Decentered Playwriting investigates new and alternative strategies for dramatic writing that incorporate non-Western, Indigenous, and marginalized storytelling techniques and traditions while deepening a creative practice that decenters dominant dramatic methodologies.

Part 1: Decenter(Ed) Playwriting: Alternative Tools, Techniques, and Structures; 1. Playwrights as Architects of Third Space: The Dramaturgy of Japanese Traditional Performing Arts; 2. The Dramaturgy of Nothingness; 3. Poetic Expression in Kanaka Maoli Playwriting Praxis; 4. On Disaesthetics in Hip Hop Dramaturgy: Ruminations on Thinking and Doing; 5. Context/Culture: Using Some of the Complex Dramaturgy of Black Theatre of the 19th Century to Build Contemporary Work; 6. Decentering Humans: Writing Our Way Out of the Apocalypse; 7. Write Where You Are; Part 2: Decenter(Ing) Playwriting: Community Practices, Ritual, and Healing; 8. Horizontal Theatre: Democratic Practices of the New Docudrama; 9. Toward Self-Construction: A Filipinx Dramaturgy in the Diaspora; 10. Writing with Irene: Sustaining the Fornés Playwriting Method; 11. First People First: Community-Based Theatre Praxis in Native American and Indigenous Spaces; 12. "Aruku-Improv," Playwriting and Performance Devising Dramaturgy Part 3: Case Studies in Decentered Processes: Models and Testimonies; 13. Outsider Indian: A Decentered Narrative on the Long Journey of Native Playwriting; 14. Deconstructing and Reconstructing Zimbabwean Ndebele Izaga: A Conversation on Playwriting as Auto-Ethnographic Experiment; 15. Unarcheology: Anticolonial Aesthetics and Putting Things Back in the Ground; 16. Indigenous Placemaking and Storyweaving: An Interview with Murielle Borst-Tarrant (Kuna, Rappahannock)