Body of Work Includes:

DIRECTING

Philosophy: Daunielle Rasmussen is a professional independent and experimental theater director and choreographer focusing on the potential relationship between dialogue and visual storytelling both in traditional theater spaces as well as in public spaces. The bulk of her work in recent years has been to explore the possibilities for how theater can adapt to meet the ever changing technological landscape, shortened attention spans and the increasing desire for integrated audience participation in the art making. As a storyteller, she seeks to find truth and authenticity in the characters and the worlds in which they live.

Aesthetic: Places an emphasis on visual storytelling using movement and dance to explore the world of the play; the internal journey of a character; and the relationships between two to three characters. The integration of music is essential and used with intention to deepen the audiences visceral experience of the story through the emotional journey told through music and movement.

Inspirations: Julie Taymor, National Theatre of Scotland, Kneehigh Theatre

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CHOREOGRAPHY & MOVEMENT

Philosophy: As a Choreographer and Director of Movement, Rasmussen's philosophy is that as a visual narrator the priority is to serve the story first and foremost and to create movement that is organic to the body of each actor. Working collaboratively with the cast, a visual vocabulary is developed that can be used by the director and actors throughout the process. She places an emphasis on clean, precise transitions that not only serve the need for scenic transitions, but can also explore the relationships between characters and the world in which they exist. She works closely with the director to serve their vision and tailor movement as the show develops.

Aesthetic: Using the natural abilities of the performers, Rasmussen works with the actors to create movement that best fits skill level and needs of the story versus focusing on the technical possibilities of dance forms. The emphasis is on visual storytelling using movement and dance to explore the world of the play; the internal journey of a character; and the relationships between two to three characters.

Inspirations: Matthew Bourne, Wayne McGregor, Mary Zimmerman

PRODUCING & CASTING

Philosophy: Dedicated to inclusive casting practices; producing multi-generational programming that challenges both children and adults; and producing the highest quality theatrical experiences.

Casting Experience:

Cincinnati Playhouse in the Park, Local Casting Director (2015-Present)

Marin Theatre Company, Casting Director- TYA (2012-14)

Custom Made Theater Company, Artistic Producer/Casting Director (2008-2011)

California Shakespeare Theater, Associate Casting Director (2007-2011)

Producing Experience:

Cincinnati Playhouse in the Park, Artistic Producer- Outreach Tour, Off the Grid and Performance Academy (2015-Present)

Marin Theatre Company, Artistic Producer- TYA & Outreach Tour, For Kids By Kids productions

Custom Made Theatre Company, Associate Artistic Director (2009-2011)

California Shakespeare Theater, Associate Producer (2007-2012)

COMMUNITY ENGAGEMENT

Philosophy: When designing Community Engagement programs for regional theaters, Rasmussen divides programming into three categories: Audience Engagement; Civic Engagement; and Artistic Engagement/Community Playmaking. Each mainstage show is approached individually by asking: what is the conversation desired to be had with the play; who do we want to have the conversation with; and who in the community serves the community reflected in the show?

Inspirations: Augusto Boal, Michael Rohd, Anne Bluethenthal, Celeste Miller

Experience:

Cincinnati Playhouse in the Park, Director of Education and Community Engagement (2015-Present)

Marin Theatre Company, Director of Education and Community Engagement (2012-2015)

California Shakespeare Theater, Community Engagement Manager (2010-2012)

Liverpool Institute for Performing Arts, Community Arts course (2001-2002)

TEACHING

Philosophy: Rasmussen's approach to teaching is student centric. She believes that the educator's role shifts over the course of the learning experience from teacher to facilitator to mentor. Students must be given the opportunity to take on more ownership as their skill level increases and given the opportunity to grow into autonomy. Rasmussen's class and programmatic structure takes form through an arc of skills based training, guided participation and finally practical application.

When designing for regional theater companies, the focus is on creating curriculum structures that can be adjusted for different books and subjects, but maintains a basic structure for artistic engagement with academic learning connected to current academic standards.

Course Templates include: Dramatic Interpretation, Public Speaking, Experiential Workshops, pre-k Creative Dramatics, Dramaventure Acting Classes, Actor Quest Conservatory

torship of staff member.