Director’s Notebook: The Tempest

WHY on earth does the world need Shakespare today? I, for once, am interested in producing him because directing a play with such a long history of performance is the opposite of the type of new work that I’ve been producing so far.

Abril 2018

ABRIL vino y se fue rapidísimo! Este mes trabajé en dos shows para audiencias jóvenes: como dramaturgo en This Girl Laughs, This Girl Cries, This Girl Does Nothing de Finegan Kruckemeyer, y como director en Dulce, una nueva obra de Ramón Esquivel para el Austin Latino New Play Festival organizada por Teatro Vivo.

Febrero 2018

OTRO MES bastante ocupado. Continuando los ensayos para Mammoth: A De-extinction Love Story, principalmente, y avanzando con mi proyecto de tesis sobre relaciones entre directores y actores. La maestría me está encantando ahora que estoy leyendo teoría super interesante también, una clase de Estudios de Sonido con el Dr. Erlmann me está abriendo un montónContinue reading “Febrero 2018”

Director’s Notebook: Sonic Imaginations

IT’S BEEN TWO WEEKS since I got back from training with Double Edge Theatre and there’s multiple things I understand about their work differently now. I will elaborate on those on a separate post.  What I wanted to capture today has to do with sound. I’m taking this class called Sound Studies which is aboutContinue reading “Director’s Notebook: Sonic Imaginations”

Director’s Notebook: Staging Animality

ONE of the things I like to do when I choose plays is that I find an excuse to learn something that I want to substantially read more about. For telephone, I had the opportunity to study Avital Ronell’s The Telephone Books: Technology, Schizophrenia, Electric Speech, Thomas Augustus Watson’s Exploring Life: The Autobiography of Thomas A. Watson, Ariana Reines’ MercuryContinue reading “Director’s Notebook: Staging Animality”