Monday, March 18, 2013 at 01:07PM Investigating the World
Katarzyna Grajewska talks with Tadeusz Pajdała and Zbigniew Rudziński about contemporary playwriting in Poland.
Reprinted, with permission, from Teatr Lalek magazine, nr 4/110/2012
Poland in interviews Saturday, February 2, 2013 at 09:09PM 
Najmniejeszy bal świata | The Smallest Ball in the World, Teatr Baj Pomorski, ToruńReprinted, with permission, from Teatr Lalek magazine, nr 4/110/2012
Since for some time I seem to be functioning in the media vocabulary as a “young Polish playwright”, and since in a few months, which I plan to enjoy without undue reflection, I shall be thirty, I aim to write from the vantage point of a young playwright who has been familiar with the topic only for several years. This is a highly convenient perspective – the young are quite easily forgiven. On the other hand, it is challenging since youth is not always treated seriously. Well aware of this polarisation, I wish to take part in a discussion that has been going on for years.
Poland Tuesday, January 15, 2013 at 09:19AM The playwright is a special creative type.
He reacts to the world with hearing and perceives it as a great parlatorium, in which everything is in a state of a permanent dialogue, even with itself, and where all sounds are a communiqué of sorts even if only produced bya squeaky door or dripping water; silence too screams because it is yet another form of dialogue – the dialogue of emotions.
It is insufficient to merely hear such a dialogue. One has to be able to record it and endow it with a theatrical form. What sort? Naturally, a form that is not connected with direction, stage design or music, but with dramaturgy.
Saturday, September 22, 2012 at 03:09PM Write Local. Play Global. is delighted that playwright Willy Conley was able to take some time away from his playwriting, as well as his teaching at Gallaudet University (the world's only liberal arts school for Deaf and hard of hearing students) to answer a few questions about his work.
WLPG: Was there something in particular that motivated you to start writing for young audiences?
WILLY: I believe the seeds of my motivation to write spawned from my first professional job in the theatre as an actor with a touring educational outreach theatre troupe called “Sunshine Too!". This group was formed by the performing arts department of the National Technical Institute for the Deaf at R.I.T. in Rochester, NY. We were a company of three Deaf and three hearing actors who did it all – write, act, direct, design, build, set up, strike, launder, and drive. Under the brilliant guidance of renowned clown-mime-theatre artist Doug Berky, an ensemble member, we created “Arlecchino’s Dream" a commedia del arte piece. It was done in American Sign Language and spoken English, and turned out to be a hit with young Deaf and hearing audiences nationwide. Having been inspired by this experience, I began writing seriously in journals in the van, in restaurants, and motels.
USA in interviews Saturday, September 22, 2012 at 12:54PM Write local. Play Global. was able to charm busy French playwright/director/translator Karin Serres into finding a few free moments to answer some questions, answers that she is sharing with her fellow playwrights.
Write Local. Play Global. à réussi a persuader Karin Serres, autrice de théâtre, metteuse en scène et décoratrice française bien occupée, de trouver un peu de temps libre pour répondre à quelques questions. Elle partage ici ses réponses avec ses collègues auteurs et autrices de théâtre.
This interview conducted in French is all translated into English as well. Cette interview menée en français est aussi intégralement traduite en anglais. 
WLPG: Was there something in particular that motivated you to start writing for young audiences?
KARIN: At first, chance (or luck): although not written especially for youth, my first play (“Katak”) found producers in that field. That’s how I experienced my first young audience as a playwright. “Katak” is a story of love and fighting between Neanderthal and Cro-Magnon tribes, during prehistory. There, in the darkness of the theatre, the thrilled response of the young crowd was so warm and immediate around me that I decided to try it again, but now on purpose. So I wrote my second play for ages 10+, “Ferdinande from the Abyss”, a musical, and then other plays that were more realistic, often based on a family, with always this tiny grain of sand that questions established order. Today, at least half of my plays are especially dedicated to children or teenagers. I can’t live a year without working for them. Each time I begin to write a new play, I hope it will be possible to aim it for teenagers and/or children. Sometimes, it’s not.
France in interviews