these terms can be found here.
PWM has numerous ongoing projects, including those delayed due to COVID-19 that the organization continues to be committed to. Therefore, at this time, PWM will be welcoming a limited number of new projects. In accordance with PWM’s strategic goals for outreach, we will continue to maintain the flexibility to reach out to playwrights/creator(s), and work that inspires us.
PWM is committed to creating an environment where all individuals are treated with dignity and respect. We are continuously working to make all of our programs accessible and inclusive.
PWM welcomes all applicants to our programs. While recognizing that the identity of each person is fundamentally plural, multidimensional, changing and evolving, we strongly encourage applications from artists who are: Indigenous (First Nations, Métis, and Inuit), Black, POC, racialized (including recent immigrants), 2SLGBTQQIPAA+, d/Deaf, neurodivergent, disabled, living with chronic illness and/or chronic pain. PWM is strongly committed to supporting a wide range of cultural identities and lived experiences, therefore we encourage applicants to self-identify in their application if they are comfortable doing so.
Application Form for Dramaturgical Collaborationat PWM
You can apply for Dramaturgical Collaboration via the google form. Audio and video applications are also welcomed. Please forward audio or video applications to email@example.com.
We encourage you to familiarize yourself with Dramaturgy at PWM before submitting the application.
Your proposal will not be sent until you click the SUBMIT button at the end of the application via the google form. You will be able to edit your responses until the application’s deadline by reusing the same email address and login.
The deadline to submit is February 18, 2022 at 11:59 PM. All applicants will receive a response by email in April 2022 informing them of the outcome of their application.
If you have any questions regarding accessibility, or require assistance with this application, please contact firstname.lastname@example.org. For accessibility information and video tours of our location, please click here. If you have any questions regarding application criteria, please contact email@example.com.