A decentralization of power in new play development and production reflects the rebellion and unrest that swept American society in the 1960s and 1970s. US dramaturgy began to reflect a diversity of voices from a wider range of racial and cultural backgrounds, genders, and sexual orientations. Productions resulting from the collaborations discussed in this chapter, such as between August Wilson and Llyod Richards, unearth and confront uncomfortable American histories or grapple with an increasingly diverse fabric of family and society. For playwright Suzan-Lori Parks, content dictated stylistically ambitious form, though productions of her plays directed by Liz Diamond have tended toward a traditional division of labor. Meanwhile, writer/director Maria Irene Fornes aligned stagings of her highly visual feminist plays closely with designers. For playwright Paula Vogel and director Rebecca Taichman, inclusive, unconventional collaborative processes fostered work that engages difficult subjects. The nuances of the collaborative relationships and processes that moved new plays from page to stage in post-1960 America are as varied as the diverse backgrounds of the artists themselves.