Artistic Statement
I am a playwright. I aim to craft plays where disbelief is suspended and hearts are touched.
I craft plays using everything available to me:
-My many times around the sun.
-My experiences as an outsider, including gender, faith, disability, and immigration.
-Visual Arts training – studio art, industrial and theater design
-Performance Art background, including puppetry, movement (e.g., aerial dance), and music.
-Hard wired for social justice, reflected by college and day job choices.
-Found Sparks: on the sidewalk, in books, overheard conversation. etc.
SPARKS
The creative sparks behind my pieces vary, from literature (adaptations: DONKEY FACE, CAPTAIN NEMO, and MEDICAL MATRIMONIAL), to historical characters (MY RECOLLECT TIME and FRANKIE AND FRANCES), to semi-autobiographical (ELIJAH’S HOPE and FEMALE, ASHKENAZI WITH A SEWING MACHINE), to seeing adaptive bikes at the waterfront (TEMPORAL COAST), to learning that a replica of Sir Francis Drake’s ship had come to San Francisco (FRANKIE), to hearing that African American children had raised trick pigeons in South Berkeley (PIGEON PROJECT).
MY VOICE / SHAPE OF MY WORK
My work is not naturalistic. I’m considered a poetic writer, there is often magic realism and Brechtian style techniques in my works. There can be time-travel in my plays (PIGEON PROJECT). In FEMALE, ASHKENAZI there is multi-dimensional travel (including cellular).
Some of my work is meant to be experienced outside of the theatre - TEMPORAL COAST is an immersive outdoor site-specific piece.
SIGNIFICANT ISSUES
My work addresses significant issues. For instance, the site-specific TEMPORAL COAST, addresses our planet’s health (climate change) and the perception / treatment of the other (e.g., refugee, disabled). PIGEON PROJECT addresses the crack cocaine epidemic and its impact on a community.
ON GENDER
Usually, the lead characters in my plays are women, but if not, the piece has a feminist perspective. MY RECOLLECT TIME is about the close relationship between two strong willed historical women, the nun Mother Amadeus, and Mary Fields, an emancipated slave, who at times passed as a man. FEMALE, ASHKENAZI is about what a woman inherits from her female ancestors, including cancer. While the lead character in my work in progress, MEDICAL MATRIMONIAL, is based on an historical male doctor, Dr. Jefferson B. Fancher, he will be portrayed as a feminist in the 1860s.
I craft plays using everything available to me:
-My many times around the sun.
-My experiences as an outsider, including gender, faith, disability, and immigration.
-Visual Arts training – studio art, industrial and theater design
-Performance Art background, including puppetry, movement (e.g., aerial dance), and music.
-Hard wired for social justice, reflected by college and day job choices.
-Found Sparks: on the sidewalk, in books, overheard conversation. etc.
SPARKS
The creative sparks behind my pieces vary, from literature (adaptations: DONKEY FACE, CAPTAIN NEMO, and MEDICAL MATRIMONIAL), to historical characters (MY RECOLLECT TIME and FRANKIE AND FRANCES), to semi-autobiographical (ELIJAH’S HOPE and FEMALE, ASHKENAZI WITH A SEWING MACHINE), to seeing adaptive bikes at the waterfront (TEMPORAL COAST), to learning that a replica of Sir Francis Drake’s ship had come to San Francisco (FRANKIE), to hearing that African American children had raised trick pigeons in South Berkeley (PIGEON PROJECT).
MY VOICE / SHAPE OF MY WORK
My work is not naturalistic. I’m considered a poetic writer, there is often magic realism and Brechtian style techniques in my works. There can be time-travel in my plays (PIGEON PROJECT). In FEMALE, ASHKENAZI there is multi-dimensional travel (including cellular).
Some of my work is meant to be experienced outside of the theatre - TEMPORAL COAST is an immersive outdoor site-specific piece.
SIGNIFICANT ISSUES
My work addresses significant issues. For instance, the site-specific TEMPORAL COAST, addresses our planet’s health (climate change) and the perception / treatment of the other (e.g., refugee, disabled). PIGEON PROJECT addresses the crack cocaine epidemic and its impact on a community.
ON GENDER
Usually, the lead characters in my plays are women, but if not, the piece has a feminist perspective. MY RECOLLECT TIME is about the close relationship between two strong willed historical women, the nun Mother Amadeus, and Mary Fields, an emancipated slave, who at times passed as a man. FEMALE, ASHKENAZI is about what a woman inherits from her female ancestors, including cancer. While the lead character in my work in progress, MEDICAL MATRIMONIAL, is based on an historical male doctor, Dr. Jefferson B. Fancher, he will be portrayed as a feminist in the 1860s.
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Jamie Greenblatt
Artistic Statement
I am a playwright. I aim to craft plays where disbelief is suspended and hearts are touched.
I craft plays using everything available to me:
-My many times around the sun.
-My experiences as an outsider, including gender, faith, disability, and immigration.
-Visual Arts training – studio art, industrial and theater design
-Performance Art background, including puppetry, movement (e.g., aerial dance), and music.
-Hard wired for social justice, reflected by college and day job choices.
-Found Sparks: on the sidewalk, in books, overheard conversation. etc.
SPARKS
The creative sparks behind my pieces vary, from literature (adaptations: DONKEY FACE, CAPTAIN NEMO, and MEDICAL MATRIMONIAL), to historical characters (MY RECOLLECT TIME and FRANKIE AND FRANCES), to semi-autobiographical (ELIJAH’S HOPE and FEMALE, ASHKENAZI WITH A SEWING MACHINE), to seeing adaptive bikes at the waterfront (TEMPORAL COAST), to learning that a replica of Sir Francis Drake’s ship had come to San Francisco (FRANKIE), to hearing that African American children had raised trick pigeons in South Berkeley (PIGEON PROJECT).
MY VOICE / SHAPE OF MY WORK
My work is not naturalistic. I’m considered a poetic writer, there is often magic realism and Brechtian style techniques in my works. There can be time-travel in my plays (PIGEON PROJECT). In FEMALE, ASHKENAZI there is multi-dimensional travel (including cellular).
Some of my work is meant to be experienced outside of the theatre - TEMPORAL COAST is an immersive outdoor site-specific piece.
SIGNIFICANT ISSUES
My work addresses significant issues. For instance, the site-specific TEMPORAL COAST, addresses our planet’s health (climate change) and the perception / treatment of the other (e.g., refugee, disabled). PIGEON PROJECT addresses the crack cocaine epidemic and its impact on a community.
ON GENDER
Usually, the lead characters in my plays are women, but if not, the piece has a feminist perspective. MY RECOLLECT TIME is about the close relationship between two strong willed historical women, the nun Mother Amadeus, and Mary Fields, an emancipated slave, who at times passed as a man. FEMALE, ASHKENAZI is about what a woman inherits from her female ancestors, including cancer. While the lead character in my work in progress, MEDICAL MATRIMONIAL, is based on an historical male doctor, Dr. Jefferson B. Fancher, he will be portrayed as a feminist in the 1860s.
I craft plays using everything available to me:
-My many times around the sun.
-My experiences as an outsider, including gender, faith, disability, and immigration.
-Visual Arts training – studio art, industrial and theater design
-Performance Art background, including puppetry, movement (e.g., aerial dance), and music.
-Hard wired for social justice, reflected by college and day job choices.
-Found Sparks: on the sidewalk, in books, overheard conversation. etc.
SPARKS
The creative sparks behind my pieces vary, from literature (adaptations: DONKEY FACE, CAPTAIN NEMO, and MEDICAL MATRIMONIAL), to historical characters (MY RECOLLECT TIME and FRANKIE AND FRANCES), to semi-autobiographical (ELIJAH’S HOPE and FEMALE, ASHKENAZI WITH A SEWING MACHINE), to seeing adaptive bikes at the waterfront (TEMPORAL COAST), to learning that a replica of Sir Francis Drake’s ship had come to San Francisco (FRANKIE), to hearing that African American children had raised trick pigeons in South Berkeley (PIGEON PROJECT).
MY VOICE / SHAPE OF MY WORK
My work is not naturalistic. I’m considered a poetic writer, there is often magic realism and Brechtian style techniques in my works. There can be time-travel in my plays (PIGEON PROJECT). In FEMALE, ASHKENAZI there is multi-dimensional travel (including cellular).
Some of my work is meant to be experienced outside of the theatre - TEMPORAL COAST is an immersive outdoor site-specific piece.
SIGNIFICANT ISSUES
My work addresses significant issues. For instance, the site-specific TEMPORAL COAST, addresses our planet’s health (climate change) and the perception / treatment of the other (e.g., refugee, disabled). PIGEON PROJECT addresses the crack cocaine epidemic and its impact on a community.
ON GENDER
Usually, the lead characters in my plays are women, but if not, the piece has a feminist perspective. MY RECOLLECT TIME is about the close relationship between two strong willed historical women, the nun Mother Amadeus, and Mary Fields, an emancipated slave, who at times passed as a man. FEMALE, ASHKENAZI is about what a woman inherits from her female ancestors, including cancer. While the lead character in my work in progress, MEDICAL MATRIMONIAL, is based on an historical male doctor, Dr. Jefferson B. Fancher, he will be portrayed as a feminist in the 1860s.