13 February 2012
No Appllication Fee: The Royal Court Playwriting Residency Programme (worldwide)
Deadline: 10 April 2012
Since 1989 the Royal Court Theatre has collaborated with emerging playwrights from all parts of the world. International Playwriting Residencies offer playwrights from around the world an opportunity to develop a new play with the Royal Court Theatre. At the same time these Residencies provide international playwrights with a forum to meet and work with leading British writers, directors and performers.
The Royal Court Theatre is one of Europe’s leading theatres, which since 1956 has presented a programme of new and innovative drama that has become known throughout the world. Since its foundation, it has presented premieres by almost every leading contemporary British playwright, from John Osborne’s Look Back in Anger to Caryl Churchill’s Top Girls to Jez Butterworth’s Jerusalem. Some of the other writers who have premiered their work at the Royal Court include Samuel Beckett, Edward Bond, Martin Crimp, David Hare, Sarah Kane, Harold Pinter, Mark Ravenhill, Simon Stephens, Wole Soyinka, and debbie tucker green. The Royal Court is the only British new writing theatre with a commitment to working with playwrights across the world to develop new plays. Many new and exciting theatre projects have evolved in different parts of the world as a result of the programme including seasons of new international work at the Royal Court. Most of this work is supported by the Genesis Foundation and the British Council.
The Royal Court has two theatres: the Jerwood Theatre Downstairs (a 400-seat proscenium arch theatre) and the Jerwood Theatre Upstairs, which has been the Royal Court’s studio for exploration and experiment since 1968, providing a home for the early work by many major British writers, directors and performers. The Royal Court typically produces 15 to 20 new plays each year, most of which are premières of plays commissioned, developed or discovered by the theatre.
Programme
International Playwriting Residencies are attachments lasting up to four weeks during which playwrights will be asked to develop a new play in collaboration with members of the Royal Court Theatre artistic team. Playwrights will be teamed with their own British theatre director and translator who will work throughout the Residency to help realise the play. Writing space and computer facilities will be provided by the Royal Court Theatre. There will also be the opportunity to work with a specially chosen team of actors in a workshop environment during the Residency. The Royal Court Theatre will arrange complimentary tickets to all shows at the theatre for the duration of the Residency, as well as productions at other venues in London.
Dates
International Playwriting Residencies will take place throughout the year, at a time mutually agreed between selected candidates and the Royal Court Theatre.
Language
Playwrights will be expected to write in their mother tongue and this work will be translated by the Royal Court. However, playwrights will need to have a good working knowledge of English as all meetings and workshops will be conducted in English.
Travel and Accommodation
International travel, entry visas and accommodation will be provided by the Royal Court Theatre. Accommodation is self-catering, within walking distance or a short bus ride from the theatre.
Funding
The Royal Court Theatre may seek funding for successful candidates in order to pay for their participation. Playwrights may be asked to help in researching and applying for grants available in their home countries. Please note that acceptance on International Playwriting Residencies is NOT dependent on funding.
Applications
Please provide us with the following:
- a completed application form
- a recent example of your work (this should be an original, full-length stage play, in the original language, and not an adaptation)
- two letters of recommendation from people who know your theatre work
Applications are welcomed from previous participants on Royal Court Theatre projects and residencies. If you have applied for, or participated in, any Royal Court Theatre programmes in the past, please do not send the same example of work.
Applications will be accepted until 6pm (BST) on Tuesday, 10 April 2012. All applications should be printed single-sided and unbound. We will acknowledge your application within two working days of receiving it.
Please send your completed application to:
Elyse Dodgson, Royal Court Theatre,
Sloane Square, London, SW1W 8AS, UK
Tel: +44 20 7565 5050
Email: residencies@royalcourttheatre.com
Download application form >>
CONTACT INFORMATION:
For inquiries: international@royalcourttheatre.com
For submissions: Elyse Dodgson, Royal Court Theatre, Sloane Square, London, SW1W 8AS, UK
Website: http://www.royalcourttheatre.com
Read more
Since 1989 the Royal Court Theatre has collaborated with emerging playwrights from all parts of the world. International Playwriting Residencies offer playwrights from around the world an opportunity to develop a new play with the Royal Court Theatre. At the same time these Residencies provide international playwrights with a forum to meet and work with leading British writers, directors and performers.
The Royal Court Theatre is one of Europe’s leading theatres, which since 1956 has presented a programme of new and innovative drama that has become known throughout the world. Since its foundation, it has presented premieres by almost every leading contemporary British playwright, from John Osborne’s Look Back in Anger to Caryl Churchill’s Top Girls to Jez Butterworth’s Jerusalem. Some of the other writers who have premiered their work at the Royal Court include Samuel Beckett, Edward Bond, Martin Crimp, David Hare, Sarah Kane, Harold Pinter, Mark Ravenhill, Simon Stephens, Wole Soyinka, and debbie tucker green. The Royal Court is the only British new writing theatre with a commitment to working with playwrights across the world to develop new plays. Many new and exciting theatre projects have evolved in different parts of the world as a result of the programme including seasons of new international work at the Royal Court. Most of this work is supported by the Genesis Foundation and the British Council.
The Royal Court has two theatres: the Jerwood Theatre Downstairs (a 400-seat proscenium arch theatre) and the Jerwood Theatre Upstairs, which has been the Royal Court’s studio for exploration and experiment since 1968, providing a home for the early work by many major British writers, directors and performers. The Royal Court typically produces 15 to 20 new plays each year, most of which are premières of plays commissioned, developed or discovered by the theatre.
Programme
International Playwriting Residencies are attachments lasting up to four weeks during which playwrights will be asked to develop a new play in collaboration with members of the Royal Court Theatre artistic team. Playwrights will be teamed with their own British theatre director and translator who will work throughout the Residency to help realise the play. Writing space and computer facilities will be provided by the Royal Court Theatre. There will also be the opportunity to work with a specially chosen team of actors in a workshop environment during the Residency. The Royal Court Theatre will arrange complimentary tickets to all shows at the theatre for the duration of the Residency, as well as productions at other venues in London.
Dates
International Playwriting Residencies will take place throughout the year, at a time mutually agreed between selected candidates and the Royal Court Theatre.
Language
Playwrights will be expected to write in their mother tongue and this work will be translated by the Royal Court. However, playwrights will need to have a good working knowledge of English as all meetings and workshops will be conducted in English.
Travel and Accommodation
International travel, entry visas and accommodation will be provided by the Royal Court Theatre. Accommodation is self-catering, within walking distance or a short bus ride from the theatre.
Funding
The Royal Court Theatre may seek funding for successful candidates in order to pay for their participation. Playwrights may be asked to help in researching and applying for grants available in their home countries. Please note that acceptance on International Playwriting Residencies is NOT dependent on funding.
Applications
Please provide us with the following:
- a completed application form
- a recent example of your work (this should be an original, full-length stage play, in the original language, and not an adaptation)
- two letters of recommendation from people who know your theatre work
Applications are welcomed from previous participants on Royal Court Theatre projects and residencies. If you have applied for, or participated in, any Royal Court Theatre programmes in the past, please do not send the same example of work.
Applications will be accepted until 6pm (BST) on Tuesday, 10 April 2012. All applications should be printed single-sided and unbound. We will acknowledge your application within two working days of receiving it.
Please send your completed application to:
Elyse Dodgson, Royal Court Theatre,
Sloane Square, London, SW1W 8AS, UK
Tel: +44 20 7565 5050
Email: residencies@royalcourttheatre.com
Download application form >>
CONTACT INFORMATION:
For inquiries: international@royalcourttheatre.com
For submissions: Elyse Dodgson, Royal Court Theatre, Sloane Square, London, SW1W 8AS, UK
Website: http://www.royalcourttheatre.com
22 July 2011
Call for Emerging Asian Canadian Playwrights: The Kitchen and fu-GEN’s Annual Potluck Festival
Deadline: 25 July 2011
fu-GEN Asian Canadian Theatre Company is now welcoming submissions for our playwriting unit: The Kitchen. The Kitchen is a ten month supportive environment where participants will have the opportunity to explore and develop playwriting skills through dramaturgical and playwriting exercises, professional and peer feedback as well as the creation of an original piece. The goal is for playwrights to have a better understanding of the craft of writing for the stage, expand and develop skills as theatre creators.
The unit meets on the last Sunday of every month at the fu-GEN workshop space (157 Carlton Street, Suite 207).
We are looking for Asian Canadian artists who are either emerging writers or have a serious interest in playwriting. Your application should include a brief letter of intent describing your artistic interests and outlining what you hope to achieve within a playwriting unit, as well as a 5-10 page writing sample.
As the Kitchen is open to emerging playwrights, we understand your writing sample may not necessarily be in the form of a stage play (ie: poetry or short story). If this is the case, please include in your letter of intent why you feel the playwriting medium is an area you’d like to develop. We require all submissions to be from artists 19 years or older.
We will be accepting submissions until 5pm on July 25th. The preferred method of submission is e-mail, in .doc or .pdf format. You may also submit by mail, but submissions will not be returned once read.
To submit – or for further inquiries about the Kitchen – please contact Andrew Cheng, Associate Dramaturg at andrew@fu-gen.org.
Contact Information:
For inquiries: andrew@fu-gen.org
For submissions: andrew@fu-gen.org
Website: http://fu-gen.org/
Read more
fu-GEN Asian Canadian Theatre Company is now welcoming submissions for our playwriting unit: The Kitchen. The Kitchen is a ten month supportive environment where participants will have the opportunity to explore and develop playwriting skills through dramaturgical and playwriting exercises, professional and peer feedback as well as the creation of an original piece. The goal is for playwrights to have a better understanding of the craft of writing for the stage, expand and develop skills as theatre creators.
The unit meets on the last Sunday of every month at the fu-GEN workshop space (157 Carlton Street, Suite 207).
We are looking for Asian Canadian artists who are either emerging writers or have a serious interest in playwriting. Your application should include a brief letter of intent describing your artistic interests and outlining what you hope to achieve within a playwriting unit, as well as a 5-10 page writing sample.
As the Kitchen is open to emerging playwrights, we understand your writing sample may not necessarily be in the form of a stage play (ie: poetry or short story). If this is the case, please include in your letter of intent why you feel the playwriting medium is an area you’d like to develop. We require all submissions to be from artists 19 years or older.
We will be accepting submissions until 5pm on July 25th. The preferred method of submission is e-mail, in .doc or .pdf format. You may also submit by mail, but submissions will not be returned once read.
To submit – or for further inquiries about the Kitchen – please contact Andrew Cheng, Associate Dramaturg at andrew@fu-gen.org.
Contact Information:
For inquiries: andrew@fu-gen.org
For submissions: andrew@fu-gen.org
Website: http://fu-gen.org/
20 July 2011
The Ruby Prize for a Woman of Color Playwright 2011/ 2012 (USA)
Deadline: 15 September 2012
Southern Rep is now accepting submissions For THE RUBY PRIZE, our national new play award for a woman of color playwright and announces a new partnership With Hedgebrook:
a ten-day writer’s retreat for the RUBY PRIZE Winner
THE RUBY PRIZE
An annual new play award of $10,000 to a woman of color playwright named in honor of Ruby Bridges, representing perseverance in the face of formidable obstacles.
This program was conceived as part of ongoing efforts made by Southern Rep to develop new American plays, support a diverse community of artists, and incite a stimulating dialogue within our community.
THE PRIZE
• $10,000 prize
• A week long development workshop with collaboration of full artistic team at the
Southern Rep New Play Bacchanal, held in New Orleans, January 5 – 7, 2012
• A sponsored trip to New York to continue development of the play and introduce the
new work to a larger audience.
(The above travel includes roundtrip air and accommodations.)
• A ten-day writing retreat to Hedgebrook. Located on beautiful Whidbey Island near Seattle,
Hedgebrook offers one of the few residency programs in the world exclusively dedicated to
supporting the creative process of women writers. Through innovative public programs,
Hedgebrook enables women’s work to enrich the global community by diversity: of culture,
nationality, voice, genre, generation, perspective, religious beliefs and political affiliations.
(Does not include travel.)
Two finalists will be selected to have their new works read at the Southern Rep New Play Bacchanal in January 2012. (Includes roundtrip air and accommodations. There is no cash award associated with the selection of finalists.)
GUIDELINES
The contest will be open to US citizens who self-identify as women of color, and may be either emerging or established playwrights.
Southern Rep’s in-house readers will review and evaluate scripts, selecting finalists that will be move into the next round of judging. The final panel consists of national and local theatre artists with Southern Rep’s Artistic Director, Aimée Hayes.
Plays may be of any genre: drama, comedy, musical, etcetera. We will not accept collaborative scripts, translations, one-acts, or any play previously submitted to Southern Rep. In the case of musical submissions, only the playwright will be eligible for the prize.
Plays that have had a professional production, or have been written under a commission, are not eligible for submission. Plays that have received a development workshop, or reading/s or nonprofessional production are eligible. (“Professional production” shall be defined as a production with paid actors and had an official press opening.)
If selected as a Prize Winner or Finalist, playwright agrees that Southern Rep may include the play in an annual Ruby Prize publication. The publication will not require any exclusive rights for printing.
Only one submission per playwright is allowed.
SUBMISSIONS
Each submission shall include a letter of introduction that should contain a brief play synopsis, a
character breakdown, playwright bio, and brief history of the play’s development. The manuscript should have a title page containing the playwright’s name, address and contact information. This information may ONLY appear on the title page.
Submissions must be sent by email, as an attached document, in PDF (preferred) or Word doc format.
Submit all of the required elements in ONE email to TheRuby@SouthernRep.com. Please no Phone or Email inquiries regarding submissions.
If the play is a musical, CDs of original music may be sent to:
attn: The Ruby Prize; Southern Rep;
333 Canal ST, Box 34; New Orleans, LA 70130.
CDs will not be returned.
Due to anticipated number of submissions, we regret that feedback will not be available to submitting playwrights
SCHEDULES AND DEADLINES
September 15, 2011: Submission Deadline
November 1, 2011: Winner Announced
January 5 - 7, 2012: New Play Bacchanal Workshops and Readings
ABOUT HEDGEBROOK
Hedgebrook is a literary non-profit that supports the work of visionary women writers whose stories shape our culture now and for generations to come. Founded in 1988, Hedgebrook hosts a global community of writers, more than 1,200 in two decades, at our Whidbey Island retreat. Hedgebrook’s public programs connect these women’s work with thousands of readers and audience members each year through readings, screenings, events, salons, publications and festivals. The annual Hedgebrook Women Playwrights Festival (HWPF) celebrates the work of women writing for the theatre. Since the festival’s inauguration in 1998, HWPF has supported the work of an impressive array of women playwrights and served an important role in the development of new plays by women.
Contact Information:
For inquiries: no email inquiries
For submissions: TheRuby@SouthernRep.com
Website: http://www.southernrep.com
Read more
Southern Rep is now accepting submissions For THE RUBY PRIZE, our national new play award for a woman of color playwright and announces a new partnership With Hedgebrook:
a ten-day writer’s retreat for the RUBY PRIZE Winner
THE RUBY PRIZE
An annual new play award of $10,000 to a woman of color playwright named in honor of Ruby Bridges, representing perseverance in the face of formidable obstacles.
This program was conceived as part of ongoing efforts made by Southern Rep to develop new American plays, support a diverse community of artists, and incite a stimulating dialogue within our community.
THE PRIZE
• $10,000 prize
• A week long development workshop with collaboration of full artistic team at the
Southern Rep New Play Bacchanal, held in New Orleans, January 5 – 7, 2012
• A sponsored trip to New York to continue development of the play and introduce the
new work to a larger audience.
(The above travel includes roundtrip air and accommodations.)
• A ten-day writing retreat to Hedgebrook. Located on beautiful Whidbey Island near Seattle,
Hedgebrook offers one of the few residency programs in the world exclusively dedicated to
supporting the creative process of women writers. Through innovative public programs,
Hedgebrook enables women’s work to enrich the global community by diversity: of culture,
nationality, voice, genre, generation, perspective, religious beliefs and political affiliations.
(Does not include travel.)
Two finalists will be selected to have their new works read at the Southern Rep New Play Bacchanal in January 2012. (Includes roundtrip air and accommodations. There is no cash award associated with the selection of finalists.)
GUIDELINES
The contest will be open to US citizens who self-identify as women of color, and may be either emerging or established playwrights.
Southern Rep’s in-house readers will review and evaluate scripts, selecting finalists that will be move into the next round of judging. The final panel consists of national and local theatre artists with Southern Rep’s Artistic Director, Aimée Hayes.
Plays may be of any genre: drama, comedy, musical, etcetera. We will not accept collaborative scripts, translations, one-acts, or any play previously submitted to Southern Rep. In the case of musical submissions, only the playwright will be eligible for the prize.
Plays that have had a professional production, or have been written under a commission, are not eligible for submission. Plays that have received a development workshop, or reading/s or nonprofessional production are eligible. (“Professional production” shall be defined as a production with paid actors and had an official press opening.)
If selected as a Prize Winner or Finalist, playwright agrees that Southern Rep may include the play in an annual Ruby Prize publication. The publication will not require any exclusive rights for printing.
Only one submission per playwright is allowed.
SUBMISSIONS
Each submission shall include a letter of introduction that should contain a brief play synopsis, a
character breakdown, playwright bio, and brief history of the play’s development. The manuscript should have a title page containing the playwright’s name, address and contact information. This information may ONLY appear on the title page.
Submissions must be sent by email, as an attached document, in PDF (preferred) or Word doc format.
Submit all of the required elements in ONE email to TheRuby@SouthernRep.com. Please no Phone or Email inquiries regarding submissions.
If the play is a musical, CDs of original music may be sent to:
attn: The Ruby Prize; Southern Rep;
333 Canal ST, Box 34; New Orleans, LA 70130.
CDs will not be returned.
Due to anticipated number of submissions, we regret that feedback will not be available to submitting playwrights
SCHEDULES AND DEADLINES
September 15, 2011: Submission Deadline
November 1, 2011: Winner Announced
January 5 - 7, 2012: New Play Bacchanal Workshops and Readings
ABOUT HEDGEBROOK
Hedgebrook is a literary non-profit that supports the work of visionary women writers whose stories shape our culture now and for generations to come. Founded in 1988, Hedgebrook hosts a global community of writers, more than 1,200 in two decades, at our Whidbey Island retreat. Hedgebrook’s public programs connect these women’s work with thousands of readers and audience members each year through readings, screenings, events, salons, publications and festivals. The annual Hedgebrook Women Playwrights Festival (HWPF) celebrates the work of women writing for the theatre. Since the festival’s inauguration in 1998, HWPF has supported the work of an impressive array of women playwrights and served an important role in the development of new plays by women.
Contact Information:
For inquiries: no email inquiries
For submissions: TheRuby@SouthernRep.com
Website: http://www.southernrep.com
15 July 2011
Call for Writers: The Season of Bangla Drama (Brady Arts Centre, UK)
Deadline: 22 July 2011
The Season of Bangla Drama, which will run from November 5 to 27, commissions original plays which delve into South Asian country’s heritage and arts.
Now in its ninth year, the festival has become a “flagship event” for the borough, Steve Murray, head of arts and events at Tower Hamlets Council said.
The festival takes place at the Brady Arts Centre, Hanbury Street, Whitechapel.
Email kazi.begum@towerhamlets.gov.uk by July 22 to get involved.
Preference will be given to Tower Hamlets-based organisations.
Via: eastlondonadvertser.co.uk
Contact Information:
For inquiries: kazi.begum@towerhamlets.gov.uk
For submissions: kazi.begum@towerhamlets.gov.uk
Website: http://www.towerhamlets.gov.uk/
Read more
The Season of Bangla Drama, which will run from November 5 to 27, commissions original plays which delve into South Asian country’s heritage and arts.
Now in its ninth year, the festival has become a “flagship event” for the borough, Steve Murray, head of arts and events at Tower Hamlets Council said.
The festival takes place at the Brady Arts Centre, Hanbury Street, Whitechapel.
Email kazi.begum@towerhamlets.gov.uk by July 22 to get involved.
Preference will be given to Tower Hamlets-based organisations.
Via: eastlondonadvertser.co.uk
Contact Information:
For inquiries: kazi.begum@towerhamlets.gov.uk
For submissions: kazi.begum@towerhamlets.gov.uk
Website: http://www.towerhamlets.gov.uk/
05 July 2011
Deadline Extended: NCCA Writers' Prize 2011 (Philippines)
Deadline: 31 August 2011 (from 30 June 2011)
The NCCA Writers’ Prize is a biennial award given to five (5) writers, one for each of the following categories: Poetry (Waray language), Novel ( Cebuano language), Essay (Bicolano language), Short Story (Panay language) and Drama (Filipino language). The award, in the amount of TWO HUNDRED FIFTY THOUSAND PESOS gross, will assist the winner during the writing stage of the project. The award is good for one year, after which a manuscript of the writing project will be submitted to the NCCA for possible publication or staging. The Novel manuscript shall be submitted to the Man Asia Literary Prize as official entry of the Philippines, after it has been translated into the English language and published by the NCCA.
The NCCA, in line with its mission to “encourage the continuing development of a pluralistic culture by the people themselves,” will be creating the opportunity to have a direct hand in the development of Filipino literature. With the cash award, the NCCA Writers Prize winners will be freed from the demands of their work and shall be able to focus on the writing of the complete manuscript for one year.
Eligibility
The award is open to all Filipino writers, of legal age, except to the officers and members of the NCCA Secretariat and the incumbent Executive Council Members of the NCCA Committee on Literary Arts.
Mechanics
For the 2011 NCCA Writers Prize competition, the following shall be the requirements in the submission of entries:
1. Applicants must submit an accomplished application form, which is available at the NCCA Planning, Policy Formulation, and Programming Division (P/PFPD) (download application form), together with the applicant’s curriculum vitae; with a 3 – 5 page concept paper discussing the rationale and significance of the project, and the initial output of the project which shall be submitted in four (4) printed copies. For 2011, the categories and the expected initial output for each category are:
Category Initial Output
1. Novel – Cebuano language, first 50 pages
2. Poetry – Waray language 10 poems; 1 poem per page
3. Short Story – Panay language, first three chapters with a total minimum of 50 pages
4. Drama – Filipino language, 1-act for a full length drama and two (2) 1-act plays
5. Essay – Bicolano language, first 3 essays of no less than 50 pages
All the sample works shall be in typewritten form. Spacing shall be double space, Font shall be Arial 11. Manuscript and concept paper shall not bear the name of the applicant in any of the pages. All manuscripts received with identifying marks shall be disqualified.
2. Applicants are allowed to apply only in one (1) category.
3. Applications will be evaluated by an Ad Hoc Screening Committee, the lists of the members of the Screening Committee for each category shall be provided by the Committee on Literary Arts. There will be three members of the Ad-Hoc Screening Committee per category.
4. The Award will be released in four tranches, with the first tranche to be given during the Awards Ceremony at the beginning of the writing period and the succeeding tranches upon submission of the following percentage of the writing project:
2nd tranche - 50% of the writing project
3rd tranche - 75% of the writing project
4th tranche - 100% of the writing project
5. The NCCA shall give the awardees one year to finish their manuscripts. The NCCA will allow a maximum extension of six (6) months only with written justification from the awardee.
6. Completed manuscript by the winners, which means that it is 100% completed, must be submitted in two forms: Two (2) printed copies and two (2) electronic copies in MSWord format in a diskette. The completed project output shall be as follows:
Category Project Output
1. Novel – Cebuano language Minimum of 50,000 words
2. Poetry – Waray language 30 poems
3. Short Story – Panay language Minimum of 15 chapters
4.. Drama – Filipino language 2 or more acts for a full-length drama and five (5) 1-act plays
5. Essay – Bicolano language 12 essays or no less than 200 pages
7. The award is non-transferable. All privileges shall be enjoyed by the winner himself/herself based on the successful evaluation of the work in progress. A member from the Ad-Hoc Screening Committee of each category shall be assigned as Reader to evaluate the succeeding materials to be submitted by the winner. Upon submission of the positive evaluation of the Reader for the second and third tranches, the corresponding amounts shall be released immediately to the winner. However, for the fourth tranche, the same will be released only upon completion of evaluation of the completed manuscript by the Reader. Revisions, however, may be recommended by the Reader. Only upon final approval of the completed manuscript shall the final tranche be released to the winner.
8. Deadline of submission of application together with the curriculum vitae of applicant and other requirements has been extended from June 30, 2011 to Aug. 31, 2011. All applications shall be addressed to:
2011 NCCA WRITERS’ PRIZE Secretariat
Planning, Policy Formulation and Programming Div. (P/PFPD) - Institutional Programs
National Commission for Culture and the Arts
NCCA Building, 633 General Luna St.
Intramuros, Manila
Attention: Frances S. Alincastre
Planning Officer III
9. Entries that were not selected shall not be returned anymore.
10. Works may deal with any topic, but those dealing with environmental issues and climate change are also welcome.
COPYRIGHT AND OWNERSHIP RIGHT
1. The winner hereby grants the NCCA the first option to publish the completed manuscript. The NCCA will have the right to produce or authorize to be produced, for staging, telecasting, broadcasting, or cinema or other forms of exhibition from time to time any output of the winning manuscripts. The NCCA will also be allowed to include the completed manuscripts in the NCCA Website. The first option to publish of the NCCA expires one year after completion of the writing project.
2. It is understood that the entry submitted has not been submitted to any other award body or has not received any prize and is not a completed manuscript but a work in progress. Any violation of the guidelines shall mean withdrawal of the prize and any amount paid to the winner shall be returned to the NCCA. The award then will be transferred to the person who garnered the second highest votes during the Screening of the materials.
For inquiries,please contact Ms. Frances S. Alincastre at tel. No. 527-21-92, loc. 503 or 527-2214 (DL), and e-mail address: haraya_naaw@ncca.gov.ph.
Contact Information:
For inquiries: haraya_naaw@ncca.gov.ph
For submissions: 2011 NCCA WRITERS’ PRIZE Secretariat, Planning, Policy Formulation and Programming Div. (P/PFPD) - Institutional Programs, National Commission for Culture and the Arts, NCCA Building, 633 General Luna St., Intramuros, Manila
Website: http://www.ncca.gov.ph
Read more
The NCCA Writers’ Prize is a biennial award given to five (5) writers, one for each of the following categories: Poetry (Waray language), Novel ( Cebuano language), Essay (Bicolano language), Short Story (Panay language) and Drama (Filipino language). The award, in the amount of TWO HUNDRED FIFTY THOUSAND PESOS gross, will assist the winner during the writing stage of the project. The award is good for one year, after which a manuscript of the writing project will be submitted to the NCCA for possible publication or staging. The Novel manuscript shall be submitted to the Man Asia Literary Prize as official entry of the Philippines, after it has been translated into the English language and published by the NCCA.
The NCCA, in line with its mission to “encourage the continuing development of a pluralistic culture by the people themselves,” will be creating the opportunity to have a direct hand in the development of Filipino literature. With the cash award, the NCCA Writers Prize winners will be freed from the demands of their work and shall be able to focus on the writing of the complete manuscript for one year.
Eligibility
The award is open to all Filipino writers, of legal age, except to the officers and members of the NCCA Secretariat and the incumbent Executive Council Members of the NCCA Committee on Literary Arts.
Mechanics
For the 2011 NCCA Writers Prize competition, the following shall be the requirements in the submission of entries:
1. Applicants must submit an accomplished application form, which is available at the NCCA Planning, Policy Formulation, and Programming Division (P/PFPD) (download application form), together with the applicant’s curriculum vitae; with a 3 – 5 page concept paper discussing the rationale and significance of the project, and the initial output of the project which shall be submitted in four (4) printed copies. For 2011, the categories and the expected initial output for each category are:
Category Initial Output
1. Novel – Cebuano language, first 50 pages
2. Poetry – Waray language 10 poems; 1 poem per page
3. Short Story – Panay language, first three chapters with a total minimum of 50 pages
4. Drama – Filipino language, 1-act for a full length drama and two (2) 1-act plays
5. Essay – Bicolano language, first 3 essays of no less than 50 pages
All the sample works shall be in typewritten form. Spacing shall be double space, Font shall be Arial 11. Manuscript and concept paper shall not bear the name of the applicant in any of the pages. All manuscripts received with identifying marks shall be disqualified.
2. Applicants are allowed to apply only in one (1) category.
3. Applications will be evaluated by an Ad Hoc Screening Committee, the lists of the members of the Screening Committee for each category shall be provided by the Committee on Literary Arts. There will be three members of the Ad-Hoc Screening Committee per category.
4. The Award will be released in four tranches, with the first tranche to be given during the Awards Ceremony at the beginning of the writing period and the succeeding tranches upon submission of the following percentage of the writing project:
2nd tranche - 50% of the writing project
3rd tranche - 75% of the writing project
4th tranche - 100% of the writing project
5. The NCCA shall give the awardees one year to finish their manuscripts. The NCCA will allow a maximum extension of six (6) months only with written justification from the awardee.
6. Completed manuscript by the winners, which means that it is 100% completed, must be submitted in two forms: Two (2) printed copies and two (2) electronic copies in MSWord format in a diskette. The completed project output shall be as follows:
Category Project Output
1. Novel – Cebuano language Minimum of 50,000 words
2. Poetry – Waray language 30 poems
3. Short Story – Panay language Minimum of 15 chapters
4.. Drama – Filipino language 2 or more acts for a full-length drama and five (5) 1-act plays
5. Essay – Bicolano language 12 essays or no less than 200 pages
7. The award is non-transferable. All privileges shall be enjoyed by the winner himself/herself based on the successful evaluation of the work in progress. A member from the Ad-Hoc Screening Committee of each category shall be assigned as Reader to evaluate the succeeding materials to be submitted by the winner. Upon submission of the positive evaluation of the Reader for the second and third tranches, the corresponding amounts shall be released immediately to the winner. However, for the fourth tranche, the same will be released only upon completion of evaluation of the completed manuscript by the Reader. Revisions, however, may be recommended by the Reader. Only upon final approval of the completed manuscript shall the final tranche be released to the winner.
8. Deadline of submission of application together with the curriculum vitae of applicant and other requirements has been extended from June 30, 2011 to Aug. 31, 2011. All applications shall be addressed to:
2011 NCCA WRITERS’ PRIZE Secretariat
Planning, Policy Formulation and Programming Div. (P/PFPD) - Institutional Programs
National Commission for Culture and the Arts
NCCA Building, 633 General Luna St.
Intramuros, Manila
Attention: Frances S. Alincastre
Planning Officer III
9. Entries that were not selected shall not be returned anymore.
10. Works may deal with any topic, but those dealing with environmental issues and climate change are also welcome.
COPYRIGHT AND OWNERSHIP RIGHT
1. The winner hereby grants the NCCA the first option to publish the completed manuscript. The NCCA will have the right to produce or authorize to be produced, for staging, telecasting, broadcasting, or cinema or other forms of exhibition from time to time any output of the winning manuscripts. The NCCA will also be allowed to include the completed manuscripts in the NCCA Website. The first option to publish of the NCCA expires one year after completion of the writing project.
2. It is understood that the entry submitted has not been submitted to any other award body or has not received any prize and is not a completed manuscript but a work in progress. Any violation of the guidelines shall mean withdrawal of the prize and any amount paid to the winner shall be returned to the NCCA. The award then will be transferred to the person who garnered the second highest votes during the Screening of the materials.
For inquiries,please contact Ms. Frances S. Alincastre at tel. No. 527-21-92, loc. 503 or 527-2214 (DL), and e-mail address: haraya_naaw@ncca.gov.ph.
Contact Information:
For inquiries: haraya_naaw@ncca.gov.ph
For submissions: 2011 NCCA WRITERS’ PRIZE Secretariat, Planning, Policy Formulation and Programming Div. (P/PFPD) - Institutional Programs, National Commission for Culture and the Arts, NCCA Building, 633 General Luna St., Intramuros, Manila
Website: http://www.ncca.gov.ph
01 July 2011
Lit Up Singapore Write Stuff 10-Minute Playwriting Competition
Deadline: 4 July 2011
THEME: 'The City Limits'
DURATION: 10-min play
GENERAL RULES & REGULATIONS
1) The 10-min play must make a reference to the broad theme of 'The City Limits’
2) Limited to 10 entries per school per competition for each category.
3) Limited to 1 entry per competitor
4) The play must be an original piece of work under one of the following:
6) Work must not be discriminatory, offensive, sexist or racist.
7) Organisers reserve the right to amend the conditions and prizes at any time.
8) Winners will retains the copyright of their works entered but assign publication (print, stage, audio and multi-media) rights to the organisers of Lit Up, Singapore.
9) Should your play be selected for publishing or performance, it will not include any payment or royalty. However, you will be appropriately acknowledged.
10) All decisions of the judges are final and not subject to appeal or review.
11) All entrants agree to be bound by the competition rules.
SUBMISSION:
(please include a cover page indicating your personal particulars and competition category entered)
PRIZES
(a) Inclusion in Lit Up Anthology
(b) Mentorship by published writer(s) 10 hours (4 hours @ The Writers Centre, 6 hours online)
ALL ENTRANTS AGREE TO BE BOUND BY COMPETITION RULES
1) Creative piece must be an original piece of work and should not have been previously submitted or published anywhere in part or full.
2) Work must not be discriminatory, offensive, sexist or racist.
3) Winners will retain the copyright of their works entered for the competition but assign publication (print, audio and multi-media) rights to the organisers of Lit Up Singapore.
4) Should a work be selected for publication, it will not include any payment or royalty. However, the writer will be appropriately acknowledged
5) All decisions of the judges are final and not subject to appeal or review.
6) Organisers reserve the right to amend the conditions and prizes at any time.
7) All entrants agree to be bound by the competition rules.
8) Limited to 1 entry per student per competition
9) Limited to 10 entries per school per competition per category
Contact Information:
For inquiries: call 9180 5501 / 9004 0954 or send an email to savinder@litup.sg
For submissions: festival_director@litup.sg
Website: http://www.litup.sg
Read more
THEME: 'The City Limits'
DURATION: 10-min play
GENERAL RULES & REGULATIONS
1) The 10-min play must make a reference to the broad theme of 'The City Limits’
2) Limited to 10 entries per school per competition for each category.
3) Limited to 1 entry per competitor
4) The play must be an original piece of work under one of the following:
- Comedy/Satirical/Parodies
- Drama/Tragedy
- Fantasy/Magical
6) Work must not be discriminatory, offensive, sexist or racist.
7) Organisers reserve the right to amend the conditions and prizes at any time.
8) Winners will retains the copyright of their works entered but assign publication (print, stage, audio and multi-media) rights to the organisers of Lit Up, Singapore.
9) Should your play be selected for publishing or performance, it will not include any payment or royalty. However, you will be appropriately acknowledged.
10) All decisions of the judges are final and not subject to appeal or review.
11) All entrants agree to be bound by the competition rules.
SUBMISSION:
(please include a cover page indicating your personal particulars and competition category entered)
PRIZES
- FIRST: Gold Medal + Certificate
- SECOND: Silver Medal + Certificate
- THIRD: Bronze Medal + Certificate
(a) Inclusion in Lit Up Anthology
(b) Mentorship by published writer(s) 10 hours (4 hours @ The Writers Centre, 6 hours online)
ALL ENTRANTS AGREE TO BE BOUND BY COMPETITION RULES
1) Creative piece must be an original piece of work and should not have been previously submitted or published anywhere in part or full.
2) Work must not be discriminatory, offensive, sexist or racist.
3) Winners will retain the copyright of their works entered for the competition but assign publication (print, audio and multi-media) rights to the organisers of Lit Up Singapore.
4) Should a work be selected for publication, it will not include any payment or royalty. However, the writer will be appropriately acknowledged
5) All decisions of the judges are final and not subject to appeal or review.
6) Organisers reserve the right to amend the conditions and prizes at any time.
7) All entrants agree to be bound by the competition rules.
8) Limited to 1 entry per student per competition
9) Limited to 10 entries per school per competition per category
Contact Information:
For inquiries: call 9180 5501 / 9004 0954 or send an email to savinder@litup.sg
For submissions: festival_director@litup.sg
Website: http://www.litup.sg
09 June 2011
UC Center for East Asian Studies William F. Sibley Memorial Translation Prize
Deadline: 2 December 2011
The William F. Sibley Memorial Translation Prize was established by the Department of East Asian Languages & Civilizations and the Committee on Japanese Studies of the Center for East Asian Studies at the University of Chicago in honor of their late colleague William F. Sibley. The competition is held annually and judged by members of the Committee on Japanese Studies.
In keeping with William Sibley's lifelong devotion to translation and to the place of literature in the classroom, up to three awards of $2500 each will be given each year for previously unpublished translations. In order to encourage variety of time period and genre, the annual competitions will alternate between categories. In all cases, the word limit for submissions is 15,000.
For 2011, we solicit translations of poetry, essays, and drama of modern and pre-modern (pre-Meiji) works.
In the case of poetry, the submission is likely to consist of a selection of poems. In the case of prose, short pieces by a single writer or on a single subject may be combined as long as the word limit is observed. "Essays" include criticism, reportage, or aesthetic treatises. "Drama" includes film scenarios (but not subtitles). New translations of works that have previously been translated are acceptable (the introductions to these should cite the previous translations and provide a rationale for the new rendition), and applicants in general are encouraged to think of translation as a creative act.
Each submission must be accompanied by an introduction of no more than 800 words, situating the work for the general reader. The introduction should help readers understand why they should care about the work translated.
Translations will be evaluated, in a blind review process, according to three criteria: significance of the original work; quality of the translation; and quality of the introduction.
Co-translations will be accepted, but the committee will only consider one submission per person per year.
Applications should include:
• A cover letter with the applicant's full name, mailing address, email, and telephone number. The cover letter is the only place the applicant's name should appear since the review process is blind.
•A single printed version of both the English translation and the Japanese original, as well as a digital copy of each.
•If applicable, proof of permission to translate and publish to the web must accompany the application. It is the responsibility of applicants to secure permission from copyright holders for any works not in the public domain.
The deadline for the 2011 competition is Friday, December 2, 2011.
Mail materials to:
Chair, Selection Committee, Sibley Memorial Translation Prize
Committee on Japanese Studies
5835 S. Kimbark Ave.
Judd Hall 302
Chicago, IL 60637
For additional inquires, contact Sarah Arehart at sarehart@uchicago.edu or 773-702-2715.
Contact Information:
For inquiries: sarehart@uchicago.edu
For submissions: Chair, Selection Committee, Sibley Memorial Translation Prize, Committee on Japanese Studies, 5835 S. Kimbark Ave., Judd Hall 302, Chicago, IL 60637
Website: http://ceas.uchicago.edu/
Read more
The William F. Sibley Memorial Translation Prize was established by the Department of East Asian Languages & Civilizations and the Committee on Japanese Studies of the Center for East Asian Studies at the University of Chicago in honor of their late colleague William F. Sibley. The competition is held annually and judged by members of the Committee on Japanese Studies.
In keeping with William Sibley's lifelong devotion to translation and to the place of literature in the classroom, up to three awards of $2500 each will be given each year for previously unpublished translations. In order to encourage variety of time period and genre, the annual competitions will alternate between categories. In all cases, the word limit for submissions is 15,000.
For 2011, we solicit translations of poetry, essays, and drama of modern and pre-modern (pre-Meiji) works.
In the case of poetry, the submission is likely to consist of a selection of poems. In the case of prose, short pieces by a single writer or on a single subject may be combined as long as the word limit is observed. "Essays" include criticism, reportage, or aesthetic treatises. "Drama" includes film scenarios (but not subtitles). New translations of works that have previously been translated are acceptable (the introductions to these should cite the previous translations and provide a rationale for the new rendition), and applicants in general are encouraged to think of translation as a creative act.
Each submission must be accompanied by an introduction of no more than 800 words, situating the work for the general reader. The introduction should help readers understand why they should care about the work translated.
Translations will be evaluated, in a blind review process, according to three criteria: significance of the original work; quality of the translation; and quality of the introduction.
Co-translations will be accepted, but the committee will only consider one submission per person per year.
Applications should include:
• A cover letter with the applicant's full name, mailing address, email, and telephone number. The cover letter is the only place the applicant's name should appear since the review process is blind.
•A single printed version of both the English translation and the Japanese original, as well as a digital copy of each.
•If applicable, proof of permission to translate and publish to the web must accompany the application. It is the responsibility of applicants to secure permission from copyright holders for any works not in the public domain.
The deadline for the 2011 competition is Friday, December 2, 2011.
Mail materials to:
Chair, Selection Committee, Sibley Memorial Translation Prize
Committee on Japanese Studies
5835 S. Kimbark Ave.
Judd Hall 302
Chicago, IL 60637
For additional inquires, contact Sarah Arehart at sarehart@uchicago.edu or 773-702-2715.
Contact Information:
For inquiries: sarehart@uchicago.edu
For submissions: Chair, Selection Committee, Sibley Memorial Translation Prize, Committee on Japanese Studies, 5835 S. Kimbark Ave., Judd Hall 302, Chicago, IL 60637
Website: http://ceas.uchicago.edu/
24 May 2011
Youths Turn to Community Theater & Digital Story Telling to Address Domestic Violence and Trafficking
Young people in Olongapo and Angeles City are tapping their creative talents to combat serious issues that have plagued their communities: domestic violence and trafficking. Using community theater and digital story telling as tools, they have shared their first-hand experiences, raising awareness about violence against women and youth.
These innovative methods are a direct result of WeDpro’s European Union (EU)-supported project called The Red AVP (Anti-Violence Project), short for Private and Public Faces of Violence Against Women: Addressing Domestic Violence and Trafficking In the Urban Poor Communities and Entertainment Centers of Angeles City and Olongapo City.
According to Aida Santos-Maranan, Chairperson of WeDpro and Project Manager of The Red AVP, the sites were chosen because of the prevalence of abuse in the said areas.
“The dust left behind by the US military bases in Subic and Clark, even if it was more than decades ago, has filtered into all aspects of lives in Angeles and Olongapo. The greatest tragedies of prostitution, domestic violence, sexual exploitation and trafficking in the red light districts of Angeles City and Olongapo City are the consequences it has done for the youth and children,” she said.
“These children and youth grew up amidst a seemingly endless cycle of violence and aggression, and are largely deprived of the kind of environment that allows them a safe space in which to play, experiment and develop a healthy and meaningful sense of themselves and their surroundings,” she added.
Through The Red AVP, WeDpro established two community theaters--”Salamin” in Angeles City and “Maskara” in Olongapo City. The theater program has provided opportunities for the youth participants to develop the skills, self-knowledge, and confidence which would empower them to challenge present realities and to take control of their future.
The theater scholars attended various workshops, undergoing theater exercises and group dynamic processes and activities that tackled basic improvisation techniques, acting exercises, mime, visual arts, voice lessons, dance and creative movements. These exercises and activities enable the scholars to harness and maximize their creativity.
After a series of workshops and with the guidance of The Red AVP Community-based Theater Development Director and Lead Trainer Joel Saracho, who completed the crucial last quarter activities, “Salamin” and “Maskara” were able to perform in public their own plays that relate to the challenges that they face in their communities, including domestic violence and trafficking.
Some members of the theater groups also created their own digital stories in WeDpro’s project called The Youth Tell Their Stories: Breaking Silences, Using ICT as a Form of Healing. Supported by the Association for Progressive Communications and the Foundation for Media Alternatives, in collaboration with Isis International-Manila, the project enabled survivors of violence and sex trafficking to tell their stories and experiences using digital media.
Among the stories were -883440246 Pagnanasa, where Allen narrates with pain his experience of sexual abuse from his stepfather; Bakit Ganun, a young man’s tale of violence that he experienced from his own parents; and Hubog ng Aking Kabataan, where a youth tells her story about being victimized by child trafficking at the age of 12.
“We use art as a social forum and as a balm for wounded spirits,” Santos-Maranan said. “Our daily witness of their enthusiasm and the seeds of their transformation into self-confident and healthy individuals, is what gives us the conviction and motivation to go on.”
The digital stories can be viewed in full on www.youtube.com/user/wedprophils.
Contact Information:
For inquiries: call (632) 4267479
Website: http://www.wedprophils.org
Read more
These innovative methods are a direct result of WeDpro’s European Union (EU)-supported project called The Red AVP (Anti-Violence Project), short for Private and Public Faces of Violence Against Women: Addressing Domestic Violence and Trafficking In the Urban Poor Communities and Entertainment Centers of Angeles City and Olongapo City.
According to Aida Santos-Maranan, Chairperson of WeDpro and Project Manager of The Red AVP, the sites were chosen because of the prevalence of abuse in the said areas.
“The dust left behind by the US military bases in Subic and Clark, even if it was more than decades ago, has filtered into all aspects of lives in Angeles and Olongapo. The greatest tragedies of prostitution, domestic violence, sexual exploitation and trafficking in the red light districts of Angeles City and Olongapo City are the consequences it has done for the youth and children,” she said.
“These children and youth grew up amidst a seemingly endless cycle of violence and aggression, and are largely deprived of the kind of environment that allows them a safe space in which to play, experiment and develop a healthy and meaningful sense of themselves and their surroundings,” she added.
Through The Red AVP, WeDpro established two community theaters--”Salamin” in Angeles City and “Maskara” in Olongapo City. The theater program has provided opportunities for the youth participants to develop the skills, self-knowledge, and confidence which would empower them to challenge present realities and to take control of their future.
The theater scholars attended various workshops, undergoing theater exercises and group dynamic processes and activities that tackled basic improvisation techniques, acting exercises, mime, visual arts, voice lessons, dance and creative movements. These exercises and activities enable the scholars to harness and maximize their creativity.
After a series of workshops and with the guidance of The Red AVP Community-based Theater Development Director and Lead Trainer Joel Saracho, who completed the crucial last quarter activities, “Salamin” and “Maskara” were able to perform in public their own plays that relate to the challenges that they face in their communities, including domestic violence and trafficking.
Some members of the theater groups also created their own digital stories in WeDpro’s project called The Youth Tell Their Stories: Breaking Silences, Using ICT as a Form of Healing. Supported by the Association for Progressive Communications and the Foundation for Media Alternatives, in collaboration with Isis International-Manila, the project enabled survivors of violence and sex trafficking to tell their stories and experiences using digital media.
Among the stories were -883440246 Pagnanasa, where Allen narrates with pain his experience of sexual abuse from his stepfather; Bakit Ganun, a young man’s tale of violence that he experienced from his own parents; and Hubog ng Aking Kabataan, where a youth tells her story about being victimized by child trafficking at the age of 12.
“We use art as a social forum and as a balm for wounded spirits,” Santos-Maranan said. “Our daily witness of their enthusiasm and the seeds of their transformation into self-confident and healthy individuals, is what gives us the conviction and motivation to go on.”
The digital stories can be viewed in full on www.youtube.com/user/wedprophils.
Contact Information:
For inquiries: call (632) 4267479
Website: http://www.wedprophils.org
14 May 2011
The 2nd Chito S. Rono Literary Awards for Writers in Waray and Inabaknon (Philippines)
Deadline: 30 August 2011
Contests Rules
1. The contest is open to all writers coming from Eastern Visayas (Region VIII)—those currently residing within the specified geographical area or those born in Region VIII but have migrated to another place or country.
2. The contestant must be a Waray or Inabaknon speaker/writer.
3. Members of the Lamiraw Executive Committee, the contest organizers, and the Lamiraw workshop panelists, the members of the board of judges, are prohibited from joining the competition.
4. Only three categories are covered by the contest, namely, poetry, short story and play/screen play. Contestants may use any of the two local languages: Waray and Inabaknon, and may send one entry for each category.
Categories
a. Poetry
• An entry must consist of five poems of any topic, theme, length and form. Inabaknon writers must provide a translation of their works either in Waray, Filipino or English.
b. Short Story
• An entry must be at least eight pages but not more than thirty pages long. It can be on any theme and it must be accompanied by a one-page summary. Inabaknon writers must provide a translation of their works either in Waray, Filipino or English.
c. Play/Screen Play
• An entry must have a length of thirty-five minutes (35 minutes) to forty-five minutes (45 minutes), with an open and free theme. It must be accompanied by a one-page summary. Inabaknon writers must provide a translation of their works either in Waray, Tagalog or English.
5. All entries must be originally written in Waray or Inabaknon not a translation from other languages. It should not have been published or has won in any contest.
6. Entries must be submitted in five copies (one original and four photocopies), double spaced on 8 1/2 x 11 inches regular size bond paper with one inch margin on both sides. Pages should be numbered consecutively (e.g. 1 of 30, 2 of 30 and so on) at the bottom right corner of each page. Font type must be Times New Roman, and 12 pts for font size. Entries must bear the pseudonym of the writer. The author's name and the pseudonym (written on the entry) must be submitted in a separate sealed envelope along with the official application form, a 2x2 ID picture, and the contact information of the contestant. A notary public must attest the originality and authenticity of the entry. For archival purposes, you are required to email a copy of your entry to chitoronoawards@yahoo.com.
7. The following are the prizes at stake for the Chito S. Roño Literary Awards:
• Poetry
First Prize: P5,000.00 plus Certificate
Second Prize P3,000.00 plus Certificate
Third Prize: P1,000.00 plus Certificate
• Short Story
First Prize: P5,000.00 plus Certificate
• Play/Screen Play
First Prize: P6,000.00 plus Certificate
8. All entries must be addressed to:
Chito S. Roño Literary Awards
Arts, Social and Cultural Affairs Office
c/o Mr. Harold L. Mercurio
Northwest Samar State University (NwSSU)
Rueda St. , Brgy. Balud, Calbayog City
Samar 6710
9. Deadline for submission of entries is on August 30, 2011. Entries must be postmarked not later than August 30, 2011. Contestants are encouraged to send their entries through LBC, JRS or Air 21 for efficient and safety delivery of manuscripts and other requirements.
10. Contestants are reminded to strictly follow the contest rules and requirements to avoid disqualification.
11. Winning entries shall become part of the literary collection of the Chito S. Roño Literary Awards (CSRLA) which is considered as property of the Northwest Samar State University (NwSSU). Authorship of the literary work remains with the writer. However, under the Contest Contract, the writer is bound to grant, assign and transfer unto NwSSU the right to:
a. publish
b. designate or appoint editors to edit the literary work or any portion of the literary work for publication purposes
c. to furnish copies of all winning literary works to NwSSU library and other libraries
d. to allow the works to be posted online and other electronic means by NwSSU
e. give permission to faculty members and students of NwSSU to photocopy such works for research and performance purposes.
In the one-act play, the writer is bound to grant, assign, and transfer to NwSSU the right to:
a. produce
b. authorize the production of, and /or carry out staging, telecasting, broadcasting, cinema, or other forms of exhibition via internet or other electronic means, any winning literary piece or portion thereof as determined by the school
c. appoint or designate editors or directors who may edit the literary work or any portion thereof to suit the demands of production or exhibition.
12. Writers shall not receive any additional remuneration or royalty, outside from the cash prize of the contest, from NwSSU once their winning literary piece is published by the University.
13. In case a breach of honesty and ethical conduct is violated by a contestant, the Chito S. Roño Literary Awards which is run by NwSSU will take legal action to disqualify any participant and discredit the literary work from being published in its collection of winning pieces.
14. The Chito S. Roño Literary Awards shall not be held accountable to any court litigation if a third party files a case against the winner and/or contestant for any act of plagiarism.
15. Winners of the Chito S. Roño Literary Awards will be announced in radio stations in Calbayog, Catbalogan and Tacloban. It will also be published in the local dailies and posted at the NCCA website and at Panitikan.com. The names of the board of judges will be revealed together with said press releases above. Winning contestants will be notified through phone and email.
16. Announcement and awarding of winners will be done during the culmination of activities of the annual Lamiraw Regional Creative Writing Workshop (LCWW) on November 11, 2011 at the Northwest Samar State University , Calbayog City , Samar.
17. The decision of the board of judges is final and irrevocable.
Requirement List:
1. Official Entry Form (with 2x2 ID picture)
2. Notarized Authorization Form & parental consent (if below 18 years old)
3. Original and four (4) copies of the entry
4. A soft copy of the entry emailed at chitoronoawards@yahoo.com
Contact the organizers at:
Arts, Social and Cultural Affairs Office
Northwest Samar State University (NwSSU)
Rueda Street , Brgy. Balud, Calbayog City
Mobile: 09177982781 Tel. (055) 209-3657
Email: chitoronoawards@yahoo.com
Downloads:
For inquiries: contact Mr. Harold L. Mercurio at 09177982781 or email at chitoronoawards@yahoo.com
For submissions: Chito S. Roño Literary Awards, Arts, Social and Cultural Affairs Office, c/o Mr. Harold L. Mercurio, Northwest Samar State University (NwSSU), Rueda St. , Brgy. Balud, Calbayog City, Samar 6710
Read more
Contests Rules
1. The contest is open to all writers coming from Eastern Visayas (Region VIII)—those currently residing within the specified geographical area or those born in Region VIII but have migrated to another place or country.
2. The contestant must be a Waray or Inabaknon speaker/writer.
3. Members of the Lamiraw Executive Committee, the contest organizers, and the Lamiraw workshop panelists, the members of the board of judges, are prohibited from joining the competition.
4. Only three categories are covered by the contest, namely, poetry, short story and play/screen play. Contestants may use any of the two local languages: Waray and Inabaknon, and may send one entry for each category.
Categories
a. Poetry
• An entry must consist of five poems of any topic, theme, length and form. Inabaknon writers must provide a translation of their works either in Waray, Filipino or English.
b. Short Story
• An entry must be at least eight pages but not more than thirty pages long. It can be on any theme and it must be accompanied by a one-page summary. Inabaknon writers must provide a translation of their works either in Waray, Filipino or English.
c. Play/Screen Play
• An entry must have a length of thirty-five minutes (35 minutes) to forty-five minutes (45 minutes), with an open and free theme. It must be accompanied by a one-page summary. Inabaknon writers must provide a translation of their works either in Waray, Tagalog or English.
5. All entries must be originally written in Waray or Inabaknon not a translation from other languages. It should not have been published or has won in any contest.
6. Entries must be submitted in five copies (one original and four photocopies), double spaced on 8 1/2 x 11 inches regular size bond paper with one inch margin on both sides. Pages should be numbered consecutively (e.g. 1 of 30, 2 of 30 and so on) at the bottom right corner of each page. Font type must be Times New Roman, and 12 pts for font size. Entries must bear the pseudonym of the writer. The author's name and the pseudonym (written on the entry) must be submitted in a separate sealed envelope along with the official application form, a 2x2 ID picture, and the contact information of the contestant. A notary public must attest the originality and authenticity of the entry. For archival purposes, you are required to email a copy of your entry to chitoronoawards@yahoo.com.
7. The following are the prizes at stake for the Chito S. Roño Literary Awards:
• Poetry
First Prize: P5,000.00 plus Certificate
Second Prize P3,000.00 plus Certificate
Third Prize: P1,000.00 plus Certificate
• Short Story
First Prize: P5,000.00 plus Certificate
• Play/Screen Play
First Prize: P6,000.00 plus Certificate
8. All entries must be addressed to:
Chito S. Roño Literary Awards
Arts, Social and Cultural Affairs Office
c/o Mr. Harold L. Mercurio
Northwest Samar State University (NwSSU)
Rueda St. , Brgy. Balud, Calbayog City
Samar 6710
9. Deadline for submission of entries is on August 30, 2011. Entries must be postmarked not later than August 30, 2011. Contestants are encouraged to send their entries through LBC, JRS or Air 21 for efficient and safety delivery of manuscripts and other requirements.
10. Contestants are reminded to strictly follow the contest rules and requirements to avoid disqualification.
11. Winning entries shall become part of the literary collection of the Chito S. Roño Literary Awards (CSRLA) which is considered as property of the Northwest Samar State University (NwSSU). Authorship of the literary work remains with the writer. However, under the Contest Contract, the writer is bound to grant, assign and transfer unto NwSSU the right to:
a. publish
b. designate or appoint editors to edit the literary work or any portion of the literary work for publication purposes
c. to furnish copies of all winning literary works to NwSSU library and other libraries
d. to allow the works to be posted online and other electronic means by NwSSU
e. give permission to faculty members and students of NwSSU to photocopy such works for research and performance purposes.
In the one-act play, the writer is bound to grant, assign, and transfer to NwSSU the right to:
a. produce
b. authorize the production of, and /or carry out staging, telecasting, broadcasting, cinema, or other forms of exhibition via internet or other electronic means, any winning literary piece or portion thereof as determined by the school
c. appoint or designate editors or directors who may edit the literary work or any portion thereof to suit the demands of production or exhibition.
12. Writers shall not receive any additional remuneration or royalty, outside from the cash prize of the contest, from NwSSU once their winning literary piece is published by the University.
13. In case a breach of honesty and ethical conduct is violated by a contestant, the Chito S. Roño Literary Awards which is run by NwSSU will take legal action to disqualify any participant and discredit the literary work from being published in its collection of winning pieces.
14. The Chito S. Roño Literary Awards shall not be held accountable to any court litigation if a third party files a case against the winner and/or contestant for any act of plagiarism.
15. Winners of the Chito S. Roño Literary Awards will be announced in radio stations in Calbayog, Catbalogan and Tacloban. It will also be published in the local dailies and posted at the NCCA website and at Panitikan.com. The names of the board of judges will be revealed together with said press releases above. Winning contestants will be notified through phone and email.
16. Announcement and awarding of winners will be done during the culmination of activities of the annual Lamiraw Regional Creative Writing Workshop (LCWW) on November 11, 2011 at the Northwest Samar State University , Calbayog City , Samar.
17. The decision of the board of judges is final and irrevocable.
Requirement List:
1. Official Entry Form (with 2x2 ID picture)
2. Notarized Authorization Form & parental consent (if below 18 years old)
3. Original and four (4) copies of the entry
4. A soft copy of the entry emailed at chitoronoawards@yahoo.com
Contact the organizers at:
Arts, Social and Cultural Affairs Office
Northwest Samar State University (NwSSU)
Rueda Street , Brgy. Balud, Calbayog City
Mobile: 09177982781 Tel. (055) 209-3657
Email: chitoronoawards@yahoo.com
Downloads:
- Contest form >>
- Contract >>
For inquiries: contact Mr. Harold L. Mercurio at 09177982781 or email at chitoronoawards@yahoo.com
For submissions: Chito S. Roño Literary Awards, Arts, Social and Cultural Affairs Office, c/o Mr. Harold L. Mercurio, Northwest Samar State University (NwSSU), Rueda St. , Brgy. Balud, Calbayog City, Samar 6710
11 May 2011
Call for Submissions from ADMU Students/ Alumni: Heights Literary Folio 2011 (Philippines)
HEIGHTS, the official literary and artistic publication and organization of the Ateneo De Manila University, is inviting alumni, students, faculty members, and affiliates of the Ateneo De Manila to submit poems, fiction and literary non-fiction pieces, critical papers about the visual and literary arts, and visual artwork for the first regular folio of 2011.
Written contributions may be in English and/or in Filipino. There are no page limitations for written works. An artwork should be in CMYK format with a resolution of 300 dpi. There are also no limitations to the number of submissions. The first folio will be released in September 2011.
Mechanics for submission:
* Write “SUBMISSION” as the subject of your e-mail.
* Attach your work to the message. For written works, there are no limitations for the number of pages. Artworks should be in CMYK format with a resolution of 300 dpi.
* Include a short write-up and your contact details.
Send your queries and literary and artistic contributions to:
* art.heights@gmail.com
* heights.english@gmail.com
* heights.filipino@gmail.com
Contact Information:
For inquiries: art.heights@gmail.com, heights.english@gmail.com, heights.filipino@gmail.com
For submissions: art.heights@gmail.com, heights.english@gmail.com, heights.filipino@gmail.com
Website: http://heights-ateneo.org/
Read more
Written contributions may be in English and/or in Filipino. There are no page limitations for written works. An artwork should be in CMYK format with a resolution of 300 dpi. There are also no limitations to the number of submissions. The first folio will be released in September 2011.
Mechanics for submission:
* Write “SUBMISSION” as the subject of your e-mail.
* Attach your work to the message. For written works, there are no limitations for the number of pages. Artworks should be in CMYK format with a resolution of 300 dpi.
* Include a short write-up and your contact details.
Send your queries and literary and artistic contributions to:
* art.heights@gmail.com
* heights.english@gmail.com
* heights.filipino@gmail.com
Contact Information:
For inquiries: art.heights@gmail.com, heights.english@gmail.com, heights.filipino@gmail.com
For submissions: art.heights@gmail.com, heights.english@gmail.com, heights.filipino@gmail.com
Website: http://heights-ateneo.org/
02 May 2011
24-Hour Playwriting Competition 2011 (TheatreWorks Writers’ Laboratory, Singapore)
Deadline: 18 June 2011
Join the playwriting competition that gives you a once-in-a-lifetime opportunity to experience the turning point of your playwriting career. Into the 14th year of this challenge, we put you in the inspiring wilderness of Outward Bound Singapore, Pulau Ubin, to prove yourself with a play within a short 24-hour timeframe.
Since 1990, the Writers’ Lab is the longest playwriting programme in Singapore to have nurtured countless of Singapore’s successful playwrights. This is the 4th year the Writers’ Lab collaborates with the South East Community Development Council (CDC), in conjunction with the South East District Arts Festival 2011.
Date / Time: 9 to 10 July 2011 (Saturday-Sunday), 4pm to 4pm
Venue: Outward Bound Singapore, Pulau Ubin
Competition Categories: Youth Category, 15-18 years old
Open Category: 19 years and above
Registration Fee: Youth-$25 / Open-$35
Registration Deadline: 18 June 2011
Prize for each category: 1st Prize: S$700, 2nd Prize: S$500, 3rd Prize: S$300, Merit: S$100
Rules and Regulations
1. The 24-Hour Playwriting Competition 2011 is open to all Singapore citizens and Permanent Residents (residents in Singapore for at least a year), except full-time employees, officers and representatives of the organiser and sponsors as well as the immediate family (spouse, parents, siblings and children) and household members of each such employee.
2. There are two categories opened to aspiring playwrights: Youth (15-18 years) and Open (19 years and above), age as at 1 January 2011. Places limited to 70.
3. Participants will be required to work within the competition venue from 4 pm on 9 July 2011 to 4 pm on 10 July 2011. They will not be allowed to leave the designated premises. Any departure without prior notice or permission from the organiser, will result in immediate disqualification.
4. Participants will be required to complete at least a short play (between 12 to 30 single-spaced pages) in the English language. They may use other languages but it should be kept to a minimum with translations provided / footnoted.
5. Participants will be given creative stimuli at regular intervals within the 24-hour period. These stimuli will be in the form of objects, places, snatches of dialogue, phrases or actions, which the participants must incorporate into their scripts. The stimuli must be utilised in its original form (eg. no change of tense, no extrapolation, etc). The stimuli will be delivered to the participants at specified times. Participants should note that the creative integration of the stimuli will be the main consideration in the judging of their works. Should they omit any of the stimuli, their scripts will be penalised accordingly.
6. Discussion among the participants during the competition is strictly discouraged.
7. A complete script must be submitted to the organiser by 4 pm on 10 July 2011. No late submissions will be entertained. Participants who fail to submit on time or who submit an incomplete script will also be disqualified.
8. Entries should not be concurrently submitted for other competitions, publications or broadcast until the announcement or broadcast of the results of the 24-Hour Playwriting Competition.
9. Winners will be notified by post no later than October 2011. The judges’ decision is final. The judges reserve the right not to award any or all of the advertised prizes. No correspondence regarding the judging of the entries will be entertained at any time.
10. The winning scripts stand to be developed in the GREENHOUSE as a performance-ready script.
11. The organiser and sponsors will not be responsible for any injuries, deaths, accidents, illnesses or other loss or damage suffered by the participants during the course of the competition. All participants are required to sign an indemnity form prior to the competition.
12. Official registration form and payment (made by cheque or money order payable to
‘TheatreWorks (Singapore) Limited’), should be submitted by mail no later than 18 June 2011
to:
24-Hour Playwriting Competition 2011
TheatreWorks (Singapore) Ltd
72-13 Mohamed Sultan Road, Singapore 239007
Participation is confirmed only upon receipt of full payment. The registration fee is inclusive of food and refreshments during the competition, and a survival kit; and is strictly non-refundable and non-transferable under any circumstances.
13. TheatreWorks (S) Ltd will have the first right of refusal for the publishing, public reading, and full production of all award-winning entries for two years. The copyright of the scripts will remain with the respective playwrights. However, the following acknowledgement: “This piece is developed from TheatreWorks Writers’ Lab, 24-Hour Playwriting Competition 2011” should be included in all future use of the script in any form.
14. Rules and Regulations are subject to change at the discretion of the organiser.
Download: application form >>
Contact Information:
For submissions: 24-Hour Playwriting Competition 2011, TheatreWorks (Singapore) Ltd, 72-13 Mohamed Sultan Road, Singapore 239007
Website: http://www.theatreworks.org.sg/
Read more
Join the playwriting competition that gives you a once-in-a-lifetime opportunity to experience the turning point of your playwriting career. Into the 14th year of this challenge, we put you in the inspiring wilderness of Outward Bound Singapore, Pulau Ubin, to prove yourself with a play within a short 24-hour timeframe.
Since 1990, the Writers’ Lab is the longest playwriting programme in Singapore to have nurtured countless of Singapore’s successful playwrights. This is the 4th year the Writers’ Lab collaborates with the South East Community Development Council (CDC), in conjunction with the South East District Arts Festival 2011.
Date / Time: 9 to 10 July 2011 (Saturday-Sunday), 4pm to 4pm
Venue: Outward Bound Singapore, Pulau Ubin
Competition Categories: Youth Category, 15-18 years old
Open Category: 19 years and above
Registration Fee: Youth-$25 / Open-$35
Registration Deadline: 18 June 2011
Prize for each category: 1st Prize: S$700, 2nd Prize: S$500, 3rd Prize: S$300, Merit: S$100
Rules and Regulations
1. The 24-Hour Playwriting Competition 2011 is open to all Singapore citizens and Permanent Residents (residents in Singapore for at least a year), except full-time employees, officers and representatives of the organiser and sponsors as well as the immediate family (spouse, parents, siblings and children) and household members of each such employee.
2. There are two categories opened to aspiring playwrights: Youth (15-18 years) and Open (19 years and above), age as at 1 January 2011. Places limited to 70.
3. Participants will be required to work within the competition venue from 4 pm on 9 July 2011 to 4 pm on 10 July 2011. They will not be allowed to leave the designated premises. Any departure without prior notice or permission from the organiser, will result in immediate disqualification.
4. Participants will be required to complete at least a short play (between 12 to 30 single-spaced pages) in the English language. They may use other languages but it should be kept to a minimum with translations provided / footnoted.
5. Participants will be given creative stimuli at regular intervals within the 24-hour period. These stimuli will be in the form of objects, places, snatches of dialogue, phrases or actions, which the participants must incorporate into their scripts. The stimuli must be utilised in its original form (eg. no change of tense, no extrapolation, etc). The stimuli will be delivered to the participants at specified times. Participants should note that the creative integration of the stimuli will be the main consideration in the judging of their works. Should they omit any of the stimuli, their scripts will be penalised accordingly.
6. Discussion among the participants during the competition is strictly discouraged.
7. A complete script must be submitted to the organiser by 4 pm on 10 July 2011. No late submissions will be entertained. Participants who fail to submit on time or who submit an incomplete script will also be disqualified.
8. Entries should not be concurrently submitted for other competitions, publications or broadcast until the announcement or broadcast of the results of the 24-Hour Playwriting Competition.
9. Winners will be notified by post no later than October 2011. The judges’ decision is final. The judges reserve the right not to award any or all of the advertised prizes. No correspondence regarding the judging of the entries will be entertained at any time.
10. The winning scripts stand to be developed in the GREENHOUSE as a performance-ready script.
11. The organiser and sponsors will not be responsible for any injuries, deaths, accidents, illnesses or other loss or damage suffered by the participants during the course of the competition. All participants are required to sign an indemnity form prior to the competition.
12. Official registration form and payment (made by cheque or money order payable to
‘TheatreWorks (Singapore) Limited’), should be submitted by mail no later than 18 June 2011
to:
24-Hour Playwriting Competition 2011
TheatreWorks (Singapore) Ltd
72-13 Mohamed Sultan Road, Singapore 239007
Participation is confirmed only upon receipt of full payment. The registration fee is inclusive of food and refreshments during the competition, and a survival kit; and is strictly non-refundable and non-transferable under any circumstances.
13. TheatreWorks (S) Ltd will have the first right of refusal for the publishing, public reading, and full production of all award-winning entries for two years. The copyright of the scripts will remain with the respective playwrights. However, the following acknowledgement: “This piece is developed from TheatreWorks Writers’ Lab, 24-Hour Playwriting Competition 2011” should be included in all future use of the script in any form.
14. Rules and Regulations are subject to change at the discretion of the organiser.
Download: application form >>
Contact Information:
For submissions: 24-Hour Playwriting Competition 2011, TheatreWorks (Singapore) Ltd, 72-13 Mohamed Sultan Road, Singapore 239007
Website: http://www.theatreworks.org.sg/
26 April 2011
Short Drama Writing Contest: Vietnam’s Beloved Sea and Islands
Deadline: 15 October 2011
A short drama writing contest on the theme of ‘Vietnam’s Beloved Sea and Islands’ was launched in Hanoi on April 25.
Entries from a variety of genres, including dramatic plays, plays in verse and classical drama, are encouraged. They should depict the beauty of the land and people’s lives in coastal areas and islands as well as the armed forces in these areas and the achievements of the marine economy during the national renewal process. Entries should also reflect the protection of marine resources, the ecological environment, and maritime security, as well as the country’s sovereignty.
All professional and non-professional artists from across the country are eligible and should send their works of no more than 20 A4 pages to the Hanoi Department of Culture, Sports and Tourism, 51-53 Ngo Quyen Street, Hanoi before October 15, 2011.
An awards ceremony to honour the contest winners will be held in November this year.
Contact Information:
For submissions: Literature Office, Grassroots Cultural Department, 51-53 Ngo Quyen Street, Hanoi
Read more
A short drama writing contest on the theme of ‘Vietnam’s Beloved Sea and Islands’ was launched in Hanoi on April 25.
Entries from a variety of genres, including dramatic plays, plays in verse and classical drama, are encouraged. They should depict the beauty of the land and people’s lives in coastal areas and islands as well as the armed forces in these areas and the achievements of the marine economy during the national renewal process. Entries should also reflect the protection of marine resources, the ecological environment, and maritime security, as well as the country’s sovereignty.
All professional and non-professional artists from across the country are eligible and should send their works of no more than 20 A4 pages to the Hanoi Department of Culture, Sports and Tourism, 51-53 Ngo Quyen Street, Hanoi before October 15, 2011.
An awards ceremony to honour the contest winners will be held in November this year.
Contact Information:
For submissions: Literature Office, Grassroots Cultural Department, 51-53 Ngo Quyen Street, Hanoi
15 April 2011
Palanca Awards Reminder: Deadline for Submission of Entries is April 30th
Deadline: 30 April 2011
The 61st Carlos Palanca Memorial Awards for Literature (Palanca Awards), the country’s most prestigious and longest-running literary contest, reminds contestants that the deadline for the submission of entries is midnight of April 30, 2011.
Each contestant may submit only one entry under the following categories: English Division – Short Story, Short Story for Children, Essay, Poetry, Poetry for Children, One-act Play, and Full-length Play; Filipino Division – Maikling Kuwento, Maikling Kuwentong Pambata, Sanaysay, Tula, Tulang Pambata, Dulang May Isang Yugto, Dulang Ganap ang Haba, and Dulang Pampelikula; Regional Languages Division – Short Story-Cebuano, Short Story-Hiligaynon and Short Story-Iluko.
This year, the Palanca Awards is also accepting entries for the Novel category, which is open every three years, in both English and Filipino divisions.
In the Kabataan Division, Palanca Awards’ special division for young writers below 18 years old, this year’s theme for Kabataan Essay is “What is the most valuable lesson I learned from the Internet?” for the English category and “Ano ang pinakamahalagang aral ang aking natutunan mula sa Internet?” for the Filipino category.
The contest is open to all Filipino (or former Filipino) citizens, except current officers and employees of its organizing body, the Carlos Palanca Foundation, Inc. Contest rules and official entry forms are available at Palanca Awards’ official website, www.palancaawards.com.ph.
Entries with complete requirements may be submitted to the Foundation’s office at the 6th Floor, One World Square Bldg., 10 Upper McKinley Road, McKinley Hill Town Center, Fort Bonifacio, Taguig City or may also be entered online through the Palanca Awards website or sent through email at cpawards@palancaawards.com.ph.
Winners will be announced on September 1, 2011.
For further information, you may email cpawards@palancaawards.com.ph or call telephone number 856-0808.
Contact Information:
For inquiries: cpawards@palancaawards.com.ph or call telephone number 856-0808
For submissions: cpawards@palancaawards.com.ph or online here
Website: http://palancaawards.com.ph
Read more
The 61st Carlos Palanca Memorial Awards for Literature (Palanca Awards), the country’s most prestigious and longest-running literary contest, reminds contestants that the deadline for the submission of entries is midnight of April 30, 2011.
Each contestant may submit only one entry under the following categories: English Division – Short Story, Short Story for Children, Essay, Poetry, Poetry for Children, One-act Play, and Full-length Play; Filipino Division – Maikling Kuwento, Maikling Kuwentong Pambata, Sanaysay, Tula, Tulang Pambata, Dulang May Isang Yugto, Dulang Ganap ang Haba, and Dulang Pampelikula; Regional Languages Division – Short Story-Cebuano, Short Story-Hiligaynon and Short Story-Iluko.
This year, the Palanca Awards is also accepting entries for the Novel category, which is open every three years, in both English and Filipino divisions.
In the Kabataan Division, Palanca Awards’ special division for young writers below 18 years old, this year’s theme for Kabataan Essay is “What is the most valuable lesson I learned from the Internet?” for the English category and “Ano ang pinakamahalagang aral ang aking natutunan mula sa Internet?” for the Filipino category.
The contest is open to all Filipino (or former Filipino) citizens, except current officers and employees of its organizing body, the Carlos Palanca Foundation, Inc. Contest rules and official entry forms are available at Palanca Awards’ official website, www.palancaawards.com.ph.
Entries with complete requirements may be submitted to the Foundation’s office at the 6th Floor, One World Square Bldg., 10 Upper McKinley Road, McKinley Hill Town Center, Fort Bonifacio, Taguig City or may also be entered online through the Palanca Awards website or sent through email at cpawards@palancaawards.com.ph.
Winners will be announced on September 1, 2011.
For further information, you may email cpawards@palancaawards.com.ph or call telephone number 856-0808.
Contact Information:
For inquiries: cpawards@palancaawards.com.ph or call telephone number 856-0808
For submissions: cpawards@palancaawards.com.ph or online here
Website: http://palancaawards.com.ph
12 April 2011
Now Accepting Unsolicited Manuscripts: East West Players Asian American Theatre
Play Submission Guidelines: EWP now accepting unsolicited manuscripts
Please be aware that we are an Asian American theatre, and most of the new works we produce revolve around Asian Pacific American (as opposed to Asian) characters and/or themes. We are looking for both comedy and drama, in English and financially viable (which includes considerations such as cast size, number of sets, etc.), and they don�t necessarily have to be "issue-oriented," in that race can be an unspoken component in the work.
Writers are strongly encouraged to browse through our production history, which can be found here. Ask yourselves what kind of plays we�ve produced in the past, and who our audience is.
Manuscripts should be bound, preferably with brads and three-hole punch paper, with a title page containing all contact information for the author. Please also include cover letter and resume.
If you�d like to send a SASP (self-addressed stamped postcard) for confirmation of receipt, we�ll send it back to you when we receive your materials.
If you�d like us to return your script, please send a manuscript-sized SASE with the appropriate postage. We typically keep all plays for our archives; please let us know if you would NOT like us to do so.
If you have Internet access and prefer to be notified via email, we can do that as well.
Please allow 3 � 9 months for consideration. All scripts are read by our Literary Committee and a single script is read by a minimum of 2 readers, sometimes more, before we make a recommendation.
Address your scripts to:
Jeff Liu, Literary Manager
East West Players
120 Judge John Aiso St.
Los Angeles, CA 90012.
PLEASE DO NOT EMAIL SCRIPTS.
Contact Information:
For inquiries: jliu@eastwestplayers.org
For submissions: Jeff Liu, Literary Manager, East West Players, 120 Judge John Aiso St., Los Angeles, CA 90012.
Website: http://www.eastwestplayers.org
Read more
Please be aware that we are an Asian American theatre, and most of the new works we produce revolve around Asian Pacific American (as opposed to Asian) characters and/or themes. We are looking for both comedy and drama, in English and financially viable (which includes considerations such as cast size, number of sets, etc.), and they don�t necessarily have to be "issue-oriented," in that race can be an unspoken component in the work.
Writers are strongly encouraged to browse through our production history, which can be found here. Ask yourselves what kind of plays we�ve produced in the past, and who our audience is.
Manuscripts should be bound, preferably with brads and three-hole punch paper, with a title page containing all contact information for the author. Please also include cover letter and resume.
If you�d like to send a SASP (self-addressed stamped postcard) for confirmation of receipt, we�ll send it back to you when we receive your materials.
If you�d like us to return your script, please send a manuscript-sized SASE with the appropriate postage. We typically keep all plays for our archives; please let us know if you would NOT like us to do so.
If you have Internet access and prefer to be notified via email, we can do that as well.
Please allow 3 � 9 months for consideration. All scripts are read by our Literary Committee and a single script is read by a minimum of 2 readers, sometimes more, before we make a recommendation.
Address your scripts to:
Jeff Liu, Literary Manager
East West Players
120 Judge John Aiso St.
Los Angeles, CA 90012.
PLEASE DO NOT EMAIL SCRIPTS.
Contact Information:
For inquiries: jliu@eastwestplayers.org
For submissions: Jeff Liu, Literary Manager, East West Players, 120 Judge John Aiso St., Los Angeles, CA 90012.
Website: http://www.eastwestplayers.org
07 April 2011
Pork Filled Players are WORKIN' SWINE TO FIVE
Punch in to Workin’ Swine to Five with the Pork Filled Players, Seattle’s longest running sketch comedy group! Running May 6 to 21, Fridays and Saturdays at 8 pm, Workin’ is sketch comedy on the funny side of the workplace, from morning java to Happy Hour, at the Ballard Underground (2220 NW Ballard Ave NW, Seattle, WA).
Workin’ Swine to Five explores the quirks of the daily grind, as well as online addictions, Jane Austen acolytes, and plenty of kickass stage combat! Joining PFP (the Northwest’s longest tenured Asian American theatre group) are special guests Assaulted Fish (perennial favorite from Vancouver, BC), Seattle’s sketch comedy duo Charles and Bellingham’s sketch/improv sensation, The DK and Morgan Show.
Led by Head Hawg Roger Tang and Lead Writer Maggie Lee (featured panelist at the Third National Asian American Theater Conference), PFP also includes Brian Beckley, Agastya Kohli, May Nguyen, Yvette Zaepfel and newcomer Narea Kang. Not only is PFP the only Asian American sketch comedy group in Seattle, but they also feature unique geek humor and a rare majority of female comedy writers/performers.
For more information, check the PFP website at www.porkfilled.com, Facebook page or email at oink@porkfilled.com. Tickets can be bought online at http://www.brownpapertickets.com/event/167556.
Scientists, programmers and nerds by day…by night, they are the Pork Filled Players! Since 1997, the Pork Filled Players have waged a never-ending battle to unleash their funny bone on audiences of every race, creed and gender across the Northwest. Beneath their guises as mild-mannered engineers, journalists and office workers, PFP has honed their humor like a scalpel (or is it dull meat cleaver?) to whack away at notions of race, class and culture in 21st Century America. Adept at both sketch comedy and traditional theatre, PFP is redefining Asian American humor with maximum tongue-in-cheekiness, geeky wit and hilarious racial disharmony, all with an Amazing Kung-Fu Grip!
Read more
Workin’ Swine to Five explores the quirks of the daily grind, as well as online addictions, Jane Austen acolytes, and plenty of kickass stage combat! Joining PFP (the Northwest’s longest tenured Asian American theatre group) are special guests Assaulted Fish (perennial favorite from Vancouver, BC), Seattle’s sketch comedy duo Charles and Bellingham’s sketch/improv sensation, The DK and Morgan Show.
Led by Head Hawg Roger Tang and Lead Writer Maggie Lee (featured panelist at the Third National Asian American Theater Conference), PFP also includes Brian Beckley, Agastya Kohli, May Nguyen, Yvette Zaepfel and newcomer Narea Kang. Not only is PFP the only Asian American sketch comedy group in Seattle, but they also feature unique geek humor and a rare majority of female comedy writers/performers.
For more information, check the PFP website at www.porkfilled.com, Facebook page or email at oink@porkfilled.com. Tickets can be bought online at http://www.brownpapertickets.com/event/167556.
Scientists, programmers and nerds by day…by night, they are the Pork Filled Players! Since 1997, the Pork Filled Players have waged a never-ending battle to unleash their funny bone on audiences of every race, creed and gender across the Northwest. Beneath their guises as mild-mannered engineers, journalists and office workers, PFP has honed their humor like a scalpel (or is it dull meat cleaver?) to whack away at notions of race, class and culture in 21st Century America. Adept at both sketch comedy and traditional theatre, PFP is redefining Asian American humor with maximum tongue-in-cheekiness, geeky wit and hilarious racial disharmony, all with an Amazing Kung-Fu Grip!
05 April 2011
The National Asian American Theater Conference and Festival Opens June 16th in LA
Dates: 16 - 26 June, 2011
For the first time, the National Asian American Theater Conference and the National Asian American Theater Festival will be held jointly from June 16-26, 2011. The event will be presented in Los Angeles by the Consortium of Asian American Theaters and Artists (CAATA) and hosted by Asian American Theaters East West Players and Teada Productions, both residing in Los Angeles.
The theme for this year’s joint conference and festival is NEW DIRECTIONS citing transitional shifts in theater at all levels and an emerging generation of voices rising in the Asian American community.
“June will be an electric month for theater in Los Angeles,” said Tim Dang, Producing Artistic Director of East West Players. “With the National TCG (Theatre Communications Group) Conference, Radar LA Festival, the Hollywood Fringe Festival and the Festival of New American Musicals happening almost concurrently with other performing events, LA can truly be called a Theater Town for at least a month.”
A national online survey to the field of Asian American artists took place in August of 2010 asking the field what vital issues were facing Asian American theaters and performers. A request for proposal process for both the conference and festival asking for panel ideas, potential panelists, possible performance workshops and festival performance offerings by group and individual performers concluded in November 2010. Two separate panels of nationally known artistic leaders, artists, and academics evaluated all the information and proposals and selected the conference panels and festival participants under the collective theme, NEW DIRECTIONS.
Inter-generational dialogue, global exchange and social justice were the important issues to discuss at the conference. Diversity in all areas including geography, ethnicity, gender, and theatrical expression, was vital to the festival panel.
“Both panels grappled with the challenge of creating a Conference and Festival that is both inclusive and diverse. The result is a signature event that will explore some of the tough issues of our times while presenting cutting edge artistic works that are re-defining theater in the U.S.,” said Leilani Chan, Artistic Director of Teada Productions.
The Asian American Theater Conference will be divided into four categories: Artistic Practice, Directing, Social Justice and Nuts & Bolts. Performance Workshops are also available if one chooses to participate in a more creative atmosphere. Among the panels are: Artists Addressing War and Militarism –Near, Middle, Far; From the Pens of the Underdog-Queer and Asian and not Complaining; Refugee Nation from LA to Laos-a Diasporic, Transnational Project; Cross Pollination of Cultures and the Urgency to Break Barriers; Legal 101 for Artists; Directing and Ensemble Creation -A National Field Dialogue; and Youth Arts Education and Activism. There will also be an opportunity for Open Space technology in which attendees may choose to create their own panel and put it forward to the entire group for anyone sharing the same interests.
Performance Workshops include: Japanese Physical Acting with Izumi Ashizawa; Directing Workshop with Jon Lawrence Rivera; and Spoken Word and Slam Poetry with Beau Sia.
The selection panel for the conference were members of the CAATA Board of Directors or representative theater leaders including; Andrea Assaf, performer, writer, director and cultural organizer; Tisa Chang, Artistic Producing Director of Panasian Repertory Theatre; Carla Ching, Artistic Director of Second Generation; Tim Dang, Producing Artistic Director of East West Players; Mia Katigbak, Artistic Director of the National Asian American Theater Company; Tim Lounibos, Business Administrator of East West Players; Jorge Ortoll, Executive Director of Ma-yi Theatre Company; Rick Shiomi, Artistic Director of Mu Performing Arts, and Marie-Reine Velez, Managing Director of Teada Productions.
The Asian American Theater Festival will feature 10 culturally diverse offerings: A NUMBER by Caryl Churchhill (presented by the National Asian American Theatre Company, New York); DO YOUR BONES DANCE? by performance artist Denise Uyehara (Arizona); PULL written and performed by Kennedy Kabasares and Traci Kato-Kiriyama (Los Angeles, CA); ENCOUNTER by Navarasa Dance Theater (Massachusetts); JUKEBOX STORIES by Prince Gomolvilas (Glendale, CA); SUNOH! TELL ME SISTER presented by the Post Natyam Collective (Santa Monica, CA); TEN REASONS WHY I’D BE A BAD PORN STAR written and performed by May Lee-Yang (Minnesota); DANCING ON GLASS by Ram Ganesh Kamatham (presented by RasaNova Theater, San Francisco, CA); THE PASSION OF EL HULK HOGANCITO by Jason Magabo Perez (San Diego, CA); and DICTEE written and performed by Soomi Kim (New York, NY).
The selection panel for the festival participants were: Dr. Lucy Burns, PhD.UCLA; Philip Chung, writer; Sheetal Gandhi, performing artist; Dr. Velina Hasu Houston, PhD. University of Southern California, playwright; Nobuko Miyamoto, Founder and Artistic Director of Great Leap, Inc.; Jon Lawrence Rivera, Artistic Director of Playwright’s Arena; and Kristina Sheryl Wong, Artist.
The cost to attend the Asian American Theater Conference and Festival is $300.00, which includes access to all conference panels and a complimentary pass to the Theater Festival. A separate festival pass is available for $80 for all performances or $15 per individual show. Group sales of 10 or more are available by emailing groupsales@caata.net.
Additional discounts to theater performances around town will be available to partnering Asian American productions at East West Players (KRUNK FU BATTLE BATTLE by Qui Nguyen, Beau Sia and Marc Macalintal), the Colony Theatre (YEAR ZERO by Michael Golamco) and Playwrights’ Arena (CALLIGRAPHY by Velina Hasu Houston) from June 16, 2011. There is also a free invited rehearsal (SUN SISTERS by S. Vasanti Saxena opening in July) at the Company of Angels. Please check out the CAATA website for further details and events at www.CAATA.net.
Funding for the Third National Asian American Theater Conference and Festival is being provided, in part by, the Doris Duke Charitable Foundation, the Ford Foundation, the James Irvine Foundation, the California Community Foundation, the City of Los Angeles Department of Cultural Affairs and the Los Angeles County Arts Commission.
All plenaries and panels will take place at East West Players David Henry Hwang Theater, 120 Judge John Aiso Street, Los Angeles, CA 90012 or the Japanese American Cultural and Community Center, 244 South San Pedro St., Los Angeles CA, 90012.
All performances will take place at either Inner-City Arts Rosenthal Theater at 720 Kohler Street, LA, CA 90021 or National Center for the Preservation of Democracy (Tateuchi Democracy Forum), across from the Japanese American National Museum – 111 N. Central Avenue, LA, CA 90012.
The Consortium of Asian American Theaters & Artists (CAATA), a non-profit 501c3, is a national network comprised of Asian American artistic directors, arts leaders and artists committed to establishing an inclusive, responsible, and relevant national artistic voice for the rapidly growing and diversifying Asian Pacific American community. CAATA began in 2004 as an ad hoc committee of the leading Asian American arts leaders who came together during a conference held by Theatre Communications Group. This committee of 11 included artistic directors and arts leaders from:
For more information, please email info@caata.net.
More information here.
Read more
For the first time, the National Asian American Theater Conference and the National Asian American Theater Festival will be held jointly from June 16-26, 2011. The event will be presented in Los Angeles by the Consortium of Asian American Theaters and Artists (CAATA) and hosted by Asian American Theaters East West Players and Teada Productions, both residing in Los Angeles.
The theme for this year’s joint conference and festival is NEW DIRECTIONS citing transitional shifts in theater at all levels and an emerging generation of voices rising in the Asian American community.
“June will be an electric month for theater in Los Angeles,” said Tim Dang, Producing Artistic Director of East West Players. “With the National TCG (Theatre Communications Group) Conference, Radar LA Festival, the Hollywood Fringe Festival and the Festival of New American Musicals happening almost concurrently with other performing events, LA can truly be called a Theater Town for at least a month.”
A national online survey to the field of Asian American artists took place in August of 2010 asking the field what vital issues were facing Asian American theaters and performers. A request for proposal process for both the conference and festival asking for panel ideas, potential panelists, possible performance workshops and festival performance offerings by group and individual performers concluded in November 2010. Two separate panels of nationally known artistic leaders, artists, and academics evaluated all the information and proposals and selected the conference panels and festival participants under the collective theme, NEW DIRECTIONS.
Inter-generational dialogue, global exchange and social justice were the important issues to discuss at the conference. Diversity in all areas including geography, ethnicity, gender, and theatrical expression, was vital to the festival panel.
“Both panels grappled with the challenge of creating a Conference and Festival that is both inclusive and diverse. The result is a signature event that will explore some of the tough issues of our times while presenting cutting edge artistic works that are re-defining theater in the U.S.,” said Leilani Chan, Artistic Director of Teada Productions.
The Asian American Theater Conference will be divided into four categories: Artistic Practice, Directing, Social Justice and Nuts & Bolts. Performance Workshops are also available if one chooses to participate in a more creative atmosphere. Among the panels are: Artists Addressing War and Militarism –Near, Middle, Far; From the Pens of the Underdog-Queer and Asian and not Complaining; Refugee Nation from LA to Laos-a Diasporic, Transnational Project; Cross Pollination of Cultures and the Urgency to Break Barriers; Legal 101 for Artists; Directing and Ensemble Creation -A National Field Dialogue; and Youth Arts Education and Activism. There will also be an opportunity for Open Space technology in which attendees may choose to create their own panel and put it forward to the entire group for anyone sharing the same interests.
Performance Workshops include: Japanese Physical Acting with Izumi Ashizawa; Directing Workshop with Jon Lawrence Rivera; and Spoken Word and Slam Poetry with Beau Sia.
The selection panel for the conference were members of the CAATA Board of Directors or representative theater leaders including; Andrea Assaf, performer, writer, director and cultural organizer; Tisa Chang, Artistic Producing Director of Panasian Repertory Theatre; Carla Ching, Artistic Director of Second Generation; Tim Dang, Producing Artistic Director of East West Players; Mia Katigbak, Artistic Director of the National Asian American Theater Company; Tim Lounibos, Business Administrator of East West Players; Jorge Ortoll, Executive Director of Ma-yi Theatre Company; Rick Shiomi, Artistic Director of Mu Performing Arts, and Marie-Reine Velez, Managing Director of Teada Productions.
The Asian American Theater Festival will feature 10 culturally diverse offerings: A NUMBER by Caryl Churchhill (presented by the National Asian American Theatre Company, New York); DO YOUR BONES DANCE? by performance artist Denise Uyehara (Arizona); PULL written and performed by Kennedy Kabasares and Traci Kato-Kiriyama (Los Angeles, CA); ENCOUNTER by Navarasa Dance Theater (Massachusetts); JUKEBOX STORIES by Prince Gomolvilas (Glendale, CA); SUNOH! TELL ME SISTER presented by the Post Natyam Collective (Santa Monica, CA); TEN REASONS WHY I’D BE A BAD PORN STAR written and performed by May Lee-Yang (Minnesota); DANCING ON GLASS by Ram Ganesh Kamatham (presented by RasaNova Theater, San Francisco, CA); THE PASSION OF EL HULK HOGANCITO by Jason Magabo Perez (San Diego, CA); and DICTEE written and performed by Soomi Kim (New York, NY).
The selection panel for the festival participants were: Dr. Lucy Burns, PhD.UCLA; Philip Chung, writer; Sheetal Gandhi, performing artist; Dr. Velina Hasu Houston, PhD. University of Southern California, playwright; Nobuko Miyamoto, Founder and Artistic Director of Great Leap, Inc.; Jon Lawrence Rivera, Artistic Director of Playwright’s Arena; and Kristina Sheryl Wong, Artist.
The cost to attend the Asian American Theater Conference and Festival is $300.00, which includes access to all conference panels and a complimentary pass to the Theater Festival. A separate festival pass is available for $80 for all performances or $15 per individual show. Group sales of 10 or more are available by emailing groupsales@caata.net.
Additional discounts to theater performances around town will be available to partnering Asian American productions at East West Players (KRUNK FU BATTLE BATTLE by Qui Nguyen, Beau Sia and Marc Macalintal), the Colony Theatre (YEAR ZERO by Michael Golamco) and Playwrights’ Arena (CALLIGRAPHY by Velina Hasu Houston) from June 16, 2011. There is also a free invited rehearsal (SUN SISTERS by S. Vasanti Saxena opening in July) at the Company of Angels. Please check out the CAATA website for further details and events at www.CAATA.net.
Funding for the Third National Asian American Theater Conference and Festival is being provided, in part by, the Doris Duke Charitable Foundation, the Ford Foundation, the James Irvine Foundation, the California Community Foundation, the City of Los Angeles Department of Cultural Affairs and the Los Angeles County Arts Commission.
All plenaries and panels will take place at East West Players David Henry Hwang Theater, 120 Judge John Aiso Street, Los Angeles, CA 90012 or the Japanese American Cultural and Community Center, 244 South San Pedro St., Los Angeles CA, 90012.
All performances will take place at either Inner-City Arts Rosenthal Theater at 720 Kohler Street, LA, CA 90021 or National Center for the Preservation of Democracy (Tateuchi Democracy Forum), across from the Japanese American National Museum – 111 N. Central Avenue, LA, CA 90012.
The Consortium of Asian American Theaters & Artists (CAATA), a non-profit 501c3, is a national network comprised of Asian American artistic directors, arts leaders and artists committed to establishing an inclusive, responsible, and relevant national artistic voice for the rapidly growing and diversifying Asian Pacific American community. CAATA began in 2004 as an ad hoc committee of the leading Asian American arts leaders who came together during a conference held by Theatre Communications Group. This committee of 11 included artistic directors and arts leaders from:
- Asian Arts Initiative (PA);
- Asian American Theater Company (CA):
- East West Players (CA);
- Ma-Yi Theater (NY);
- Mu Performing Arts (MN);
- NAATCO (NY);
- New World Theater (MA) (former artistic director continues to serve on the Board of CAATA as an arts leader despite the theater’s closure);
- Pan Asian Repertory (NY);
- Pangea World Theater (MN);
- Second Generation (NY); and
- TeAda Productions (CA).
For more information, please email info@caata.net.
More information here.
East West Players' Asian American Playwriting Competition
Deadline: 31 August 2011
East West Players is pleased to announce its latest Playwrighting Competition: FACE OF THE FUTURE. This time around we are particularly looking for plays that explore the reality of multicultural America from an Asian American perspective. For instance, subject matter might include (but need not be limited to) biracial or multiracial identity, clashes or collaborations between cultures, or international/transnational storylines.
The prizes are as follows: $5000 First Place; $2500 Second Place; $1000 Third Place. The First, Second and Third Place winners will all receive readings by EWP. All winners will be considered for workshop and/or production; EWP must have the first option to produce.
Submission period: May 2, 2011 to August 31, 2011
Notification: February 2012
FACE OF THE FUTURE: A Playwriting Competition at East West Players
Type of material: Full-length plays and musicals. If submitting a musical, please enclose a musical sample. No translations or adaptations. All submissions must be professionally unproduced, with no attachments.
Remuneration: $5000 First Place; $2500 Second Place; $1000 Third Place. The First, Second and Third Place winners will all receive readings by EWP. All winners will be considered for workshop and/or production; EWP must have the first option to produce.
Philosophical/Technical Guidelines: Looking particularly for plays that explore the reality of multicultural America from an Asian American perspective. For instance, subject matter might include (but need not be limited to) biracial or multiracial identity, clashes or collaborations between cultures, or international/transnational storylines. Must be accessible to a primarily English-speaking audience. Plays should require no more than 5-7 actors. Musicals should require no more than 10-12 actors. The story should be told in less than 2.5 hours including a 15 minute intermission.
Procedure: Title pages will be separated from the scripts and both will receive a tracking number. Blind entries will be screened by a committee of readers. Top scripts will be judged by a panel of distinguished artists. Previous judges have included Philip Kan Gotanda, David Henry Hwang, Wakako Yamauchi, and Julia Cho. We will announce the winners by press release in February 2012; participants will be notified by mail at the same time.
East West Players produces outstanding works and educational programs that give voice to the Asian Pacific American experience.
Click here to download the entry form >>
If you have any questions, please contact Literary Manager Jeff Liu at jliu@eastwestplayers.org or (213) 625-7000 ext. 27
More information here.
Read more
East West Players is pleased to announce its latest Playwrighting Competition: FACE OF THE FUTURE. This time around we are particularly looking for plays that explore the reality of multicultural America from an Asian American perspective. For instance, subject matter might include (but need not be limited to) biracial or multiracial identity, clashes or collaborations between cultures, or international/transnational storylines.
The prizes are as follows: $5000 First Place; $2500 Second Place; $1000 Third Place. The First, Second and Third Place winners will all receive readings by EWP. All winners will be considered for workshop and/or production; EWP must have the first option to produce.
Submission period: May 2, 2011 to August 31, 2011
Notification: February 2012
FACE OF THE FUTURE: A Playwriting Competition at East West Players
Type of material: Full-length plays and musicals. If submitting a musical, please enclose a musical sample. No translations or adaptations. All submissions must be professionally unproduced, with no attachments.
Remuneration: $5000 First Place; $2500 Second Place; $1000 Third Place. The First, Second and Third Place winners will all receive readings by EWP. All winners will be considered for workshop and/or production; EWP must have the first option to produce.
Philosophical/Technical Guidelines: Looking particularly for plays that explore the reality of multicultural America from an Asian American perspective. For instance, subject matter might include (but need not be limited to) biracial or multiracial identity, clashes or collaborations between cultures, or international/transnational storylines. Must be accessible to a primarily English-speaking audience. Plays should require no more than 5-7 actors. Musicals should require no more than 10-12 actors. The story should be told in less than 2.5 hours including a 15 minute intermission.
Procedure: Title pages will be separated from the scripts and both will receive a tracking number. Blind entries will be screened by a committee of readers. Top scripts will be judged by a panel of distinguished artists. Previous judges have included Philip Kan Gotanda, David Henry Hwang, Wakako Yamauchi, and Julia Cho. We will announce the winners by press release in February 2012; participants will be notified by mail at the same time.
East West Players produces outstanding works and educational programs that give voice to the Asian Pacific American experience.
Click here to download the entry form >>
If you have any questions, please contact Literary Manager Jeff Liu at jliu@eastwestplayers.org or (213) 625-7000 ext. 27
More information here.
29 March 2011
The 2011 NCCA Writers Prize (Philippines)
Deadline: 30 June 2011
The NCCA Writers’ Prize is a biennial award given to five (5) writers, one for each of the following categories: Poetry (Waray language), Novel ( Cebuano language), Essay (Bicolano language), Short Story (Panay language) and Drama (Filipino language). The award, in the amount of TWO HUNDRED FIFTY THOUSAND PESOS gross, will assist the winner during the writing stage of the project. The award is good for one year, after which a manuscript of the writing project will be submitted to the NCCA for possible publication or staging. The Novel manuscript shall be submitted to the Man Asia Literary Prize as official entry of the Philippines, after it has been translated into the English language and published by the NCCA.
The NCCA, in line with its mission to “encourage the continuing development of a pluralistic culture by the people themselves,” will be creating the opportunity to have a direct hand in the development of Filipino literature. With the cash award, the NCCA Writers Prize winners will be freed from the demands of their work and shall be able to focus on the writing of the complete manuscript for one year.
Eligibility
The award is open to all Filipino writers, of legal age, except to the officers and members of the NCCA Secretariat and the incumbent Executive Council Members of the NCCA Committee on Literary Arts.
Mechanics
For the 2011 NCCA Writers Prize competition, the following shall be the requirements in the submission of entries:
1. Applicants must submit an accomplished application form, which is available at the NCCA Planning, Policy Formulation, and Programming Division (P/PFPD) (download application form), together with the applicant’s curriculum vitae; with a 3 – 5 page concept paper discussing the rationale and significance of the project, and the initial output of the project which shall be submitted in four (4) printed copies. For 2011, the categories and the expected initial output for each category are:
Category Initial Output
1. Novel – Cebuano language First 50 pages
2. Poetry – Waray language 10 poems; 1 poem per page
3. Short Story – Panay language First three chapters with a total minimum of 50 pages
4. Drama – Filipino language 1-act for a full length drama and two (2) 1-act plays
5. Essay – Bicolano language First 3 essays of no less than 50 pages
All the sample works shall be in typewritten form. Spacing shall be double space, Font shall be Arial 11. Manuscript and concept paper shall not bear the name of the applicant in any of the pages. All manuscripts received with identifying marks shall be disqualified.
2. Applicants are allowed to apply only in one (1) category.
3. Applications will be evaluated by an Ad Hoc Screening Committee, the lists of the members of the Screening Committee for each category shall be provided by the Committee on Literary Arts. There will be three members of the Ad-Hoc Screening Committee per category.
4. The Award will be released in four tranches, with the first tranche to be given during the Awards Ceremony at the beginning of the writing period and the succeeding tranches upon submission of the following percentage of the writing project:
2nd tranche - 50% of the writing project
3rd tranche - 75% of the writing project
4th tranche - 100% of the writing project
5. The NCCA shall give the awardees one year to finish their manuscripts. The NCCA will allow a maximum extension of six (6) months only with written justification from the awardee.
6. Completed manuscript by the winners, which means that it is 100% completed, must be submitted in two forms: Two (2) printed copies and two (2) electronic copies in MSWord format in a diskette. The completed project output shall be as follows:
Category Project Output
1. Novel – Cebuano language Minimum of 50,000 words
2. Poetry – Waray language 30 poems
3. Short Story – Panay language Minimum of 15 chapters
4.. Drama – Filipino language 2 or more acts for a full-length drama and five (5) 1-act plays
5. Essay – Bicolano language 12 essays or no less than 200 pages
7. The award is non-transferable. All privileges shall be enjoyed by the winner himself/herself based on the successful evaluation of the work in progress. A member from the Ad-Hoc Screening Committee of each category shall be assigned as Reader to evaluate the succeeding materials to be submitted by the winner. Upon submission of the positive evaluation of the Reader for the second and third tranches, the corresponding amounts shall be released immediately to the winner. However, for the fourth tranche, the same will be released only upon completion of evaluation of the completed manuscript by the Reader. Revisions, however, may be recommended by the Reader. Only upon final approval of the completed manuscript shall the final tranche be released to the winner.
8. Deadline of submission of application together with the curriculum vitae of applicant and other requirements shall be on June 30, 2011. All applications shall be addressed to:
2011 NCCA WRITERS’ PRIZE Secretariat
Planning, Policy Formulation and Programming Div. (P/PFPD) - Institutional Programs
National Commission for Culture and the Arts
NCCA Building, 633 General Luna St.
Intramuros, Manila
Attention: Frances S. Alincastre
Planning Officer III
9. Entries that were not selected shall not be returned anymore.
10. Works may deal with any topic, but those dealing with environmental issues and climate change are also welcome.
COPYRIGHT AND OWNERSHIP RIGHT
1. The winner hereby grants the NCCA the first option to publish the completed manuscript. The NCCA will have the right to produce or authorize to be produced, for staging, telecasting, broadcasting, or cinema or other forms of exhibition from time to time any output of the winning manuscripts. The NCCA will also be allowed to include the completed manuscripts in the NCCA Website. The first option to publish of the NCCA expires one year after completion of the writing project.
2. It is understood that the entry submitted has not been submitted to any other award body or has not received any prize and is not a completed manuscript but a work in progress. Any violation of the guidelines shall mean withdrawal of the prize and any amount paid to the winner shall be returned to the NCCA. The award then will be transferred to the person who garnered the second highest votes during the Screening of the materials.
For inquiries,please contact Ms. Frances S. Alincastre at tel. No. 527-21-92, loc. 503 or 527-2214 (DL), and e-mail address: haraya_naaw@ncca.gov.ph..
More information here.
Read more
The NCCA Writers’ Prize is a biennial award given to five (5) writers, one for each of the following categories: Poetry (Waray language), Novel ( Cebuano language), Essay (Bicolano language), Short Story (Panay language) and Drama (Filipino language). The award, in the amount of TWO HUNDRED FIFTY THOUSAND PESOS gross, will assist the winner during the writing stage of the project. The award is good for one year, after which a manuscript of the writing project will be submitted to the NCCA for possible publication or staging. The Novel manuscript shall be submitted to the Man Asia Literary Prize as official entry of the Philippines, after it has been translated into the English language and published by the NCCA.
The NCCA, in line with its mission to “encourage the continuing development of a pluralistic culture by the people themselves,” will be creating the opportunity to have a direct hand in the development of Filipino literature. With the cash award, the NCCA Writers Prize winners will be freed from the demands of their work and shall be able to focus on the writing of the complete manuscript for one year.
Eligibility
The award is open to all Filipino writers, of legal age, except to the officers and members of the NCCA Secretariat and the incumbent Executive Council Members of the NCCA Committee on Literary Arts.
Mechanics
For the 2011 NCCA Writers Prize competition, the following shall be the requirements in the submission of entries:
1. Applicants must submit an accomplished application form, which is available at the NCCA Planning, Policy Formulation, and Programming Division (P/PFPD) (download application form), together with the applicant’s curriculum vitae; with a 3 – 5 page concept paper discussing the rationale and significance of the project, and the initial output of the project which shall be submitted in four (4) printed copies. For 2011, the categories and the expected initial output for each category are:
Category Initial Output
1. Novel – Cebuano language First 50 pages
2. Poetry – Waray language 10 poems; 1 poem per page
3. Short Story – Panay language First three chapters with a total minimum of 50 pages
4. Drama – Filipino language 1-act for a full length drama and two (2) 1-act plays
5. Essay – Bicolano language First 3 essays of no less than 50 pages
All the sample works shall be in typewritten form. Spacing shall be double space, Font shall be Arial 11. Manuscript and concept paper shall not bear the name of the applicant in any of the pages. All manuscripts received with identifying marks shall be disqualified.
2. Applicants are allowed to apply only in one (1) category.
3. Applications will be evaluated by an Ad Hoc Screening Committee, the lists of the members of the Screening Committee for each category shall be provided by the Committee on Literary Arts. There will be three members of the Ad-Hoc Screening Committee per category.
4. The Award will be released in four tranches, with the first tranche to be given during the Awards Ceremony at the beginning of the writing period and the succeeding tranches upon submission of the following percentage of the writing project:
2nd tranche - 50% of the writing project
3rd tranche - 75% of the writing project
4th tranche - 100% of the writing project
5. The NCCA shall give the awardees one year to finish their manuscripts. The NCCA will allow a maximum extension of six (6) months only with written justification from the awardee.
6. Completed manuscript by the winners, which means that it is 100% completed, must be submitted in two forms: Two (2) printed copies and two (2) electronic copies in MSWord format in a diskette. The completed project output shall be as follows:
Category Project Output
1. Novel – Cebuano language Minimum of 50,000 words
2. Poetry – Waray language 30 poems
3. Short Story – Panay language Minimum of 15 chapters
4.. Drama – Filipino language 2 or more acts for a full-length drama and five (5) 1-act plays
5. Essay – Bicolano language 12 essays or no less than 200 pages
7. The award is non-transferable. All privileges shall be enjoyed by the winner himself/herself based on the successful evaluation of the work in progress. A member from the Ad-Hoc Screening Committee of each category shall be assigned as Reader to evaluate the succeeding materials to be submitted by the winner. Upon submission of the positive evaluation of the Reader for the second and third tranches, the corresponding amounts shall be released immediately to the winner. However, for the fourth tranche, the same will be released only upon completion of evaluation of the completed manuscript by the Reader. Revisions, however, may be recommended by the Reader. Only upon final approval of the completed manuscript shall the final tranche be released to the winner.
8. Deadline of submission of application together with the curriculum vitae of applicant and other requirements shall be on June 30, 2011. All applications shall be addressed to:
2011 NCCA WRITERS’ PRIZE Secretariat
Planning, Policy Formulation and Programming Div. (P/PFPD) - Institutional Programs
National Commission for Culture and the Arts
NCCA Building, 633 General Luna St.
Intramuros, Manila
Attention: Frances S. Alincastre
Planning Officer III
9. Entries that were not selected shall not be returned anymore.
10. Works may deal with any topic, but those dealing with environmental issues and climate change are also welcome.
COPYRIGHT AND OWNERSHIP RIGHT
1. The winner hereby grants the NCCA the first option to publish the completed manuscript. The NCCA will have the right to produce or authorize to be produced, for staging, telecasting, broadcasting, or cinema or other forms of exhibition from time to time any output of the winning manuscripts. The NCCA will also be allowed to include the completed manuscripts in the NCCA Website. The first option to publish of the NCCA expires one year after completion of the writing project.
2. It is understood that the entry submitted has not been submitted to any other award body or has not received any prize and is not a completed manuscript but a work in progress. Any violation of the guidelines shall mean withdrawal of the prize and any amount paid to the winner shall be returned to the NCCA. The award then will be transferred to the person who garnered the second highest votes during the Screening of the materials.
For inquiries,please contact Ms. Frances S. Alincastre at tel. No. 527-21-92, loc. 503 or 527-2214 (DL), and e-mail address: haraya_naaw@ncca.gov.ph..
More information here.
23 March 2011
Pleiades Theatre Presents Rabindranath Tagore's "The Post Office" at Berkeley Street Theatre Downstairs
Deadline: 7 May - 4 June 2011
Pleiades Theatre is proud to present the first professional Canadian production of Rabindranath Tagore’s great Indian classic, The Post Office. Poetic and deeply moving, The Post Office will be presented at the Berkeley Street Theatre Downstairs from May 7 to June 4, 2011.
Written in Bengali in 1911, The POST OFFICE is one of the world’s most enduring and enchanting works, reflecting the profound wisdom and humanity of its author, Rabindranath Tagore. Using the grave illness of a young boy as his inspiration, Tagore embarks on a spiritual journey that strips away life’s many encumbrances to take us to those places of timeless and universal truth.
In beautiful, simple prose, Tagore tells the story of a young boy, Amal, confined to his sickbed on doctor's orders. Seated beside his window, he longs to join the world outside, where children play and adults, preoccupied with their daily routines, scurry about in the street. Greeting everyone who passes by his house, from the local curdseller, to the town watchman, to Sudha, the lovely flower girl, Amal ‐ with his huge love of life and engaging curiosity – awakens others to life's simple yet essential truths as he moves toward his own spiritual liberation.
In the traditions of Indian theatre, The Post Office will incorporate dance and music along with the spoken word. 2011 will mark the 100th anniversary of the writing of The Post Office and the 150th anniversary of Tagore’s birth. Fittingly, Pleiades’ production of The Post Office will also be part of 2011: The Year of India in Canada, the Indian Government’s Canada‐wide celebration of Indian arts and culture. This first‐of‐its‐kind event will highlight the growing bonds between out two countries and Pleiades Theatre is very proud to be among the few Canadian companies involved in this important occasion.
Directed by John Van Burek. Featuring Mina James, Patricia Marceau, Sam Moses, Errol Sitahal, Dylan Scott Smith, Sugith Varughese and Jennifer Villaverde.
Choreography by Hari Krishnan; Set by Teresa Przybylski; Costumes by Milan Shahani; Music by Debashis Sinha; Lighting by Robert Thomson.
Rabindranath Tagore (1861 – 1941) is still considered the Poet Laureate of India and in 1913, he was the first non‐European to be awarded the Nobel Prize for Literature.
The POST OFFICE
May 7 to June 4, 2011
Berkeley Street Theatre Downstairs
26 Berkeley Street
BOX OFFICE: 416‐368‐3110
INFORMATION: www.pleiadestheatre.org
Read more
Pleiades Theatre is proud to present the first professional Canadian production of Rabindranath Tagore’s great Indian classic, The Post Office. Poetic and deeply moving, The Post Office will be presented at the Berkeley Street Theatre Downstairs from May 7 to June 4, 2011.
Written in Bengali in 1911, The POST OFFICE is one of the world’s most enduring and enchanting works, reflecting the profound wisdom and humanity of its author, Rabindranath Tagore. Using the grave illness of a young boy as his inspiration, Tagore embarks on a spiritual journey that strips away life’s many encumbrances to take us to those places of timeless and universal truth.
In beautiful, simple prose, Tagore tells the story of a young boy, Amal, confined to his sickbed on doctor's orders. Seated beside his window, he longs to join the world outside, where children play and adults, preoccupied with their daily routines, scurry about in the street. Greeting everyone who passes by his house, from the local curdseller, to the town watchman, to Sudha, the lovely flower girl, Amal ‐ with his huge love of life and engaging curiosity – awakens others to life's simple yet essential truths as he moves toward his own spiritual liberation.
In the traditions of Indian theatre, The Post Office will incorporate dance and music along with the spoken word. 2011 will mark the 100th anniversary of the writing of The Post Office and the 150th anniversary of Tagore’s birth. Fittingly, Pleiades’ production of The Post Office will also be part of 2011: The Year of India in Canada, the Indian Government’s Canada‐wide celebration of Indian arts and culture. This first‐of‐its‐kind event will highlight the growing bonds between out two countries and Pleiades Theatre is very proud to be among the few Canadian companies involved in this important occasion.
Directed by John Van Burek. Featuring Mina James, Patricia Marceau, Sam Moses, Errol Sitahal, Dylan Scott Smith, Sugith Varughese and Jennifer Villaverde.
Choreography by Hari Krishnan; Set by Teresa Przybylski; Costumes by Milan Shahani; Music by Debashis Sinha; Lighting by Robert Thomson.
Rabindranath Tagore (1861 – 1941) is still considered the Poet Laureate of India and in 1913, he was the first non‐European to be awarded the Nobel Prize for Literature.
The POST OFFICE
May 7 to June 4, 2011
Berkeley Street Theatre Downstairs
26 Berkeley Street
BOX OFFICE: 416‐368‐3110
INFORMATION: www.pleiadestheatre.org
Call for Manuscripts: "Asian Visual and Performing Arts" (EAA Journal Spring 2012)
Deadline: 10 November 2011
Education About Asia (EAA) is the peer-reviewed teaching journal of the Association for Asian Studies. Our approximately 2,300 readers include undergraduate instructors as well as high school and middle school teachers. Our articles are intended to provide educators, who are often not specialists, with basic understanding of Asia-related content. Qualified referees evaluate all manuscripts submitted for consideration. Most of our subscribers teach and work in history, the social sciences, or the humanities.
We are in the process of developing a special section entitled "Asian Visual and Performing Arts" for the spring 2012 issue of EAA. In this special section, we invite authors to submit manuscripts that assist instructors and students in secondary school and college/university introductory survey courses in the humanities or social sciences to better understand Asian cultures through learning about the visual and performing arts. We welcome manuscripts from teachers, scholars,
journalists, or others who have expertise in the topic.
Prospective authors should be aware that approximately fifty percent of our readers teach at the undergraduate level and the rest are secondary or middle school teachers. Please consult the EAA guidelines, available on the website under my signature before submitting a manuscript for this special section. Pay particular attention to feature and teaching resources manuscript word-count ranges. Prospective authors are also encouraged to share possible manuscript ideas with me via email. The deadline for initial submission of manuscripts is November 10, 2011.
Lucien Ellington
Editor, Education About Asia
302 Pfeiffer Stagmaier Hall
University of Tennessee at Chattanooga
Chattanooga, TN 37403
Phone (423) 425-2118, Fax (423) 425-5441
email: l-ellington@comcast.net
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Education About Asia (EAA) is the peer-reviewed teaching journal of the Association for Asian Studies. Our approximately 2,300 readers include undergraduate instructors as well as high school and middle school teachers. Our articles are intended to provide educators, who are often not specialists, with basic understanding of Asia-related content. Qualified referees evaluate all manuscripts submitted for consideration. Most of our subscribers teach and work in history, the social sciences, or the humanities.
We are in the process of developing a special section entitled "Asian Visual and Performing Arts" for the spring 2012 issue of EAA. In this special section, we invite authors to submit manuscripts that assist instructors and students in secondary school and college/university introductory survey courses in the humanities or social sciences to better understand Asian cultures through learning about the visual and performing arts. We welcome manuscripts from teachers, scholars,
journalists, or others who have expertise in the topic.
Prospective authors should be aware that approximately fifty percent of our readers teach at the undergraduate level and the rest are secondary or middle school teachers. Please consult the EAA guidelines, available on the website under my signature before submitting a manuscript for this special section. Pay particular attention to feature and teaching resources manuscript word-count ranges. Prospective authors are also encouraged to share possible manuscript ideas with me via email. The deadline for initial submission of manuscripts is November 10, 2011.
Lucien Ellington
Editor, Education About Asia
302 Pfeiffer Stagmaier Hall
University of Tennessee at Chattanooga
Chattanooga, TN 37403
Phone (423) 425-2118, Fax (423) 425-5441
email: l-ellington@comcast.net
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