Warming up to WordsThaw

While the rest of the country may still be dealing with the winter blahs, locally we’re well into spring—which means it’s time once again for WordsThaw. Running March 20-22 at UVic, WordsThaw has grown into a welcome spring literary event over the past three years, nicely balancing what’s always a fall-heavy literary load.

2015_header_bannerV2Since 2013, The Malahat Review has invited dozens of poets, novelists, short fiction writers, and journalists to mark the coming of spring with a symposium celebrating Canadian literature. Held each year here at UVic, WordsThaw brings together writers, students, editors, publishers, and others with an interest in creative writing for a weekend of readings, panel discussions, workshops, and socializing. There are too many writers to list, but you can see the full lineup of participants here. Tickets range from $15 to $35, depending on whether it’s a full pass or an individual event; you can get all the ticket info here.

Not surprisingly, the Department of Writing is heavily involved in this year’s WordsThaw, with a flurry of faculty and alumni participating in either the weekend events or some of the prequel events, including faculty members Lynne Van Luven, David Leach, Patrick Friesen, Kevin Kerr, Derk Wynand, John Barton and Mark Leiren-Young plus alumni Arleen Paré, Kayla Czaga, Hanna Leavitt, Garth Martens, Matt Rader, Jane Silcott, Eve Joseph and D.W. Wilson.

You can read the full schedule of events here, but at a glance, here’s where Writing will be represented:

Governor General's Award-winning poet Arleen Pare is a featured reader at WordsThaw

Governor General’s Award-winning poet Arleen Pare is a featured reader at WordsThaw

Words on Ice: An Evening of Readings (7:30pm Friday, March 20 in HSD A240, doors 7pm) featuring eight Canadian writers: Yvonne Blomer, Karen Enns, Kevin Kerr, Fiona Tinwei Lam, Peter Midgley, Arleen Paré, Matt Rader and D.W. Wilson. Hosted by John Barton.

Natural Divide or Shape-Shifting Chic: Negotiating Creative Nonfiction’s Extremes (10:30-noon, HSD A240) featuring Fiona Tinwei Lam, Mark Leiren-Young and Jane Silcott. Moderator: Lynne Van Luven.

Vanity or in the Vanguard: Self-Publishing’s Makeover (1:30-3pm in HSD A240) featuring Mary Hughes, Patrick O’Connor and Sid Tafler. Moderator: David Leach.

Has it Got Better: Minority Voices or Major Talents (3:15-4:45pm in HSD A240) featuring Hanna Leavitt, Janet Rogers and Daniel Zomparelli. Moderator: Aaron Devor.

Rock me, Amadeus!

It’s the kind of ovation Mozart himself would have loved: Amadeus, Phoenix Theatre’s final production of their 2014/15 season, has been earning raves from local reviewers—and packing the house with almost every performance.

Aidan Correia plays Mozart in Phoenix Theatre's Amadeus (photo: David Lowes)

Aidan Correia plays Mozart in Phoenix Theatre’s Amadeus (photo: David Lowes)

Written by acclaimed British playwright Peter (Equus) Shaffer in 1979 and directed here by Department of Theatre MFA candidate Chari Arespacochaga, the multiple Tony Award-winning play—which also inspired the much-loved Academy Award-winning movie—has been thrilling Phoenix Theatre audiences since it opened last week.

Amadeus continues daily at 8pm to March 21, with a bonus 2pm Saturday matinee on March 21, but tickets have been flying out the door.

Salieri (Jenson Kerr) and Mozart (Aidan Correia) in Phoenix Theatre's Amadeus (photo: David Lowes)

Salieri (Jenson Kerr) and Mozart (Aidan Correia) in Phoenix Theatre’s Amadeus (photo: David Lowes)

Often considered the greatest musical genius the world has ever known, Wolfgang Amadeus Mozart was also seen as vulgar, boorish, unforgivably brilliant—and thus an enemy to be eliminated—by Antonio Salieri, his 18th-century contemporary and fellow composer. Seen through the envious eyes and skewed memory of the aging Salieri, Amadeus chronicles their tumultuous rivalry and Salieri’s devious efforts to destroy Mozart’s career, even while recognizing the genius of his music.

“Director Chari Arespacochaga . . . has imbued the show with wonderful vitality,” writes Times Colonist theatre critic Adrian Chamberlain in this glowing review, praising Arespacochaga’s re-imagining of the show in an insane asylum as “an intelligent approach that works well.” Chamberlain also notes the strong work by lead performers Jenson Kerr (Salieri), Aidan Correia (Mozart) and Samantha Lynch (Constanze), all of whom ensure “the pathos is evenly leavened with humour and hijinx.”

A scene from Phoenix Theatre's Amadeus (photo: David Lowes)

A scene from Phoenix Theatre’s Amadeus (photo: David Lowes)

Chamberlain also praises the show’s design elements, noting Theatre professor Allan Stichbury’s “terrific set [that] resembles a giant dungeon—a dark, forced-perspective vault that encourages us to consider the serious themes underneath the comedy” and the “superb costumes” by undergrad student Pauline Stynes—”The costumes are sumptuous, a feast for the eye.”

CBC Radio’s On The Island theatre reviewer Monica Prendergast enjoyed the show, noting that “the production is working well on a number of levels. It has an extremely strong design, a lovely set by Allan Stichbury . . . . beautifully lit by Michael Whitfield who gives us a gorgeous design . . . . and really nice costumes by Pauline Stynes, so the whole thing gets lifted to a whole other level.” She also notes “the ensemble work was particularly strong.” You can listen to the entire review here.

Amadeus director Chari Arespacochaga interviewed on CTV VI

Amadeus director Chari Arespacochaga interviewed on CTV VI

Interestingly, Arespacochaga and Stynes both have well-established professional careers long before they enrolled in the Department of Theatre—Arespacochaga has been directing major Broadway musicals in Manila for the past decade, many of which then toured across Asia or were remounted in Singapore, while Stynes has a 30 years of tailoring and costume creation behind her—a good decision, it turns out, as Stynes won the local  Critics’ Choice Spotlight Award for Best Costume Design for Phoenix’s Picnic in 2014.

You can see director Arespacochaga talk about the play in this preview from CTV Vancouver Island News (around the 4:34 mark), and you can read more about designer Stynes in this preview from the Times Colonnist. And there was this great conversation on the local CFAX1070 Eye on the Arts radio show (starts around 34 minutes) between Arespacochaga and show host (and Fine Arts alumnus) Adam Swatsky, as well as actor Jenson Kerr (Salieri). The Oak Bay News also spoke with Arespacochaga in this article, where she noted the production is “a great interactive mix of students and industry pros. New thoughts colliding with more experienced thoughts. It’s been dynamic.”

The scheming Salieri (Jenson Kerr) in Phoenix Theatre's Amadeus (photo: David Lowes)

The scheming Salieri (Jenson Kerr) in Phoenix Theatre’s Amadeus (photo: David Lowes)

Local arts blogger Janis LaCouvee noted in this review that “director Chari Arespacachoga does not shirk from difficult questions; her Amadeus is a bold and ambitious undertaking which brings essential reflections on the nature of talent, ambition and legacy to the forefront. Under her inspired direction the students of the University of Victoria theatre department have once again delivered superior theatre to the stage, ending the year with a production that is as complex as the men it immortalizes.”

UVic’s student newspaper Martlet also really enjoyed the production, noting in this review that, “The two male leads, Salieri and Mozart, worked brilliantly together, allowing the audience to feel sympathy for both characters.”

Constanze (Samantha Lynch) is tempted by Salieri (Jenson Kerr) in Phoenix Theatre's Amadeus (photo: David Lowes)

Constanze (Samantha Lynch) is tempted by Salieri (Jenson Kerr) in Phoenix Theatre’s Amadeus (photo: David Lowes)

And Monday Magazine was also impressed with the production, with reviewer Laura Lavin primarily highlighting the cast in this blog review—noting that Aidan Correia “does an admirable job of making Mozart both boorish and endearing,” Jensen Kerr plays Salieri with “spirit and confidence” and the “supporting cast was superb.” She also acknowledges that the “music, lighting and staging of this performance were again superb. The set is dark and gives focus to beautiful period costumes by designer Pauline Stynes.”

Finally, if you missed director Arespacochaga’s pre-show lecture, you can listen to it here and hear her in conversation with Theatre professor Peter McGuire discussing the differences between the play and the film, playwright Peter Shaffer and her own creative process.

Making movie music

Love films? Love music? If you’re interested in learning more about the world of music scoring for film, television or gaming, you’re in luck—three-time Emmy Award-winning film composer Larry Groupé will be hosting a three-day workshop here at UVic’s School of Music, culminating in a recording session of active participant compositions. But the best part is you don’t have to be a UVic student to enroll—it’s open to anyone in the community.

Film composer Larry Groupe

Film composer Larry Groupe

“Larry is a Hollywood professional in a unique position to offer an in-depth examination on the art and practice of writing music to picture at the highest level,” says workshop organizer and School of Music instructor Kirk McNally.

Running April 23 to 25, Film Composition Workshop with Larry Groupé will offer lectures, masterclasses and recording/mixing sessions on two different levels: active participants (10-12 students) will work closely with Groupé and engage in all events, ultimately doing hands-on mixing of one original cue featuring live musicians; passive participants (10-20 students) will also have access to all events, but won’t be doing any presentation of works or mixing—their role will primarily be limited to observation and questions.

Larry_Groupe workshopThe fee for active participants is $250, while passive participants is only $50. All classes happen at the School of Music’s room B037 of the MacLaurin building B-wing. For more details, contact Kirk McNally at kmcnally@uvic.ca.

“For anyone who’s interested in film and TV scoring, this workshop will be a stellar introduction to the field,” says McNally. “Whether you’re a beginner, a student or a budding music professional, you’ll learn an abundance of valuable information, from artistic considerations, to orchestration techniques, to the more business side of things.”

Groupé, who last visited campus in November 2013 to present the lecture, “Film Music: An in depth look and discussion on the current state of composing in Hollywood today,” is one of the most talented and versatile composers working in the entertainment industry today. With an impressive musical résumé in film, television, concerts, gaming, documentaries, popular music and cultural events, his achievements have received both critical praise and popular acclaim.

contenderHis recent movie projects include the likes of The Contender with Joan Allen, Gary Oldman and Jeff Bridges, Straw Dogs with James Marsden, Nothing but the Truth with Kate Beckinsale and Resurrecting the Champ starring Samuel L. Jackson, as well as TV shows like Commander in Chief and Line of Fire. Among his gaming credits are NFL Gameday, Major League Baseball and NCAA Basketball, all for SONY PlayStation.

A graduate of the Conservatory of Music at the University of the Pacific, Groupé went on to earn his Masters of Music in Composition at the University of California at San Diego. He just received his fourth Emmy nomination, this time for Best Original Score for the feature film Under the Boardwalk: The Monopoly Story. And Canadian skater Kevin Reynolds earned his silver medal at the 2014 Sochi Olympics in February 2014 skating to Groupé’s title score for Excelsius.

 

National symposium at UVic addresses acting methods

If you’ve ever seen actors at work—on stage, on screen, on the street or on television—you’ve seen the results of the kind of pedagogy happening daily in the Department of Theatre. But now a first-of-its-kind national symposium co-organized by theatre professor Conrad Alexandrowicz is questioning and examining traditional acting methods, as it addresses what’s been described as “the crisis of actor training in Canada

Conrad Alexandrowicz

Conrad Alexandrowicz

From March 6 to 8 at UVic, Acting Training in a Shifting World will welcome 34 instructors from the majority of Canadian post-secondary drama institutions, ranging from universities and colleges to conservatory programs. “Basically, we’re looking at who we’re teaching and what we’re actually training people to do,” says Alexandrowicz.

Following up on the October 2014 issue of the journal Canadian Theatre Review, which was dedicated to changes in actor training, the UVic symposium will address issues ranging from diversity in gender, sexuality, physicality and ethnicity to funding challenges, new teaching methods and philosophies, postgraduate and company-based training models, and the gap between acting institutions and the professional world.

“We want to reflect a much broader picture: who’s actually living in Canada and what kind of theatre people are making across the board, not just what goes on at festivals and mainstream stages,” he continues. “We’re training people to do a range of things and we need to include a whole different set of approaches to realize that goal.”

For his part, Alexandrowicz specializes in innovative performance techniques that address issues central to the human journey—relationships, gender, power and the nature of the performance event itself. “Realism is only one style of theatre,” he says, “yet we treat it as though it’s a given, as though it’s the sine qua non, when it’s not.” Rather than accept conventional theatrical procedures and forms, Alexandrowicz instead draws from a number of genres and disciplines, deconstructing and recombining them in startling ways—as seen in his direction of last month’s widely lauded Phoenix Theatre production of Lion in the Streets and 2014’s Mother Tongue, his SSHRC-funded interdisciplinary work based on the poetry of Lorna Crozier and Erin Moure. He is also the artistic director of Wild Excursions Performance.

Alexandrowicz working with students

Alexandrowicz working with students

Admitting that both the US and the UK are ahead of Canada in these study areas (“I hate to say it, but it’s true,” he grumbles), Alexandrowicz is keen to affect change from within. “Why are university acting programs simply reproducing all these discriminatory and oppressive patterns that operate in the larger culture?” he asks. By way of a positive counter-example, Alexandrowicz points to Diana Belshaw, head of acting at Humber College and co-editor of the 2014 CTR issue, who notably reconfigured Humber’s theatre department into a performance lab and workshop for creating new work. “We need to diversify our approach so we’re covering more bases.”

As a member of one of Canada’s leading theatrical training institutions, Alexandrowicz is also excited the symposium is coming here. “It’s good for UVic to host a discussion where we’re questioning all the things we’ve taken for granted for decades—that acting always comes out of a printed script,” says Alexandrowicz. “We’re under a lot of pressure to think of theatre training as a greater part of a liberal arts education, so we should be including people from all across campus, people who want to learn about performance but have no interest in professional acting per se.”

He points to the potential performance benefits to be gleaned by forging connections with faculties like law and business, and the increasing popularity of events like TED Talks and UVic’s own IdeaFest, where scientists and thinkers need to be able to effectively communicate their ideas and research. “I really want us to offer this kind of experience to students across campus; we need to democratize how we teach acting to make the experience of learning about performance available to a whole range of people from other disciplines.”

Alexandrowicz pauses and chuckles. “One person even asked if we should still be teaching Shakespeare, so pretty much everything is on the table right now.”

This piece originally ran in the March 2014 issue of UVic’s Ring newspaper

Undergrads in focus at JCURA

While much of the high-profile research and creative activity on campus tends to happen at both the faculty and graduate student level, let’s not discount the foundational work being done by our undergrads. As such, the Faculty of Fine Arts is once again proud to feature the work of 10 students from four separate departments in the annual Jamie Cassels Undergraduate Research Awards.

March 4_JCURAFirst instituted in 2009-10 as the Undergraduate Research Scholarship program by then Vice-President Academic and Provost—and now UVic President—Jamie Cassels, the JCURAs are designed to provide support for exceptional undergraduate students who might otherwise not be able to obtain a direct research experience as a part of what we anticipate should be a truly formative learning experience. With the award nomination process administered by the Learning and Teaching Centre, on behalf of the Provost’s Office, the annual JCURA symposium is one of the highlights of IdeaFest.

You can read full abstracts on all 110 entries here, from almost every department on campus, but we’re just going to note the Fine Arts contributions—which you can find out more about in person at the JCURA symposium running 11:30am-3pm Wednesday, March 4.

The Department of Art History & Visual Studies is in the lead with three JCURA students this year. Aimee Hawker (supervised by department chair Catherine Harding) is focusing on the Basilica of San Francesco in Assisi for her JCURA project. “An essential site of veneration and pilgrimage, it is visited by thousands of pilgrims each year,” she writes. “It also houses the most expansive narrative program that survives in Italy from the 13th and 14th centuries, with masters such as Giotto, Cimabue, Simone Martini and Giunta Pisano taking part in the Basilica’s decoration.” Her project examines the current research on the degradation of the frescos of the Upper Basilica and the restoration and conservation efforts carried out by the Istituto Centrale per il Restauro (I.C.R.).

A clip from Holly Cecil's William Morris film project

A clip from Holly Cecil’s William Morris film project

Fellow AHVS student Holly Cecil (supervised by professor Erin Campbell) presentation is “A Joy to the Maker and the User”: The Arts & Crafts Movement in Canadian Collections, which traces the origins of the British Arts and Crafts design movement to its reception in Canada, by analyzing several representative objects in our Legacy Art Galleries collections. “Uniting beauty and function, these works of art allow us to trace the movement and its appeal to Canadian collectors,” writes Cecil.  Her project will culminate in website-friendly short films, like this foundational William Morris film project she created.

When planning the summer 2015 Legacy Art Gallery exhibit on Katharine Maltwood and the Arts and Crafts movement, curator Caroline Riedel notes, “The inclusion of Holly Cecil’s work . . . also underlines the mandate of the Legacy Art Galleries to foster research and learning through art and, where possible, to showcase the work of faculty and students who work with our collection.”

At work on VISA's Peoples Apothocary

At work on VISA’s Peoples Apothocary

And AHVS’s Laurie White (supervised by professor Allan Antliff) is considering the aesthetic and ideological role community gardens play in our contemporary visual culture. “Through the aesthetic medium of the garden, these shared outdoor spaces promote social interaction and connection to nature and are in this sense works of ‘social sculpture’, a term coined by German artist Joseph Beuys,” she writes. “Whether they grow food or flowers, community gardens are an outlet for creative and political self expression and form an important part of counter-cultural struggles in the West today.” She will be looking at gardens as works of art in themselves, both on an aesthetic and socially transformative level, and will consider local community gardens with artistic connections, such as Vancouver Island School of Art‘s People’s Apothecary.

Meanwhile, Department of Writing student Cody Gies (supervised by professor Lee Henderson) proposes to write and illustrate a weekly/bi-weekly alternative webcomic that will explore and make use of various structures and techniques of the medium. “Inspired by ‘rubber hose’ animation and the highly imaginative works of Jean Giraud (Moebius) and Brandon Graham (an influential Vancouver cartoonist with Victoria connections), I hope to write a surreal fantasy focused on the journey and relationship of two protagonists,” says Gies. “I plan to research and incorporate an interactive narrative experience through use of links, gifs, games, etcetera, embedded in the sequential art.” You can check out both a digital and limited-run print version of the comic at the JCURA fair.

Watch out, Writing profs—Flexer has diagrams

Watch out, Writing profs—Flexer has diagrams

Also in Writing, Jerry Flexer (supervised by Writing chair David Leach) will be examining the very thing he spends days listening to: creative writing pedagogy, with an emphasis on creative nonfiction. “My research will consider two dominant approaches,” he writes. “The product-focused approach invites students to read published works and emulate, while the process-focused approach relies on a step-by-step process to gradually develop learners’ creative writing skills. One area of debate is whether a method based on a process of any kind can be effective. Some creative writing instructors, as well as some published writers, attribute artistic writing to talent and hard work, something instruction does not provide. I will argue for the importance of including a process focus in creative writing instruction because research suggests it better meets the expectations and needs of learners.”

Over in the Department of Visual Arts, Elizabeth Charters (supervised by professor Robert Youds) is examining sculptural practice is space. “I’m interested in how we interact with the space of the constructed environments we find ourselves in,” she says. “Inspired by everything from street lamps and neon signs to the objects displayed on a living room mantle, I am curious about the physical and psychological impacts that various artificial environments­­ have on our way of living. How we move through and interact with the space that is immediately found around us, whether it is in the private or public realm, can be reflected in our body’s relationship to the space and the objects within it.” Charters’ eventual goal is to challenge the viewer’s ideas about lived spaces, providing a platform for both a bodily and psychological understanding of the self within the space of an urban setting.

instagram-to-compete-with-snapchat-with-new-bolt-appAnother Visual Arts student, Hovey Eyres (supervised by professor Lynda Gammon), is looking at the impact of Instagram. A social media application that produces 60 million photographs per day from 200 million users around the world, Eyres notes that “love” and “me” are two of the most popular tags used to describe these photos, with “selfie” not far behind. “These photos reflect my generation’s desperate search for identity and acceptance in today’s society,” she says. “By reproducing these images with pencil and paper, I redefine their context and provoke questions about Instagram, identity, and society. The images’ content is recognizable and familiar, yet the materials make them surprising and stimulating.” Her drawings ultimately reflect issues including publicity versus privacy, appearance versus reality, and the individual versus society.

One last Visual Arts student is Olivia Prior (supervised by Jennifer Stillwell) whose work in the realm of art and technology focuses on “the cohesion of technology, space, and light, by creating interactive installations that generate results unique to each engaging participant.” Her JCURA presentation will use light to examine the control that the physical presence of each participant has in a space, by using various methods to measure values of proximity, sound, or touch. “The light and methods of physical measurement will aim to remove the notion of control, and use technology as a way to reflect the ongoing activity in the space.”

Jerzy Grotowski

Jerzy Grotowski

Finally, we have two Department of Theatre students presenting their research. Emma Leck (supervised by Theatre professors Allan Lindgren and Conrad Alexandrowicz) will be examining the theories of two international theatre artists: Polish experimental director Jerzy Grotowski and Soviet director Vsevolod Meyerhold to determine how external actions can inform emotional states. “This research promises to augment the actor’s process and illuminate issues involving the relationship between body and self,” she says.

And Chase Hiebert (supervised by professor Jan Wood) is engaged in a project that will “explore a technique of acting that engages and involves the audience in a cathartic experience. This research promises to reframe the actor/audience relationship in ways that emphasize the need for empathy.” You’ll have to visit the JCURA symposium to find out more on that.

Faculty Research Symposium looks at digital scholarship

Digital scholarship is one of the big buzzwords on campuses everywhere these days. But how is scholarship being transformed and expanded by digital possibilities? What are the significant challenges in digital scholarship? Those are some of the key questions being explored by the Department of Art History & Visual Studies in the annual Faculty Research Symposium happening on February 27.

Highway Signpost Mentorship“The digital turn is already here,” says department chair and symposium organizer Catherine Harding. “We need to get in there and really claim a presence as Fine Arts—and that’s the hard part. That’s why we need these conversations at the faculty level, to discusses these questions of what digital scholarship looks like for the fine arts.”

Running from 9:15am to 3:45pm in the Haro Room of UVic’s Cadboro Commons building, New Directions in Digital Scholarship offers a range of interdisciplinary presentations from Fine Arts faculty members plus guests from across campus, as well as a keynote address by guest Orion Lecturer Fabrizio Nevola of the University of Exeter.

“The faculty research symposium used to be just for us, but we’ve expanded out in the past few years and it’s been really cool to hear what other people in Fine Arts are doing,” says Harding.

The day is broken into three programs—Digital Initiatives in Fine Arts, Digital Pedagogy and Digital Initiatives in Fine Arts and Humanities—wrapping up with Dr. Nevola’s final presentation, “Seeing and Being in the Renaissance City: Digital Tools for a Context-aware History of Material Culture.”

Among the Fine Arts presenters are Kirk McNally (School of Music) on “Music Archives in Higher Education: A Case Study”, Associate Dean Eva Baboula with student researcher untitledElsie Mountford (Art History & Visual Studies) on “Design and Process in Building an Online Research Tool: the Ottoman architecture of southern Greece”, Dennine Dudley (Art History & Visual Studies) on “Dr. Strangeworld or: How I Learned to Stop Worrying, and Love the Technology”, Department of Writing chair and gamification expert David Leach on “Enter the Labyrinth: The promise and perils of video games in higher education”and School of Music director Susan Lewis Hammond with student researcher Bradley Pickard on “Searching for Claudio Monteverdi in Cyberspace: Digital Bibliography and Early Music.”

Also presenting are Kim McLean-Fiander (English) on “Something Old, Something New: Digital Innovations in Early Modern Scholarship” and Lisa Goddard (Libraries) with “A Second Look: Library Services to Support Digital Scholarship in the Visual Arts.”

AH FRS_2015Harding says she was inspired by attending a digital scholarship for departmental chairs seminar last summer, although she does admit that she’s “slower to embrace the potential” than some of the newer faculty members. She also points out that digital scholarship is particularly tricky in Art History, given the dynamic work being done by UVic’s own Dr. Ray Siemens in the Digital Humanities.

“We are working on digital projects in Art History, but we’re a bit shy about it because we don’t feel we’ve done anything really extraordinary yet,” she says. “No question, Digital Humanities is way ahead of us. But I wanted to create a space with this symposium where we could safely explore these issues without any performance expectations. Digital scholarship isn’t owned by any one area, as we see by the involvement of the English department and Libraries.”

Harding is particularly looking forward to the presentation by Lisa Goddard, recently appointed as an associate university librarian specializing in digital scholarship and strategy. “The question really is, how do we embrace multidisciplinary knowledges? I’ll be interested to see whether she means just art history or if she is indeed able to platform in a way that works for visual arts too.”

App_use_Florence_1_jpg-1024x576Another highlight of the day will be Nevola’s presentation. The creator of Hidden Florence, a website and free smartphone app that takes you on a unique tour of the Renaissance city through the eyes of a “contemporary” guide—a 1490s wool worker called Giovanni—Nevola’s intention is to use digital scholarship to allow visitors the chance to engage imaginatively with Renaissance Florence as a lived experience, while going to places that most tourist guides tend to neglect.

screen5-en-1397248071Department of Writing professor Kevin Kerr tackled a similar project with his Circa 1948 National Film Board collaboration with multimedia artist Stan Douglas, which allows viewers to virtually explore such former districts and Vancouver landmarks in as Hogan’s Alley and the original Hotel Vancouver in 1948.

“There are digital projects already happening in the fine arts, as evidenced by these presentations,” Harding says. She points to What Jane Saw, a reconstructed digital exhibition based on Jane Austen’s 1813 text of an art exhibit she visited, complete with room diagrams and art. The project was created by the University of Texas at Austin’s Department of English. “It’s extraordinary what people are doing with digital pedagogy.”

Department of Art History & Visual Studies Faculty Research Symposium
9:15am – 3:45pm Friday, Feb. 27, Haro Room, Cadboro Commons
All are welcome • Free • Lunch provided

Fine Arts at IdeaFest 2015

IdeaFest 2015_web buttonBack for its fourth year, UVic’s IdeaFest is celebrating ideas that can change everything. Organized by the Office of the Vice President Research, IdeaFest runs March 2 to 7 at various venues across campus and offers over 50 panels, workshops, exhibits, lectures and tours presented by UVic thinkers, innovators and artists. Join us as we explore dozens of world changing ideas!

Fine Arts is heavily involved IdeaFest once again, with five separate presentations as well as participation in two exhibits and the annual Jamie Cassels Undergraduate Research Award fair. (See our full-lineup below.) But with over 50 events at IdeaFest as a whole, the hardest part will be choosing which to attend. Keep in mind, all events are free (unless indicated) and no advance registration is required.

Graphic IdeasGraphic ideas @UVic
12:30-3pm Monday, March 2 • UVic Bookstore

If you love graphic novels, comics, or cartoons, don’t miss this comic book fair with presentations from students, profs and visitors! Writing professor Lee Henderson will be on hand to discuss his new comic strip-focused novel, The Road Narrows As You Go.  Come with your favourite graphic work for a discussion between readers and creators about graphic art. Organized by the departments of French, Curriculum & Instruction, Indigenous Law Research Unit, Hispanic & Italian Studies, Germanic & Slavic Studies, and Pacific & Asian Studies, with support from the Bookstore and Libraries.

new photo_testing 1,2,3Testing 1, 2, 3: New approaches to music courses in the 21st century
6-8pm Monday, March 2 • MacLaurin B037

From Beyoncé and the Beatles to jazz legends and rock divas, our School of Music is always looking for new approaches to its music courses. Through a look at course content, shifting tastes and audience demands in popular music, this illustrated lecture will demonstrate the need for innovative course design. Featuring Music professor Patrick Boyle and instructors Melissa Avdeeff and Colleen Eccleston.

Medieval Minutes
12:30-1:30pm Tuesday, March 3 • McPherson Library A003

Marking an evocative time in history, the medieval period lasted from the 5th to 15th century. Fast-forward to modern day and imagine a large circle of people coming from diverse areas of the campus and the community, some even dressed in medieval attire. All have a medieval story, memory or performance to share. Join the Medieval Studies Program and Art History & Visual Studies professors Jamie Kemp and Catherine Harding for this open-mic event—everyone wishing to step into the circle is welcome and has three minutes to be “medieval”.

The mythology of the mad genius: Five myths about creativity
4-6pm Tuesday, March 3 • MacLaurin D110

Mad GeniusWhere do ideas come from? Do you have to suffer for your art? And are all artists really that eccentric? Find out when moderator and Acting Dean of Fine Arts Lynne Van Luven deconstructs the myths of creativity in this zesty and informative panel discussion featuring one faculty member from each Fine Arts department: Christopher Butterfield (Music), Kevin Kerr (Writing), Brian Richmond (Theatre), Paul Walde (Visual Arts) and Erin Campbell (Art History & Visual Studies).

Jamie Cassels Undergraduate Research Awards symposium
11:30am-3pm Wednesday, March 4 • the SUB’s Michele Pujol room

Join us in celebrating the outstanding research produced by 110 Jamie Cassels Undergraduate Research Awards scholars. Fine Arts will be ably represented by Holly Cecil, Aimee Hawker & Laurie White (Art History & Visual Studies), Jerry Flexer & Cody Gles (Writing), Elizabeth Charters, Hovey Eyres & Olivia Prior (Visual Arts) and Chase Hiebert & Emma Leck (Theatre).

Liar Wins thumbnailThe best liar wins: Hidden information and role-playing
1-3pm Wednesday, March 4 • Phoenix Theatre Lobby

What happens when the audience becomes the performer? Join Theatre professor Anthony Vickery for a fun and dynamic role-playing event where audience members must make a decision with limited information—your figurative life is on the line as you engage in lies, acts of deception and leaps of faith. Members will engage in a battle of wits where they role play a villager in the midst of a crisis and ultimately try to out-perform their peers. This event involves participating in the performance as a villager with guided direction from a leader, followed by a discussion of the performative aspects of role playing.

March 4_Inside JM's DiaryInside JM’s Diary: Researching a WWI “History Mystery”
4:30-6pm Wednesday, March 4 • McPherson Library Special Collections A003

Join Art History & Visual Studies professor Marcus Millwright as he shares clues and tips from around the world that may help him solve a long-standing UVic historical mystery—the search for the true identity of the now-famous “JM,” the author and artist of a World War I diary. The two-volume diary, currently on display at his Legacy-Maltwood exhibit The Arts of World War I, will be on hand so participants can view first-hand over 130 watercolour illustrations and pen and ink drawings detailing the author’s life during the war.

Computers and art_thumbnailCan computers and art produce aesthetic work?
10-11:30am Friday, March 6 • Room 150 of the Visual Arts building

Visual Arts professor Lynda Gammon is joined by colleagues and students from the departments of Computer Science and Visual Arts to discuss projects using computation to produce artwork difficult to make with traditional media. This includes a Flowsnake algorithm that creates detailed single-line drawing with a digital pen, and a composition motivated lighting algorithm that renders animated light patterns from a single sketch. Feel inspired as artists and scientists discuss the symbiosis between the groups and give a demonstration of the creation process.

Light and Colour
Running March 2-7 • Audain Gallery, Visual Arts Building

Visual Arts instructor and exhibit organizer David Gifford invites you to discover a broader understanding of light and colour through a diverse showcase of student-led exhibits. The exhibit includes a presentation by James Tyrwhitt-Drake on particle wavelength duality, a demonstration on synaesthesia by Music student Gowan McQuarrie, and a workshop on LEDs by Olivia Prior. Interactive elements include a camera obscura tent, a rainbow competition and a device that tells the time through colour.

d. bradley muir, The Supernova Scene

d. bradley muir, The Supernova Scene

In Session – ONE
Running 10am – 4pm March 4-7 • Legacy Art Gallery

Step out of digital overload and explore the significance and power of photo-based art. Come explore a showcase of  new works by Visual Arts sessional instructors Megan Dickie, Laura Dutton, d. bradley muir and Tara Nicholson. Note: this event takes place off campus at the Legacy Art Gallery Downtown, 630 Yates St.

Please come out and support our Fine Arts faculty and students. And be sure to check out the rest of the fascinating options on view at IdeaFest 2015.  What’s your idea that will change the world?

IdeaFest 2015_web banner

 

“Brilliant” reviews for Lion in the Streets

It’s another strong batch of reviews for Phoenix Theatre’s latest production, Lion in the Streets. “Brilliant,” “brave and intrepid” and “tremendously successful” are just a few of the accolades that have been rolling in from local theatre reviewers.

Lion in the Streets director Conrad Alexandrowicz on CTV VI

Lion in the Streets director Conrad Alexandrowicz on CTV VI

Lion in the Streets is directed by Department of Theatre professor Conrad Alexandrowicz, who uses his extensive background in physical theatre to fuel his compelling direction of Canadian playwright Judith Thompson’s award-winning play. This is third production in Phoenix‘s 2014/15 season and continues until February 21.

CBC Radio’s On The Island theatre reviewer David Lennam was utterly effusive in his praise for the production, the cast and the direction, noting he could describe it in “one word: brilliant. It’s simply one of the best productions of the year.” Lennam praised the “really professional ensemble acting” and director Alexandrowicz‘s “lively, emotionaly gripping direction.” You can listen to the full review here.

The cast of Lion in the Streets (photo: David Lowes)

The cast of Lion in the Streets (photo: David Lowes)

Times Colonist theatre critic Adrian Chamberlain gave the show four out of five stars in this review, noting “the production, skilfully directed . . . offers a variant on magic realism. Scenes begin in a naturalistic manner, then shift to a nightmarish realm as Thompson plunges into unconscious worlds. This is where the playwright is at her best—her subterranean visions are unrelentingly honest, brave and highly imaginative . . .”

Chamberlain also praised Alexandrowicz’s direction. “The directorial approach, here and elsewhere, is tremendously successful . . . . Alexandrowicz has a thorough understanding of the play—the extra physicality adds much.” Summing up, Chamberlain felt “this is one of the most consistently strong student casts in recent memory . . . . this show will be enjoyed by open-minded, intelligent audiences. It’s not easily forgettable . . . . the excellence of the production makes it all worthwhile.”

The cast of Lion in the Streets (photo: David Lowes)

The cast of Lion in the Streets (photo: David Lowes)

And local theatre blogger Janis LaCouvee also felt the entire production was top drawer in this review, noting “cast and crew have succeeded beyond measure. Lion in the Streets is dark, disturbing, revelatory and illuminating—it demands an audience equally as brave and intrepid.”

LaCouvee also praised the design elements of the show, singling out Colette Habel’s “brooding sound design [which] immediately sets a mood of disquiet and unease, a portent of the tales to come” and Allan Stichbury’s set “[which] oozes muck and mire with sculpted floors and chairs.” She also noted Bryan Kenney‘s lighting (“dark, with narrow slivers of illumination, focusing attention”) and projections (“reminiscent of a child’s drawings, pulling the audience into a world seen through Isabelle’s eyes”), as well as costume designs by Emma Welsh which “bring in elements of the period to punctuate the often-monochromatic colour scheme.”

Lindsay Curl as 9-year-old Isobel in Lion in the Streets (photo: David Lowes)

Lindsay Curl as 9-year-old Isobel in Lion in the Streets (photo: David Lowes)

Lion in the Streets follows Isobel, a lost Portuguese girl wandering around her neighbourhood, frightened and looking for answers. She witnesses a series of dark moments in the intertwined and troubled lives of several strangers in her community as they try to hold on to their own humanity; by watching them, she finds understanding, forgiveness, and ultimately redemption. And although the scenes in Lion in the Streets are set in a Toronto neighbourhood, the play itself brings the audience to a place somewhere between reality and dreams, memories and fantasies.

The production also received strong previews in this Times Colonist article, in which director Alexandrowicz noted his cast immediately embraced playwright Thompson’s dark vision. “Listen, these kids, are you kidding me? Young people these days are, well, they’ve seen it all. They grow up very quickly in a digital age.” Adam Sawatsky of CTV Vancouver Island also offered a preview in this TV interview with Alexandrowicz (skip ahead to the 5:28 mark) and both director Alexandrowicz and set designer Stichbury were interviewed in this Oak Bay News piece. And Gordie Tupper of CHEK TV profiled the Lion in the Streets cast and interviewed Conrad Alexandrowicz in this clip.

Finally, click hear to listen to a recording of director Alexandrowicz’s pre-show lecture about the history of Judith Thompson’s award-winning play and his process of collaborating with the actors to develop this production.

Lion in the Streets continues until February 21 at UVic’s Phoenix Theatre. The show runs 8pm Mondays to Saturdays, with a 2pm matinee on Saturday, February 21. Tickets $14-$24.

Visiting Artist Jessica Eaton

The Department of Visual Arts is proud to present Canadian photographer Jessica Eaton as the latest guest to appear in their long-running Visiting Artist program. Recently described by the UK’s Guardian newspaper as “the hottest photographic artist to come out of Canada since Jeff Wall,” the Montreal-based Eaton is acclaimed for her innovative experiments in color photography.

An example of Jessica Eaton's unique photographic manipulations

An example of Jessica Eaton’s unique photographic manipulations

She’ll be presenting a free illustrated lecture of her work and practices at 8pm Wednesday, Feb 18 in room 162 of the Visual Arts building. All are welcome.

Working with large format cameras, she applies unique analog techniques to manipulate properties of light. By creating photographic practice experiments blending and splitting light using lenses and geometric forms, Eaton creates photographs whose subject is light itself.

In her vibrant images she pushes the rhetoric of abstraction to provoke questions about perceptual experience. “[Analog photography] doesn’t have to be intrinsically bound to the visible world,” she says. “It is full of possibility.”

As noted in the Guardian article, Eaton uses light the way other painters mix colours and her images offer referential nods to colour field painting and the likes of Bridget Riley, Josef Albers and Sol LeWitt. And while her images may look like they came out of a Photoshop experiment, they’re actually the result of technical expertise and “hit-and-miss, old-school technology.”

Jessica Eaton in her studio (photo: Roger LeMoyne, from Canadian Art)

Jessica Eaton in her studio (photo: Roger LeMoyne, from Canadian Art)

“My fuck-up rate is pretty high,” she admits. “On average, one work out of every 200 sheets of film. I think of it as a kind of strategy game. There is a lot of waiting and concentration involved.”

Born in Regina and trained at Vancouver’s Emily Carr Institute of Art and Design, Eaton has shown across Canada and internationally, with recent solo exhibitions in Toronto, Los Angeles and Cleveland, and a solo show at the Photographers’ Gallery/The Hospital Club in London, UK. She is represented by Jessica Bradley (Toronto), Higher Pictures (New York), and M + B Gallery (Los Angeles).

So far this year, the Visiting Artist series has welcomed the likes of Josée Drouin-Brisebois, Senior Curator of Contemporary Art at the National Gallery of Canada, and sculptor Michel de Broin. Coming up next is Nigel Prince, executive director of Vancouver’s
Contemporary Art Gallery (March 4) and painter Melanie Authier (March 18).

 

Celebrated Polish poet spends week on campus

One of the most talented and celebrated younger poets in Europe, the award-winning Tomasz Różycki will be on campus from February 14 to 20, thanks to the collaborative efforts of UVic’s departments of Writing and Germanic & Slavic Studies.

Tomas Różycki

Tomas Różycki

“He really is one of the most remarkable younger poets in Europe,” says Writing professor and tour organizer Tim Lilburn. “He’s published scads of books and they’re almost automatically being translated in English, which is quite rare. He’s really attracting a lot of attention.”

A critic and translator living in the Silesian city of Opole, Tomasz Różycki has published nine books since the mid-1990s, most notably 2004’s book-length Twelve Stations and 2006’s Colonies—both of which are multiple award-winners. His work has been translated into six languages and he is a jury member of the Koscielski Prize (Lausanne) and Prix du Jeune Ecrivain (France).

colonies-cover-imageMira Rosenthal’s 2013 English translation of Colonies was also long-listed for the 2014 PEN Poetry in Translation Award, shortlisted for both the Griffin Poetry Prize and the Oxford-Weidenfeld Translation Prize (UK), and won the Northern California Book Award for Poetry in Translation. Różycki has also been nominated twice for the NIKE Prize (2005 & 2007), and once for the Paszport Polityki, Poland’s top literary award.

Lilburn says he first ran across Colonies at a Seattle book store in 2013 and was immediately captivated. “I thought, ‘Whoa—what’s this?’,” he recalls. They then met at an international poetry festival in Hong Kong. “I was really impressed by him,” Lilburn says. “He seemed to be a perfect fit for us here at UVic. There’s also a lot of interest in his visit by the local Polish community as well.”

Open WordDuring his February 14 to 20 week on campus, Różycki will be meeting with faculty, students and the local poetry community, as well as doing a number of readings. First up is his appearance at the long-running Open Word: Readings & Ideas series at 7:30pm Tuesday, Feb 17, at Open Space (510 Fort, by donation). Following a reading of his work—in Polish, followed by English translations (“his English is serviceable, but the translations are lovely,” says Lilburn)—who will also conduct a live interview with Różycki after the reading.

Różycki’s next presentation is with the Department of Germanic & Slavic Studies, speaking on “History and Memory in Eastern European Cultures” at 3:30pm Thursday, Feb 19 in Clearihue C112. “His family comes from Eastern Poland, and most were uprooted after WWII and transplanted into Silesia while Germans were moved further west,” explains Lilburn. “That was his parent’s and grandparent’s generation, but it really shapes his work; you can tell he’s afflicted with nostalgia.”

Finally, Różycki will present an Orion Lecture for the Faculty of Fine Arts on “Post-war Polish Poetry (or, To Write a Poem After the End of the World)” from 3 to 4:30pm on Friday, Feb 20 in room 103 of the Fine Arts Building (free, all are welcome).

“It’s good to bring international poets of this prominence to the city,” concludes Lilburn, himself an internationally recognized poet of note. noting the 2009 visit by renowned Chinese poet Xi Chuan as one of UVic’s Visiting Scholars. “We’re all quite excited about his visit.”