Professor of Theatre Arts and Dance
Tanya joined the Department in 2001.
Professor: Acting, Voice for Actors & Dancers, Contemporary Dance, Viewpoints, Experimental Theatre & Performance.
Tanya directs and choreographs theatre, opera and dance and is the Artistic Director and co-founder of Opera del Espacio (O.D.E.). Credits include Tosca Jumps!, a multimedia adaptation of Puccini’s opera (EdgeFest/LATC, Highways, Luckman Intimate); Supreme Being by Richard Foreman; Romeo and/y Juliet(a), a Spanglish Re-Mix with Quantum Theatre, and a touring production of Ubu Roi in Brazil. She has directed Carmen (Pacific Repertory Opera), The Coronation of Poppea (CSULA) and The Medium (CSULA). At Long Beach Opera she choreographed The Man from Atlantis, The Clever One and Moscow, Cherry Town. At Los Angeles Opera she was the Assistant Director on Madama Butterfly, The Barber of Seville, Carmen, The Broken Jug, The Dwarf and The Merry Widow. She was the Assistant Director on The Barber of Seville at Houston Grand Opera, which she then re-mounted at the Houston Miller Outdoor Theatre, and assisted on the remount at L’Opera National de Bordeaux. She returned to Houston Grand Opera to assist on L’Italiana in Algers, and to Los Angeles Opera to assist on Cinderella (Cenerentola) and Carmen. With Opera del Espacio, she directed/choreographed I’ve Fallen/Clap Off! at Highways Performance Space; The Way Of Water by Caridad Svich at Cal State LA, Bootleg Theatre, Cal Poly Pomona, Hollywood Fringe 2012 and South Coast Rep’s SCRamble, May 2013; Meet Me @ Metro II and III (2011 & 2012) produced by Watts Village Theatre Company; Space: The Final Frontier presented at SOSE as part of the Company Creation Festival 2013; multiple site-specific performances at the Downtown Art Walk, Brewery Art Walk, Echo Park Art Walk, The Series at the Standard and more.
Most recent work includes the workshop production of The Wall: A Musical Misdeed, adapted from the short story by Jean-Paul Sartre, composed by John M. Kennedy with libretto by Dr. Alicia Tycer, in collaboration with Opera del Espacio, The Chamber Players of Los Angeles and guest artists bass-baritone, Nicholas Isherwood, Gayle Fekete (Urban Bush Women and head of dance at Cal Poly Pomona) and designer E. M. Giminez (LA Opera, Cirque du Soleil, The Industry) along with students from the Department, which was presented in the State Playhouse. Immediately following, Tanya directed an extracted semi-staged version of Don Giovanni with the Bakersfield Symphony, followed by a remount of Cinderella (Cenerentola) at Opera Omaha. In September 2014 she will re-mount The Barber of Seville at the Liceo Opera in Barcelona, originally directed by Joan Font of Els Comediants.
- Video excerpts of prior productions: https://www.youtube.com/user/tkaneparry
Additionally, Tanya teaches Viewpoints workshops and presents at conferences nationally and internationally:
2011 University Theatre Festival, Blumenau, Brazil: Viewpoints Workshop
University of Uberlandia, Brazil: Viewpoints Workshop
Ubu Roi, University of Blumenau, Brazil: co-directed and choreographed with Prof. Patricia de Borba
2010 University Theatre Festival, Blumenau, Brazil: Viewpoints Workshop
IX Congreso Ibero-Americana de Teatro Universitario (AIATU), Lima, Peru: Viewpoints Workshop & Panel Presenter
2009 ImprovFest, Los Angeles: Viewpoints Workshops for professional dancers and performers
2008 ImprovFest, Los Angeles: Viewpoints Workshops for professional dancers and performers
Kennedy Center American College Theatre Festival, CSULA: Viewpoints workshop
2007 VI Congreso Ibero-Americana de Teatro Universitario (AIATU), Chihuahua, Mexico: Viewpoints Workshop for students from Spain, Argentina, Venezuela, Peru,
Costa Rica and Mexico.
Roosevelt University, Chicago: Intensive Viewpoints course for MA Directing students in the Fast-Track Program.
Israeli Opera, Tel Aviv, Israel: Acting Workshop for singers in the Young Artist Program.
2006 University of Massachusetts/Amherst, Guest Artist: Viewpoints workshops
2004 Kennedy Center American College Theatre Festival, Logan, Utah (Region VIII): Viewpoints workshops
Theatre Department, University of Chihuahua, Mexico. Guest Lecture
Rosana Gamson/Worldwide Dance Theatre Company (RG/WW): workshops to strengthen ensemble, introduce basic acting technique and vocal training for upcoming bilingual production with Contradanza (Mexico City) based on Carlos Fuentes’ book Aura.
2003 Directors Lab West: Viewpoints workshop for professional directors and choreographers, Pasadena Playhouse.
2002 National University of Tucuman and La Baulera Cultural Center, Argentina: Viewpoints Workshops
American Guild of Musical Artists (AGMA)
Association of Theatre in Higher Education (ATHE)
Association of Theatre Movement Educators (ATME)
Association of Ibero-American University Theatres (AIATU)
AWARDS & RESIDENCIES
- ATHE Innovative Teaching Award/KCACTF Region VIII, 2014
- GSE Rotary Program to Mexico, March/April 2004
- Partner of the Americas: Sponsored trip to attend Experimenta 5 Theatre Festival/Conference in Rosario and to conduct workshops with students of the National University of Tucuman and professional performers at La Baulera Cultural Center (Argentina), December 2002.
- NEA/TCG Theatre Director Finalist, 2001
- Certificate of Excellence in Teaching, awarded by the University of Massachusetts Amherst, 2000
- Federick Loewe Fellowship, Stage Directors & Choreographers Foundation, 1997 & 1998
- ATHE/ATME Panel Participant, “Atomic Dancing”; paper, video and live performance presentation, Aug. 2013
- Directors Lab West, Alumni Committee, 2009.
- Viewpoints Workshop Facilitator: Guest Artist Mary Overlie at the Directors Lab West, May 2005
- Co-coordinator of Viewpoints Intensive at CSU Summer Arts with guests Mary Overlie, Anne Bogart, SITI company members and Nina Martin, June/July 2004.
- BFA Acting NYU, Tisch School of the Arts: Circle-in-the-Square and the Experimental Theatre Wing
- MFA Directing UMass/Amherst
- The Viewpoints: Mary Overlie and Wendall Beavers (Experimental Theatre Wing/NYU)
- American Mime Theater Company directed by Paul Curtis (Company Member 1991-1993)
- Dance & Movement: Modern, Postmodern, Contact Improvisation, Stage Combat, Martial Arts
- Directing: Joseph Chaikin and Jean-Claude Van Italie/ The Living Theater: Judith Malina
- Commedia del Arte and Mask: Guy Friexe & Erhardt Steifel of the Theatre du Soliel
- Roy Hart Theatre/Experimental Vocal Technique: Richard Armstrong
- Tight Rope Walking: Philipe Petit/ Clown: Dale Scott/ Circus: Hoovey Burgess
- Linklater Vocal Technique: Andrea Haring (Circle-in-the-Square)
- Stanislavsky, Boleslavsky and Hagen Acting Methodology: Alan Langdon (Circle-in-the-Square)
LANGUAGES: Fluent Spanish and French: conversational Portuguese and Russian
Comments on works directed by Ms. Kane-Parry:
Space: The Final Frontier: “The cumulative effect of all this is that of an academic treatise straining to be enhanced by the kinetic power of design and dance. That goal is frequently met, thanks to the evocative quality of Kane-Parry's choreography, and the way the bodies collide and seem to roll through each other.” - Steven Leigh Morris, LA Weekly
The Way of Water by Caridad Svich, adapted by Opera del Espacio: “In L.A.'s site-specific production of Caridad Svich'sThe Way of Water, Opera del Espacio is making the disaster tangible -- and implicating the audience in the event. You might even find yourself pouring an oil-like liquid onto the actors or helping to load company members into body bags by the end of the performance.” – Sarah Taylor Ellis, LA Weekly
Tosca Jumps! “In this striking distillation by Tanya Kane-Parry of Puccini's operatic masterpiece, the music is abridged, the lyrics are lip-synched, and the performers borrow fascinating movement that seems to range from Chinese opera through contemporary street dance. Supertitles- a new opera convention -add typographic humor to the work and allow modern obscenities to replace pages of libretto.” - Dany Margolies, Critic's Pick, Backstage West
Supreme Being “Text and images wash over you…meaning emerges from the show’s recombinant associations and repetitions” – Philip Brandes, Los Angeles Times
Romeo and/y Juliet(a) “Goes to extremes (with) undaunted vision” – Luis Reyes, LA Weekly
Romeo and/y Juliet(a) “Director Tanya Kane-Parry abstracts the Bard’s scenario through diverse performance art tactics: gender-bending, outsized sound effects, anachronistic asides” - David Nichols, Los Angeles Times
Romeo and/y Juliet(a) “It is an exciting, individualistic approach… in the manner of a Cubist painting, with glimmering flashes of action and dialogue, with a bit of Dadaism thrown in. [Kane-Parry’s] tempos and rhythms are impeccable…The piece is full of insightful action and is fascinating from beginning to end.” – T.H. McCulloh, Back Stage West
Romeo and/y Juliet(a) “Emphasizing dance and movement over dialogue, the piece — relayed in Spanglish — juxtaposes Shakespeare’s basic plot and fragments of his text with contemporary street speech and images. Performers cavort in and around trash cans while, now and then, someone appears in spiked, thigh-high patent leather boots/ erotic gambols/ recurrent slamming of bodies against walls.” – Deborah Klugman, LA Weekly
The Cure “Juxtaposes ordinary things in strange ways but invests them with a sense of utter familiarity” – Martin Washburn, The Village Voice
The Cure “Underlying outrageousness beneath a surface of deliberate, restrained and controlled emotional truth and subtlety…mysterious…compelling” – Richard Foreman, Playwright/Director
Trojan Women “Ballsy…you applaud the effrontery each time…can’t take your eyes off it for a minute…hardy souls are in for a treat” – Eric Grode, Backstage
Romeo and/y Juliet(a) “Modern theatre seems old fashioned when compared to this production…To say this production is surreal is an understatement. It’s more of a fracprism, where the original is divided into dozens of pieces that seem to have been squeezed through a multi-layered prism, refracting a distant image of the original, but creating a whole new entity in the process… Here, director Tanya Kane-Parry is experimenting with a style that takes a lot of guts to even attempt, let alone pull it off. What emerges from her imagination is part dream, part nightmare, half–fantasy, half-wish, layered onto a tale that begins with hatred between two families and results in the ultimate end for the protagonists… [Kane-Parry] knocks your socks off with something wild and off-beat.” – Jose Luis, ReviewPlays.com