Adriano A. Cabral University of West Georgia Theatre Department 1601 Maple St Carrollton, GA 30118
Phone: 678-839-4702 Fax: 678-839-4708 E-Mail:
[email protected]
Education Candidate for Certification as a Fitzmaurice Voicework® Teacher, expected August 2016 M.F.A. Arizona State University. Theatre Performance. May 2014. Committee: Jeff McMahon (Chair), Johnny Saldaña, Guillermo Reyes Applied Project: To The Grind B.A.
Rhode Island College. Theatre, concentration in Musical Theatre. May 2010.
Professional Appointments 2014-Present University of West Georgia, Department of Theatre Assistant Professor of Theatre THEA 1100: Theatre Appreciation (3 sections) THEA 1100 E03: Theatre Appreciation, Online THEA 1291: Voice and Movement I (3 sections) THEA 2291: Acting I THEA 3291: Voice and Movement II THEA 3392: Acting II THEA 4111: Performance and Production: Capstone (2 sections) 2013-2014
Arizona State University, School of Film, Dance, and Theatre Teaching Assistant THP 277: Acting: Introduction to Voice THF 101: Acting Introduction
2013
New School for the Arts and Academics High School Musical Theatre Teacher Musical Theatre I-III
2011-2013
Arizona State University, School of Theatre and Film Teaching Assistant THF 101: Acting Introduction (4 Sections)
Research/Teaching Interests • • • • • • •
Vocal anatomy and anthropological study of vocal traits for dialect development. Actor and new works development using an amalgamation of performance pedagogies. Ensemble and Solo Devised performance for socially engaged theatrical practice. Scene study and character development incorporating multiple pedagogies for approach. Movement and characterization through physical embodiment. Development of the voice through the lenses of sexual identity and societal influence. Representation of diversity and multiculturalism in Theatre.
Cabral 2
Teaching Experience University of West Georgia—Department of Theatre
2014 - Present
~THEA 1100-Theatre Appreciation: This course provides students with a background in basic script analysis, current theatre trends both nationally and internationally, as well as an understanding of the process of taking a script from page to stage. ~THEA 1291-Voice and Movement I: An experiential study of fundamental voice and movement techniques for the actor. This somatic course requires intense focus on sensory awareness and physical perception of space. ~THEA 2291-Acting I: Explores and applies basic principles of acting. Topics include terminology, scene and character analysis, exercises and improvisation, and audition preparation. ~THEA 3291-Voice and Movement II: A continuation of principles learned in 1291. This course emphasizes intermediate level experimental study of advanced voice and movement techniques, including dialects and combat. ~THEA 3392-Acting II: This course continues the scene and/or monologue study explored in introduction to acting. In addition, this course focuses on classic styles of acting by exploring Shakespeare, Suzuki/Noh, and Moliére. ~THEA 4111-Performance and Production: Capstone: This course is designed as a Senior Project. The student will be working on a major role in a play and honing her/his unique acting process within the rehearsals. The majority of the classroom time will be taken up with nightly rehearsals, performances, and discussing elements of the project. The student will analyze the project and develop goals for graduating. Arizona State University—School of Film, Dance, and Theatre ~THE 494/598-Topic: Ethnotheatre: Readings, viewings, and studio exercises in ethnographic performance; fieldwork and adaptation of qualitative texts into play script formats. Primary Course Objectives are to survey the dramatic literature and media in ethnodrama and ethnotheatre, to acquire basic skills in fieldwork and playwriting for ethnodramatic work, and to develop original ethnodramatic work for ethnotheatrical performance. Meets concurrently with THE 598 Ethnotheatre. Guest Lecturer. ~THP 385-Acting: Classical and Poetic Drama: Rehearsal and performance of Shakespeare and other classical playwrights. Emphasizes understanding poetic language, vocal and physical skills. Assistant to Oscar Giner. ~THP 377-Acting: Voice and Speech: Introduces phonetic alphabet, exercises, and techniques for voice and speech improvement. Application to performance. Assistant to Micha Espinosa. ~THP 277-Acting: Introduction to Voice: Exercises and techniques to free the voice and improve quality and projection. Application to performance. (3 Sections) Assistant to Micha Espinosa for two sections, including adapting Fitzmaurice Voicework for a student with cerebral palsy, and instructor of record for the third. ~THP 102-Acting I: Fundamentals: Explores and applies basic principles of acting. Topics include terminology, scene and character analysis, exercises and improvisation, audition preparation. Guest Lecturer. ~THF 101-Acting Introduction: Course introduces basic principles of acting. Topics
2011 - 2014
Cabral 3 include terminology, scene and character analysis, exercises and improvisation, audition preparation. (4 Sections) Instructor of record. ~MUP 370-Topic: Movement: Combining and mastering professional performance techniques required for the musical theatre. Advanced exercises in stage movement, spatial awareness and use of all dimensions on stage. Guest Lecturer. New School for Arts and Academics - Department of Performing Arts
2013
~Musical Theatre I-III: This performing arts course explores the history of the American Musical Theater as well as developing basic skills necessary for performing in Musical Theater.
Research and Creative Activity Publications/Presentations “Fighting Safely” This master class, presented with Red Mountain Theatre Company, teaches the cast of Band Geeks how to utilize basic Stage Combat concepts safely and accurately. Choreography includes falls, punches, and slaps. “Embodying Shakespeare’s Verse” This workshop, presented at the 47th Region 4 Kennedy Center American College Theatre Festival, utilizes Fitzmaurice Voicework destructuring, dynamic movement through Laban Efforts, and inspired speech using Lessac’s Consonant Orchestra to explore how the physical and vocal inform the meaning of Shakespeare’s text. “Mask and the Actor” This workshop, presented at the Georgia Theatre Conference, combines techniques from Michael Chekhov’s imaginary body with traditional Balinese mask performance to discover a free and engaged acting improvisation. “Doric Wilson Memorial Session Panel” (Panel presented at conference for Association of Theatre in Higher Education) In honor of LGBTQ Theatre pioneer Doric Wilson, this panel discussed the challenges and achievements of artists creating LGBTQ theatre in Arizona today. “Cabaret Vocal” Performance of “To The Grind” for the Fitzmaurice Voicework Freedom and Focus Conference in Bogotá, Colombia. “Vocal Blackface: Stereotyping Voices in the Theatre” (Paper Presented at Voice and Speech Trainers Association [VASTA] conference) Reflections from dialect coaching the Arizona State University production of Lisa Loomer’s ¡Bocón! and the complexities of cultural appropriation. Acting Choral Songs and Singing Texts w/ Robin Carr Workshop exploration of Lessac Voice and Body work in Musical Theatre Ensembles presented at The Lessac Institute Annual Conference Acting Songs and Singing Texts w/ Robin Carr and Matt Nesmith Workshop exploration of Lessac Voice and Body work in Musical Theatre Solos presented at VASTA
March 2015
Feb 2015
Oct 2014 July 2014
July 2014 July 2013
January 2013 August 2012
“Queer and Christian: Voices of Invisible Diversity” (Paper Presented at VASTA, Coauthored with Meg Sullivan) Two MFA candidates awaken their artistic voices while navigating the complexities of “Invisible Diversity.”
Cabral 4 August 2012
Creative Activity Devised and New Works 2014 To The Grind, Written/Developed/Performed by Adriano Cabral from spoken word improvisation and Fitzmaurice Voicework tremor positions. “This solo-performance and coinciding research paper is an autoethnodramatic exploration of sexual identity and the development of an “ideal voice” through sexuality while dealing with the effects of technology on the ability to communicate in the gay community.” Arizona State University. Tempe, AZ. Remounted for “Come As You Are” banquet in collaboration with ASU Dance. Remounted for “Freedom and Focus” Fitzmaurice Voicework annual conference in Bogotá, Colombia. 2013 Conversations with God, Devised by Adriano Cabral, Tyler Eglen, and Meg Sullivan from anonymous writings submitted by members of Arizona State University. Role: Devising Artist. “An ethnodramatic theatrical creation composed of written submissions provided by the ASU public regarding their thoughts about the presence of a higher power.” Binary Theatre Company. Tempe, AZ. The Fall of the House of Escher, Devised by Punctum. Directed by Megan Weaver and Brian Foley. Role: Madibot and Assistant Costume/Makeup Designer. “A choose-yourown-adventure style reimagining of Edgar Allan Poe’s ‘The Fall of the House of Usher’ told through the lens of Quantum Physics with an M.C. Escher aesthetic.” Arizona State University. Tempe, AZ. Echo and Narcissus, Devised by Tyler Eglen, Brunella Provvidente, Adam Vachon, and Megan Weaver. Role: Sigmund Freud (German Dialect Used). “A devised new work combining the Echo and Narcissus myths with the writings of Proust and Sigmund Freud.” Arizona State University. Tempe, AZ. The Pornographer, Written and Directed by Kirt Shineman. Role: Egon Schiele (Austrian Dialect Used). Binary Theatre Company. Tempe, AZ. 2012 The Wall, Written by Boni B. Alvarez. Directed by Ricky Araiza. Role: Rafael (Monterrey, Mexico Dialect Used). Teatro Bravo. Phoenix, AZ. Drones, Written by Matt Witten. Directed by William Partlan. Role: Colonel Wallace and Voice Coach. Arizona State University. Tempe, AZ. POVV (Prisoner of View/Point of War), Devised by Punctum. Directed by Brian Foley and Megan Weaver. Role: Ross/Ensemble. 2012-2013 AriZoni Award Winner for New Original Script. Arizona State University. Tempe, AZ.
Cabral 5 Change of Hats, Written by Daniel Pennyway. Directed by Bradford Forehand. Role: Harold the Troll. The Pennyway Project. Tempe, AZ. Los Santos, Written by Ryan Noble. Directed by Megan Weaver. Role: Elder Fernandez. Arizona State University. Tempe, AZ.
Actor/Performer for Stage 2012 House of the Spirits, Directed by Rachel Bowditch. Role: Esteban Garcia and Voice Captain. 2011-2012 AriZoni Theatre Award Winner for Scenic Design. Arizona State University. Tempe, AZ. The Last Days of Judas Iscariot, Directed by Ron May. Role: El-Fayoumy (Arabic Dialect Used). Stray Cat Theatre. Tempe, AZ. 2011 Raised in Captivity, Directed by Charles Lafond. Role: Sebastian. Imagine Productions. New Bedford, MA. Corpus Christi, Directed by Kevin Broccoli. Role: Joshua. Epic Productions. Cranston, RI. 2010
25th Annual Putnam County Spelling Bee, Directed by Gerry Moshell. Role: Vice Principal Panch. Cornerstone Playhouse. Warwick, RI. Pippin, Directed by William Wilson. Choreographed by Angelica Vessella. Music Direction by Anthony Torelli. Role: Lewis/Ensemble. Rhode Island College. Providence, RI. One for the Road, Directed by Deirdre McCarthy. Role: Victor. Perishable Theatre. Providence, RI.
2009 Mambo Italiano, Directed by Dr. James Taylor. Role: Angelo. Rhode Island College Summer Series. Providence, RI. Angels in America, Directed by Nehassaiu DeGannes. Role: Belize/Mr. Lies. Rhode Island College. Providence, RI. Hair, Directed by William Wilson. Choreographed by Angelica Vessella. Music Direction by Anthony Torelli. Role: Tribe. Rhode Island College. Providence, RI. 2008 Anna in the Tropics, Directed by Nehassaiu DeGannes. Role: Juan Julian. Rhode Island College. Providence, RI.
Cabral 6 No, No Nanette, Directed by William Wilson. Choreographed by Angelica Vessella. Role: Ensemble. Rhode Island College. Providence, RI. True West, Directed by Christopher Ferreira. Role: Saul Kimmer. Rhode Island College. Providence, RI. 2007 Never the Sinner, Directed by Laura Barlow. Role: Richard Loeb. Rhode Island College. Providence, RI. A Chorus Line, Directed by Michael Farrelly. Choreographed by Adam Crowe. Role: Butch, Paul u/s. Academy Players. Warwick, RI.
Actor/Performer for Film 2015 Satisfaction, Created by Sean Jablonski. Role: Festival Goer. Universal Cable Productions. Conyers, GA. 2013 Joki, Directed by Ryan Kirkpatrick. Role: Z. Rubbish Youth Productions. Tempe, AZ. The Bridge, Developed by Meredith Stiehm and Elwood Reid. Role: Juarez EMT. FX Productions. Los Angeles, CA. 2012 The Worth of Water, Written, produced, directed, and edited by Kirk Davis. Role: Various Voices. Research Matters, Arizona State University. Tempe, AZ. CareerWise, Written and Directed by Alex Oliszewski. Role: Boyfriend. Arizona State University. Tempe, AZ.
Direction 2015 Side Show, Book and Lyrics by Bill Russell. Music by Henry Krieger. Role: Director. Choreography by Ricardo Aponte. Set Design by Brad Darvas. Lighting Design by Joseph Monaghan. Costume Design by Erik Teague. University of West Georgia. Carrollton, GA. Anon(ymous), Written by Naomi Iizuka. Role: Director. Set Design by Alan Yeong. Lighting Design by Joseph Monaghan. Mask Design by Brad Darvas. University of West Georgia. Carrollton, GA. 2014 H2O, Written by Jane Martin. Directed by Jack Reuler. Role: Assistant Director, Stage Manager, Sound Designer, Board Programmer, and Run Crew. Arizona State University. Tempe, AZ. 2010 Miss Julie, Directed by Kristina Drager. Role: Assistant Director and Stage Manager. Burbage Theatre Company. Cranston, RI.
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Voice Direction 2015 V-J Day in Times Square, Directed by Pauline Gagnon. Transatlantic Accent. University of West Georgia. Carrollton, GA. Anon(ymous), Directed by Adriano Cabral. Indian and Nigerian English Accents. University of West Georgia. Carrollton, GA. 2014 Fairytale Lives of Russian Girls, Directed by Amy Cuomo. Role: Voice and Movement Coach. Russian Accent and Pronunciation. University of West Georgia. Carrollton, GA. Cabaret, Directed by Rochelle Elman. Role: Dialect Coach. German Accent. University of West Georgia. Carrollton, GA. Nation, Directed by Megan Weaver. Role: Voice Coach/Dialect Creator, Locaha (VO Character). Received Pronunciation and General American Accents. Arizona State University. Tempe, AZ. The Face of Emmett Till, Directed by Asantewa Sunni-Ali. Role: Voice/Dialect Coach. Mississippi Accent. ASU Black Theatre Festival. Tempe, AZ. For Colored Girls, Directed by Alexis Green. Role: Vocal Coach. ASU Black Theatre Festival. Tempe, AZ. Fatboy, Directed by Brian Foley. Role: Vocal Coach. Arizona State University. Tempe, AZ. ¡Bocón!, Directed by Megan Weaver. Role: Dialect Designer and Voice Coach. Brazilian/Monterrey Mexico Hybrid Accent. Arizona State University. Tempe, AZ. Debris, Directed by Jake Hylton. Role: Dialect Director. Cockney and Received Pronunciation Grade 1 Accents. Binary Theatre Company. Tempe, AZ.
Other Theatrical Experience Going Up?, Written by Syl Jones. Directed by Jack Reuler. Role: Sound Operator, Fight Choreographer. YWCA Atlanta Fundraiser. Atlanta, GA. American Agency, Directed by Megan Weaver. Role: Choreographer. Arizona State University. Tempe, AZ.
Professional Affiliations ATHE Member Lessac Institute Member VASTA Member/Officer
KCACTF Respondent Punctum Founding Member www.punctumstudio.com
Service Professional Service VASTA Award Selector for KCACTF Region 4 ATHE LGBT Focus Group Panel Organizer Director of Technology – VASTA Associate Director of Technology – VASTA Webmaster – Punctum
2015 2014 2013-Present 2012-2013 2011-Present
University Service School of the Arts Visiting Artists Committee (UWG) KCACTF Irene Ryan Area Advisor (UWG) Quality Enhancement Plan Implementation Committee (UWG) Undergraduate Research Steering Committee (UWG) Alpha Psi Omega Faculty Advisor (UWG) Department of Theatre Marketing Co-Advisor (UWG) Capstone Advisor, Evan Escoto (ASU BA in Theatre Spring 2013) Capstone Advisor, Katherine Bingham (ASU BA in Theatre Spring 2013)
Awards/Grants Arizona State University Diversity Graduate Grant Rhode Island College School of Music, Theatre, and Dance Special Talent Awards Arizona State University School of Theatre and Film Special Talent Awards Arizona State University School of Film, Dance, and Theatre Student Enrichment Grants University of West Georgia Stone Visiting Artist Grant For Guest Costume Designer – Erik Teague University of West Georgia Professional Development Grant Travel and Materials Arizona State University Graduate College Travel Grants Irene Ryan Acting Scholarship Nomination for KCACTF Region I ariZoni Theatre Award of Excellence Best Overall Production—Non-Contracted Play The Fall of the House of Escher by Punctum ariZoni Theatre Award of Excellence Best Original Script—Play or Musical POVV by Punctum
$10,000 $5,000
2011-2012 2006-2010
$4,000
2011-2013
$1600
2012-2013
$1000
2015 2015 2012-2013 2007, 2009 2014 2013
Professional Development/Internships Lessac Institute Summer Intensive Greencastle, IN “Four-week intensive studying the Lessac system with
July-August 2012
Cabral 9 Teachers Deborah Kinghorn, Barry Kurr, Mary Sala, and Robin Aronson-Carr.” Bali Taksu Transformative Performance Intensive Bali, Indonesia “Two-week intensive studying Fitzmaurice Voicework, Mask, Clown, Chekhov, Kecak Voice, Balinese Dance, and Gamelan with teachers Micha Espinosa, Aole Miller, Ida Bagus Alit, and Ida Bagus Anom.” Experiencing Speech Los Angeles, CA Six-day intensive study of Knight Thompson Speechwork focusing on the mechanics of articulation. Experiencing Accents New York City, NY Six-day intensive study of Knight Thompson Speechwork focusing on accents/dialects. Fitzmaurice Voicework Teacher Certification Program XIV Los Angeles, CA Two five-week sessions focusing on a conceptual and experiential study of Fitzmaurice Voicework.
June 2013
September 2014
December 2014
2015-2016
Workshops/Master-classes Attended Scott Kaiser- As part of a mentor/artist visit, Kaiser met with the ASU MFA Performance Candidate actors (a group of 8) to develop our vocal exploration of operative words in Shakespeare, integrating full body movement with voice. Dan Fishback- As a guest artist touring his solo-performance “THIRTYNOTHING,” Fishback offered a Master Class to 8 performers on using Queer Theory and free impulse in order to devise a solo-performance. Nancy Krebs- Master Teacher of the Lessac Voice Technique, Krebs offered a workshop on Lessac’s Structural NRG to develop vocal quality, richness, and tone. Michael Rohd- Founder of Sojourn Theatre in Portland, OR, Rohd offered an experiential master class regarding Voices in Collaboration: Devising Civic Theatre. It was an investigation of collaborative creation tactics and an exploration of the value in shifting project-based partnerships to relationship-based partnerships, as individuals and as members of organizations and schools. Andrea Haring- As a guest artist and key presenter at the annual VASTA Conference, Designated Linklater Teacher offered a master class on Intuitive Influences: Awakening the Whole Self through Imagery. We explored how a “conversation” between the imagery of Chekhov and the Linklater work can encourage an organic, emotionally alive, and tactile exploration of text. Andrew Wade- Assistant to Cicely Berry and former Head of Voice at the Royal Shakespeare Company, Wade offered a master class on the relationship of the voice to space and how we might transform the space using the voice and Shakespeare’s text.
