Bio:
Anthem Salgado, a San Francisco Art Institute graduate, is a multi-disciplinary artist/educator. Salgado has performed spoken word throughout New York, San Francisco, Honolulu, and Manila, sharing billing with the legendary Last Poets, writer Jessica Hagedorn, and lyricist/beatboxer Radioactive of international music group Spearhead, among many others. He is published in anthology Field of Mirrors. Salgado has presented his solo-theater work at Asian Art Museum, Yerba Buena Center for the Arts, and Intersection for the Arts. Salgado is a board member of educators' network Mind Power Collective, and was awarded a Philippines Fulbright to further his skills as a teacher.
Interest:
Solo theater interests me most. I appreciate its ability to, sometimes all in one show, engage a wide range of forms and subjects: comedy, monologue, audience interaction, poetry, personal narrative, and/or social commentary. Additionally, solo theater sometimes can be produced independently. The flipside to these freedoms is the false sense that a one-man or -woman show requires solely the one artist to create it. It is still a theater show and as such, solo acts do benefit greatly, when the resources are available, from access to behind-the-scenes support: marketing, fundraising, lighting and sound design, but most importantly, work with a director and a dramaturge. Education-wise, the strength and weakness of any live art is its immediacy as well as its immediate impermanence. Text and video archives are seldom available. While there is a long history in the experimentation of solo theater, I wonder if there could be more ways structurally or otherwise to teach and learn it successfully.
Anthem Salgado, a San Francisco Art Institute graduate, is a multi-disciplinary artist/educator. Salgado has performed spoken word throughout New York, San Francisco, Honolulu, and Manila, sharing billing with the legendary Last Poets, writer Jessica Hagedorn, and lyricist/beatboxer Radioactive of international music group Spearhead, among many others. He is published in anthology Field of Mirrors. Salgado has presented his solo-theater work at Asian Art Museum, Yerba Buena Center for the Arts, and Intersection for the Arts. Salgado is a board member of educators' network Mind Power Collective, and was awarded a Philippines Fulbright to further his skills as a teacher.
Interest:
Solo theater interests me most. I appreciate its ability to, sometimes all in one show, engage a wide range of forms and subjects: comedy, monologue, audience interaction, poetry, personal narrative, and/or social commentary. Additionally, solo theater sometimes can be produced independently. The flipside to these freedoms is the false sense that a one-man or -woman show requires solely the one artist to create it. It is still a theater show and as such, solo acts do benefit greatly, when the resources are available, from access to behind-the-scenes support: marketing, fundraising, lighting and sound design, but most importantly, work with a director and a dramaturge. Education-wise, the strength and weakness of any live art is its immediacy as well as its immediate impermanence. Text and video archives are seldom available. While there is a long history in the experimentation of solo theater, I wonder if there could be more ways structurally or otherwise to teach and learn it successfully.
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