In the spirit of new beginnings with this blog, I'm going to start a series of regular posts highlighting the work of artists who I admire. To kick off the series, I wanted to draw attention to the photography of Sharon Murphy, an Irish colleague and friend who I've known for over 10 years now.
I'm very excited to relaunch my website, joesalvatore.com, with a brand new look. #Grateful to Christine Carforo for her incredible design, thoughtful input, and patience with my so-called technical "skills." I can't praise her and her work enough.
Keep your eyes on this blog for matters and musings, just like the title says. I'll be posting about upcoming projects and performances, current events that matter to me, discoveries that I'm making as an artist and teacher, and maybe even some new plays. Stay tuned!
If you haven't heard about the actor in The King and I coming to the defense of a child with autism, then you should read this article from The New York Times. Kelvin Moon Loh made a passionate plea on his Facebook feed for more understanding in the theatre, and the post has received thousands of "likes." I admire his ability to articulate the importance of this issue.
Often times, when I'm tackling a long speech coming from a single character in a play by Shakespeare, considering the three Ps can help me to discern the meaning and the purpose of the speech. The three Ps refer to public discourse, private discourse, and personal discourse.
Public discourse refers to words that characters speak that can be heard by everyone in their presence. This kind of discourse occurs in a scene with more than one person, and a character tends to want everyone to hear what's being said.
Private discourse happens with one other character or a small group of characters and usually includes important information that only those characters can know in that moment. Private discourse can take many forms: declaring love, sharing a secret, hatching a murderous plot, etc. And private discourse can happen between a character and the audience, as Shakespeare's characters often take the audience into their confidence, making them privy to information that other characters onstage do not know.
Personal discourse happens when characters speak to themselves in a reflective way. Important personal discoveries can occur in these moments, and these can lead to changes in a characters actions and intentions. Personal discourse can happen when characters are alone or in the presence of others. Think: that moment when someone is talking to you and your mind wanders to something else and you speak that something else aloud but the someone can't hear you.
Identifying which kind of discourse a character uses in a speech helps me to unlock the character's intentions based on the text. Also, by noticing if the character switches back and forth between these different kinds of discourse, I can more easily track the character's state of mind in a particularly dense piece of text.
I’ve been asked to write a chapter on ethnodrama and ethnotheatre for a new book entitled The Handbook of Arts-Based Research, edited by Patricia Leavy and published by Guilford Publications, Inc. Look for the book’s release sometime in 2016.
I look forward to sharing the techniques that I've developed over the years to aid in the selection and arrangement of interview data into a performable script. Often easier said than done.
The opportunity to write the chapter comes at a great time, as I'm also proposing to teach a new course at NYU in the Spring 2016 semester called "Creating Ethnodrama: Theory & Practice." Plenty of discoveries from writing the chapter and then teaching that class that can be applied in future projects.