Research is the honing of musical, experiential, intuitive, technical, energetic and anatomical intelligence the body offers through dancing. By listening to the practical and paradoxical intelligence of the body, the dancer becomes scholar as the body's intelligence and intuition is a vibrant and sensual library. Making dance, dancing and discussing dance creates an open field for cross-pollination in art.
Primary Teaching Areas: BFA Movement for Actors. Graduate Supervision.
Professor, BFA and MFA Design Program Coordinator
Web site: guidotondino.com
Defines theatrical spaces as an extension of the inner meanings of text (and recently dance) in contrast to a practice which sets out to define theatrical space as a reflection of a play’s givens and a play’s narrative necessities. The setting of a play becomes a metaphor for the play itself. The architecture of the space is driven by the play’s themes.
Primary Teaching Areas: BFA and MFA Theatre Design, Studio Techniques for Theatre Design, 3D CAD for the Theatre. Graduate Supervision.
Develops innovative performance techniques that reveal character through extended imagery. Explores a performance language that emphasizes the physical playing of the actor moving in space, in varied kinds of audience relationship.
Primary Teaching Areas: Directing, BFA acting, Performer-Created Theatre. Graduate Seminars in Directing, New Play Dramaturgy, Emergence of the Director. Graduate Supervision.
Kenneth T. WILLIAMS
Playwright and dramaturge, primarily focused on new play development.
Primary Teaching Areas: Playwriting, Theatre Practice, Indigenous Theatre History.
Technical Director/Faculty Service Officer, Timms Centre for the Arts
After touring and performing with every avenue of live performance Larry is passionate about collaboration and adept at assessing the feasibility of designs. He promotes the position that technical production is part of theatre creation and is not an “off the shelf” product.
Research in the development of automated technology for the stage with emphasis on innovation in rigging design and integration of current and proven safe techniques in lighting, video, sound and stage mechanics in live performance. He also devotes time and energy into developing and adapting sustainable processes for theatre production.
Dissolving the rift between performers, designers and technicians for the advancement of the final production is the mission and safe, repeatable events are the mandate.
Primary Teaching Areas: Production Crew, Technical Production. Graduate Supervision.
Lighting Supervisor, Faculty Service Officer
Research focuses on light, theatre lighting, colour mixing, projection systems, projection mapping and the integration of sound or light using multi-parameter triggers.
Primary teaching areas: technical lighting, technical theatre, computer media, best practices in theatre. Supervision of technical students in productions, advising design students on the technical uses of lighting equipment.
Sound Supervisor, Head of Audio & Sound Design, Faculty Service Officer
Matthew Skopyk is an Edmonton based Sound Designer and Composer. Recent Design/Composition credits include: Romeo & Juliet (Freewill Shakespeare Festival), Or The Whale (Wishbone Theatre), Vigilante (Catalyst Theatre), Playing With Fire: The Theo Fleury Story (Citadel Theatre/ Persephone Theatre/ Alberta Theatre Projects), ENRON (National Arts Centre), Whisper (Studio Theatre/ Catalyst Theatre). Michelle et Ti Jean, Palace of the End (Theatre Network). Titus Andronicus, As You Like It, Macbeth, Much Ado About Nothing, Richard III, Twelfth Night, Othello (Freewill Shakespeare Festival). Matthew also currently resides as the Sound Supervisor for the Department of Drama at the University of Alberta.
Gerry VAN HEZEWYK
Production Manager; BFA Technical Theatre Coordinator
Research includes: Foundations of project management – involving the exploration of the stages of development of a project and the standards, tools and control systems used to manage it. Competency-based training models – the identification of skills, their objectives, standards of practice, and methods of assessment that deem us proficient in each craft of our industry. Performing arts venue architecture and engineering – including auditorium design, technical systems design, backstage infrastructure, and acoustics.
Primary Teaching Areas: Technical Theatre/Design practicum assignments, supervision of Independent projects.