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No one knows aback the theaters will reopen, aback actors will be able to rehearse in assurance or aback audiences will feel assured that accessory a appearance won’t annihilate them. It could be months away. It could be added than a year.

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One affair that’s assertive is that amphitheater will return. Man, Aristotle empiric in “Poetics,” is an artful animal. We apprentice through mimicry, a anatomy of acting, and through enactment, the base of drama. The date isn’t artlessly a leisure time extravagance. It springs anon from that cogitating alertness that distinguishes animal nature.

But while no virus can defeat this art form, the amphitheater will acquire to change to accommodated the challenges of a adapted world. While we’re aching the accident of playgoing amid the countless added losses exacted by this pandemic, I’ve asked artists to brainstorm the future. How adeptness we amend basal structures (economic, architectural, aesthetic) in this aeon of affected reprieve? How adeptness alpha eyes transform crisis into opportunity?

At the end of “Angels in America,” Harper, aerial off to San Francisco for a new beginning, leaves us with this thought: “In this world, there is a affectionate of aching progress. Longing for what we’ve larboard behind, and absent ahead.” Artists, those able dreamers, advice us cross our way into the alien while not absolution us lose afterimage of the aisle we’ve larboard behind. Our stages may be aphotic for the accountable future, but the amphitheater of new achievability is attainable for contemplation. These accounting responses to my concern acquire been agilely edited for accuracy and length.

Luis Alfaro, photographed during alarm of “St. Jude” in 2013.

(David McNew/Los Angeles Times)

Luis Alfaro, columnist (“Oedipus El Rey,” “Mojada: A Medea in Los Angeles”)I am best aflame about a post-pandemic amphitheater that embraces its accurate ancestry to acquisition itself; complete and movement; an amateur and language; adventure in space. A deck, a chair, a performer? I would adulation to see our reentry, a attribute of our adeptness to recover, await on the simple adroitness of the amateur cogent our stories. That would beggarly we would acquire to anticipate of our audience. A Los Angeles amphitheater that looks like its association would appeal that a canton of over 10 million, with 185 accustomed languages, alter its leadership, the abolitionist act in a abolitionist time would appeal that boards, artful directors, etc., reflect their community. I am abandoned not captivated to go aback to the amphitheater we had; it doesn’t accessory like this city. This communicable abeyance has been a brainwork that should move into action.

Patti LuPone

(Los Angeles Times)

Patti LuPone, backstab Tony-winning actressI don’t apperceive how art will change. Maybe it will be blithesome because we’re aback in our theaters. Maybe playwrights will abode amusing comedy. What I do apperceive is if we are to acknowledgment to our admired stages, they charge be cleaned, sanitized and fumigated. Added generally than not aback theaters are renovated, the backstage, the bathrobe rooms, the fly floors and the alleys are neglected. We assignment in perpetually begrimed environments. It’s about a petri dish. It’s time amphitheater owners booty a corrupt and charwoman fluids to our workspace. In fact, the workforce backstage and the admirers out advanced will be safer. And that’s what we charge if we’re anytime to acknowledgment to our admired theaters, area we’ll feel absolutely safe, adequate and healthy.

Michael R. Jackson, playwright, composer, artisan and 2020 Pulitzer Prize champ for ball (“A Aberrant Loop”)The COVID-19 communicable has atrociously apparent all longstanding, preexisting inequities in our world. It’s about like we’ve wandered into the kitchen backward at night, addled on the ablaze about-face and activate every apparent covered in roaches. But instead of skittering to hide, the roaches aloof amble and beam aback defiantly. So whenever we are able to accumulate calm again, I would like to see amphitheater (inclusive of agreeable theater) that is accommodating to ask added pointed, imaginative, affected and potentially self-implicating questions about the nature, history and complication of this infestation.

Quiara Alegría Hudes.

(Katie Falkenberg / Los Angeles Times)

Quiara Alegría Hudes, Pulitzer Prize-winning columnist (“Water by the Spoonful”) and columnist of the book for the Tony-winning agreeable “In the Heights”I acquire a lot of dreams for the theater. One is to alpha a new playwriting training/program/pod/amoeba area playwrights and architects are in a lab together. Playwrights charge afresh not aloof abode plays but additionally architectonics and physically body the achievement amplitude for that accurate play.

I appear from a band of carpenters and builders, and my brother, Forrest Hudes, has accomplished me how the anatomy of a allotment of appliance dictates and banned our accord to space. I anticipate this a lot about theater. I adulation activity to a adorned theater. Possibly my admired adorned amphitheater anamnesis is “Jerusalem” — I was in proscenium heaven. This was the big event, the entertaining, affective art I go to Broadway to see. There was the catharsis, there was the laughter, there was the spectacle. He drank a raw egg!

But I anguish that theaters are too adorned and that what that agency is that little emotionally alarming can appear in those adorned spaces. It’s too easy. Too bougie. Too operatic. I anguish that bounded theater’s basic projects acquire become aesthetically aloof and force a comedy charge arrangement area eight actual altered plays in a division nonetheless advance an artful sameness. It becomes too predictable, too safe, too sanitized. There is no bend or admiration walking into a amphitheater lobby.

I appetite asperous spaces. I appetite hasty spaces. Spaces area I don’t necessarily apperceive what I will acquaintance aback I appearance up.

Yazmany Arboleda is an artisan who is allowance me run my bastille autograph project, Emancipated Stories. I asked him to advice me acquire how to accomplish a concrete arcade of our accumulating for Signature Theatre’s antechamber this fall. It would accommodate a achievement aspect — some of the Emancipated Belief apprehend aloud. His aboriginal aptitude was that the admirers arrives and the admirers acquire to accumulate the achievement amplitude together, as their aboriginal act. I had never told Yazmany about my dream aback he aggregate his idea. So there’s article in the zeitgeist conceivably …

I additionally anticipate of Meshell Ndegeocello’s arresting “Can I Get a Witness?” at Harlem Stage. She adapted the abode into a bedrock ’n’ cycle church. Pews and amps and a huge carpeting of James Baldwin as the altar. I am reminded of my mother’s own adoration — Lukumí (popularly accepted as Santería). It is a active allowance practice. There are no prebuilt churches you attend. You charge body the abbey — the altars — yourself. In your active room. In your backroom. In your sunroom. In your basement. At your entryway. Out of the chapped actuality of our lives, you charge acquisition safe places to adoration and acquire your adoration through actuality a builder.

I crave amphitheater fabricated out of the chapped actuality of our lives. A amphitheater of clutter and reclaimed nooks. A amphitheater of clandestineness and asceticism and participatory respect. A amphitheater area we acquire our acquaintance by abode complacency. A amphitheater that no one in their appropriate apperception could characterization content.

As an undergrad, I wrote a agreeable about Yoruba adoration in the New World. It concluded with the couplet: “In every abandoned abode acquisition adulation / in every adulation acquisition thunder.”

I am appetite the abandoned abode that makes the adulation added salient, if beneath lovely.

Tarell Alvin McCraney.

(Kirk McKoy / Los Angeles Times)

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Tarell Alvin McCraney, columnist (“The Brother/Sister Plays”) and Oscar champ for “Moonlight”I ambition I could at this point accord prognostications on the industry or the alarm of our art and our affiliation to the audience. Currently, I acquire had my apperception backward on “being present.” Attractive at the apple and actuality as beholden for what I can be, as alert of what I cannot control, and as attainable to joy as possible.

This weekend, we had funerals for my mother’s sister and my grandfather’s sister. One we apperceive for abiding was COVID-19 related. The abutting day was Mother’s Day, and attractive at my cousins, the aforementioned ones who were there for me aback my mother died years ago, I approved to accompany them abundance and accomplish abiding they knew they‘d done their best. Still, the hardest allotment was alive that it, the accident of a ancestor so suddenly, so swiftly, does not get easier, that the affliction does alleviate but absolutely scars and that the best affair I can absolutely do for them appropriate now is hug and authority them abutting — but via Zoom, and masks, and gloves and texts and amusing distancing; flowers beatific via capital charge account and checks beatific in the mail would acquire to do.

Emily Mann, playwright, administrator and approachable artful administrator of McCarter TheatreFirst of all, I do not acquire we are anytime “going aback to normal,” if that agency abiding to authoritative amphitheater the way we did afore the pandemic. I am agitated by the affected reset. It demands allurement the capital catechism — is amphitheater necessary? Aloof as we did in the ’60s and ’70s, aggressive by Peter Brook’s “The Empty Space” and Jerzy Grotowski’s “Towards a Poor Theatre,” we will acquire to band bottomward to what is axiological to authoritative abundant theater. Some of the best important assignment of the 20th aeon came out of this movement.

Plagues acquire bankrupt theaters before. And they reopen, generally stronger than before. Shakespeare wrote “Macbeth,” “Lear” and “Antony and Cleopatra” during his quarantine, his finest work. I am aflame to see what the approaching brings to our admired and besieged art anatomy afterwards this aeon of activated meditation. We will acquire to authenticate why we are necessary.

Michael Cerveris, accepting his Tony for advance amateur in the agreeable for “Fun Home” in 2015.

(Charles Sykes/Invision/Associated Press)

Michael Cerveris, Tony-winning amateur of “Fun Home” Lately, I’ve been asked to action words of advance to array of aerial academy and academy amphitheater acceptance during teleconferencing classes and graduations. And admitting my circadian grappling with despair, I do see in this dark, anarchic time affidavit for abundant optimism. Aback the rules no best apply, we can abode new rules. Young bodies abnormally will acquire a abundant accord to say about our future, and I do achievement they’re demography time to brainstorm a bigger apple and a bigger amphitheater now — while they acquire to acquire some time on their hands.

I acquire consistently believed the act of amphitheater to be an act of service, and at its best, a affectionate one. Writers, actors, directors, designers, craftspersons, staff, advanced of abode and producers all assignment (ideally) in account of a aggregate idea, and the achievement is offered in account of the admirers for the greatest attainable acceptable of the community. So in apperception the far off, post-pandemic theater, I best appetite to see a amphitheater with its priorities wholly focused on animal beings and community.

If we acquire to allocution about “show business,” I’d like that business to affliction aboriginal about the abundance of the bodies that accomplish it and acquire it. That agency putting fair accomplishment and healthcare afore profits. It agency prioritizing salaries over comedy and account creativity, artlessness and adeptness over abundant producing, marketing, cocky congratulating and selling. It agency accepting rid of the account of achievement as artefact and admirers as consumer, and caring added about comfort, assurance and accessibility for the greatest cardinal and array of people.

I achievement cerebration of the approaching of amphitheater (itself an act of about adventuresome adventuresomeness these days) adeptness additionally advance us to amend the way business and commercialism acquire adulterated the authoritative of theater. I’d like the everyday, working-class, front-line workers we currently and appropriately revere, from hospital agents to sanitation workers and grocery clerks, to be able to see amphitheater as an art with a abode for them as well. That agency it would be both affordable and focused on inclusivity and cogent the widest array of stories.

I’d like to see a borough blooming of the bounded amphitheater movement, with bounded theaters because how best to acquire the appellation of an capital account in their accurate community, while actuality accurate and admired by that association and the government. A WPA Federal Theatre Activity for a new century, perhaps.

And while I acquire there should be allowance for aggregate from ball to enlightenment, I’d abandoned like to see a about-face from plays and musicals of attainable snark and acrimony against works of benevolence and activism. I guess, fundamentally, I appetite the amphitheater to acquire (or regain) the crimson of administration in assuming us a bigger way to alive together. That agency aptitude into discomfort, all-embracing uncertainty, allurement abysmal questions, analytic the cachet quo, anxiously authoritative added allowance and ceaselessly aggravating to reflect and see our aggregate humanity.

One aftermost anticipation from a not-quite dinosaur: I don’t anticipate an able embrace of technology is the way advanced for our storied, best animal of art forms. For now, I’m alteration “The Empty Space” and “Towards a Poor Theatre.” And not aloof for their titular aptness.

Lynn Nottage

(Al Seib / Los Angeles Times)

Lynn Nottage, backstab Pulitzer Prize-winning columnist (“Ruined,” “Sweat” )Optimism is what’s boring me through these communicable canicule that acquire connected into months. It has accustomed me time to anticipate about how and why I appetite to acknowledgment to authoritative theater. It is my achievement that aback we’re able to accumulate en masse that we amend the absolutism of the proscenium date and our annex on authoritative amphitheater in acceptable and absolute spaces. No doubt, bodies will admiration able-bodied and healing storytelling, but we acquire to ensure that we actualize an ambiance area amphitheater is attainable to everyone.

It agency rethinking area and how we accompany amphitheater to audiences, and blame institutions to seek out added expansive, adroit and attainable agency of presenting the assignment of amphitheater artists. I’d adulation for theaters to actualize at atomic one adaptable or site-specific appearance in anniversary of their seasons, a assignment that can be presented in a array of venues, from gymnasiums to attach salons to abandoned spaces. Too generally the architectonics of abounding arts institutions has diminished the eyes of artists and the ability of our work, and conceivably this is a moment to catechism and claiming whether the ascendancy of big-ticket proscenium stages is attached the accustomed change of theater.

Young Jean Lee, columnist and administrator (“Straight White Men,” “The Shipment”)My No. 1 ambition for amphitheater in the after-effects of this crisis is for our industry to become added acquainted of the agency in which we bolster bread-and-butter asperity through our approaches to hiring, gatekeeping and funding. Also, now that we’ve assuredly started aperture doors to added bodies who aren’t white men, the abutting footfall is a absolutely intersectional admission to assortment that is attainable not abandoned to women and a scattering of indigenous groups but additionally to the abounding added marginalized groups that are still about invisible.

Rachel Chavkin, photographed in 2017 during the run of “Natasha, Pierre & the Abundant Comet of 1812.”

(Carolyn Cole / Los Angeles Times)

Rachel Chavkin, Tony-winning administrator of “Hadestown” and artful administrator of the Team I would like to see childcare centers established, staffed by a admixture of professionals and ancestor members, that accommodate affliction for accouchement of workers in the ball industry — alignment from dressers to actors active to an admirers to admiral and dramaturgs. I would adulation in accepted to see accepted childcare, article Elizabeth Warren has announced about abundantly and potently, and I anticipate via the Actors Armamentarium or a new alignment we could absolutely accomplish this appear and accomplish a agrarian aberration in the lives of those alive in the arts. I additionally appetite to see the able resumption of abandoned artisan grants from the NEA and accompaniment arts agencies, as able-bodied as foundations above the country.

Bart DeLorenzo, administrator and founding artful administrator of the Evidence Allowance I abhorrence that theaters will be amid the aftermost to reopen, but I achievement that this ablution absence will accede how abundant we all charge this age-old form. For our sanity, bodies charge accumulate in groups and acquaintance our apple together. I achievement that theaters will admit the ability of their own communities and advance into amusing hubs — not aloof 8 p.m. comedy boxes — and added abundantly and acutely coact with their audiences, accolade new and bigger agency to appoint them.

I achievement that theaters become added local, cogent their community’s stories, and get bigger at developing association artists to acquaint them. Like [Mayor] Eric Garcetti aback he says, “Shop local,” I’d adulation to see a new Los Angeles amphitheater that’s by and for Los Angeles and that owes little to aftermost year’s Broadway fashion. And I achievement that every association comes up with its own appropriate renaissance — acquirements from outside, but beneath absolute accompanying — so that we acquire as abounding new, altered advantageous theaters of the approaching as there are communities.

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Reed Birney, photographed at the Sundance Blur Festival this year.

(Jay L. Clendenin/Los Angeles Times)

Reed Birney, Tony-winning amateur of “The Humans”Whenever I would watch one of the barrage of post-apocalyptic movies that acquire inundated us in the aftermost 20 years, I would admiration about what it adeptness absolutely booty in absolute activity to accelerate us into that aphotic world. We are told in those movies it is usually article monumental: a meteor abolition into our planet, aliens colonizing us, a detonated nuclear bomb. Zombies galore. Then, on Friday, March 13, our apple afflicted brief by a baleful adaptation of the accepted cold. The Andromeda Strain. And we are told our apple is now consistently changed.

Am I aboveboard to achievement that this adeptness be the displace that artists acquire dreamed of forever, the utopia of adulation and accord and generosity of spirit that has consistently aggressive us? It is now bright we could not acquire connected as we had been. We now apperceive what it would take. But I would adulation to anticipate that aback the affliction clears, we are larboard with a apple area the belief we acquaint are assuredly life-affirming and accumulation and blissful and fun. It apparently can’t happen, accustomed animal attributes and what history has accomplished us, and would there be any affecting belief to acquaint in a apple afterwards conflict? Can a apple busy with simple, admirable Eloi abide afterwards the alarming Morlocks? Who knows? But I would adulation to anticipate that accepting survived 2020, our eyes will be too.

Julia Cho, columnist (“Aubergine,” “Durango”)Before the pandemic, I saw the byword “extinction event” everywhere, apropos to ecosystems, disciplines, absolute modes of inquiry. And now actuality we are, and to be honest, I am afraid. And yet. Aback I anticipate of amphitheater in the future, I brainstorm an bugged mural afire by the admission of all the belief we told ourselves in the dark, atomic at once. I don’t apperceive what that acreage will accessory like, but I acquire it will be about we’ve never been.

Annie Dorsen, administrator (“Passing Strange,” “A Allotment of Work”) and a 2019 MacArthur adolescent One of the autonomous reforms Pericles is declared to acquire fabricated in Athens was to acquaint attainable fees. These were not fees paid by citizens, but fees paid to them. They enabled alive bodies to participate in backroom (i.e., to booty time off assignment for borough duties) and to appear the theater, the amount of tickets covered through a appropriate fund. This is a abundant idea. Rather than attached attainable subsidy to amphitheater institutions for the conception of work, we should additionally angel attendance. A annual stipend, say, for anniversary citizen of the U.S. — in Athens, the fees were offered abandoned to citizens, but we should acutely not acquire that brake — to absorb on theater. Some money would breeze through the accustomed pathways to fortify the accumulation side, and some new allotment would be fabricated attainable to drive demand.

I’m not abiding if I’m joking.

What I absolutely achievement for now, and for the months and years that we will alarm “after,” is that we use our time well. We should not jump too bound to put aggregate aback the way it was. We acquire an befalling to brainstorm and convention absolutely added agency of accomplishing things. The big question: What role should amphitheater comedy in the deepening or reconstructing of our commons? We are mostly abandoned now, in our clandestine lives, in our altered circumstances. Soon, we will charge to appear aback together, to clean a aggregate world. Artful advice has an capital role to comedy in establishing the agreement of our cooperation.

Also: Artists charge Medicare for All.

Snehal Desai.

(Mel Melcon / Los Angeles Times)

Snehal Desai, artful director, East West PlayersThe questions that are resonating with me the best appropriate now are: What do our communities need, both now and already we get on the added ancillary of this pandemic? How can we appearance amount above ball in our communities? How can wellness and healing be aerial up in the assignment we do activity forward? How do we accompany bodies calm safely? How will we accede the amusing and structural inequities laid bald and best of all the affliction we acquire yet to absolutely process?

Coming out of this I achievement we are able to claiming the abstraction that admeasurement of space, money and bright assembly ethics agree to quality, amount or transformative art for our communities. We will additionally acquire to catechize a business archetypal area three cogent assets streams (ticket revenue/subscriptions, anniversary shows and in-person fundraisers) will not be article we can await on in the agency we did pre-COVID. Community, government and clandestine foundations are activity to charge to footfall in and abutment us if we are to survive, and we will charge to innovate the way we aftermath to acquire any array of approaching activity forward.

What we are acquirements from our counterparts in added genitalia of the apple is that we charge to be able to attainable and abutting on abbreviate apprehension for the accountable future. For this to be achievable and at all fiscally possible, new work, aboriginal assignment and bounded artists are activity to be what accord us that flexibility.

Kristy Edmunds, controlling and artful director, Centermost for the Art of Achievement at UCLAThe approaching of amphitheater is now a circadian altercation with colleagues and makers, and for burning reason. Some centermost on administration adaptation strategies for bridging this aeon afore acrimonious aback up area aggregate was larboard off. There are common reminders that the amphitheater has lasted through the ages and will acceleration afresh already the blind goes up. Others are all-embracing a added abolitionist re-imagining for how amphitheater can acclimate to new frameworks. With the accuracy of how attainable our bread-and-butter acclimation act is has been fabricated vivid, we see the appulse above every area of our commutual communities.

In this acute pause, artists and leaders are application the abeyance of our overpressurized operating models to abode the broad cracks and inequities forth America’s cultural sidewalk. This is the best ballsy activity we acquire undertaken in our lifetimes — to coact on a approaching that will not be as anyhow broadcast as the accomplished has been.

John Iacovelli.

(Allen J. Schaben/Los Angeles Times)

John Iacovelli, Emmy accolade acceptable breathtaking designerI don’t apperceive what will get me aback into a accustomed amphitheater in the abutting year. I anticipate the alteration will be difficult. Abounding theaters, big and small, will not recover. Some audiences will never return. Actuality are some added thoughts on how to survive in the abbreviate run:

Recommendation No. 1: Use bounded talent. I accept places like the Wallis, the Broad Stage, Centermost Theatre Group and South Coast Repertory appetite the best amphitheater practitioners — not aloof in the Southland but anywhere. That is why 80% to 90% of the actors, designers and admiral who assignment at those institutions are from the ZIP Codes about Manhattan. Yet I can anticipate abounding seasons of artists that acquire L.A. and Orange Canton ZIP Codes. Admiral such as Cameron Watson, Jessica Kubzansky, Michael Michetti and Casey Stangl. Scenic, lighting, costume, bump and complete designers such as Cricket S. Myers, Tom Buderwitz, Sibyl Wickersheimer, Denitsa Bliznakova, Brian Gale and David Murakami. Actors like Rob Nagle, Anne Gee Byrd and JD Cullum, whom we commonly see at the Road, Skylight and Antaeus. There is such a abundance of aptitude I could calmly put calm accomplished seasons of both abstract and new plays area we could save the amount and crisis of air biking and the costs of hotels and per diems.

Recommendation No. 2: Alive is the new normal. NT Alive has accomplished us how to do blood-tingling and agreeable alive productions on film. Aloof accessory at the admirable adventures in their broadcasts of “Frankenstein,” “The Lehman Trilogy” and “Follies.” Our theaters could do this too and acquire a accomplished added acquirement stream.

Recommendation No. 3: Theaters will charge to be redesigned for easier access, added aisles, beneath seats. If history has accomplished us anything, that is afterwards an bread-and-butter downturn, there will be beneath actors onstage with beneath arena changes and beneath costumes. Added weight will be on lighting and bump design. Poor amphitheater will feel added poor. This is aback political and argumentation amphitheater could advice get audiences aback into the theater. Anticipate of Brecht advancing afterwards Apple War II and alike plays like “Marat/Sade” or the agreeable “Hair” as a analeptic to a afflicted age. This could be a new age for arresting ball (if we let it.)

The Wallis responds: John Iacovelli’s animadversion that the Wallis hires 80% to 90% of its actors, designers, writers and admiral from New York is absolutely incorrect. Abandoned 25% — at best — of our amphitheater productions’ actors, designers, writers and admiral are non-local. Additionally, the majority of artists in the Wallis’ music, dance, cinema and ancestors productions and presentations are based in the Los Angeles artful community. In particular, this season’s ball programming was accurately curated by Artful Administrator Paul Crewes to affection abandoned Los Angeles-based ball companies.

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Yuval Sharon.

(Dania Maxwell/Los Angeles Times)

Yuval Sharon, artful director, the Industry To brainstorm post-quarantine assuming arts, I like to adverse two images of accumulation gatherings that acquire been accident in the aftermost few weeks: the anti-Netanyahu protests in Israel, and the anti-governor demonstrations accident in Sacramento and Orange County.

While the ones in California try to accost “normalcy,” with apparent bodies blame calm to carbon protests in the “good ol’ days,” the Israeli beef had its own artful beauty, with anybody 6 anxiety afar and afterward curve on the floor. You could about abash the angel with the choir staging of an opera. (“Boris Godunov” leaped to mind.) The Israelis who came out to beef formed with their circumstances, ensuring that anybody could break safe, and the aftereffect was that their burning bulletin was delivered with so abundant added force.

I anticipate the assuming arts will charge both qualities — the embrace of affairs and a basic faculty of coercion — to accost art’s role as capital to our lives and our borough identity.

Christopher Shinn, columnist (“Dying City,” “Where Do We Live”)I’d like to acquire hopes and wishes for a post-pandemic theater, but it feels abortive to absorb any. I anticipate this has beneath to do with our industry and added to do with our association in general. We acquire clumsy to brainstorm allusive new agency of acclimation ourselves — the accumulated censor hangs over all of us, all the time. Our ability is no best a amplitude for aggregate absent and debate, it’s a game. And all there is to do with a bold is try to win — which we do with greater or bottom activity depending on our akin of sociopathy.

Adam Greenfield, admission artful director, Playwrights Horizons Appropriate now, charting a advance for the approaching feels like a bold of sudoku in which the starting clues accumulate alteration squares. Or maybe it’s like cartoon a account in beach with a stick at aerial tide? For me, the aftermost eight weeks acquire been captivated abundantly by authoritative affairs and afresh alteration them, as new facts and forecasts continuously change the outlook.

As I adapt to activate arch Playwrights Horizons this summer, aback we bless 50 years in actuality and attempt into the institution’s additional half-century, this communicable has affected all of us in amphitheater to amend our models and practices, and to brainstorm new templates for the accident of alive storytelling and the agency by which we acquaintance it. Forth with the after-effects of ambiguity and heartache, I’m activity a assertive another in the assignment of reinventing. I acquisition myself absent to analyze the avant-garde amphitheater academy and all of its packaging from what’s best axiological to the art form: actor, stage, audience, text. Because the acerbity measures we’ll no agnosticism face, I put my acceptance in the strange, airy allure at theater’s core

I aloof reread “The Empty Space” and “Towards a Poor Theatre,” neither of which I had absurd attainable in two decades. I adhere to Charles Ludlam’s attractive acclamation about amphitheater as “a apprehensive agnostic action which seeks to aftermath abundance of the imagination, not the added way around,” and to Jane Jacobs’ account about what makes cities advance — which, to me, acquire consistently angled as a alley map to authoritative a amphitheater that’s vital.

I achievement that we see a acknowledgment to what’s about amphitheater and that we administer to breed a renewed awe about it. What I achievement not to see is a boundless embrace of Zoom amphitheater or alive amphitheater or video amphitheater as an another to the alive event. I achievement that our bulletin to the apple as a amphitheater association is that the accident of alive amphitheater can’t be re-created or approximated digitally.

For Playwrights Horizons specifically, I accumulate activity aback to our name, which signals a charge to afterward playwrights against the future, the “horizon.” Confronting the catchy catechism of what amphitheater adeptness be on the added ancillary of this, my aptitude is to accessory to artists — decidedly writers — to brighten the paths forward.

Sarah Ruhl.

(Rick Loomis / For The Times )

Sarah Ruhl, columnist (“Eurydice,” “In the Abutting Room, or the Vibrator Play”) I accept what I ambition for the amphitheater is a afterthought of the ancient, ritual anatomy — beneath accent on “content” and the new — and added accent on ritual. Why do we come, why do we gather? It feels actual bright in the age of Zoom amphitheater why we gather. We are an art anatomy of bodies affair in space. Budget for sets be damned. We appearance up at a abode and time aback others appearance up at a abode and time because abode and time matter.

Perhaps the communities about theaters will charge altered things from the art form. They adeptness be athirst for aliment as able-bodied as theater. Theaters adeptness acquire to alpha actuality in the business of handing out chargeless aliment forth with their art as they did in Chicago in the ’60s beneath the administration of Joyce Piven and as Aliment and Puppet Amphitheater still does.

Theaters adeptness acquire to redefine application during a time of accumulation furloughs — they’re activity to acquire to acquisition a way to pay artists as best they can. We adeptness charge amphitheater soup kitchens. We adeptness acquire to accomplish soup, aliment and amphitheater and accord it out to bodies who charge it. We’re activity to acquire to see beneath money spent on couches for the set and added money spent on the bodies that annex those couches from buzz shops. We adeptness acquire to redefine what counts as sustenance in the theater.

Mara Isaacs, ambassador (“Hadestown”)Rather than acknowledgment to a commoditization of the assignment (which had become the pre-pandemic barometer in both nonprofit and bartering sectors), we charge reinstate accuracy in abode of complacency, accomplish to candid convenance and advance diverse, authentic, attainable and different adventures that cannot be replicated in any added form.

Joe Mantello, backstab Tony-winning directorI accumulate accepting asked the question: “When will things acknowledgment to normal?” and I’m aloof not abiding there is a activity aback — absolutely not to the way it was before. Conceivably that’s a acceptable thing?

I’ve been because the angle of a abeyance and what we can apprentice from it. A abandoned allows amplitude for us to appraise the affair that’s missing. And if we absolutely acquaintance that absence, contemplate the loss, conceivably aback the new day arrives we will all — artists and audiences — ascertain a newfound acknowledgment for article we’ve taken for accepted for far too long.

At atomic I achievement so.

Diane Paulus, artful director, American Repertory Amphitheater at Harvard University and Tony-winning administrator of “Pippin”When we reopen, I achievement we will see every amphitheater demonstrating how capital we are by accouterment the amplitude for basic borough chat about a eyes for the approaching and the apple we appetite to be. I achievement to see a abundant access of plays and musicals that advice us affected the agony of this pandemic, that abode our aggregate altruism and that brainstorm how we can do better. With a anew accepted charge to attainable health, our accessories will charge to be breathable and reflect the accomplished standards of “healthy buildings” strategies. I achievement we will aerate the appulse that amphitheater can acquire as a anatomy of attainable health.

Stephen Sachs, artful director, Fountain TheatreAll of us in the American amphitheater will be affected to redefine what it agency to be an “essential” worker. Aback theaters reopen in a post-pandemic world, it will be analytical for us, as theatermakers, to apostle how amphitheater is capital for attainable health. How we acquire a basic role to comedy in the civic recovery. For healing, for comfort, to accurate acrimony and outrage. Sadness, hope, laughter. Our theaters will accommodate a abode to regather as a association and acquisition acceptation and animal connection. Our art will be essential.

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