New Georges Audrey Resident artist, Does that Feel Good to you my Lark?: A Doll’s House Adaptation.
BRIC Arts Residency for a workshop development of LA NEGRA.
Workshop residency, Core Apprentice Writer with the Playwrights Center with CAFÉ.
La Paloma Prisoner was awarded a CRITICAL BREAKS residency that allows artists to take their ideas to the next stage through an intensive development process and a public works-in-progress showing with Hi- Arts. Directed by Estefania Fadul. Staged reading followed by Unlocking Female Incarceration Part III. http://www.hi-artsnyc.org/
Workshop reading of CAFE with the Sol Project @Primary Stages. THE SOL PROJECT: A NEW THEATER INITIATIVE Raising the Visibility of Latinx Playwrights in the American Theater. The Sol Project will utilize a synergistic network of off-Broadway companies and regional theaters to produce works by a cohort of 12 emerging and established writers. http://www.solproject.org/
Performer participant, reading and developing the lead role of Glenda in We Shall Not Be Moved– a hybrid opera for The Philadelphia Opera, directed by Bill T. Jones, written by Marc Bamuthi Joseph.
Facilitated development residency activities for Taco Truck Theatre Project with the Map Fund, included interviewing 25 immigrants from a variety of countries living in Minneapolis. Immigration Round table with community members including Native and indigenous communities. Pangea World Theatre with Artistic Director Dipankar Mukherjee.
Invited playwright participant at The Kennedy Center with the KCACTF National Festival for professional development, play presentation, and Latinidad playwriting award recipient for CAFÉ.
La Negra was awarded a SCRATCH LAB residency that allows artists to experiment with aesthetic tools within a short process in a public works- in- progress showing with Hi-Arts. Directed by Fernando Parra Borti. http://www.hi-artsnyc.org/
Robert Lupone and Andrew Leynse– Theatre Masters Program- mentored the development of Dar a Luz in Aspen, Colorado and NYC.
Theresa Rebeck and Andrew Leynse– Theatre Masters Program- mentored the development of La Migra Taco Truck in Aspen, Colorado and NYC.
Musical Theatre Factory and Poetic Theatre development lab, Meet & Make Songsmiths: developed lyrics for two songs in Spanish, NO NACI EN EL USA, and SOMOS LATINAS.
Rising Circle Theatre Collective,12 week INKtank Playwrights Lab Participant, The Hopefulness. Re-write process culminating in a staged reading. Q & A with scholar Denise Brennan on her how her book “What’s Love Got to do With It?” informed the text and issues or prostitution in the Dominican Republic.
Selected by Labyrinth Theatre for the Company Intensive to workshop and culminate in a staged reading La Paloma Prisoner. Directed by David Deblinger.
LA MAMA ETC – Italy, Spoletto playwriting retreat with Naomi Ilizuka on writing techniques. Development of The Hopefulness and La Paloma Prisoner.
Playwright lab with Carmen Rivera with Danisarte Company. La Lucha Arts group co-produced The Hopefulness (writer/performer), which received public funding for support of Latino artists. Production was presented as part of the 4 Caminos Festival at the Latino Cultural Center/NYC.
Patricia Ariza– (Artistic director of Teatro de Candelaria Bogota) Selected by the League of Professional Theatre Woman as an ensemble member of a devised workshop presentation based on violence against women using personal mythology and dance theatre techniques; creating text and integrating members of the community into performance. NYC
Commission to write and perform a staged reading within a developmental process, the play Glossy Page Pimps (co-writer/performer) with artist/performer Teo Castellanos. Presented at Miami Light Project, directed by Michael Garces.
Artist’s residency with Performance Artist Kathe Izzo and Octavio Campos for the development of Death of the Doll: A Stripper’s Journey Through the Afterlife text, (writer/performer) with Artemis Organization, performed at P.S. 742/Miami. Q & A with scholar Aurora G. Morcillo on how her book “True Catholic Womanhood” informed the play within issues of political repression through the Catholic religion. Miami
Death of the Doll Screenplay selected to participate in The National Association of Latin Independent Producers, NALIP- Writers Lab. Screenplay is work shopped with Latino writers from around the U.S, producers, agents, and TV-film writers. NYC
As a writing/performance facilitator with Art Spring Org., work shopped She Wolves monologues with incarcerated women in Broward and Dade Correctional Prisons. South Florida.
Artist Development Residency for She Wolves in Art South Florida Homestead Center Octavio Campos directed the development of the text with a group of South Florida women, visual artists / writers within readings, movement/media workshops.
Reader and dramaturgical report writer of new play submissions for Play Company NYC
Undoing Racism workshop with Border Crossers organization: workshop scenarios to train and equip educators to be leaders of racial justice in their schools and communities.
Workshop with Ensemble members from the historic Mexican-American theatre company, El Teatro Campesino, introduction to the three styles that inform their artistic tradition: Acto, Mito, and Corrido. Covered the origins of the company, the development of their style, and the cultural traditions they draw from to create original, ensemble-based theatre for the past 51 years. With Radical Evolution Company.
Workshop through People’s Theatre Project on teaching techniques when engaging with students who are English language learners.
Cultural Organizing for Community Change with Arts & Democracy: series of workshops and panels on building tools for social change with art making. Bomba Yo Roots and Rhythms workshop, Communications for the Can’t Stop Won’t Stop Artist/ Activist and Bold and Engaged with Urban Bush Women.
Puppets for the People- Puppetry and Theatrical Mask Making Workshop with Jessica Litwak.
PAN THEATRE COMPANY- Roy Hard Voice Work with Linda Wise and The Double Theatre- Hard vs Artaud Theatre of Cruelty workshop with Enrique Pardo.
Certified Theatre of the Oppressed training for facilitating: Joker Level I and II for conducting TO residencies with diverse groups.
Julian Boal -Master class on his father’s Augusto Boal’s Forum Theatre, an interactive approach to theatrical expression emphasizes physical dialogues, non-verbal imagery, consensus-building and problem solving processes, and techniques for developing awareness of both external and internalized forms of oppression. Thus, instead of remaining passive, the people in the audience become active “spect-actors” who now create alternative solutions and control the dramatic action.
Barbara Santos– Madalena Project Theatre of the Oppressed NYC Workshop- using characters, choreography, painting, sound and text to explore the meaning of “being a good girl”.
Geo Britto of CTO-Rio (Centre de Teatro do Oprimido): Aesthetics of Theatre of the Oppressed: Boal’s philosophy through using techniques with clean trash materials, narratives, group compositions and participant generated poetry. NYC
Adrian Noble– Shakespeare Master class on performance, direction and classical dramaturgical tools.
Marin Blazevic– Dramaturgy as Cross-Disciplinary Thinking and Practice- NYC Columbia University
Josefina Lopez– Story Development Workshop: “Getting to the Heart of the Story”
Creative Capital Professional Development Program: Fundraising and Producing.
Alison Knowles– Fluxus art movement, the use of paper, sound, radio and performance to create interdisciplinary pieces. Miami.