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Does Sartre’s Philosophy Tell Us Something Useful About Today’s Political Crises?

“As we seek political and philosophical bearings in this time of renewed calls for a socialist alternative to capitalism, postwar efforts to bring Marxism and existentialism together have much to teach us—not only because of the continuing importance of each mode of thought to political thinking and organizing, but also because their interaction in Sartre’s work deepens our understanding of how we exercise agency under conditions we do not control.” – Boston Review

Igor Says: Orchestras! Take Risks!

We think we’ve learned not to overlook outsiders. Yet the orchestral scene today remains in thrall to safety. It favours those who’ve studied with the right people, at the right schools and universities and have the right profile and publishers. Composing in the approved idioms is always preferred over something more raw, exploratory, problematic or new. Look at the recent major orchestral commissions, or the annual Proms new music programme. – The Guardian

She Plagiarized Poetry, Tattooed It On Her Arm… And Now Her Career Is In Shreds

Ailey O’Toole’s bizarrely brazen act of plagiarism — stealing lines, phrases, and structural elements from the work of at least three other writers — was uncovered last Friday, unraveling her career at the speed of Twitter, the medium by which her fledgling reputation lived and died. Within 24 hours, the literary press Rhythm & Bones had canceled her forthcoming book of poems, and the insular world of poetry Twitter had already gone through a cycle of blame, bafflement, and measured defense. – New York Magazine

Miami’s City Theatre – America’s Master Of Short-Form Plays?

With Kentucky’s Actors Theatre of Louisville ending its short-play contests and festivals in 2017, City Theatre has emerged as the professional company most committed to championing an art form as formidable as any other. After all, short stories are recognized as a literary form of comparable value to novels; why not short plays? – American Theatre

How To Present ‘Problematic’ Plays — And How To Handle The Fraught Talkbacks Afterward

Maddie Gaw, who was part of the selection panel for the first-ever Problematic Play Festival this past fall, writes about what makes plays “problematic” (i.e., subject matter violent or controversial enough to make most theatres and funders flee) and about how the festival altered the standard post-play talkback to make it safe for audience members to process what they had seen. — HowlRound