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Brian Snapp
Feed the Herd Credits
Director: The Iron Horsemen 6:11; Styrofoam; Tape's Last Crap; Sharkey's Night; A Coyote Wearin' Blue
Suede Shoes; The Foundation; Dark Dizayz (co-director); King Stag (co-director);
Angel City; Rattlesnakes; All About Doc; Gilgamesh (workshop)
Actor: 'Tis Pity She's a Whore; MuchAdo.com; Seven Seconds; Blank Line
Playwright: Sharkey's Night, Boneyard Interim; Eightball; Seven
Seconds (co-writer); Tequila Dreams (collaborator); This Is Not a Knot
Producing Artistic Director: 1997-2005, all Feed the Herd shows
Other Theatre Credits
New York: Waiting for Godot (as director, for fugue theatre, Chashama Experimental Theatre)The Tempest (as Alonso dir. by Rosemary Andress, Shakespeare in the Parking Lot); Short Eyes (as Longshoe dir. by Alexandre Correia, Jr.); Cympal (ensemble actor, story development, and co-directed w/Anthony Ferraro); Hoplite Diary (puppeteer in the La MaMa Puppet Series Festival and Henson International Festival of Puppet Theare); The Nose (puppeteer, voice of Kovalev); New York Infringement Festival (co-antigonizer)
Regional: Vive Les Artes Theatre, Texas (Man for All Seasons); Army Community Theatre, Texas (Technical Director)
Marymount Manhattan Theatre: Acting credits include: The Hypochondriac (dir. Rod McLucas, original translation), She Loves Me (dir. Pat Hoag), Mysteries and Iniquities, Architect and Emperor of Assyria (dir. Tom Martins), Act Without Words (dir. Jessica Rein), After Magritte (dir. Rene LaTulippe), Pterydactyls (dir. David Smith III); directing credits include Action, Three Actors and Their Drama
Film and Video Credits
New York: Midsummer Night's Dream (as Oberon and Theseus; dir. Andre LaSalle; independent video project in Central Park); Seven Seconds (as Roy Targrove; digital video short); City Kids (music video)
Education
Marymount Manhattan College, BFA in Acting; with Rod McLucas (classical acting), Barbara Adrian (voice & speech), Mary Fleischer (dramaturgy), Dr. Bob Vorlicky (avant garde & group theatre, dramaturgy), Bill Bordeau (acting & directing), and Richard Niles (naturalism)
Birthplace
Bad Kreuznach, W. Germany
"Theatre has been a way to either put up a mirror to the audience or open a window to a new world with its own set of rules. It is the most aged and still the most living-organism artform, with an incubation, a life, and a death, but always a memory. I recognize the challenge to keep theatre alive and evolving: in modern society where entertainment is disposable; in the twenty-first century when a digital age may endanger widespread theatre companies on shoestring budgets; for the future where written words won't be less meaningful than digicam pixels attached to an email. Going to the theatre is necessary for humanity; and it is stronger than going to a film; and in the theatre is a place where lives can change, where you can relate one on one with other human beings in a moment no one else can experience but you; and we can carry on and accept new technology and use it to the advantage of this organic art, or reject it and keep chiseling away at theatre's long history. But first we must have an interaction, a personal space where we come together and agree to be open and responsive to change, and that is theatre. Don't just watch and judge, participate and feed your ideas so you can grow and change for the better."
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