“When we took Shakespeare’s “Measure for Measure” into a maximum security woman’s prison on the West Side… there’s a scene there where a young woman is told by a very powerful official that “If you sleep with me, I will pardon your brother. And if you don’t sleep with me, I’ll execute him.” And he leaves the stage. And this character, Isabel, turned out to the audience and said: “To whom should I complain?” And a woman in the audience shouted: “The Police!” And then she looked right at that woman and said: “If I did relate this, who would believe me?” And the woman answered back, “No one, girl.” And it was astonishing because not only was it an amazing sense of connection between the audience and the actress, but you also realized that this was a kind of an historical lesson in theater reception. That’s what must have happened at The Globe. These soliloquies were not simply monologues that people spoke, they were call and response to the audience. And you realized that vibrancy, that that sense of connectedness is not only what makes theater great in prisons, it’s what makes theater great, period.”
An undervalued photographer for most of his life, Saul Leiter quietly amassed a body of work that has only recently begun receiving the credit it deserves. Take a look at a selection of his work: http://nyr.kr/1i8QWyN
Above: “Deborah at Tante Esther’s, c. 1947” Photograph by Saul Leiter, courtesy Howard Greenberg Gallery, New York/Steidl
i made this shitty embroidery the other day when i was sitting outside in the rain having a panic attack. i don’t really know what i meant but i know it’s true. right now my life feels a bit like the wrong side of the embroidery and nothing quite makes sense.