On this week’s Into the Absurd, we chatted with photographer Zave Smith. Exuberant and poignant, philosophical and passionate, Zave’s photographs capture the tangible pleasures and tactile experiences of life in close-up. Raised and trained in the Midwest, now working out of Philadelphia and New York, Zave has a special feeling for personality that suffuses his work (http://www.zavesmith.com).
Join us on Zoom:
https://lehigh.zoom.us/.../regi.../WN_ElYWAio3Qq-kv4nTWeXtOw
OR Watch on Facebook Live:
https://www.facebook.com/IdiopathicRidiculopathyConsortium
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We'll explore in 50-minutes what it means to create and to think about art during this time. Join us for this weekly virtually existential gathering until we can share stories on the stage again.
If you're on the IRC's mailing list, look for an email each Wednesday detailing the upcoming week’s guest on Into the Absurd, with links to websites and information. To keep up with who’s on deck, join the IRC mailing list: https://www.idiopathicridiculopathyconsortium.org/....
To explore past episodes of Into the Absurd, visit the IRC's YouTube channel: https://www.youtube.com/playlist...
And while you’re there, be sure to SUBSCRIBE so you don't miss any future episodes.

Tonight, on Into the Absurd, we delved into storytelling as we celebrate the act of transforming the drama of our life into memoir and documentary art. We'll learn more about Philadelphia's First Person Arts through the eyes of performer and creative force Tanesha Ford.

Tanesha M. Ford is the Director of Marketing and Communications at First Person Arts, a nonprofit storytelling organization whose mission is to transform the drama of real-life into memoir and documentary art to foster an appreciation for our unique and shared experiences.
Tanesha’s journey to First Person Arts began as an actress in Philadelphia at such places as Flashpoint Theater, Freedom Theater, and the Triangle Theater as well as in New York where she performed at the Cherry Lane, The Duplex, and during the NYC Fringe Festival. She is a member of Tongue & Groove Spontaneous Theater company and recently performed in “...don’t wanna dance with ghosts...” by T.S Hawkins.

Tanesha made her transition to arts administration in 2014 when she returned to the Delaware Valley to earn her Masters in Arts Administration at Drexel University and after working at the Philadelphia Art Alliance and Opera Philadelphia, landed at First Person Arts in 2017.

About First Person Arts
First Person Arts includes storytellers practicing across multiple disciplines such as theatre, memoir, visual arts, spoken word, and dance. First Person Arts’ mission is to transform the drama of real-life into memoir and documentary art to foster an appreciation for our unique and shared experiences. We believe that everyone has a story to tell and that sharing our stories connects us with each other and the world.

2021 First Person Arts Anthology: Volume One – Witness: Stories and music that reveal hidden truths and untold stories.

First Person Arts was innovative 20 years ago when we created the only annual festival of its kind to feature true person stories across multiple genres.

Migrating our programming to the digital stage enables FirstPerson Arts to reach more audiences across the country, deepen your experience with each event, and permits us to create embracing environments more frequently throughout the year. Our annual festival is now segmented into four volumes! Each volume will focus on a theme that exemplifies what makes a story truly compelling. It is a WITNESS to history; something about the story PUSHes us out of our ordinary world; it empowers us to RELEASE old views, and EMBRACE a new way of thinking or being. This is the powerful movement of the human spirit through life.“A festival is a finite amount of time. An Anthology is a celebration of the stories that fill our lives all year round.

Tonight, on Into the Absurd, we sat down with IRC stalwart performers Tomas Dura, Jane Moore, Sonja Robson and John Zak, to discuss their performances of their most iconic characters in works by existentialist masters (and their closely-aligned fantastical playwriting counterparts) Eugene Ionesco, Samuel Beckett, Jean Giraudoux, Tennessee Williams, Boris Vian and Franz Kafka.
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Since the IRC’s founding in 2006, IRC stalwart performers Tomas Dura, Jane Moore, Sonja Robson and John Zak have mastered the art of theatrical absurdism through their performances of the most iconic characters in works by existentialist masters (and their closely-aligned fantastical playwriting counterparts) Eugene Ionesco, Samuel Beckett, Jean Giraudoux, Tennessee Williams, Boris Vian and Franz Kafka.
It’s been nearly a year since the performing arts vacated the stage, leaving the ghost light burning as we all await a safe return. While we take our places and watch for that green light, we wax nostalgic on this week’s Into the Absurd as we head backstage for a conversation with the IRC’s foremost interpreters of the form, digging into all manner and form of absurd conversation: preparing to play Ionesco; how to refashion a second interpretation of Mr. Smith of The Bald Soprano; wearing a tutu while catching fish by mouth on a dock in Tennessee Williams’ The Gnadiges Fraulein; embodying the existential threat that was the Schmerz in Boris Vian’s The Empire Builders.
This week’s Into the Absurd is a chance to relive and reconnect with our audience and our favorite IRC memories over the last 16 years, creating the energy to propel the next decade when we return to the stage. We’ll share some memories, stories and videos as we remember the path created prior to this long intermission. We hope to see you at the table.
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If you're on the IRC's mailing list, look for an email each Wednesday detailing the upcoming week’s guest on Into the Absurd, with links to websites and information. To keep up with who’s on deck, join the IRC mailing list: https://www.idiopathicridiculopathyconsortium.org/....
To explore past episodes of Into the Absurd, visit the IRC's YouTube channel: https://www.youtube.com/playlist...
And while you’re there, be sure to SUBSCRIBE, so you don't miss any future episodes.

On this week’s Into the Absurd, we celebrate Artistic Director of AngelPirate Productions (https://www.angelpirate.org/) and Co-Founding Director of The Bridge PHL (https://www.thebridgephl.org/) Gabrielle Corsaro.

We talked with her about creating original theatrical works to amplify voices historically silenced at Angel Pirate, and using theater as a means of fostering healing connections between diverse communities for The Bridge PHL.
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A native of Philadelphia and an actor since childhood, Gabrielle graduated from Temple University and spent a decade studying and working as an actor in New York, appearing in indie films, commercials, and at many black box theatres. It was both wonderful and frustrating on a daily basis. Parenthood brought her back home, and gradually Gabrielle began writing and directing, frequently with the woman-centric Green Light Productions. She founded AngelPirate Productions in 2005 which evolved from a desire to serve the Philadelphia community by developing and producing original performance pieces by local artists that amplify voices historically silenced.

In 2015, Gabrielle co-founded The Bridge PHL with Hannah MacLeod, Meryl Lynn Brown, and Kathy Harmer with the mission to foster healing connections between our diverse communities through powerful acts of theatre. Her plays “White Woman Meditates on White Privilege: An All Too True Story”, “Diversity Day”, “What You Stand For”, “White Script”, and “Love & Light (& Other Lies)” have premiered at The Bridge PHL Theatre Festival.

The current Bridge PHL leadership team:

Co-Directors
Meryl Lynn Brown, Gabrielle Corsaro, Hannah Tsapatoris MacLeod, Renee Lucus Wayne

Artistic Advisors
TS Hawkins, Jody Austin, Tiffani Dean, Lois Moses, Gina Renzi

Operations Director
Lori Walsh

The Bridge PHL's artistic home is The Rotunda. Virtual events are planned for Black History Month and Women's History Month in 2021.

Folks can follow The Bridge PHL on Facebook and Instagram, plus check the website + sign up for The Bridge PHL newsletter to stay up to date with current events.

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If you're on the IRC's mailing list, look for an email each Wednesday detailing the upcoming week’s guest on Into the Absurd, with links to websites and information. To keep up with who’s on deck, join the IRC mailing list: https://www.idiopathicridiculopathyconsortium.org/....
To explore past episodes of Into the Absurd, visit the IRC's YouTube channel: https://www.youtube.com/playlist...
And while you’re there, please subscribe, and help us spread the word. Thank you!

On this week’s Into the Absurd, we celebrate artistic engagement with Founder & Executive Director of Director's Gathering (DG) Jill Harrison.

Jill Harrison (she/her) is a theatre director, connector, and educator. She began her career in NYC, working for esteemed Off-Broadway companies Playwrights Horizons, New York Theatre Workshop, and Peculiar Works Project. Jill has served as the Associate Artistic Director at Simpatico Theatre, the Festival Director for Philadelphia Theatre Company’s PTC@PLAY, and presently, the Founder & Executive Director of Directors Gathering (DG), a membership organization that continuously supports and elevates regional theatre directors.

Jill's directing credits include: the world premiere of Alessandra Most’s Private Policy, a circus in two acts (Columbia Stages), the Philadelphia premieres of Samuel D. Hunter’s A Bright New Boise and Sarah Ruhl’s Dead Man’s Cell Phone (Simpatico), Craig Lucas’ Reckless (Theatre Outlet), Anne Washburn’s Mr. Burns: A Post-Electric Play (Villanova Theatre), and upcoming, Jacqueline Goldfinger's Babel (Passage Theatre).

A Rad Girl Award "Connector of the Year" nominee, Jill serves as a national voice in elevating regional theatre directors as visionaries. Since 2016, Jill has collaborated with fellow director-centric programmers and leaders at the Stage Directors + Choreographers Society, the theatrical union for directors, The Drama League, and many other director-centric programs to connect and mutually grow our interest in serving theatre directors and their significant impact on arts and culture. Jill has also recently worked as the Creative Producer for Theatre Philadelphia's 2019 Barrymore Awards, a Steering Committee member of PAAL, a national initiative for parent-theatre artist advocacy, and a Creative Consultant for Juniper Productions, the only independent creative producing agency in Philadelphia.

Jill holds a MFA in Directing from Temple University and a BA in Theatre from Lehigh University. As a professor, Jill has taught directing and new work at Swarthmore College, Arcadia University, Temple University, Villanova University, and in 2020 launched, "Directors Workshop", a virtual directors studio. Jill is a member of Lincoln Center Theatre Director’s Lab and an associate member of SDC.

On tonight’s into the absurd, we talk with Christopher Munden, editor of the arts and theater website Phindie, and the Philly Fiction series of short story collections. Phindie provides independent coverage of Philadelphia theater and arts, with a focus on independent theater. Articles provide critical reaction to new works and publicize events of interest to fans of theater and arts in Philly.

Chris has also written and edited for Visit Philly, FringeArts, the National Constitution Center, the Historical Society of Philadelphia, Science History Institute, the Philadelphia History Museum, and other local institutions.

He is a cofounder of the sports non-profit Kensington Soccer Club and a cohost of the theater podcast Chosen by Committee. Find him @cpmunden.

Our guest tonight is Sonya Aronowitz, Executive Producer and Founder of Juniper Productions, an independent female-forward theatre producer based in Philadelphia (https://juniper.agency/).

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Sonya Aronowitz is an independent creative producer of theatrical events, an arts entrepreneur, and a writer. She grew up in Manchester, UK and loves her adopted home of Philadelphia.

As the Executive Producer of Juniper Productions, she is involved in everything from developing show concepts to the nuts and bolts of producing. The question that guides her work is how an independent producer can contribute to a vital and vibrant arts and culture scene in Philadelphia – and by connecting talented theatre artists with audiences.

Through Juniper, Sonya is building a new platform, The Distillery, which is incubating and mentoring new female creative producers in Philadelphia.

As a writer, she is inspired by Norse mythology, Russian literature and history, and James Joyce. She is currently working on MOVIES I HAVE NOT SEEN, a pop-culture-infused memoir of growing up in Manchester in the 70s and 80s, and in eighteen episodes.

On this week's show, we travel virtually to India to explore 60 years of the Bangalore Little Theatre with Vijay Padaki. Join us here on Zoom and Facebook Live.

Vijay is a Theatre Educator based in Bangalore who has been active in the theatre for sixty years. Vijay joined Bangalore Little Theatre in 1960, the year of its inception, and later served in many capacities – as actor, director, trainer, writer, designer and administrator, including stints each as Secretary and President. Vijay is a psychologist and behavioural scientist by training.








On Bangalore Little Theatre:

BLT was formed in 1960 as a membership-driven organization. It functioned with an amateur, non-commercial status; there was no income for any member from any of the group’s activities. These features gave BLT a good part of the character it maintained over many years. It was theatre for the love of the theatre, and the love of the theatre held it together as a large, happy family.
A small group of committed persons in Bangalore sought a theatre experience that could be a genuine alternative to the prevailing order. The group comprised a mix of active theatre enthusiasts: three British couples (one being the talented Scott and Margaret Tod); a Dutch couple; an American couple; an Indian engineer with a European wife, and, of course, many Indians. Scott Tod was a trained director and Margaret a trained actress, both from the Little Theatre movement in the UK. They were the founders of what was to grow into Bangalore Little Theatre. Collectively, the group had a united vision of a Community Theatre best described by a slogan invented 25 years later:
Bangalore Little Theatre came into existence with a play reading in the first week of September 1960. The first production on stage in December 1960 was Moliere’s The Prodigious Snob, more commonly known as ‘The Would-be Gentleman’. BLT started as a performing group, and continues to be known widely as a group that performs plays. Many plays. Good plays. Plays that the Bangalore public looks forward to watching. With over 200 plays performed, the group has certainly been productive…and creative. BLT is admired for the quality of its productions, setting benchmarks for many other theatres in Bangalore.

On this week's Into the Absurd, we celebrate the power of storytelling in narrative medicine with Dr. Tony Errichetti and Ginny Drda, who explore the art in their workshops listening2everyword.com geared to the Simulationist Narrative Medicine Community, professionals in patient simulation who meet regularly to examine, discuss, and write about stories and art in all their forms - narratives, poems, photos, speeches, songs, paintings.

Narrative medicine is a fresh discipline of health care that helps patients and health professionals to tell and listen to the complex and unique stories of illness. Arising at Columbia University in 2000 from roots in the humanities and patient-centered care, narrative medicine draws patients, doctors, nurses, therapists, and health activists together to reimagine a healthcare based on trust and trustworthiness, humility, and mutual recognition.
“The goal of narrative medicine from its start has been to improve health care,” says Rita Charon, an internist and literary scholar who directs the Program in Narrative Medicine at Columbia University and started the Program at the Columbia University College of Physicians and Surgeons in 2000 to teach future doctors and medical clinicians how to elicit, interpret, and act upon the stories of their patients. “This accounts for the title we have chosen for our book, The Principles and Practice of Narrative Medicine, echoing William Osler’s 1892 The Principles and Practice of Medicine that set the standards for the practice of internal medicine.”

On this week's Into the Absurd we celebrate the influence of women in medicine with Dr. Steven J. Peitzman, professor of medicine at Drexel University School of Medicine, medical historian and author of A New and Untried Course: Woman's Medical College and Medical College of Pennsylvania 1850-1998.
In 1850, a group of reformist male Quaker physicians and allies founded the Female Medical College of Pennsylvania to offer formal medical training to women. By the 1890s, the renamed Woman's Medical College of Pennsylvania (WMC) had matured into a solid and progressive institution that would outlast other, younger women's medical schools that had arisen in the United States.
A New and Untried Course: Woman's Medical College and Medical College of Pennsylvania 1850-1998 describes how WMC survived periods of instability and crises as it became a remarkable experiment in single-sex professional education, and a rare early example of female-male collaboration in science and medicine. Its unique survival provided scarce opportunities for women physicians and scientists to teach and perform research, while maintaining the assurance of medical education free from gender discrimination. Yielding to complex forces, it became the coeducational Medical College of Pennsylvania in 1970 and found another new course to pursue.