As a national touring artist, Adelina performs many of her comedic works
and provides workshops on
university campuses and cultural organizations.
She has performed at UCLA, USC, Princeton, UC Riverside, Stanford,
UT El Paso, UC Berkeley, Southwestern University, Smith College, UC
Riverside, University of Oregon, UC Santa Cruz, Pomona College, St.
Cloud University, UTSA (via Trinity University), Univ. of Illinois,
UT Austin, Cal State L.A., James Madison University, UC
Davis, Univ. of Colorado, UC Irvine, Hamilton College,
Wellesley College, and many more campuses. Some cultural/ or
performance venues where Adelina has also performed include La Peña
Cultural Center, Teatro Dallas, Highways Performance Space,
Hyde Park Theatre, Celebration Theatre, Theatre Rhinoceros, Teatro Visión,
WOW Café, Teatro LA TEA, The Emma S. Barrientos Mexican American
Cultural Center, The Renberg Theater, the REDCAT (via the Fusion
Film Festival), and the historic Victory Grill in Austin.
She has been an artist-in-residence for allgo,
The L.A. Gay & Lesbian Center, La Pena Cultural Center,
and the City of Los Angeles. In 2011, through
the efforts of LeSVOZ, she
made a successful solo debut in
Mexico City with the Spanish version of her character, "La Profesora Mama Chocha"
from the first act of Mastering
Sex & Tortillas!
As a producer and director, Adelina has collaborated on over 30 productions/workshop productions/ or readings. During her short tenure at Cara Mia Theatre Co. (where she served as founding Artistic Director along with founding Managing Director, Eliberto Gonzalez), she produced and directed the company's inaugural play: Shadow of a Man by Cherríe Moraga. A year later, she produced and directed Milcha Sánchez Scott's Latina; a play that examines the lives of undocumented domestic workers. Eventually Adelina would return to direct The Hungry Woman: A Mexican Medea, a production that would garner her Best Director, Best Production, and Best Actor nominations and titles. This play was also later co-produced with Celebration Theatre and listed as one of the top ten productions of the year by Frontiers Magazine. It was finally presented at Stanford University in 2005. At Stanford, Adelina co-directed with Cherríe Moraga and reprised the role of Luna.
As a teaching artist and cultural activist, Adelina has over 16 years of experience mentoring and instructing political teatro, acting, and creative writing to youth of color and lesbian/gay/bisexual/transgender/two-spirited communities of color and university students. Having experienced first hand the obstacles that keep Chicana/os out of the mainstream arts, she helps create safe spaces for community to pursue their creative expressions. Some examples of this community work include; the 1997 creation and implementation of Cara Mia's CAST (Chicano Academy for Summer Theatre); and the initiation of touring educational programs in the public schools funded by the Office of Cultural Affairs in Dallas. In 1997-98, with Marta Lucía and Angie Cruz, she participated in the formation of Women In Literature & Letters (a women of color centered writing group). In 2002, Adelina co-designed and co-led community projects around queer and undocumented immigrant youth, a MY LUCHA project awarded funding by the ASTRAEA Foundation. And from 2007-2009, she created and executed TEATRO Q workshops: a safe space for lesbian /gay /bisexual /transgender communities of color and allies to explore various aspects of theater arts and performance. TEATRO Q was supported by City of Los Angeles Artist-in-Residence grants and by community host venue: Southern California Library. Adelina continues to teach variations and smaller components of TEATRO Q on the university circuit or in cultural center spaces. She is currently a playwright-in-residence for TheatreWorks at one of their high school sites serving students of color.
In other writing genres, Adelina has also been recognized for her work and anthologized in short story, poetry, and narrative essay. Her work can be found in Bedroom Eyes (edited by Leslea Newman), in Nerve: Literate Smut (edited by Genevieve Field and Rufus Griscom), and in the Best American Erotica Series of 2002 (edited by Susie Bright). She was also featured in the Texas Short Stories 2 (edited by Billy Bob Hill and Laurie Champion). Before entering graduate school at Stanford University, Adelina was selected as a PEN USA Emerging Voices Rosenthal Fellow in 2003. A few of her poems have been published in community anthologies, the most significant one being the 2008 anthology Queer Codex: Rooted! (edited by Lorenzo Herrera y Lozano ). Also edited by Herrera y Lozano and published by Kórima Press is the poetry of Tragic Bitches--an experimental project performed in 2007-08. Other publications include, "La Mamasota," anthologized in the 2007 Harper Collins' Fifteen Candles /em>(edited by Adriana Lopez). Her solo play, Bruising for Besos, (edited by Dr. Tiffany Ana López) was published by the Chicana/Latina Studies: the academic journal of MALCS (Mujeres Activas en Letras y Cambio Social) in 2010. She has also penned several articles, op-eds, and interviews for the former Soloella.com, The Progressive Media Project, Bomb Magazine, and Colorlines Magazine.
This artist has also been featured in various interviews, and reviews. Some of these publications include Colorlines Magazines, Bitch Magazine, The Lesbian News, Frontiers IN LA Magazine, Adelante Magazine, Texas Monthly Magazine, various weekly papers and blogs.
As a producer and director, Adelina has collaborated on over 30 productions/workshop productions/ or readings. During her short tenure at Cara Mia Theatre Co. (where she served as founding Artistic Director along with founding Managing Director, Eliberto Gonzalez), she produced and directed the company's inaugural play: Shadow of a Man by Cherríe Moraga. A year later, she produced and directed Milcha Sánchez Scott's Latina; a play that examines the lives of undocumented domestic workers. Eventually Adelina would return to direct The Hungry Woman: A Mexican Medea, a production that would garner her Best Director, Best Production, and Best Actor nominations and titles. This play was also later co-produced with Celebration Theatre and listed as one of the top ten productions of the year by Frontiers Magazine. It was finally presented at Stanford University in 2005. At Stanford, Adelina co-directed with Cherríe Moraga and reprised the role of Luna.
As a teaching artist and cultural activist, Adelina has over 16 years of experience mentoring and instructing political teatro, acting, and creative writing to youth of color and lesbian/gay/bisexual/transgender/two-spirited communities of color and university students. Having experienced first hand the obstacles that keep Chicana/os out of the mainstream arts, she helps create safe spaces for community to pursue their creative expressions. Some examples of this community work include; the 1997 creation and implementation of Cara Mia's CAST (Chicano Academy for Summer Theatre); and the initiation of touring educational programs in the public schools funded by the Office of Cultural Affairs in Dallas. In 1997-98, with Marta Lucía and Angie Cruz, she participated in the formation of Women In Literature & Letters (a women of color centered writing group). In 2002, Adelina co-designed and co-led community projects around queer and undocumented immigrant youth, a MY LUCHA project awarded funding by the ASTRAEA Foundation. And from 2007-2009, she created and executed TEATRO Q workshops: a safe space for lesbian /gay /bisexual /transgender communities of color and allies to explore various aspects of theater arts and performance. TEATRO Q was supported by City of Los Angeles Artist-in-Residence grants and by community host venue: Southern California Library. Adelina continues to teach variations and smaller components of TEATRO Q on the university circuit or in cultural center spaces. She is currently a playwright-in-residence for TheatreWorks at one of their high school sites serving students of color.
In other writing genres, Adelina has also been recognized for her work and anthologized in short story, poetry, and narrative essay. Her work can be found in Bedroom Eyes (edited by Leslea Newman), in Nerve: Literate Smut (edited by Genevieve Field and Rufus Griscom), and in the Best American Erotica Series of 2002 (edited by Susie Bright). She was also featured in the Texas Short Stories 2 (edited by Billy Bob Hill and Laurie Champion). Before entering graduate school at Stanford University, Adelina was selected as a PEN USA Emerging Voices Rosenthal Fellow in 2003. A few of her poems have been published in community anthologies, the most significant one being the 2008 anthology Queer Codex: Rooted! (edited by Lorenzo Herrera y Lozano ). Also edited by Herrera y Lozano and published by Kórima Press is the poetry of Tragic Bitches--an experimental project performed in 2007-08. Other publications include, "La Mamasota," anthologized in the 2007 Harper Collins' Fifteen Candles /em>(edited by Adriana Lopez). Her solo play, Bruising for Besos, (edited by Dr. Tiffany Ana López) was published by the Chicana/Latina Studies: the academic journal of MALCS (Mujeres Activas en Letras y Cambio Social) in 2010. She has also penned several articles, op-eds, and interviews for the former Soloella.com, The Progressive Media Project, Bomb Magazine, and Colorlines Magazine.
This artist has also been featured in various interviews, and reviews. Some of these publications include Colorlines Magazines, Bitch Magazine, The Lesbian News, Frontiers IN LA Magazine, Adelante Magazine, Texas Monthly Magazine, various weekly papers and blogs.