Theatre artists Ted Witzel and Ker Wells are going about it somewhat differently. They’re the inaugural participants in the 91��ɫ MFA in Theatre – Stage Direction in Collaboration with Canadian Stage, a landmark initiative that’s breaking new ground in Canadian theatre training.

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Launched last fall as a partnership between one of Canada’s preeminent theatre schools and one of the country’s leading not-for-profit contemporary theatre companies, this innovative graduate program offers highly specialized, advanced training in large-scale theatre directing. ��Its mission is to support the development of directorial talent for the national and international stage.

“When directors make their mainstage debut, they often feel they’re getting one kick at the can, and if they fail they’ll never get to do a large production again,” said Professor Eric Armstrong, director of 91��ɫ’s MFA theatre programs. “Here, you get to work with large casts on big shows in a mentored setting – something that just��doesn't��happen in the professional world.”

The collaborative MFA program allows students to develop their creative and technical skills to the highest level, integrating their academic and studio work in 91��ɫ’s Department of Theatre with involvement in artistic projects at . The opportunity to direct a Canadian Stage production and an internship with a major national or international theatre are key elements of the two-year program.

Canadian Stage Artistic and General Director Matthew Jocelyn and��Resident Artist Kim Collier serve as personal mentors for the MFA candidates. ��Collier, co-founder and artistic director of Vancouver’s Electric Company Theatre and winner of the 2010 Siminovitch Prize for directing, works closely with the students to support their professional development.

The program is customized for each student based on their background, artistic orientation and goals, so Wells and Witzel’s experience over the past year and their plans for the next are highly individual.

Wells assisted Collier in her direction of the Canadian Stage production of Red last fall, and served as assistant director to Richard Rose for , Canadian Stage’s 30th anniversary Shakespeare in the Park presentation, running in Toronto’s High Park until September 2.�� This coming season, Witzel will assist Kim Collier on a production for Vancouver's .

On the international front, Wells heads to the Netherlands this fall for an internship with acclaimed director Ivo van Hove at ,��working on a play by Ingmar Bergman. Witzel has an internship lined up with the renowned Canadian-born, Europe-based opera director Robert Carsen��(LLD Hons. '05)��for a production of Mozart’s The Magic Flute at the in Baden-Baden, Germany��in March 2013.

Both MFA candidates bring a wealth of experience to their work at 91��ɫ, at Canadian Stage and abroad.

Active in Toronto’s independent theatre scene for the past five years, Witzel is artistic director of , a company he co-founded in 2006. His directing credits include a number of bold, site-specific adaptations of classics in non-traditional venues such the Gladstone Hotel, Drake Underground, Whippersnapper Gallery and Trinity Bellwoods Park. His most recent productions for Red Light District have been La Ronde, an adaptation of the Arthur Schnitzler play, at the downtown club Wicked, and Tennessee Williams’ Suddenly, Last Summer with the Tennessee Project at the Gibson House Museum in North 91��ɫ. Witzel divides his time between Toronto and Germany, where he has worked as assistant to leading directors such as Johanna Schall and Sebastian Baumgarten.

Wells is an actor, director and teacher who has toured across Canada and in the US, England, Denmark, France, Italy and Serbia. He was a founding member of Primus Theatre in Winnipeg, where he worked for nearly a decade before moving to Toronto and co-founding Number Eleven Theatre in 1998. His productions with Number Eleven include Icaria, The Prague Visitor and The Curious History of Peter Schlemihl. Other credits include The Confessions of Punch and Judy for New 91��ɫ State-based NACL Theatre and solo shows Living Tall for Public Energy, Peterborough and Swimmer (68) for Toronto’s Hopscotch Collective.

91��ɫ’s Graduate Program in Theatre is now accepting applications for the next cycle of the MFA program in Theatre - Stage Direction in Collaboration with Canadian Stage. Two new students will be admitted into the program in September 2013. The�� application deadline is Wednesday, Aug. 15, 2012. Directors with extremely strong individual and interpretive voices and substantial professional experience are invited to apply. Candidates should be committed to developing their artistic and technical skills and have a clear interest in working on a large scale.

For more information, visit��the Theatre -��Stage Direction in Collaboration with Canadian Stage website.

Republished courtesy of YFile– 91��ɫ’s daily e-bulletin.

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playGround, the annual juried fringe festival of 91��ɫ’s Department of Theatre, celebrates its 20th season with two dynamic programs running Feb. 14 to 17 in the Joseph G. Green Studio Theatre,��139 Centre for Film & Theatre at91��ɫ’s Keele campus.

Well-known for its uncurbed spirit and risk-taking mindset, playGround is a student-produced seedbed for the next generation of theatre artists. It showcases original works conceived, written, performed and produced by up-and-coming playwrights, directors, designers and actors from all levels of91��ɫ’s undergraduate theatre program.

Meg Moran and Meara Tubman-Broeren, both fourth-year students studying devised theatre in the Department of Theatre’s Creative Ensemble, are the co-artistic directors of this year’s edition of playGround. With the help of a peer jury, they selected the most promising ideas from the almost four dozen proposals submitted.

“Not only does the festival showcase the work of emerging artists of our generation and community, it also deals with what’s important to us as students right now,” said Tubman-Broeren. “What unifies all the pieces is our mandate, which is to foster innovative and experimental theatrical work which engages its audience and ignites thought and discussion.”

“Producing the festival has been a challenging and lengthy process, with its share of ups and downs, but overall it’s been very rewarding,” said Moran. “This is a unique opportunity for us as students to work so independently. It’s been a real learning experience for Meara and me.”

The old adage:, “when you want a job done well, give it to a busy person”, rings true for this duo. In addition to their work with playGround, they are collaborating with other members of the fourth-year Creative Ensemble on a show slated to run March 27 to 30.�� Moran is also assistant-directing the upcoming Theatre @ 91��ɫ production of Edward Bond’s Restoration, which will run March 18 to 24.�� And Tubman-Broeren is performing in a physical theatre adaptation of Shakespeare’s King John, which will be playing downtown this summer.

playGround 2012 ranges from light comedies to dark dramas, and from staunch realism to dance theatre.��Here’s an overview of the featured productions:

Series A��

Meat is a dystopic romance in which a young doctor’s morality is put to the test when his work forces him to explore, sacrifice and examine what it truly means to be human.��

Belly Doll is imagined and choreographed as a unique melding of traditional belly dance and theatrical performance.��

The Doorstep – In every relationship, there are conversations. These conversations are intimate, emotionally driven, and personal, and have the potential to be the beginning, or the end, of something beautiful.��

Old Town explores the nature of familial responsibility and sibling dynamics framed within the question: When is it time to grow up?��

The Watching Game is a raunchy comedy revolving around people watching.��

A Working Woman follows the story of a prostitute on the precipice of a life-changing decision.��

Emerging Artists Collective – “A lowbrow commentary on highbrow art”, exploring the challenges and pitfalls faced by the current generation of young artists.��

Womb - What if we weren’t told the whole story? Before there was Adam and his wife, Eve, there was Adam and his equal, Lilith. Womb explores the possibilities of a world where Lilith was the first mother.��

Series B��

Danny and Annie looks at the different ways love comes in and out of our lives.��

Drafts - Everybody is looking, but is anybody really seeing?��

Wonder’s Lost Where Wonder’s Found – A woman winds her way through the ridiculous annals of compulsion and the heart-aching longings of loneliness while seeking to remember the miracle of life.����

The Abstraction – Two men in a gallery contemplate an abstract work of art and decide what it means to each of them.��

The Vagina Dialogues is a verbatim piece composed of interviews with91��ɫUniversity students about the misconceptions and mysteries surrounding the vagina.��

Da Capo explores a composer, his muse and the various layers of their relationship through movement.��

Cracked - At the end of her life, Ida Hookman must finally face the consequences of her self-obsessed lifestyle and defend her autonomy in the process.��

Emerging Artists Collective presents a new devised work that examines the artist’s place in the city of Toronto.��

Each program is presented three times over playGround’s four-day run. Series A plays Tuesday, Feb. 14 and Wednesday, Feb. 15 at 7:30pm, with a matinee Friday, Feb. 17 at 1pm. Series B has a matinee Wednesday, Feb. 15 at 1pm, and runs Thursday, Feb. 17 and Friday, Feb. 17 at 7:30pm.

Moran and Tubman-Broeren encourage patrons to purchase their tickets in advance, as performances do sell out. Tickets are $7 per show and are available through the 91��ɫ Box Office website or by calling 416-736-5888.

Republished courtesy of YFile– 91��ɫ’s daily e-bulletin.

The post 91��ɫ fringe theatre festival out to take risks appeared first on Research & Innovation.