“You can’t plan to become a cliché . Nobody wakes up and says ‘as of today I aspire to be like everyone else.’ It’s just what happens when you decide that your security is more important than your imagination.”
– When I Used To Paint With Hector (by Daniel Mesta)
the artist
Describing himself as having a “Mexican heart, American brain and Russian soul”, Daniel writes and facilitates work dedicated to man’s quest for identity, meaning and home. Often drawing from his experience in the humanitarian sector, his scripts incorporate the performance of place as identity, be it in situ, ex situ, in exsilium or in absentia.
Daniel has received recognitions from the John F. Kennedy Center, the Association for Theatre in Higher Education, Literary Managers and Dramaturgs of the Americas, and others. He holds a BA in Theatre Arts Studies and Russian Studies from Brigham Young University, and an MA in International Relations at the European University at St. Petersburg, where he began his research on early 20th century equestrian performance in rodeo, circus and film. He continues to write about the cultural impacts of circus and sideshow from a historical perspective.
He has worked extensively in theatre and opera. (Also as a mariachi- but that’s a tale for another time.) Mesta also served on the executive committee of LMDA-Mexico, worked as Literary Manager and resident dramaturg at the Latiné Musical Theatre Lab and is an alum of the inaugural cohort of the BIPOC Critics Lab. He currently resides in New York City, though his heart still resides in Saint Petersburg.
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Daniel Mesta 