Friday, August 9, 2019

Theatre Talk

My previous post, With the Words, featured a poetry performance of mine from April of 2018, and since we're on the subject of performance, not to mention recordings of New York Society for General Semantics events, why don't I follow up with the panel discussion that followed up our poetry program. This one took place on May 2nd, 2018, and the title was Language, Symbol, and the Theatre, and I think it was a really great discussion, if I do say so myself. And that's because of the participants, not on account of the moderator, which was yours truly, although I do take credit for bringing these folks together.

Anyway, here's the write-up:

General semantics is concerned with the ways in which language and symbols function as representations of our outer environment and our innermost feelings and thoughts. These representations function as maps of our external and internal realities. They help us to understand what we perceive and experience, they guide us in evaluating and navigating our world, and they give us tools for thought and action.

Different representations or maps may be more or less accurate or more or less useful in helping us to achieve certain ends. But different representations or maps may also help us to learn about different aspects of our reality, providing us with different perspectives, and abstracting out of external events different parts of the greater whole. What scientific modes of representation tell us about the world, for example, is quite different from what literary modes reveal, but each one provides us with knowledge that the other cannot.

The theatre is one of our oldest forms of literary expression, one that has an extraordinary influence on our use of language and symbol, from the Attic playwrights of ancient Greece and the introduction of the proscenium arch, and the unparalleled creative production of William Shakespeare in Elizabethan England, to the avant-garde experimentation of Bertolt Brecht in 20th century Germany, and Lin-Manuel Miranda's combination of hip hop and history in the Broadway hit Hamilton.

It follows that it is worth considering questions such as, what is unique to theatre as a mode of representation? What are its advantages and limitations, its problems and potentials? What are the relationships between dramatic performance and language and symbol, spoken and written word, play and script? Importantly, what role can theatre play in helping us to understand our world, in education, in social and political commentary?

Given that programs for the New York Society for General Semantics are held in the historic Players Club, founded by Edwin Booth, the greatest dramatic actor of the 19th century, as a social club "for the promotion of social intercourse between the representative members of the dramatic profession and the kindred professions of literature, painting, sculpture and music, and the patrons of the arts," a panel discussion on theatre was especially appropriate.

The participants on this program were:

Robin Beth Levenson, Assistant Professor of Communication Studies at LaGuardia Community College, CUNY, and author of Acting Chekhov in Translation: 4 Plays, 100 Ways (Peter Lang) , published in 2018. A graduate of the Media Ecology Doctoral Program at New York University, with an MFA from the University of California at Riverside, her articles have been published in journals such as Dialogues in Social Justice and Communications from the International Brecht Society. Her research explorations include how language influences thought and behavior, and the nature of performance.

Emily Lyon, a Brooklyn-based theatre director and dramaturg who recently created a theatrical piece, How We Hear, inspired by Neil Postman's Amusing Ourselves to Death. Her other directing work includes The Summoning (Best Direction, Best Production: sheNYC), Sword & the Stone/The Tempest tour (Hudson Valley Shakespeare Festival), The Secret in the Wings (Hedgepig Ensemble), Women of Williams County (Best Ensemble: Manhattan International Theatre Festival), Interior: Panic (FringeNYC), Max Frisch’s The Arsonists (DCTV Firehouse), Some of the Side Effects (Best Premiere: UnitedSolo), and As You Like It (Geva Theatre Directing Fellow).

S. Brian Jones, Director of Operations for The Players, recently completed his masters in the Masters of Applied Theater program at CUNY School of Professional Studies. He has served as a Teacher in Residence and Arts Administrator with schools, regional theatre companies and social service agencies, conducted credential training workshops for teachers with Delaware Institute for Arts in Education, served as an advocate for Arts Education within the educational and government systems, and worked at Foundation Theatre, Freedom Theatre, Delaware Theatre Company, Christina Cultural Arts Center, New Castle County Parks and Recreation, La Jolla Playhouse, Horton Grand Theater, Ensemble Arts Theatre, Creative Management Group, Dorwell Productions, Vista Del Mar Child and Family Services, the 1199 Child Care Corporation, The Artist Playground Theater and Inside Broadway. Most recently, he worked as the Education Programs Manager for the award winning Off-Broadway Company, Epic Theatre Ensemble.

M*** S******* is a New York based actor, director and writer. As a performer, he has appeared on Broadway in the 39 Steps and off Broadway in Small World at 59east59, Checkers at the Vineyard Theatre, Tryst at the Irish Repertory Theatre, As Bees In Honey Drown at the Lucille Lortel Theatre. His directorial work has been seen at The Alley Theatre, the Fulton Opera House, Virginia Stage, the Westport Country Playhouse, Arkansas Repertory Theatre, George Street Playhouse and many others. His play, The Dingdong: or How The French Kiss, an adaptation of Feydau’s Le Dindon, premiered Off Broadway and has played around the country. His adaptation of A Christmas Carol, which he will also direct, premieres this December [2018] at Florida Repertory Theatre. He is a graduate of Brown University and received his MA in Communication and Media Studies from Fordham University, where he teaches film courses. *Name withheld by request.

The discussion was moderated by Lance Strate, Professor of Communication and Media Studies at Fordham University, President of the New York Society for General Semantics, member of the Board of Trustees of the Institute of General Semantics.

It was a lively and dramatic discussion!

And now, without much further ado, here is the recording:






And what more can I say? It was a class act, don't you think?

 

Saturday, August 3, 2019

With the Words

In my previous post, Without the Words, I filled you in about the poetry reading I took part in, and organized, at last month's Media Ecology Association convention. But all there was to share from it was a bunch of photographs, as no recording was made of the event.

Fortunately, though, I can share a reading from last year, which was part of an event sponsored by the New York Society for General Semantics. The poems are not the same ones I read last month in Toronto, I do have quite a lot of them after all, but hey, it's better than nothing, right?

The title of the program was The Language of Poetry 2, and here's how it's introduced on the NYSGS website:

Alfred Korzybski, founder of general semantics, wrote that, "poetry often conveys in a few sentences more of lasting values than a whole volume of scientific analysis" (Science and Sanity, p. 437). He understood that poetic language provides us with a set of tools for understanding, evaluating, and relating to our environment in ways that are different from and complementary to scientific language. Not surprisingly, then, since the start of its publication 75 years ago, the general semantics journal ETC has often featured poetry along with articles on language, perception, communication, and consciousness of abstracting.

On September 28, 2016, the New York Society for General Semantics held its first Language of Poetry session, and we were happy to host our second such program on April 4th, 2018. The program was moderated by Teresa Manzella, a member of the Board of Directors of the NYSGS.

I provided an introduction at the start of the event, and then turned it over to Terry Manzella, who introduced the participants, Patricia Carragon, Adeena Karasick, Marty Levinson, and me. If you want to listen to the other readings, you can do so over on the NYSGS website's Language of Poetry 2 page. I won't mind. I'm there too for that matter. But as a service to my faithful followers, I'll share my reading here on Blog Time Passing:





And while I'm at it, I might as well share the introduction I did at the start of the program:





And wait, there's more! We had a question and answer session after the readings that I might as well throw into the mix on this post:






And there you have it, words and all!
 




Sunday, July 28, 2019

Without the Words

In my previous post, The Road Untaken, I shared my unused poetic statement for the poetry reading and performance held at last month's annual Media Ecology Association meeting at the University of Toronto. And I also included all of my unused Wordle word clouds that I had provided to go along with it.

So now, to be totally fair, let me share what was used instead for the poetry event. The illustration was by Marshall Soules, and the blurb was excerpted and altered from what I wrote:







So, this is the poster version, there were also postcards with the image on one side and the text on the other. And as you can tell, there were ten of us participating, which made for a great deal of variety, coupled with brevity, that the audience appeared to really appreciate.

Unfortunately, there was no video camera set up, so there's not record of the readings and performance, but there was, you might say ironically, a photographer taking pictures of us, so we have a record of the poetry event, just without the words.

They shared the pictures with us, and since there were so many, I am just going to share the pictures form my turn at bat. And I hasten to add that I do not find the photos particularly flattering, no, not at all, but I include them here in the interests of documentation, as Blog Time Passing is my official blog of record. So here goes:


















Now, you may notice that all that I have in front of me is a music stand and a microphone, and I should also add that there was a small stage, just a couple of steps up, so slightly elevated. And there were very bright stage lights, so bright that I could not see the audience at all. Anyway, back to the photos, which include a couple of audience shots:

















At this point, I'd just like to note that for a couple of the poems that I read, I used hand gestures, which the photographer captured here and there:




































 Whew! I know that was a lot, and I wouldn't exactly call it poetry in motion, or in still life, but there you have it. And since this is something of a photo essay, let me add one more:




That's a snapshot of me with Paolo Granata, the convention organizer and MEA Vice-President. No words necessary here.