Acknowledgements

Acknowledgements

The Diversities in Acting Training modules have been funded by the Ontario Ministry of College Training and Universities, have been generated under the guidance of editor-in-chief David Fancy (Brock University Department of Dramatic Arts), with project management and execution by Matt Clare and Giulia Forsythe with Brock University’s Centre for Pedagogical Innovation (CPI), and with the able and creative collaboration of research assistants Iain Lidstone and Kendra Neaves, as well as Brock University Librarian Monica Rettig. Site-wide copyediting was undertaken by one of our video contributors, Kelsy Vivash, and ongoing project support and encouragement has been provided by CPI Director Jill Grose and Brock University Vice President Teaching & Learning, Anna Lathrop. Janice Arnoldi and Robin McPherson of Arnoldi:McPherson Digital Solutions developed and launched our social media presence. 

 


Writers

  • Ethnic and cultural diversities I: Histories of representation of race in Canadian theatre, by Naila Keleta-Mae, associate professor, University of Waterloo
  • Ethnic and cultural diversities II: Representation in contemporary Canadian theatre, by Naila Keleta-Mae, associate professor, University of Waterloo
  • Ethnic and cultural diversities III: ‘Project Other’, by Nina Lee Aquino, artistic director of Factory Theatre
  • Ethnic and cultural diversities IV: Decolonizing movement: emerging paradigms & reconstruction, by Michael Greyeyes, associate professor and graduate program director of the MFA in acting and the artistic director of Signal Theatre.
  • Diversities in gender and sexuality I: Histories of representation of gender in the theatre, by Kelsy Vivash, performance maker and PhD Candidate at the University of Toronto’s Centre for Drama, Theatre, and Performance studies
  • Diversities in gender and sexuality II: Gender minoritization in contemporary theatre practice, by Kelsy Vivash, performance maker and PhD Candidate at the University of Toronto’s Centre for Drama, Theatre, and Performance studies
  • Diversities in gender and sexuality III: Psychophysical strategies for supporting gender diversity in actor training, by Conrad Alexandrowicz, associate professor, University of Victoria
  • Diversities in gender and sexuality IV: Queer and trans performance strategies in contemporary Canadian theatre and performance, by Alex Tigchelaar, MA student in Studies in Comparative Literatures and Arts at Brock University co-artistic director of the cabaret theatre company Operation Snatch
  • Ableism and diversities: The Disabled body, actor training, and futures of inclusion, by Allison Leadley, PhD Candidate at the Centre for Drama, Theatre, and Performance Studies, University of Toronto
  • Voice and speech: Diversities in voice training, by Paul de Jong, Program Coordinator and Head of Voice for the Theatre Performance program at Humber College
  • Brecht and the alienation effect, by Laura Levin, artist, associate professor, and Director of the MA & PhD Program in Theatre and Performance Studies at York University.
  • Aesthetic diversities I: Realism and its discontents—some different ways forward, by Daniel Mroz, theatre creator and associate professor, University of Ottawa
  • Aesthetic diversities II: Collaborative creation or devised theatre training for actors, by Diana Belshaw, actor and director of the Theatre Performance Program at Humber College

Resources

All of the images in this module were either original drawings by Giulia Forsythe or contributions from the The Noun Project.  Contributions from The Noun Project are specifically noted here.


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