(The following article appeared in the January 1997 issue of Seattle Repertory Theatre Company's literary magazine Prologue.)

Pamela Sackett was first introduced to The Rep via Ted Sod, the Outreach and Education Artist-in-Residence. Sackett is now a teaching artist with The Rep whose classes deal with issues of self-accessibility, awareness and expression. From writing commissioned monologues to teaching in King County Juvenile Detention Facilities, she has proven time and time again that her particular style and philosophy are not only beneficial, but necessary to the concepts of "education and outreach" in the Seattle community. Sackett's work is at once comprehensive and simplistic, basic and profound; her programs focus on a theme of "emotion literacy," a phrase she coined in the continuing development of her curricula. Here she offers some comments on various aspects of her work.
—Alexis Chamow

Emotion Literacy: Emotion literacy is largely experiential. Essentially, it is about creating a pathway by which the mind and heart can collaborate. Although its effects have proven to be of a so-called healing nature for both myself and my students, I see emotion literacy, primarily, as an educational process, not a therapeutic one. Our emotions are not the clearest reflectors of subtle things going on inside of us—no matter what the setting. A good lot of individuals do not take notice of some of the subtle things going on because they don't know how to notice them. For my purposes, that lack of knowledge is a matter of learning a new language, not assessing a certain condition. I'm talking about an altered context here.

Teaching: When it comes to subtle details, we rarely take or are given the opportunity to be aware of how we are channeling our responses in relationships, events and circumstances. Even so, our perspective rarely allows for a complete understanding of those responses. The invitation I extend to students allows them to acknowledge something they might not have acknowledged otherwise—through art. Art provides a kind of container and art, within an emotion literate framework, provides a lens by which to view that which we have contained.

Theatre and Emotion Literacy: I have worked in theatre as a performer, a playwright and a monologist and this has helped lay a sturdy foundation for my emotion literacy work. I have always documented, translated or interpreted my responses to relationships and circumstances through art forms—a song, a poem, a monologue, a play—I was escorting myself through life that way, living an examined life. At one point, I turned a corner, devised a new art form I call rhythmic prose and became even more deeply engaged. I went from merely examining my life to rigorously evolving. This set my course in creating works within the confines and expanse of emotion literacy.

Goals: I am resolutely invested in turning up the volume of the mind and heart to track the ways our thoughts and feelings take shape. I am trying to get people to sit and listen to themselves and to others, to pay attention from a different angle. I am guiding people towards a less familiar place and, through my experience, art and teaching, I create a familiarity with this place so that it becomes part of the fabric of understanding. I want people to be curious enough to explore more about this program because it is work that needs to be shared.

An Emotion Literate Viewpoint: There's the story you tell yourself, and the story you know, which one is true, which one is you? There are the things that you say and the things that you do. There's the you that you think of and the you that shows through. Which part is seen? Which part is waiting to be seen? Which part sees who?