COMMUNITY-BASED THEATER
DOLORES HUERTA WITH THE CAST
WROTE "FLOR" FOR CORNERSTONE THEATER COMPANY'S SUMMER INSTITUTE
(2012, to be remounted in 2020)
Directed by Mark Valdez, the piece was developed through story circles and community interviews and was performed by local residents and Cornerstone artists. FLOR will be remounted at Bakersfield's Golden Valley High School in 2020, under the direction of Mónica Beavers, one of the original community cast members.
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(2012, to be remounted in 2020)
Directed by Mark Valdez, the piece was developed through story circles and community interviews and was performed by local residents and Cornerstone artists. FLOR will be remounted at Bakersfield's Golden Valley High School in 2020, under the direction of Mónica Beavers, one of the original community cast members.
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THE ENSEMBLE OF "EARLY ROOTS"
COMMISSIONED BY ALTERNATE ROOTS TO WRITE A PLAY TO CELEBRATE
40 YEARS OF ACTIVISM AND ART (2016)
Directed by Ashley Sparks (at left), EARLY ROOTS: A PLAY FOR VOICES was featured in a week-long event that celebrated generations of artists and organizers, chronicled in this article in American Theatre Magazine.
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40 YEARS OF ACTIVISM AND ART (2016)
Directed by Ashley Sparks (at left), EARLY ROOTS: A PLAY FOR VOICES was featured in a week-long event that celebrated generations of artists and organizers, chronicled in this article in American Theatre Magazine.
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Photo by John Stage
CREATED THREE COMMUNITY PLAYS ABOUT IMMIGRATION, SOIL, AND MEMORY
IN NEW YORK'S BLACK DIRT REGION (2009-2012)
The project was developed with farmers, farm workers, artists, and the Warwick Summer Arts Festival.
At right, farmers Jeff and Adina Bialas watch a performance of the play BOUNTIFUL at the edge of their fields.
For more details about this piece, see the BLACK DIRT CYCLE, above.
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IN NEW YORK'S BLACK DIRT REGION (2009-2012)
The project was developed with farmers, farm workers, artists, and the Warwick Summer Arts Festival.
At right, farmers Jeff and Adina Bialas watch a performance of the play BOUNTIFUL at the edge of their fields.
For more details about this piece, see the BLACK DIRT CYCLE, above.
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Photo by Mariya Diaz Proyss
CREATED AN INTERACTIVE PLAY ABOUT STREET GAMES FROM ACROSS THE WORLD
WITH STUDENTS AT THE CUNY CENTER FOR WORKER EDUCATION (2010)
The piece was one of two plays created with students at the Center for Worker Education, alongside CLASS DIVIDES IN COMBUSTIBLE TIMES, created by working class students and members of the New York chapter of Resource Generation.
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WITH STUDENTS AT THE CUNY CENTER FOR WORKER EDUCATION (2010)
The piece was one of two plays created with students at the Center for Worker Education, alongside CLASS DIVIDES IN COMBUSTIBLE TIMES, created by working class students and members of the New York chapter of Resource Generation.
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WROTE PLAY, IN PARTNERSHIP WITH ACTIVISTS AND YOUNG THEATRE ARTISTS OF ACTORS THEATRE OF LOUISVILLE'S APPRENTICE/INTERN COMPANY (2008)
Directed by Tamilla Woodard, CRUISING THE DIVIDE explored race, class and the celebration of the
Kentucky Derby. Later that year, the play was awarded a local civil rights award for advancing the
cause of justice.
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Directed by Tamilla Woodard, CRUISING THE DIVIDE explored race, class and the celebration of the
Kentucky Derby. Later that year, the play was awarded a local civil rights award for advancing the
cause of justice.
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Fraser Cottrell on Unsplash
COLLABORATED WITH PLAYWRIGHT NAOMI WALLACE AND LOUISVILLE
ACTIVISTS ON HER PLAY "THE RETREATING WORLD" (2008)
The solo play tells the story about of an Iraqi young man who speaks about his love for Baghdad pigeons and about the
comic art of survival in the wake of war. The local premiere was integrated with a dialogue with scholars, activists, and
artist about the “Politics of Peace.”
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ACTIVISTS ON HER PLAY "THE RETREATING WORLD" (2008)
The solo play tells the story about of an Iraqi young man who speaks about his love for Baghdad pigeons and about the
comic art of survival in the wake of war. The local premiere was integrated with a dialogue with scholars, activists, and
artist about the “Politics of Peace.”
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Photo by Lisa Renee Jordan
ADAPTED THORNTON WILDER'S "OUR TOWN" INTO A CROSS-TIME PIECE SET SIMULTANEOUSLY IN GROVER'S CORNERS AND CONTEMPORARY HARLEM (2005)
OUR TOWN REMAINS was created by an ensemble of Columbia University students, New York actors, and young people from a Harlem-based youth repertory theater company.
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OUR TOWN REMAINS was created by an ensemble of Columbia University students, New York actors, and young people from a Harlem-based youth repertory theater company.
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WORKED WITH LONG WHARF THEATRE TO CONCEIVE AND CO-CREATE
A FOUR NEIGHBORHOOD, FIVE HOUR COMMUNITY-BASED PLAY (2001)
AWAKEN NEW HAVEN involved theater, dance, graffiti art, rap, and storytelling and told the story of death and rebirth in contemporary New England. The site-specific piece was performed in neighborhoods across New Haven and on buses that transported audience members. Ensemble member Aaron Jafferis, at right.
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A FOUR NEIGHBORHOOD, FIVE HOUR COMMUNITY-BASED PLAY (2001)
AWAKEN NEW HAVEN involved theater, dance, graffiti art, rap, and storytelling and told the story of death and rebirth in contemporary New England. The site-specific piece was performed in neighborhoods across New Haven and on buses that transported audience members. Ensemble member Aaron Jafferis, at right.
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PARTNERED WITH YOUNG PEOPLE AND FUTURE POLICE OFFICERS TO CREATE
ORIGINAL PLAYS ABOUT RACISM AND YOUTH/POLICE RELATIONS (1998-1999)
This scene (from EYE TO EYE, 1999) depicts a harrowing vision of the future of police/community relations. The play ended with this image as a young narrator addressed the audience directly: "This is where we're headed...we need to talk."
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ORIGINAL PLAYS ABOUT RACISM AND YOUTH/POLICE RELATIONS (1998-1999)
This scene (from EYE TO EYE, 1999) depicts a harrowing vision of the future of police/community relations. The play ended with this image as a young narrator addressed the audience directly: "This is where we're headed...we need to talk."
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DIRECTED PLAY AT JOHANNESBURG CULTURAL CENTER
ACTIVE IN THE ANTI-APARTHEID STRUGGLE (1995)
Directed Peter Handke's KASPAR and taught puppetry to children at the Africa Cultural Centre, a black-led theatre school and community arts center. The play was produced at the cusp of post-Apartheid South Africa, at time time of the first local elections under Nelson Mandela's presidency.
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ACTIVE IN THE ANTI-APARTHEID STRUGGLE (1995)
Directed Peter Handke's KASPAR and taught puppetry to children at the Africa Cultural Centre, a black-led theatre school and community arts center. The play was produced at the cusp of post-Apartheid South Africa, at time time of the first local elections under Nelson Mandela's presidency.
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STUDIED SHADOW PUPPETRY IN CENTRAL JAVA (1994)
Lived and studied with renown Wayang Kulit dalang, Pak Oemartopo .
