Blog: I Am a Vessel for Stories That Reflect My Ancestors and the Community That Raised Me

My time at Atlantic has given me the tools to construct work professionally while never letting go of the playfulness and care that came naturally. When I walk into a room, I remember the standards that instructors like Karen Kohlhaas engrained in me: to honor the work and the talent of others in the room by being truly present.

Whether it is warming up or dedicating time and patience to develop my analysis, I am showing respect for stories that go beyond the studio.

I remember working on my final, “Still” by Jen Silverman. In the past, I found myself hesitant about my analysis, but I had the privilege of working with others who were open and willing to explore. After numerous rehearsals outside class, I was excited to work and play in front of my peers because I was sure I was coming into the space with a worthy offering. I will forever remember the moment that Karen Kohlhaas stopped my presentation. She then pointed out to the class, “See how Kairis talks about her analysis. Everyone should be just as excited as Kairis.” I was honored that she noticed my dedication and approach to finding playfulness in the work.

I want to become a vessel for stories that reflect my ancestors and the community that raised me.

Performance Technique, taught by Carl Howell, sprang that into motion. His assignment to bring a historical person to life by analyzing their story gave me that opportunity. As an Indigenous Q’eqchi, I questioned why my ancestors’ stories weren’t invited into the rooms that I walked into. Finally, I had the chance to do what I always dreamed of.

I decided to do a piece on Adelina Caal, a Q’eqchi woman and leader who fought for Q’eqchi land in 1978 amid the Maya genocide. Her story moved me as she is from the same nation my father is from.

I was dedicated to doing this work because it was an opportunity I had never received in other theatre spaces.

My peers were shocked at the power of this piece as I shed tears at the silent genocide my father survived and gave voice to the reality of the overlooked people of Latin America. It was the first time I was centering an Indigenous voice in my craft in a space like Atlantic.

By the end of the semester, Carl assigned the wild card project. The task was to bring any work we wanted to do, no matter how unconventional. I was excited about the opportunity, and it was my moment to perform a role I never thought possible for me: Hamlet.

I did Hamlet’s legendary “to be, or not to be” speech and connected it to genderfluidity.

My performance showcased Hamlet’s dilemma with that of the gender binary. I bound my chest to show the raw questions I have within genderfluidity. In the end, Carl stated that Shakespeare was facile voiced in my body. He recognized how much of myself I put into my performance and applauded how I connected passion to my work ethic.

I am honored by how receptive my home city, Chicago, has been to me. I am grateful that studying at Atlantic has brought me home as a stronger actor. I finally trust my talent, capabilities, and power thanks to the mentors, friendships, and ensembles I have encountered at Atlantic.­­­

B’antyox (Thank you in q’eqchi)

Kiara Rivera (She/Her) is a Q’eqchi Guatemalan and Mexican performing artist. She attained a B.A. in Theatre and a Certificate in Public Policy from Connecticut College, and an Evening Conservatory certificate from Atlantic Theater Company & Acting School. Most notably, she starred in The American Dream, in part of the 2023 Chicago Latino Theatre Festival. When not performing Rivera is deeply motivated to work in Chicago’s Indigenous and immigrant communities. She has worked in The International Latino Cultural Center of Chicago, the 40th Chicago Latino Film Festival, and Centro Romero. Instagram: @unpocobougie

Evening Conservatory

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