Enter Vodka, exit Masters student

When it comes to their theses, UVic’s graduate students are always looking for something new. Recently, Master of Education student Mike Irvine became the first person to conduct an underwater webcast defence of his thesis. Now, Department of Writing MFA candidate and playwright Leah Callen will present a staged reading of her thesis—the surreal play Enter Vodka—followed by a public defence . . . in front of a live audience.

Dept of Writing MFA Leah Callen

Dept of Writing MFA Leah Callen

“Originally, I asked to do my defence under-vodka, but that was a no-go,” quips Callen. “I’m just grateful for the opportunity to have my play read by some lovely actors to an audience. A script doesn’t mean much unless it is heard out loud.”

Enter Vodka marries the personal histories of two dead Russians—Stalin’s daughter and the Romanov Princess Anastasia—both stuck at 17, and trapped inside a melting Fabrage egg. In Enter Vodka, nothing is as red or white as it seems. The 90-minute show begins at 8pm Sunday, April 26, at the Intrepid Theatre Club (1609 Blanshard, at Fisgard) with Callen’s thesis defence to follow. Admission is by donation.

The staged reading—directed by Melissa Taylor, featuring Kathleen O’Reilly & Julie Forrest, and designed by Kerri Flannigan & Colette Habel (all UVic students or alumni)—is part of Intrepid’s monthly New Play Reading Series and in support of the Equity in Theatre Initiative, which continues to celebrate the work of local women playwrights at all stages of their careers. “We are happy to be working with the UVic writing program on this project to bring new plays to life,” says Intrepid artistic director, playwright and celebrated Department of Theatre alumna Janet Munsil.

A scene from Callen's The Daughter of Turpentine

A scene from Callen’s The Daughter of Turpentine

Nervousness aside, Callen is looking forward to the opportunity of having her new play presented in public. “UVic’s Writing program is wonderful, but I felt pretty cloistered as a playwriting graduate student, typing away by myself for two years,” she says. “I’m both excited and terrified by the defence part—but if I can’t stand up to a little public scrutiny, what kind of a playwright am I? My characters have to go through the fire literally, so the least I can do is honour them figuratively with a little Q&A.”

The idea behind the public defence came from Callen’s MFA supervisor—award-winning playwright and Writing professor Kevin Kerr—who wanted her project to step off the page. “A stage play is meant to be seen in performance and, as a writer, it’s important to see the work handled by the other collaborating theatre artists who bring the work to life,” he explains. “The success of the thesis is not only on the page, but also in the way that it inspires other artists to create a living experience for an audience.”

Writing professor & playwright Kevin Kerr

Writing professor & playwright Kevin Kerr

Kerr feels this is an ideal opportunity to showcase the creative academic process. “It seemed to be an exciting way to handle this formal step in Leah’s academic journey,” he says. “It’s potentially an opportunity for an audience to get a first-hand encounter with what a Fine Arts graduate degree entails, and demonstrates the connection between the work done inside a university Fine Arts program and the professional practice the students are working towards.”

Both Kerr and Callen expect it to be more than just a standard theatrical talk-back session. “There will be a different level of stakes attached to the process, as the questions—and answers—are part of the final step for Leah to complete her MFA,” he says. “People witnessing the defence will also be able to contribute to that experience with questions of their own.”

Not that Kerr is out to add extra pressure to an already daunting experience. “Will it be nerve-wracking? Yes—but exciting as well,” he chuckles. “Leah is being supported by a team of artists who are invested in presenting the work to the best of their abilities. Their passion is already a vote of confidence in the candidate’s talent and ability, so Leah’s not alone in this experience.”

Callen—who spent the past two years studying with playwriting faculty Kerr and Joan MacLeod—had her first one-act play, The Daughter of Turpentine, produced by Phoenix Theatre’s SATCo in 2014. She has also reviewed theatre for local online magazines Coastal Spectator and CVV Magazine. A revamped version of Turpentine will reemerge as a full production at the Victoria Fringe Festival in August this year; directed by Phoenix Theatre’s Chase Hiebert, Callen promises it will “literally set the stage on fire.”

enter vodkaThe inspiration for Enter Vodka originally came from a poem she wrote about the Romanovs for Writing professor Tim Lilburn’s poetry workshop. “This story is inspired by the two real women, but it’s a metaphor for the places people visit when wounded, to escape or  revisit pain in ways that are as ritualistic as drinking tea, lighting candles or doing shots of vodka,” explains Callen, who cites the likes of Tennessee Williams, Tomson Highway, Sarah Ruhl, and Wajdi Mouawad as influences.

“Anastasia ordering Svetlana about could easily be modern-day Russia trying to drag Ukraine back home. I’m playing with the historical forces that have led to this moment in time, and in the end their holy kiss has explosive repercussions literally and figuratively. But this is not a biographical play. It is symbolic and thematic of the Russian struggle, but it’s mostly about women trying to find joy and freedom in the face of death.”

Kerr is also looking at this as something of a pilot project. “I’d be interested in continuing to find more opportunities to connect our grad students to the larger theatre community and audience as part of their time here,” he says. “I think it could be an important part of what we can offer as a program.”

New Phoenix season offers mix of modern and classics

Hot on the heels of their critically acclaimed (and commercially successful) 2014-15 season, Phoenix Theatre recently announced their lineup for next year. A mix of new work, old classics and rarely seen gems, the 2015-16 season is looking like another great year.

“Theatre has a way of reminding us what it means to be human,” says Theatre department chair Allana Lindgren. “At the heart of the Phoenix Theatre’s 2015/16 season are four plays that share compelling human stories, and with master playwrights like Bertolt Brecht, Anton Chekhov and Tennessee Williams in this list, I know you’ll love the plays we’ve chosen for next season.” Here’s what’s coming up:

Loon by the WONDERHEADS (photo: Andrew Phoenix)

Loon by the WONDERHEADS (photo: Andrew Phoenix)

Opening the season with their traditional Spotlight on Alumni, Phoenix alumna Kate Braidwood returns to campus with her performance partner Andrew Phoenix and their widely acclaimed WONDERHEADS company. They’ll be presenting the wordless and whimsical Loon (October 14-24), a beautifully surprising mix of physical theatre, comedy and pathos and a love story the likes of which you’ve never seen. CBC enthusiastically described Loon as “a live cartoon for lovers and for dreamers; that is, for everyone. I’d give it more than five stars—I’d give it the moon.”

Loon centers on Francis, a lonely janitor who is plagued by isolation and tickled by whispers of childhood imagination. He has hit rock bottom and discovers that he has nowhere to go . . . but up. And up. And up! But will plucking the moon from the sky bring him the love he is searching for? The Portland-based WONDERHEADS have been hits with every show they’ve brought to town (including Fringe Fest favourites Grim & Fischer and The Middle of Everywhere) and it’ll be a pleasure to see Braidwood back at the Phoenix in the Spotlight on Alumni.

A German poster for The Threepenny Opera circa 1928

A German poster for The Threepenny Opera circa 1928

Up next is Bertolt Brecht’s classic The Threepenny Opera (November 5-21), featuring the music of Kurt Weill—possibly best known for bringing the jazz standard “Mack the Knife” into the world. Directed by Theatre professor Brian Richmond, The Threepenny Opera borrows from the 18th-century The Beggar’s Opera and offers an edgy mix of biting satire and sheer theatrical innovation as it takes aim at the traditional bourgeoisie and reveals a society where law is fickle, money corrupts and crime absolutely pays.

“This is quite possibly the most important piece of musical theatre in the 20th century,” says Richmond, who will be working with Applied Theatre professor Kirsten Sadeghi-Yekta to bring a strong sense of realism to this production. Richmond is well-known for breathing fresh life into classic works, as evidenced by past Phoenix productions like Guys & Dolls, Dark of the Moon, The Wind in the Willows and Romeo & Juliet.

Renoir's 1881 painting "Le Déjeuner des Canotiers" catches the flavour of Wild Honey

Renoir’s 1881 painting “Le Déjeuner des Canotiers” catches the flavour of Wild Honey

Moving into 2016, we have Michael Frayn’s Wild Honey (February 11-20). Directed by Theatre professor and Phoenix alumnus Peter McGuire, and adapted from an original play by Anton Chekhov, Wild Honey offers a charming and hilarious love triangle set on a hot summer day on a provincial country estate, where friends, neighbours and family all get caught up in an elaborate game of romantic cat-and-mouse.

“Shakespeare said, ‘what fools these mortals be’ and I want to celebrate that sense of foolishness,” says McGuire, noting that Wild Honey is a lot like “a Woody Allen film—it shows us lives filled with love, sex and intrigue, all with a strong element of farce.”  McGuire also plans to take a decidedly non-traditional approach to the production, with the design mixing old and new, classic and modern—all to a jazzy, klezmeriffic music score. Curiously, Wild Honey is based on Chekhov’s first ever play, which was then sealed in a bank vault until after his death.

Summer and Smoke is evoked in Richard Emil Miller's 1910 painting "The Pool"

Summer and Smoke is evoked in Richard Emil Miller’s 1910 painting “The Pool”

Finally, Phoenix ends its season with Tennessee Williams’ Summer and Smoke, as directed by MFA candidate Alan Brodie (March 10-19). Set in Mississippi at the turn of the 20th century, Summer and Smoke sees Tennessee Williams at his most passionate as he gives us the tale of Alma—the daughter of a small-town minister and mentally unstable mother, who harbours a life-long infatuation with her restless and self-indulgent neighbour, John. Of course, Alma and John’s struggle—between body and soul, anarchy and order, love and lust—leads to profound changes in both their lives.

“As a designer, I’ve done plenty of shows but hardly any from the modern American milieu,” says director Brodie. “I’ve always been drawn to early 20th century playwrights like Williams, who emphasize story, character and psychology. This is essentially a love story, just one without a happy ending.” (Better get out your handkerchiefs for this one.)

A bittersweet exploration of love and longing, Summer and Smoke is a true American masterpiece with unforgettable characters that break our hearts even as they touch our souls.

Click here for ticket information, and subscriptions for the 2015-16 season are already on sale here.

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.

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

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.

Lion in the Streets moves with the world inside

What happens when we combine movement and dance with complex emotions, darker realities and unhappy experiences? Department of Theatre professor Conrad Alexandrowicz uses his extensive background in physical theatre for his direction of Canadian playwright Judith Thompson’s award-winning play, Lion in the Streets—the third production in Phoenix Theatre‘s 2014/15 season.

Director Conrad Alexandrowicz (photo: David Lowes)

Director Conrad Alexandrowicz (photo: David Lowes)

Alexandrowicz has always loved the powerful combination of dance and theatre working together. With a BFA in Dance and an MFA in Directing, he is also the founding artistic director of Wild Excursions Performance and, since 2008, the Theatre department’s professor of movement and physical theatre. Alexandrowicz was interested in staging Lion in the Streets for the current season, and wanted to explore the possibilities for impactful movement and choreography in this challenging piece. “Theatre provides a forum of common experience—and really good theatre should ask difficult questions and challenge audiences at the very foundation of their beliefs,” says Alexandrowicz. “It should shake you to the core.”

Learn more about Alexandrowicz’s vision when he discusses his collaborative directing process in a special pre-show lecture at 7pm, Friday February 13.

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.

Read more about the Phoenix production of Lion in the Streets in this Times Colonist article, which also features an interview with playwright Judith Thompson. And both director Alexandrowicz and set designer Allan Stichbury were interviewed in this Oak Bay News piece.

“At first glance, this play seemed to be a series of fairly realistic scenes contained within a completely non-realistic frame, amounting to a kind of allegory,” says Alexandrowicz. “But then I realized that nothing about this play is realistic. This sits well with me as, coming from a background in dance and text-based performance, I am compelled by the possibilities of scripts that emphasize the physicality of the actor.”

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

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

Prior to rehearsals, Alexandrowicz consulted the playwright herself to talk about the real-life inspirations for the play. Thompson described the personal memory that sparked the need to tell this story and give voice to the victims of horrible crime: while living in Toronto in 1983, a nine year-old girl named Sharin Morningstar Keenan was abducted and murdered in her neighbourhood. “We lived on Brunswick Avenue at that time, very near the park where she was taken,” Thompson recalls. “All night we heard the police van’s pleas: if anyone has seen a nine year old  girl . . . and while we listened, she was being murdered a block away. That is inscribed on my soul.”

It is dark memories like this that remain with Thompson and inspired her to pen Lion in the Streets in 1990, which tackles the incredibly challenging subject material with a sense of poetry and allegory. “Yes, the play portrays violence, but it strives to put it in to a context, a continuum, in which the emotional violence within different relationships has the potential to lead all the way to murder,” notes Alexandrowicz. “That smaller interpersonal and emotional violence have the capacity to generate lethal physical violence across generations.”

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

Dynamic movement is a big part of Lion in the Streets (photo: David Lowes)

Going into the rehearsal process, Alexandrowicz remained open to the many possibilities of collaborating with his cast. Many directors approach a play with a very clear idea of what the final product should look like and how the characters should talk and act. Conrad chose to begin with a clear idea of only the themes of each scene and let the specifics arise out of the collaboration with the actors, working together to improvise and experiment with movements and characterization to mould the final product. “This is the way I work all the time”, says Alexandrowicz, who has a strong background in devising new plays from poetry and text. “If you’re not collaborative you’re missing out because everyone has such great ideas.”

While this style of creation is the norm for Alexandrowicz, it was a whole new world for many of the student actors. “Conrad really encouraged neutrality going in, which was absolutely terrifying as a young actor”, says student Lindsay Curl, who plays the nine-year-old Isobel. “Each rehearsal was like trying on different approaches to the character until we found one that fit.” Student Levi Schneider, who plays multiple characters throughout the play, says that the creative process could be challenging at times. “There is a lot of responsibility as an actor. It was sometimes difficult to know which improvisational choices were beneficial to the themes and which should be put on the back burner.”

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

Recreating an Ophelia moment in Lion in the Streets (photo: David Lowes)

After six weeks of rehearsals, the production has captured that poetic sense of existing between reality and dreams, memories and fantasies. In many scenes, several actors move together as an ensemble or tableau to portray the emotional state of one individual character. “I wanted the actors to animate the interiority, the inner landscape, of the character who’s talking and try to make physical their unspoken internal words,” explains Alexandrowicz.

And these internal thoughts – made manifest on stage through the actions of the cast – also help to emphasize the humanity of these characters, casting a light of hope on the darker challenging stories, that hopefully will, as Alexandrowicz says, “shake you to the core.”

This story was written by Leah McGraw, a second year student in both Theatre and Writing.

Lion in the Streets
February 12-21, 2015
UVic’s Phoenix Theatre
8pm Mondays to Saturdays, with a 2pm matinee on Saturday, February 21
Tickets $14-$24

Victoria Film Fest features Fine Arts filmmakers

Like spring rains and sleepy groundhogs, the Victoria Film Festival is back and is once again featuring a number of contrbutions from the Faculty of Fine Arts. As well as representation on the VFF jury by current Writing MFA playwriting candidate Leah Callen and recent MFA filmmaker Connor Gaston, a number of faculty and alumni filmmakers are well represened in this year’s fest, running Feb 6-15 at various venues around the city.

Who is Theatre's Leslie Bland with Alex Trebec?

Who is Theatre’s Leslie Bland with Alex Trebec?

Up first is the feature documentary Gone South: How Canada Invented Hollywood, co-directed by Department of Theatre alumnus and instructor Leslie D. Bland. Created with bestselling local humourist Ian Ferguson (author of How To Be A Canadian), Gone South seeks to expose the dirtiest secret in all of Hollywood—who is secretly Canadian?

A hilarious history of Canada’s contributions to Hollywood from the early 20th century onwards, Gone South documents the role Canadians played in founding Tinsel Town, and the roles Canadians continue to play to this day. From Alex Trebek and Monty Hall to Neve Campbell, Howie Mandel, Tommy Chong and Alan Thicke, Gone South features funny and frank interviews with some of the most famous actors, directors, musicians and producers who share this secret heritage. No surprise, Canadians are everywhere in Los Angeles . . . you just have to know where to look.

This is another kudo for Bland, who was recently awarded a UVic Continuing Sessional Lecturer Scholarship from the Learning and Teaching Centre. Gone South screens at 6pm Friday, Feb 6, at the Vic Theatre. Read more about it in this Globe and Mail article and in this piece from the Times Colonist.

Bradley on the set of Two 4 One  (photo: Arnold Lim)

Bradley on the set of Two 4 One (photo: Arnold Lim)

Up next is Department of Writing professor Maureen Bradley and her transgender romantic-comedy Two 4 One. Frequent readers of this blog will have followed Bradley’s debut feature film from its inception at the National Screen Institute’s Features First initiative through its filming during her study leave in early 2014 and its world premiere in Calgary and popular screenings at follow-up festivals. Just before their appearance at the VFF, Two 4 One will be the opening gala at the Available Light Film Festival in Whitehorse, Yukon—Canada’s largest Film Festival north of 60—an event at which Bradley and producer/Fine Arts staffer Daniel Hogg will be on hand.

two 4 oneA bittersweet romantic comedy, Two 4 One finds its transgender hero in an unimaginable predicament when ex-lovers Miriam and Adam have an ill-advised one night stand that sees them both end up pregnant. Featuring a standout performance from Gavin Crawford (This Hour Has 22 Minutes)—who was recently nominated for an ACTRA Award for his role in Two 4 One—Bradley feels the fact that she could write and shoot her film in Victoria is a strong indicator of the growth of the local film scene.

“There are a lot of amazing filmmakers locally now, and many are coming out of the Writing department,” she says, noting the likes of alumni Connor Gaston, Stacey Ashworth, Amanda Verhagen, Jason Bourque and Scott Amos. “It’s engaged learning at its finest; my students learn so much from being on set in my classes. Plus, they’re good writers. The department creates great poets, great fiction writers, great CNF and now we’re getting great screenwriters.”

You can hear Bradley discuss her film on CBC’s All Points West “Creative Class” column with Amanda Farrell-Low (skip ahead to 4:58), as well as in this CFAX 1070 interview with Pamela McCall (at the 48:00 mark).

Two 4 One has a Valentine’s Day screening at 6:30pm Saturday, Feb 14, at the Odeon  and noon Sunday, Feb 15, at the Vic Theatre. Bradley and Hogg will be attendance at both screenings for a post-show Q&A.

Connor Gaston's Godhead

Connor Gaston’s Godhead

Speaking of alumni filmmakers, Connor Gaston recently wrapped his own locally lensed debut feature, The Devout, and his intriguing short film Godhead will be seen at the VFF. Gaston has been making a name for himself of late thanks to the popularity of short films like the award-winning (and UVic created) ’Til Death.

Godhead will screen as part of the “Grander Schemes” short film program at 8:45pm Saturday, Feb. 15, at the Vic Theatre.

The triple-alumni creared Gord's Brother

The triple-alumni creared Gord’s Brother

The busy alumni filmmaking team of Jeremy Lutter, Ben Rollo and Daniel Hogg are back again with their latest short film, Gord’s Brother. This same team of Writing grads earned film fest kudos back in 2011 with their robot charmer Joanna Makes A Friend and will now debut Gord’s Brother—created with funding they won through Harold Greenberg Fund’s Shorts-to-Features program. Lutter directs, Rollo writes and Hogg produces what’s described as is described as a “10-minute fantasy” in which “the protagonist discovers his baby brother is a monster, forcing him to visit the City of Monsters, where lessons are learned.”

Gord’s Brother screens as part of the short film program “Tense Times” at noon Saturday, Feb. 14, at the Vic Theatre.

Congratulations to all UVic filmmakers for their continuing outstanding work!

 

Following her bliss: Distinguished Alumni Mercedes Bátiz-Benét

She’s the artistic director of Puente Theatre, the cinematographer for Look At What the Light Did Now—the Juno Award-winning documentary about Canadian singing sensation Feist—and recently won the Canadian Stage Award for Direction at the SummerWorks Festival with her acclaimed play El Jinete: A Mariachi Opera. By day, she’s the poetry, fiction and non-fiction editor at the publishing house Bayeux Arts, and her first children’s book Lunar is forthcoming later this year. Now, Department of Writing graduate Mercedes Bátiz-Benét can add UVic’s Distinguished Alumni Award to her impressive list of credits.

Mercedes Bátiz-Benét, 2015 Fine Arts Distinguished Alumni, (photo: Peter Pokorny)

Mercedes Bátiz-Benét, 2015 Fine Arts Distinguished Alumni, (photo: Peter Pokorny)

“Personally and professionally, it means the world to be named one of this year’s Distinguished Alumni. I am deeply honoured,” says Bátiz-Benét from her family home in Mexico. “There were so many people who told me I wouldn’t last a semester at UVic and in Canada, that I would never be able to do a writing degree in another language, that I had no business doing so and that I wouldn’t have the courage, discipline, and tenacity to endure a life in the arts.”

“And when I think of the girl I was on my first day of university—frightened, overwhelmed, alone, and completely out of place—I don’t know why I didn’t believe all of that myself. But receiving this award has given me the opportunity to look back and realize how much and how hard I’ve worked to be where I am today, of how privileged I am to have an academic background in the arts and in philosophy, and to have a life, a fulfilling career and job in the arts.”

the sum of her achievements

10553522_815192998504382_4015896536161607713_nTruly a renaissance woman, Bátiz-Benét—who speaks several languages—is an ideal choice as this year’s Distinguished Alumni for the Faculty of Fine Arts. Beyond her role with Puente Theatre, productions of her own plays include Faust: Ignis Fatuus (part of 2005’s international Faustfest), Cruel Tears/Lágrimas Crueles for Blue Bridge Repertory Theatre, the roundly lauded El Jinete: A Mariachi Opera, which she wrote and directed, and, as co-writer, The Secret Sorrow of Hatchet Jack MacPhee for Caravan Farm Theatre, The Erotic Anguish of Don Juan for the Old Trout Puppet Workshop, as well as both The Umbrella and Gruff for the Kaleidoscope Family Theatre Festival.

Alumni Week 2015—the eighth annual spotlight on the positive impact of more than 100,000 UVic grads—runs from February 1-7. In addition to the Distinguished Alumni Awards, there are over a dozen other events including lectures, workshops, reunions and a featured evening with Chancellor Shelagh Rogers. “Some of our most meaningful connections happen through education—and this is true for both students and professors,” says Dr. Lynne Van Luven, Acting Dean of Fine Arts. “To be alumnus is to be part of something vital:  memories, friendships, awakenings, ideas. Alumni Week captures all such excitement.”

“It’s an immense honour to be recognized by my faculty in my professional life, and in my life after university; I am truly humbled,” says Bátiz-Benét. “The 10 years I spent at UVic were some of the most fruitful, fulfilling and difficult years of my life, and the most important years of my formation as a woman, an artist, and a human being. I absolutely loved every second of my life at UVic, and to be now named one of the Distinguished Alumni is like putting a giant bow on the immense gift of my academic and professional lives. I love what I do, and I wouldn’t be able to do it had I not attended every class, read every book I read and engaged in every discussion I did.  It fills me with pleasure and joy to know that my faculty and my alma mater feel proud about who I’ve become through their help.”

Mercedes speaking at the Distinguished Alumni Awards  (UVic Photo Services)

Mercedes speaking at the Distinguished Alumni Awards (UVic Photo Services)

Joining Bátiz-Benét at the 2015 Distinguished Alumni Awards Night on Wednesday, February 4, at the Hotel Grand Pacific will be the other noted thinkers, changers and difference-makers being honoured: Victoria Wells (Continuing Studies), Anne Tenning (Education), Josh Blair (Engineering), Kim Henderson (Human & Social Development), Lucas Aykroyd (Humanities), Douglas S. White (Law), David Day (Libraries), Dr. Tom Rimmer (Medical Sciences), Robert Beecroft (Science) and Susan Cartwright (Social Sciences).

a Mexicanadian perspective

Born and raised in Mexico, Bátiz-Benét moved to Canada in 1997 to attend UVic, where she earned a BFA in Writing (both poetry and drama), as well as a BA (with honours) in Philosophy. She also completed a Diploma in Film Production from the Pacific Film & New Media Academy. Approaching expression from as many angles as possible, she has worked as writer, dramaturge, theatre director, translator, adapter, actor, puppeteer, multi-media artist, screenwriter, film and video editor, cinematographer and director. Not that any of that was the plan, of course.

A scene from her mariachi opera, El Jinete

A scene from her mariachi opera, El Jinete

“I never intended to live in Canada,” she says. “But I chose UVic because of its writing program and because it was on an island in the Pacific. The prospect of studying and reading the great masters and thinkers, while being able to develop my own writing amidst a forest of pines by the ocean, was a dream come true.”

“Moving to an entirely different culture, language, way of thinking, and country, did wonders for my growth as a person and as an artist,” she continues. “I was able to find out who I was and what I was capable of doing away from the comfort and security of home, family, my culture, and my language.  I feel very grateful and lucky I was able to study as many things as I did, and to learn and experiment with as many things as I did.“

As one of the many international students who contribute to UVic’s rich tapestry of success, Bátiz-Benét never regrets choosing to come here to learn. “I think it’s paramount for local audiences to learn from other cultures, especially in the multicultural experiment that is Canada. “We need to learn from each other so we have a greater and better understanding of what it means to be human,” she says. “Every culture experiences life from a different angle, from a different point of view and, in my experience, the more points of view you have, the more your understanding expands and deepens.  I have a Mexican way of understanding and viewing the world, as well as a Canadian one, which enables me to develop a third point of view—a ‘Mexicanadian’ one, if you like.”

Bátiz-Benét and Brian Richmond (photo: Times Colonist)

Bátiz-Benét and Brian Richmond (photo: Times Colonist)

Blue Bridge Artist Director and Department of Theatre professor Brian Richmond worked with Bátiz-Benét in 2014 on Cruel Tears/Lágrimas Crueles. “Mercedes is scary smart,” he says. “I have not only had the great privilege of working with her in Mexico and Canada on two very different productions of the musical Cruel Tears/ Lágrimas Crueles, but have watched her remarkable work with Puente Theatre with admiration and respect. She is an amazing asset for the Victoria, British Columbian and Canadian theatre community.”

exploring many paths

But how did she go from her original plans to specialize in poetry and journalism, to a career in theatre and film? “I actually found theatre and film during my time at UVic,” she explains. “Writing 100 changed my life—not only did I have to write poems, but also a play for the very first time, and a short story. It opened my eyes to new worlds of possibility, learning and expression, and when the time came to choose my major, I couldn’t let theatre go.”

Bátiz-Benét's cinematographic work helped this Feist film win a Juno Award in 2012

Bátiz-Benét’s cinematographic work helped this Feist film win a Juno Award in 2012

Deciding on a double-major (poetry and drama), Bátiz-Benét was able to direct a staged reading of one of her plays at the Phoenix. “I knew then and there that I wanted to write and, one day, direct plays. I was hooked; I wanted to do anything and everything that had to do with theatre. Similarly, it was in a writing for film class that I made my first ‘film’ and, for the very first time, had hands-on experience in that field.”

Switching her minor from journalism to film studies, she then took as many literature and film classes as she could in other departments—including Germanic and Slavonic Studies, Latin-American Studies and French Studies. And, she says, her Philosophy degree provided her with the necessary tools and foundation needed to expand her own thinking, and creativity, as well as developing the capacity to doubt, question and find her way through her own thoughts, art and life.

“I am deeply grateful to UVic for allowing me to discover who I wanted to be and what I wanted to do,” she says. “I developed as an artist beyond anything I could’ve imagined on my first day of university, and have grown to be the person that I am, with the life that I have, thanks to everything I learned and experienced in my 10 years of full-time studies at UVic.  Without my BFA, I never would’ve come to know these worlds, and I would’ve become a very different person.”

following her bliss

CRUELTEARS_001While Bátiz-Benét says it would be “impossible to list all the invaluable advice” she received from fellow students, staff and professors, when asked for one notable piece of advice she received while a student, she singles out two of her “greatest professors, mentors and friends:” Derk Wynand and the late Brian Hendricks, both of the Department of Writing. “Derk always told me to write about what I knew, and to always keep learning, so that I could in turn expand my writing,” she recalls. “And Brian told me to follow my bliss—words to live by.  I try to follow their advice every day and with everything that I do.”

On the flip side of that, what’s one piece of advice she’d offer current Fine Arts students? “Never close yourself to learning, work hard every day and, in the words of Brian Hendricks, follow your bliss.”

When asked what the key is to succeeding in the arts, Bátiz-Benét admits her own life continues to be a work in progress.

“I don’t really know what the key to succeeding is . . . but I think the key to creating in the arts is to work hard and persevere, to always be open to new ideas, possibilities, and learning, and to follow an idea through to its logical conclusion,” she says. “Our curiosity, our willingness to dive into the unknown, our love and our need to create, understand and express an idea—those are the things that make us artists. The blank page is a frightening thing, but if one pushes through with the aid of passion, and perseverance, one can discover infinite marvels and possibilities beyond our wildest dreams.”

She advises current Fine Arts students to not be nervous about their chosen paths, but to instead follow their passion, work hard and persevere—and trust the rest will fall into place.

Mercedes with Acting Dean of Fine Arts Lynne Van Luven (UVic Photo Services)

Mercedes with Acting Dean of Fine Arts Lynne Van Luven (UVic Photo Services)

“There’s no doubt about the ‘risky’ nature of a career in the arts—not only due to budgetary constraints and funding cutbacks, but also because of the saturation of the field, scarce job opportunities, and the huge importance of being in the right place at the right time,” she cautions. “Money and security are not what artists should be after, but experimentation, creativity and the creation of meaning . . . . We should be worried about ideas, stories, images, feelings, concepts, thoughts and dreams, about the intangible. Money and stability are not what stories are made of. Don’t be afraid; instead, invent, experiment, learn, be willing to fail and push through to the other side.”

Looking back, Bátiz-Benét concludes with a simple but evocative thought befitting her latest honour as a Distinguished Alumni. “I graduated with a BFA because I fell in love with more than one field in the arts, and I wanted to begin a journey into the unknown,” she says. “And what better way is there to create, than to thrust yourself into the unknown?

Fine Arts Wellness Day

Even though much of academic life is focused on classes, assignments and performances, it’s also important to maintain a sense of wellness. Physical, mental and spiritual wellbeing will keep you in top form to meet the demands of life as a busy university student. It’s especially tough here in the Fine Arts, where we also have the added pressures that come with a creative life—rehearsing for and giving performances, for example, or presenting our creative work to general audiences.

Wellness Day 2015Fortunately, UVic has a full range of wellness resources to assist students and help them maintain a healthy balance in life. From recreation and fitness opportunities to counselling and spiritual services, we are committed to your health and success.

As such, Fine Arts is proud to be hosting our own Wellness Day from 10:30am-1:30pm on Wednesday, February 4. Organized and hosted by the School of Music, there will be a full range of information, drop-in sessions and services for you to discover in the MacLaurin B-Wing lobby & various rooms. Here’s what’s lined up:

• You can speak to friendly and helpful representatives from Health Services, Counselling Services, the Resource Centre for Students with a Disability, Multifaith Services and Peer Helping during our Resource Fair. They’ll all be happy to provide information about their various on-campus wellness options. That runs throughout the event, from 10:30am-1:30pm in the B-Wing lower lobby (downstairs)

puppy• Henri Lock from Multifaith Services will be leading a meditation session from 11am-noon in Mac B115—the upstairs lounge just outside the Phillip T Young Recital Hall.

• What’s the best way to de-stress? Cuddle with a puppy! Yep, you can get some therapy dog lovin’ from 10:30am-12:30pm in B037 (downstairs)

• Take in some free yoga! Two separate sessions will be happening at the same time, 12:30-1:30pm: one with an instructor from Athletics & Recreation in the Phillip T Young Recital Hall, and one with Theatre alumna & sessional instructor Shona Athey in the Phoenix Theatre movement studio. Be sure to bring your own mat!

Of course, all Fine Arts students, faculty and staff are welcome to attend all of these sessions.

wellness_wheel_1As Dr. Lara Lauzon of UVic’s School of Exercise Science, Physical and Health Education told the well-attended January 21 lunchtime wellness session, For the WELLth of It, “Wellness is something you shape for yourself, wellness helps you reach your potential. And healthy individuals help to make a healthy community.”

Please join us for this beneficial day for all—a great run-up to Reading Break!