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Get to Know Me
Valeria Bravo
Hola! My name is
Valeria Bravo and I
am so ecstatic to
welcome you to this
space. I was born in
the beautiful country
of Venezuela, and
raised in the colorful
city of Miami,
Florida.I also got the
wonderful
opportunity to study
in North Carolina at the University of North Carolina in Greensboro
where I earned my Bachelor or Arts in Theatre with a Minor in Technical
Theatre Arts. During that time I was part of over ten theatre productions
doing wardrobe work, backstage technician, building sets and acting. I
also founded and served as president of Performers of Change: a safe
space for artist of color to create, collaborate, and celebrate.
Additionally I advocaded as a voice for minority groups in
committees and fraternity groups such as Alpha Phi Omega and
Scaffolding Change.
I am ready to take my passion for creative arts and commitment to
equity into the work field to improve and push all the spaces that I’m in.
I am dedicated to perfecting my skills and absorbing as much new
techniques as I can. When working, I prioritize safety, diversity,
inclusion, and having fun!
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Director’s Process
Valeria Bravo
When taking a new project into my direction, the first thing I do is read the
script a couple times. My first read is a pleasure read, I like to take the
text and digest it for what it is. I pay close attention to the things that stick
with me, and even closer attention to the things that don’t, because in
those aspects there is possibility for depth and understanding of the world
of the play. Later I reread the text for themes, technical elements,
creative blocking, and other specific elements. After doing this I like to
get my creative side flowing. I use tools such as Pinterest boards, music,
scents, fabrics, images, objects, textures, news clippings, and any other
sources that bring me closer to the reality of the world and/or the themes
and aura the world radiates. This is my favorite part! I like to sit down with
craft items and create mood boards for the project to later present them
to my creative team. I think it is extremely important to take into
consideration that humans learn in different ways and being a hands-on
and visual learner myself, I prioritize immersive play.
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Directing Work
Diversity Statement
As a immigrant woman of a minority group I do not tolerate any form of
discrimination to any person based on their age, sexuality, race, ethnic group,
or gender identity.
I believe that it is everyone’s responsibility to educate themselves and
maintain basic respect for everyone allowing space for grace in any situation.
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As a creative in an ever changing industry, I encourage my team and myself to stay
educated by attending workshops and talkbacks on equity, diversion, and inclusion.
During my at UNCG, I made EDI a priority. I was a board member of the Scaffolding
Change Committee for the department of Theatre where I discussed and represented
for the LatinX community bringing up issues of whitewashing casting, language
inclusivity, and appropriate scripts for all members of the community. I also assisted
in arranging workshops with Yale instructed and EDI mentor Kelvin Dickins and
worked closely with him and the board to make UNCG a petter learning and creative
environment for all students. Additionally I also founded and served as president for a
student organization called Performers Of Change (POC) designed specifically for
students of color as a safe space/ artistic outlet for young artist to express
themselves in a collaborative environment bringing awareness and appreciation of
culture to all ethnic groups.
Education,
Diversity, and Inclusion
workshop
with
Kelvin Dinkins Jr.
Assistant Dean in
Theatre Management
At
Yale
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Directing Work
Intimacy Policy
Working with any group of artist for a scene that includes intimate/vulnerable
moments, I like to enforce my intimacy policy for safety measures.
These scenes may include moments of violence, sexual acts, abuse, bullying,
offensive language, nudity, gore, and/or drug use.
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I first like to communicate with my actors and everyone involved to make
sure that they are aware of the content we confront in the given project.
Then I like to discuss boundaries and consent with everyone involved, and
specify that I do not tolerate any form of consent disrespect.
I explain the F.R.I.E.S. Consent format and remind everyone involved that
we will only be moving at the speed of comfort for our actors.
Lastly, I work with my actors to safely and comfortably to realistically
convey the message of the given moment.
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Testimonies
It was an absolute privilege working with Miss Bravo when
preparing for my audition. I hired her to help me shoot a self taped
audition for a tv role. Not only did she help me film the audition
tape, she also lended me brilliant acting techniques to enhance my
performance. It improved my acting for that audition as well as for
the many auditions I did afterwards, and will continue to do in the
future. I feel confident when auditioning now, thanks to Miss Bravo!
-Teondre Chappelle
If there is one word I could use to sum up my experience under the
directorial leadership of Miss Bravo ... the word that comes to mind is
“thorough”. She truly does not leave any crevice untouched. The
amount of attention to detail she gives to her actors and to the project
is admirable beyond comprehension. You feel so safe to explore and
ask questions, and everything is a learning experience... and feels
necessary. That’s truly all you can ask for in a director, and the feeling
is unwavering. She adapts well to any environment and space needed
to make the performance special. Forget the formalities of this type of
work, Bravo is real and offers that experience to everyone who
surrounds her. -Jermare Harrison
I highly recommend Miss Bravo for anyone inquiring proper
audition techniques for the stage. I hired her to help me with
an audition for the musical Oklahoma. The comfortable
atmosphere she creates for her clients is so special. Miss
Bravo’s professionalism throughout the entire process made
me trust her judgement. She gave me amazing feedback and
encouraged me to think outside the box to tell the story of my
character onstage. -Sarah Day
I have had the privilege of working with Miss Bravo on
multiple projects which she directed. She has taught
me new techniques on how to be more comfortable
with myself and my scene partners. Miss Bravo has a
way of making every actor feel supported and inspired
throughout the rehearsal process. She is extremely
thorough in how she attacks every project and she has
a genuine love and passion for directing that makes
every project a success. -Karla Hernandez
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Directing Work
Developing Programs
On the more business
side of entertainment
I’ve had the
opportunity to delve
in the programming,
budgeting,
marketing, and
development of art
classes. Making
pitches and concept
presentations for
companies to uptake
our improvements to
their artistic
education programs.
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P
U
P
P
E
T
R
Y
Chilean miniature puppetry show in style Lambe Lambe titled “Ali the
Alien” done under quarantine lockdown with household items. This piece
dealt with immigration and bullying, playing on the term “residential alien”
and what that title/status means in a child’s world. One of my mentors,
Rachel Briley, once stated that my projects were innovative, creative,
impactful.
Puppetry
Manipulation
Pictured to the left
are photos from
Arabian Nights. In
this play I was able to
breath life into three
puppets of different
builds and
characteristics.
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M
A
K
E
U
P
I think when doing makeup for an actor or client it is imperative to make
them feel comfortable and safe in the environment from the moment of
consultation. Staying true to the character description is essential, but
also paying close attention to what the person says and knows about
their skin type and complexion is extremely important to better
understand and respect the client.
My favorite style of
makeup is any special
effects. Whether that be
making someone look 40
years older or like they
got in a car wreck, I find
it fun to explore the
possibilities of that
character through
makeup.
Experience in old
age, special effects,
body, and stage
makeup.
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S
E
T
D
E
S
I
G
N
Set design is definitely one of my
favorite aspects of production. Not
only do I enjoy and love the
research and brainstorming
aspect, but also the invitation to
play with different textures and
techniques. Creating the world in
which the characters live their
reality is an absolute honor and
the times I have designed and
created sets have been an
absolute creative dive into the
meaning of shape, color, spacing,
dimension, and negative space.
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C
O
S
T
U
M
E
Some of the shows I’ve worked as Costume Supervisor
include The Normal Heart and Not a Test at UNCG. Not only
did I have the wonderful experience to use my techniques
to do renderings or fixes on costumes post shows nights
but also work very closely with the actors to assist them in
something I like to call Costume Confidence! This included
final touch ups, check-ins, alters, and assistance during
quick changes.
Some of my costuming techniques include basic hand stitching (buttons,
snap-ons, and zippers), machine sewing (plain seam, stitch-and-zig,
corner seam, outward seam, inward seam, bias bound finish, flat bias
finish/stitched down) basic altering, dying/tinting, and pressing.
