A Little About Robby


Robby Sciortino (he/him) is a director, deviser, and actor originally from Las Cruces, NM, and is now based in Austin, TX. His experiences as a gay Latino from a borderland community have shaped his ability to blend multicultural traditions with his queer American identity, creating theatre that celebrates those identities, uplifts their marginalized stories, and challenges stigmatized themes and concepts found within his communities.

Robby is pursuing an MFA in directing at Texas State University and expects to graduate in May 2026. He is a resident company member and the movement coordinator of the Cold Frame Collective

Robby earned his B.A. in Theatre Arts from New Mexico State University in 2017. He received the Herschel Zohn Outstanding Senior Award, "in recognition for outstanding contributions to the Department of Theatre Arts—our highest honor." He was the 2023 Austin Emerging Arts Leader—Theatre Mentee

Current project:


RESUCITÓ

A new devised play
Written and directed by Robby Sciortino

Set in 1990s El Paso, TX, Resucitó is a powerful and intimate exploration of a Mexican American Catholic community on the verge of transformation. Through the intertwined lives of young first-generation characters, the play examines the tension between tradition and self-discovery. As cultural expectations and religious doctrine collide with personal identity, this community confronts the hidden truths of their upbringing and begin to question the very foundations of the world they were taught to revere.

This play was devised by student artists at Texas State in collaboration with the director.


Presented at Texas State University

San Marcos, TX 78666

As a director, I have a unique opportunity to curate stories and present them to audiences, guiding their reception of story through precise and calculated sensuous experiences. My language, as a director, is highly aesthetic, and I speak through a syntax of hand-selected symbols through auditory, visual, tactile, and occasionally olfactory and gustatory frames of reference. I cannot control an audience's final perception of an experience, but I ensure they have a hell of a time feeling it. I’ve studied the art of compression and distillation and found that in my essentialist approach, the powers of symbol and frame of reference are supreme in conveying stories to a contemporary audience. The argument is no longer, “I go to the theatre to hear a play” vs. “I go to the theatre to see a play,” it is the amalgamation of all of the senses communing with the diverse array of lived experiences brought with any given audience. 

My directing and devising styles are a blend of the Postmodernist approach to deconstructing codified symbols, recontextualizing them, and then reconstructing narratives, with an emphasis on whose stories are being told and who’s telling them. My favorite tool is the actor and their moment-to-moment relationship with time and space around them. I am not an Aristotelian hierarchist, but have spent a large amount of my training understanding the role of each of his dramatic elements in communicating a story. I have carefully studied the rules and have a knack and habit of breaking them. I acknowledge that the Western tradition of Aristotelian storytelling highly influences my perception of story; however, in an effort to connect with the many cultures that make up America, it brings me great pleasure to experience story outside of the Western framework. 

I am Mexican and Italian, in heritage; two beautiful cultures with rich histories of storytelling, ritual, and performance. But beyond these identities, I am also a gay American, which is an entire subculture within my already Westernized American sensibilities. In all of my identities, I am bombarded with stories and sensuous experiences that cannot be communicated via any language other than performance. My life has, thus far, resided at the intersection of the mundane and the spectacular. And as a romantic, I have found the ecstatic joy of discovering the spectacular within the mundane. I am a craftsman and am dedicated to examining the overlooked and underrepresented and bringing the magic from these otherwise unnoticed worlds to the stage. The American theatre canon has a void of Hispanic, queer, magical, and mythical stories, and any combination of those categories, that I intend to fill in my time on this Earth. I am a collaborator through and through, and I want to work with artists from all walks of life to bring our stories to fruition within the communities we represent. I am a staunch believer that they need to see their experiences laid before them.

Artistic Statement

“For me, the anthropology of performance is an essential part of the anthropology of experience. In a sense, every type of cultural performance, including ritual, ceremony, carnival, theatre, and poetry, is an explanation and explication of life itself… A performance, then, is the proper finale of an experience.”

- From Ritual to Theatre by Victor Turner.