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Providing advocacy & resources for the field of theatre for young audiences.

Luanne Nunes de Char

Description

Luanne’s ultimate goal was to enhance her storytelling (i.e. directing) techniques through active physicalization and create empathetic ways of working with diverse populations.”All theatre is physical in some manner,” she writes. “The word theatre itself can often be seen as a verb. A series of actions big and small that transport us to new worlds of geographical, emotional and personal experiences. The four companies that welcomed me to their worlds have the ability to take this work far beyond the most imaginative realm. They were unafraid to venture beyond the tried and true, physicalizing daring ideas instead of just talking about them. Therein lies the greatest lesson of my travels: Fearlessness. The courage to try the truly impossible. Without a backwards glance, these artists are in a constant state of walking a high wire, metaphorical or real. I have learned that it is not the tale, but he who tells it.”

Luanne worked with Axis Dance Company in Oakland, CA; Tandy Beale of the New Pickle Circus; Cirque du Soleil in Las Vegas; and the Dell’Arte Company and School of Physical Theatre in Blue Lake, CA.

Where she is now and how the Observership has affected her career:

Currently I am in continuous rehearsal of The Three Daughters, a wildly uneven production due the fact that the actors are all a bit headstrong and have a difficult time listening to their director.  The past few years I worked on developing Girls Only: The Secret Comedy of Women from an improv project to a fully professional show that I have directed about a dozen times all over the country.  A very, very fun job.  I also have a reoccurring position with the very large, very wonderful Disney Company locating actors and showcasing them to the universe of casting directors in LA and New York. A freakishly rewarding gig when you see “your actor” get their first film/tv break.  I have taught in NorCal where I live (Berkeley Rep, CalShakes, West Performing Arts) and return every year to my first big job at the Denver Center where they graciously still let me experiment in the education department with their students.
As for how the Observership has affected my career I’d have to say that it underlined the importance of collaboration (so obvious now that I freelance and don’t have a stable of theatre geeks on which to draw/steal from).  ASSITEJ as a whole gave me a purpose in graduate school and made me feel just as deserving as the three other much smarter, more mature and more gifted directors in my program at USC.  My work, in any style of theatre or film, contains elements that I leaned from the observership.  Shakespeare?  Check. Sea World?  Check.  Teaching?  Improv? Casting?  Check.  Check.  Check.  It also gave me passage to companies and people that in my youth would never have allowed me to get into their space and their face and ask a million questions.  It gave me legitimacy, deserved or not.