PERSONAL STATEMENT/BIO
Anna Rebek is a Mexican/Hungarian American director of Opera and Theater based in New York City. Anna gained much from the experimental devising practices she learned while generating work at Columbia. Her work often incorporates physical movement inspired by the Viewpoints, expressive use of color in her environments, and a deep understanding of the “events” of each scene. With Brian Kulick, Anna studied the classical texts of western traditions, including Shakespeare and Chekhov, and returns to Shakespeare as often as she can to excavate it's relevance anew. She earned great feedback for her full production of Uncle Vanya, for which she employed Michael Chekhov techniques to get some of the strongest female performances Brian had seen. “Better than the Russians” he said. Anna likes to ensure that all the female characters in her work are multi-dimensional, powerful, and have immeasurable depth.
Anna believes there is room for everyone in her shows. As a deviser of new work, she makes space for actors at all levels of ability and has created characters to feature their strengths. Anna has directed two all Latinx casts and given direction in Spanish. Her production of MARAT/SADE won praise for its original score (Michael Wysong), and for her use of color conscious casting to charge the political arguments made by both men. Anna has a history of working with artists on the autism spectrum professionally, and enjoys fostering a healthy atmosphere of encouragement. Anna served for two years post-Columbia as an elected member of their EDIC committee chaired by David Henry Hwang to both diagnose current issues and offer suggestions to help make the Columbia MFA program a safer and healthier place for all to engage.
From her time at Juilliard, Anna learned the advanced techniques needed to mount a successful opera. One of the fundamental principles that she believes about opera is that the audience shouldn't have to be familiar with the story already to enjoy the performance. As someone who was initiated into the opera world as an adult, she relies heavily on those with musical expertise around her to interpret the score, and approaches these stories with a fresh eye. In her heart, Anna is a populist director; she wants everyone to get it and be transported by it, which means her opera stagings are athletic, and the acting is crucial. Due to these beliefs Anna's operas are intentionally inclusive.
Anna Rebek is a Mexican/Hungarian American director of Opera and Theater based in New York City. Anna gained much from the experimental devising practices she learned while generating work at Columbia. Her work often incorporates physical movement inspired by the Viewpoints, expressive use of color in her environments, and a deep understanding of the “events” of each scene. With Brian Kulick, Anna studied the classical texts of western traditions, including Shakespeare and Chekhov, and returns to Shakespeare as often as she can to excavate it's relevance anew. She earned great feedback for her full production of Uncle Vanya, for which she employed Michael Chekhov techniques to get some of the strongest female performances Brian had seen. “Better than the Russians” he said. Anna likes to ensure that all the female characters in her work are multi-dimensional, powerful, and have immeasurable depth.
Anna believes there is room for everyone in her shows. As a deviser of new work, she makes space for actors at all levels of ability and has created characters to feature their strengths. Anna has directed two all Latinx casts and given direction in Spanish. Her production of MARAT/SADE won praise for its original score (Michael Wysong), and for her use of color conscious casting to charge the political arguments made by both men. Anna has a history of working with artists on the autism spectrum professionally, and enjoys fostering a healthy atmosphere of encouragement. Anna served for two years post-Columbia as an elected member of their EDIC committee chaired by David Henry Hwang to both diagnose current issues and offer suggestions to help make the Columbia MFA program a safer and healthier place for all to engage.
From her time at Juilliard, Anna learned the advanced techniques needed to mount a successful opera. One of the fundamental principles that she believes about opera is that the audience shouldn't have to be familiar with the story already to enjoy the performance. As someone who was initiated into the opera world as an adult, she relies heavily on those with musical expertise around her to interpret the score, and approaches these stories with a fresh eye. In her heart, Anna is a populist director; she wants everyone to get it and be transported by it, which means her opera stagings are athletic, and the acting is crucial. Due to these beliefs Anna's operas are intentionally inclusive.