 identity because the actor's body did that work for me. And I would write all these plays that actually borrowed something called the commedia tradition, which was this Italian form of comedy that relied on stock characters. And I was very obsessed with this kind of the history, the theater history of it. And I wound up kind of understanding that that commedia, that idea of stock archetypes, you can actually track a history of it moving into the American context and it becomes minstrelsy.