Day 2 - Département de danse - UQAM

3:45pm — break
4:00pm-5:30pm
a) The Intersections of English and Theatre George
Roundtable Organizers: Heidi Verwey (Thompson Rivers University). Participants: Robin Nichol
(Thompson Rivers University), Ginny Ratsoy (Thompson Rivers University), Natalie Meisner (Mount
Royal University), Robin C. Whittaker (St. Thomas University), Kathryn Prince (University of Ottawa),
Lourdes Arciniega (University of Calgary)
The relationship between English and Theatre has always been a symbiotic one, but there also seems to be the potential for
each discipline to hinder the other. In a Guardian article from 2008 entitled Is Three Years of Theatre School Still the Best Way
to Become an Actor? Iain Reekie, Program Director of the Sidcup School states that “80% of the course is practice-based, and
it always will be, whereas many universities are offering courses that are mainly academic but have a practical element. I think
what we’ve seen is a shift that now allows the academic world to recognize that practice-based work is just as valuable. We
see no reason why our degrees shouldn’t have the same kudos and respectability as a degree in engineering.” But he goes
onto say “those with good degrees often do better in the profession.” This might be because the academic component has
made them strategic thinkers, something he believes is crucial if “we are going to produce actors who don’t just service the
industry like puppets, but also help to change it.”
Is theory always essential to practice? How do we foster connections and build best practice relationships among
professors working within these disciplines? While we invite papers on any aspect of the relationship between English and
Theatre, we especially welcome those that directly address the conference theme of “@ the Edge” by examining how Theatre
and English can engage with each other in non-traditional or innovative ways. Theoretical perspectives, case studies,
narratives, and comparative work on contemporary theatrical and the Theory/Praxis relationship are among the anticipated
approaches.
b) Where is the Empathy in Acting and Actor Training? McIntyre
Praxis Workshop Organizer: Clayton Jevne (Theatre Inconnu)
This Workshop/Demonstration—through reference to research studies in behavioral sciences, published statements by
leading theatre theorists, and video footage of actors (students and professionals)—will follow a progression of logic
supporting the argument that the current implied premise underlying actor training theory and practice (acting with scripted
text) is flawed and compromises the establishment of a safe and respectful learning environment, while limiting the potential of
the artform. I will explain how the conditions deemed necessary for optimal skill acquisition have been effectively eliminated
from current actor-training practices, and how the elimination of these conditions has also undermined the conditions that
encourage empathy between student and teacher, and subsequently between the character being portrayed and the
audience. The evidence presented will show how the current implied premise assumes that the qualities characterizing the
relationship between verbal and nonverbal expression displayed by the student actor while speaking scripted learned text, will
be naturally and spontaneously influenced by the circumstances inherent in the text, just as these qualities would be
influenced by circumstances inherent in comparable situations occurring in “real-life”; given that the student has sufficient
intellectual understanding of—and emotional affinity for—the text, and has experienced a training regimen purported to render
the student open to the spontaneous influence of the scripted circumstances. A new premise will be presented that:
recognizes the irreconcilable difference between the influencing nature of scripted and real-life circumstances; accommodates
the conditions necessary for effective skill development; advances the growth of the artform by maximizing audience/character
empathy; and promotes a safe learning environment by encouraging greater empathy between student and teacher. This
demonstration/workshop will involve participation in introductory exercises specifically designed to incorporate the conditions
that skill development research has determined must be present for skill transference. These exercises represent the basis for
an alternate empathic approach to actor training. This is a scientifically supported approach to actor training that is unique, and
has grown out of twenty-five years of research study, observation, and practical application. This demonstration/workshop can
accommodate any number of people, if the space permits. Seats will be necessary for the demonstration portion, and room to
move will be required for the participation portion. If the chairs can be stacked, the sitting area can become the workshop area.
The exercises will be done with the group “performing” as one individual. A video projector will be required as there is a slideshow
component (made up of video clips and text slides) is included. People are very welcome to audit without participating.
c) Embodying This Place: Finnerty Gardens
An Eco-Dramatic Experiential Exploration … Outdoors
Organizer: Bronwyn Preece
Meeting Place: Lobby of the Phoenix Theatre Building near the main entrance.
How do we collectively, aesthetically, conceptually, poetically and expressively interpret, interact and perform this space,
this place?
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