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      <image:caption>In this moment of massive cultural and planetary change, the performing artist is vital to the creative transformation of our communities. The actor’s primary study includes change as an interpersonal act––what Octavia Butler describes when she says, “All that you touch you change. All that you change, changes you.” In both performance and training, actors learn to be uniquely available and full-hearted in a process of empathic co-imagination. This creates the potential for what Erika Fischer-Lichte calls a “laboratory in which a new concept of community [can be] developed and tried out.” The performing arts and the creative revisioning of our communities are inextricably linked, and in the contemporary moment there is great need for both. My work is dedicated to the empowerment and self-actualization of each student performer: first in their ability to be rooted and resilient in their own cultural paradigm; and second in applying their performance craft in the field or community of their choice. Furthermore I am dedicated to equitable and decolonial systems of access, belonging, and collaboration in every classroom and art-making space.</image:caption>
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      <image:caption>I am a queer, white-bodied, male-presenting, U.S. settler and descendent of Irish and Italian immigrants. My early work was heavily influenced by the laboratory ensemble of Jerzy Grotowski, the Odin Teatret in Denmark, and Double Edge Theatre in Massachusetts. Also formative for me were the experimental theater communities in Chicago, my ensemble at Walkabout Theater (now called Wender Collective), and my time at Steppenwolf Theater and the Eugene O’Neill Center. Most recently I have been studying Fides Krucker’s Emotionally Integrated Voice Pedagogy and the socially disruptive power of personal pleasure and the human yawn. Additionally I studied Stanislavski’s work on physical actions and Grotowski’s development of Art as Vehicle at the recently shuttered Workcenter of Jerzy Grotowski and Thomas Richards in Italy. In my academic communities, including multiple universities in Chicago as well as my MFA program at Goddard College, I have been collaborating with educators, students, and alumni to adapt my performance pedagogy in ever-deepening dialogue with the field of performance practice. My most recent research has been exploring the intersections of decolonial arts praxis, mythic imagination, personal storytelling, and performance creation as means of interrogating dominant cultural narratives. I carry these lineages forward as I evolve to meet the present moment.</image:caption>
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      <image:caption>Whatever it is, the way you tell your story online can make all the difference.</image:caption>
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      <image:title>about (Copy) - bio.</image:title>
      <image:caption>Gabriel Thom Pasculli (he/they) is a US/Turtle Island-based performance artist, teacher, and theater director. Exploring the intersections of performance and decolonial praxis through body, change and belonging, Gabriel Thom’s multi-linear approach to narrative embraces an interdependent process of making meaning and engaging with the unknown. For eight years, Gabriel Thom was an artistic director of Walkabout Theater in Chicago (now called Wender Collective), with whom Gabriel Thom directed a series of outdoor public stilt spectacles as well as internationally-touring ensemble performances acclaimed as “surreal,” “sublime,” “gorgeous and exhilarating.” During the same period Gabriel Thom was a founding co-director of VoxFest, an annual summer festival of innovative new works-in-progress at Dartmouth College. Currently, Gabriel Thom is the creative producer at Sandglass Theater in Putney, VT, a puppet theater dedicated to social dialogue. Gabriel Thom has been teaching actor training, movement and voice, and co-creation for nine years; and they are currently teaching at the University of IL in Chicago, the University of Chicago, and SUNY Purchase in New York. Gabriel Thom is a student of Fides Krucker in her Emotionally Integrated Voice pedagogy, and they recently graduated from Goddard College’s MFA in Interdisciplinary Arts program with a concentration in Decolonial Arts Praxis and Performance Creation. Other Chicago directing credits include work with Red Tape Theatre, Trap Door Theatre, Oracle Productions, Redmoon and Steppenwolf Theatre. Additional influences include study at the Workcenter of Jerzy Grotowski and Thomas Richards in Italy, the Odin Teatret in Denmark, and Double Edge Theatre in Massachusetts.</image:caption>
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      <image:title>about (Copy) - bio.</image:title>
      <image:caption>Gabriel Thom Pasculli (he/they) is a US/Turtle Island-based performance artist, teacher, and theater director. Exploring the intersections of performance and decolonial praxis through body, change and belonging, Gabriel Thom’s multi-linear approach to narrative embraces an interdependent process of making meaning and engaging with the unknown. For eight years, Gabriel Thom was an artistic director of Walkabout Theater in Chicago (now called Wender Collective), with whom Gabriel Thom directed a series of outdoor public stilt spectacles as well as internationally-touring ensemble performances acclaimed as “surreal,” “sublime,” “gorgeous and exhilarating.” During the same period Gabriel Thom was a founding co-director of VoxFest, an annual summer festival of innovative new works-in-progress at Dartmouth College. Currently, Gabriel Thom is the creative producer at Sandglass Theater in Putney, VT, a puppet theater dedicated to social dialogue. Gabriel Thom has been teaching actor training, movement and voice, and co-creation for nine years; and they are currently teaching at the University of IL in Chicago, the University of Chicago, and SUNY Purchase in New York. Gabriel Thom is a student of Fides Krucker in her Emotionally Integrated Voice pedagogy, and they recently graduated from Goddard College’s MFA in Interdisciplinary Arts program with a concentration in Decolonial Arts Praxis and Performance Creation. Other Chicago directing credits include work with Red Tape Theatre, Trap Door Theatre, Oracle Productions, Redmoon and Steppenwolf Theatre. Additional influences include study at the Workcenter of Jerzy Grotowski and Thomas Richards in Italy, the Odin Teatret in Denmark, and Double Edge Theatre in Massachusetts.</image:caption>
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      <image:title>about - about.</image:title>
      <image:caption>Gabriel Thom Pasculli (he/they) is a US/Turtle Island-based performance artist, teacher, and theater director. Exploring the intersections of performance and decolonial praxis through body, change and belonging, Gabriel Thom embraces interdisciplinary processes of co-creation. For eight years, Gabriel Thom was an artistic director of the Wender Collective in Chicago (formerly known as Walkabout Theater Company), with whom Gabriel Thom directed a series of outdoor public stilt spectacles as well as internationally-touring ensemble performances acclaimed by critics as “surreal,” “sublime,” “gorgeous and exhilarating.” During the same period Gabriel Thom was a founding co-director of VoxFest, an annual summer festival of innovative new works-in-progress at Dartmouth College. Recently, Gabriel Thom was the creative producer at Sandglass Theater in Putney, VT, a puppet theater dedicated to social dialogue. Gabriel Thom has been teaching actor training, movement and voice, and co-creation for ten years; and they are currently teaching performance and directing at Union College in Schenectady, NY. Gabriel Thom taught for many years in Chicago at the University of IL in Chicago and the University of Chicago among other programs. Gabriel Thom is a certified teacher of Fides Krucker’s Emotionally Integrated Voice pedagogy, and they recently graduated from Goddard College’s MFA in Interdisciplinary Arts program with a concentration in Decolonial Arts Praxis and Performance Creation. Other Chicago directing credits include work with Red Tape Theatre, Trap Door Theatre, Oracle Productions, Redmoon and Steppenwolf Theatre. Additional influences include study at the Workcenter of Jerzy Grotowski and Thomas Richards in Italy, the Odin Teatret in Denmark, and Double Edge Theatre in Massachusetts.</image:caption>
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  <url>
    <loc>https://www.gabrielthom.com/teaching-1</loc>
    <changefreq>daily</changefreq>
    <priority>0.75</priority>
    <lastmod>2023-11-09</lastmod>
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      <image:title>teaching (Copy) - ethos</image:title>
      <image:caption>In this moment of massive cultural and planetary change, the performing artist is vital to the creative transformation of our communities. The actor’s primary study includes change as an interpersonal act––what Octavia Butler aptly describes when she says, “All that you touch you change. All that you change, changes you.” In both performance and training, actors learn to be uniquely available and full-hearted in a process of empathic co-imagination. This creates the potential for what Erika Fischer-Lichte calls a “laboratory in which a new concept of community [can be] developed and tried out.” The performing arts and the creative revisioning of our communities are inextricably linked, and in the contemporary moment there is great need for both. My work is dedicated to the empowerment and self-actualization of each student performer: first in their ability to be rooted and resilient in their own cultural paradigm; and second in applying their performance craft in the field or community of their choice. Furthermore I am dedicated to equitable and decolonial systems of access, belonging, and collaboration in every classroom and art-making space.</image:caption>
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      <image:title>teaching (Copy) - lens and lineages</image:title>
      <image:caption>I am a queer, white-bodied, male-presenting, U.S. settler and descendent of Irish and Italian immigrants. My early work was heavily influenced by the laboratory ensemble of Jerzy Grotowski, the Odin Teatret in Denmark, and Double Edge Theatre in Massachusetts. Also formative for me were the experimental theater communities in Chicago, my ensemble at Walkabout Theater (now called Wender Collective), and my time at Steppenwolf Theater and the Eugene O’Neill Center. Most recently I have been studying Fides Krucker’s Emotionally Integrated Voice Pedagogy and the socially disruptive power of personal pleasure and the human yawn. Additionally I have been studying Stanislavski’s work on physical actions and Grotowski’s development of Art as Vehicle at the very recently shuttered Workcenter of Jerzy Grotowski and Thomas Richards in Italy. In my academic communities, including multiple universities in Chicago as well as my MFA program at Goddard College, I have been collaborating with educators, students, and alumni to adapt my performance pedagogy in ever-deepening dialogue with the field of performance practice. My most recent research has been exploring the intersections of decolonial arts praxis, mythic imagination, personal storytelling, and performance creation as means of interrogating dominant cultural narratives. I carry these lineages forward as I evolve to meet the present moment.</image:caption>
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  <url>
    <loc>https://www.gabrielthom.com/praise</loc>
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    <lastmod>2024-03-14</lastmod>
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    <loc>https://www.gabrielthom.com/portfolio2</loc>
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    <lastmod>2022-05-30</lastmod>
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  <url>
    <loc>https://www.gabrielthom.com/portfolio2/project-four-de729</loc>
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    <lastmod>2023-09-27</lastmod>
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      <image:title>portfolio old - Walkabout Theater - The Raveling (2018-2019)</image:title>
      <image:caption>“The play cascades in a flurry of memories, strung together and displayed like clothes pins on a line of old twine. Personal histories are shaped by their narrator with an undercurrent of the struggle to deal with the past in the present. This exploration unwinds what it means to have a family, roots and purpose […] through gripping forces of ensnaring music, unflinching nostalgia and fanciful footwork.” — the Chicago Theatre Triathlon review “…a colorful and accomplished 60 minutes of physical and aural impressions, ever changing like a kaleidoscope, and encompassing the cycle of life.” — The Windy City Times “From moment to moment, different resonances and connections are highlighted, in more ways that can be consciously processed [...] but I am left with a feeling, impression, in some way changed. This is also the feeling of being enraptured by a great piece of instrumental music. No one phrase can necessarily be used to demonstrate what the piece does, and in total, this is not the point of a great piece of music. It is what happens to all those components along the way that truly demonstrates the artistry. In The Raveling, Walkabout demonstrates that they are the masters of the musical development of the bits that make up a theatrical narrative.” — Ryan Ingebritsen, musician</image:caption>
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      <image:title>portfolio old - Walkabout Theater - The Brink! or Nobody’s Ever Kissed Me Like That (2017-2018)</image:title>
      <image:caption>“The Brink makes fierce poetic sense of love, loss, and media. The physicality of the thing is gorgeous and exhilarating.” –– The Chicago Reader “This show looks like performance art and sounds like a musical. Walkabout seals it together with a satisfying kiss. […] A total original.” –– The Fourth Walsh Review “The show takes the familiar and warps it into the fantastic: […] A surrealism unlike anything I have seen before. […] The works of Gertrude Stein and Anne Carson create vignettes between songs that provide powerful context to the imagery created by the cast. […] The themes of femininity, love, and sexuality are apparent;­ however, you will be creating your own stories and messages from the performance.” — the Hawk Chicago</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/6251e5ca3b865b309ad813ca/ed37cc95-a89a-49b0-987e-86d201148352/THE+WILD+Poster.jpg</image:loc>
      <image:title>portfolio old - Walkabout Theater - The Wild (2014-2016)</image:title>
      <image:caption>“It is a wild ride, indeed, and one that heeds the siren call of rich visuals and incantatory ritual and high-octane movement. […] The palpable suggestion is that, while, we may no longer gather in the woods to celebrate Dionysian ritual, if you get enough of us together in one place, we can still find ways to destroy those we deem “other” […]. We have met the Maenads, and they are us.” — Chicago Tribune “The Wild is a daring, stunningly surreal ritualistic feast of dance, drama, music, wrestling, acrobatics and costuming magic […] directed with extraordinary originality and heat by Thom Pasculli […]. More dance-theater than play, “The Wild” is part Martha Graham and Pina Bausch, part Fillini and Guillermo del Toro, and altogether brilliant it is mix of primal drives and rational restraints.” — Chicago Sun Times</image:caption>
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    <loc>https://www.gabrielthom.com/portfolio2/project-three-2w6am</loc>
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    <lastmod>2022-05-27</lastmod>
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      <image:title>portfolio old - Performance - Make it stand out</image:title>
      <image:caption>Whatever it is, the way you tell your story online can make all the difference.</image:caption>
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    <loc>https://www.gabrielthom.com/portfolio2/project-two-dxbx2</loc>
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    <lastmod>2022-05-26</lastmod>
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    <loc>https://www.gabrielthom.com/portfolio/wender</loc>
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    <lastmod>2026-01-31</lastmod>
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      <image:title>portfolio - Wender Collective</image:title>
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      <image:title>portfolio - Wender Collective - The Raveling (2018-2019)</image:title>
      <image:caption>“The play cascades in a flurry of memories, strung together and displayed like clothes pins on a line of old twine. Personal histories are shaped by their narrator with an undercurrent of the struggle to deal with the past in the present. This exploration unwinds what it means to have a family, roots and purpose […] through gripping forces of ensnaring music, unflinching nostalgia and fanciful footwork.” — the Chicago Theatre Triathlon review “…a colorful and accomplished 60 minutes of physical and aural impressions, ever changing like a kaleidoscope, and encompassing the cycle of life.” — The Windy City Times “From moment to moment, different resonances and connections are highlighted, in more ways that can be consciously processed [...] but I am left with a feeling, impression, in some way changed. This is also the feeling of being enraptured by a great piece of instrumental music. No one phrase can necessarily be used to demonstrate what the piece does, and in total, this is not the point of a great piece of music. It is what happens to all those components along the way that truly demonstrates the artistry. In The Raveling, Walkabout demonstrates that they are the masters of the musical development of the bits that make up a theatrical narrative.” — Ryan Ingebritsen, musician</image:caption>
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      <image:title>portfolio - Wender Collective - The Brink! or Nobody’s Ever Kissed Me Like That (2017-2018)</image:title>
      <image:caption>“The Brink makes fierce poetic sense of love, loss, and media. The physicality of the thing is gorgeous and exhilarating.” –– The Chicago Reader “This show looks like performance art and sounds like a musical. Walkabout seals it together with a satisfying kiss. […] A total original.” –– The Fourth Walsh Review “The show takes the familiar and warps it into the fantastic: […] A surrealism unlike anything I have seen before. […] The works of Gertrude Stein and Anne Carson create vignettes between songs that provide powerful context to the imagery created by the cast. […] The themes of femininity, love, and sexuality are apparent;­ however, you will be creating your own stories and messages from the performance.” — the Hawk Chicago</image:caption>
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      <image:title>portfolio - Wender Collective - The Wild (2014-2016)</image:title>
      <image:caption>“It is a wild ride, indeed, and one that heeds the siren call of rich visuals and incantatory ritual and high-octane movement. […] The palpable suggestion is that, while, we may no longer gather in the woods to celebrate Dionysian ritual, if you get enough of us together in one place, we can still find ways to destroy those we deem “other” […]. We have met the Maenads, and they are us.” — Chicago Tribune “The Wild is a daring, stunningly surreal ritualistic feast of dance, drama, music, wrestling, acrobatics and costuming magic […] directed with extraordinary originality and heat by Thom Pasculli […]. More dance-theater than play, “The Wild” is part Martha Graham and Pina Bausch, part Fillini and Guillermo del Toro, and altogether brilliant it is mix of primal drives and rational restraints.” — Chicago Sun Times</image:caption>
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