Workshops & Presentations

Preparing Students for Uncertain Futures

Presented by Steven Sparling

What constitutes an ‘acting career’ is changing rapidly and this change will only accelerate with technological advances. At the same time, there are increasing numbers of actors competing for jobs and the volume of drama school graduates shows no signs of slowing down. Clearly what we could expect as a career pathway of a drama school graduate 10 or 20 years ago is not what we can expect of one today. How do we manage students hopes, fears and dreams meeting a challenging and competitive work environment? This will draw upon three years’ worth of research at the London College of Music looking at student’s assumed knowledge and questions regarding their professional futures which will allow us to discuss similarities and differences to assumptions and expectations of Canadian acting students of their future careers.


Acting the Way I Dance: A Hot Honey Revolution

Presented by Robert Allan

This lecture-demonstration suggests pedagogical strategies for integrating acting techniques into musical theatre dance training through examination of Bob Fosse’s choreography for “Hot Honey Rag”. This piece from 1975’s Chicago is a rich site for examination: it is realized semi-narrativistically and diegetically in a post-modern performance of vaudeville style. Practices from the musical theatre acting class are interpolated and modified to suit the dance class in hopes of enlivening the process of learning choreography, and fulfilling the possibilities of performance. For musical theatre students without elite dance training, the pressures of a traditional dance class can be frustrating or demoralizing. Building from musical theatre acting practices, the characters, settings, given circumstances, objectives, and dance vocabulary of “Hot Honey Rag” serve as exemplars of how dance can be read as a text for the purposes of interpretation and performance. These proposed strategies provide alternative entrées to students and faculty with a familiarity and comfort within the domain of acting, which in turn may facilitate greater appreciation, enjoyment, and achievement in dance training.


The Joy of Teaching Without Marking

Presented by Tracey Hoyt

A Voice-Over coach and director shares the freedom she has found when the pressure to deliver a “report” of her students’ creative work is no longer part of her services.


Physical Theatre Masterclass: Viewpoints, etc.

Presented by Dr. Marc Richard

This masterclass will explore elements and principles from the Viewpoints training methodology as well as other physical theatre exercises such as The Brain Dance. Fundamentally these exercises are used for building embodied knowledge and awareness in music theatre students.


Pedagogical Documentation: Making the learning visible in theatre training

Presented by Dr. Marc Richard

This discussion will focus on using the research methodology of pedagogical documentation, (made famous by the preschools in Reggio Emilia, Italy) to make the in-class learning in theatre programs, visible to other stakeholders in post-secondary education i.e. other students, faculty, associate deans, audience. This session could be 30 min in terms of discussing the process and looking at the panels.


Teaching First Year Acting

Presented by Jennifer Wigmore

Working with students in their first year presents a wealth of unique challenges. Explore concepts, strategies, and exercises that can be used to build a solid foundation for a successful theatre-school experience

 


Technology in the Acting Class

Presented by Neil Silcox

While it's undeniable that cell phones and smart watches have brought new distractions into the classroom, technology can have a place in the classroom. This lecture will discuss a few ways that teachers can leverage technology to run classes more smoothly, help students to learn better, and speed up some of the tedious work that happens outside the classroom. 


Voice and Acting: How Can we Bridge the Gap?

Presented by Danielle Wilson

Bridging the gap between voice work and the actor process can be difficult. Navigating the relationship between impulse, emotional connection, listening, play and physical and vocal action while holding a script in hand can be complex for the actor. How does an educator help connect the dots with these different elements of training?


Intimacy for Stage and Screen

Presenter: Siobhan Richardson

Intimacy Director Siobhan Richardson (Intimacy Directors International) will discuss the Intimacy for the Stage and Screen Method, a method that has become the standard for choreographing and directing scenes of a violent/non-violent sexual nature while maintaining the physical and psychological safety of all involved. 


The Apple Cart: This Constant Race & A Classroom in Colour

Artist, educator, and activist Tanisha Taitt discusses the vital need to bring traditionally marginalized voices forward in our training of all theatre artists, in 2018's keynote presentation.