FCAD
The Creative Innovation Hub
Faculty of Communication & Design
ACTING INTRODUCTION 4. A Life in Performance 6. Why Performance at Ryerson
TABLE OF CONTENTS
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PRODUCTION
COMMUNITY
42. Overview
60. FCAD: The Creative
46. Curriculum
Innovation Hub
48. Shows
ACTING
52. Alumni Profiles
8. Overview 14. Curriculum 16. Shows
PRODUCTION
20. Alumni Profiles
DANCE 28. Overview 32. Curriculum
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34. Shows 36. Student Profile 38. Alumni Profiles 4
COMMUNITY
DANCE
INTRODUCTION
A LIFE IN PERFORMANCE Is this the right career path for you?
Kudelka Meets Ryerson Dances Photograph by Andrew Oxenham
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Picture yourself in a dark backstage, butterflies filling your stomach. It’s opening night and the curtain is about to rise on the show that you’ve worked so hard to prepare. Suddenly, the curtain goes up and the audience leans in, eager to watch. Whether you’re dancing, reciting lines or working the lighting booth, there’s no feeling more exciting than watching your work come to life in front of an audience. More goes into producing great shows than many people think. Taking a show from idea to script and finally production is a long exercise in critical thinking and collaboration with
colleagues from a variety of fields and perspectives. You will develop a keen business sense through a life in performance, as you hustle to promote your shows, sell tickets, stay on budget and attract funding through grants or sponsorships. Through a life in performance, you will get to find meaningful stories, adapt them and bring them to life on the stage, connecting with audiences around the world. You will be a versatile, entrepreneurial and creative contributor to society.
INTRODUCTION
INTRODUCTION
THE COLLABORATION
WHY PERFORMANCE AT RYERSON? In the heart of Toronto, the School of Performance has a reputation that will help you stand out. THE DEGREE
THE HANDS-ON LEARNING
At the end of your four years in Ryerson’s School of Performance, you’ll graduate as a skilled and trained dancer, actor, or production professional — with an internationally renowned bachelor’s degree in fine arts. No other school in Canada offers such an intensive conservatory training program combined with a university degree.
Unlike traditional university performance programs, you won’t learn while sitting at a desk; you’ll learn by practicing and rehearsing. The acting, dance and production programs are 20 per cent lectures, 80 per cent studio time. You’ll be spending the bulk of your time moving, creating and working with your hands.
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There are three distinct programs housed under the School of Performance — acting, dance and production — but you’ll work with everyone, collaborating on the amazing student productions that Ryerson has become known for. You will develop the required collaborative, flexible, and professional approach expected in the industry.
THE FACULTY You’ll learn from world-class actors, dancers, directors, and costume and set designers, who draw from their significant experiences on stages around the world to give you an unparalleled education. They also bring with them their incredible industry contacts, connecting you to further training opportunities, jobs, and mentorship.
THE FCAD ADVANTAGE The Faculty of Communication and Design at Ryerson is a hub for creative innovation. Designers, creators, thinkers and doers come from across Canada (and the globe) to hone their craft, collaborate on new projects and explore the worlds of journalism, storytelling, design, performance, film, photography, and creative leadership. The nine schools within FCAD are leaders in their fields, considered among the best programs for study, both domestically and globally. There’s no better place to learn, create and network.
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THE LOCATION Toronto is the third largest city in the world for English-language theatre and in North America for television and film production. Our location means access to exceptional study and work opportunities.
FCAD: THE CREATIVE HUB Ryerson’s Faculty of Communication and Design is home to Canada’s leading creative and communications programs. As a student at the School of Performance, you have the opportunity to collaborate with students across film, photography, fashion, interior design, and more. Whether it’s being cast in a show, film or photograph, or working to produce fashion shows and live events, you can always find room to collaborate with other FCAD students to make the most of your experience.
You won’t learn while sitting at a desk; you’ll learn by practicing and rehearsing every single day.
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PROGRAMS The School of Performance houses three programs:
ACTING, DANCE, and PRODUCTION
ACTING
PERFORMANCE
ACTING Drawing from Canada’s rich theatrical milieu, centred in Toronto, the School offers training under the guidance of a wide variety of working artists and scholars who teach, coach, and direct.
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ACTING DURING YOUR FOUR YEARS AT RYERSON, you’ll take courses that train you in different acting approaches, including modern scene study, mask, clown, film, and classical styles. You’ll learn about the historical roots and evolution of performance, and about the business side of acting, like contracts, unions and agents. You’ll study Canadian theatre, including landmarks, and will receive special instruction in dance and music, to enhance your skill set.
PROGRAM
overview The Acting program trains actors in the theory, skill and business of theatre. Through a varied combination of studies in theatre, film, television, acting techniques, dance, voice, and movement training, you’ll learn to bring classroom teachings to life on stage, guided by a faculty of artists and experts.
BFA - ACTING Four-year program Bachelor of Fine Arts degree (BFA) Conservatory-style program Minors available
Throughout the program, you’ll receive a variety of opportunities to bring your classroom theory and practice to life on stage. Class work will transition into studio presentations and then into a full season of public performances and self-generated works, presented in your final year.
YOU’LL TRAIN IN MODERN SCENE STUDY, MASK, CLOWN, FILM, AND CLASSICAL STYLES.
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ACTING
ACTING
CURRICULUM
*This course features an intensive studio unit that provides students with 10 hours of sweat equity each week. Students also complete additional studio hours for workshops, rehearsals, and production requirements.
YEARS ONE AND TWO
YEARS THREE AND FOUR
Your first two years in the program will be focused on the fundamentals of theatre performance, growing your knowledge of the industry, honing basic skills to excel in acting, and building your confidence. You’ll take courses in acting, voice and movement, while studying dramaturgy, film, performance history, Canadian theatre, and music. You will also look at the technical elements of production and creative performance studies. These foundation courses will teach you how to critically approach your work, find joy in the creative process and think entrepreneurially.
Having gained a foundation in years one and two, your third and fourth years of the program will expand your work to include large-scale live performances, both in studio and on stage. You’ll produce and perform your own work, as well as act in various roles for several productions. Your choice of professional and professionally-related electives will enhance your career preparation and specialization, with options in business such as entrepreneurship and new venture startup, or more traditional theatre focuses like musical theatre, film acting or directing.
YEAR 1
YEAR 2
YEAR 3
YEAR 4
Music I: Introduction
The Moving Image in Performance I
Creative Performance Studies III
Creative Performance Studies IV
Creative Performance Studies I
Music II: Singing
Conceiving the Production
Independent Study Seminars
Anatomy of Movement and Lifestyle I
Creative Performance Studies II
Two Liberal Studies
One Liberal Studies
Elements of Production I
One Liberal Studies
Two Professional Electives
Two Professional Electives
Timelines of Performance History I & II
One Professionally-Related Elective
One Professionally-Related Elective
Two Professionally-Related Electives
Intermediary Tech: Acting I & II*
Performance Tech: Acting I & II*
Advanced Performance Tech: Acting I & II*
Two Liberal Studies Fundamentals of Tech: Acting I & II*
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SHOWS
THE PLOUGH THE STARS
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director david jansen set design pavlo bosyy costume design jenni lee pickett lighting design nic vincent sound design joseph digiuseppe featuring performance acting The year is 1915 and Ireland’s republican forces are preparing to strike back against the ruling British. With a world, country and community englufed by chaos, The Plough & The Stars reveals an unbearably close-knit community struggling to survive.
CONNECTING WITH THE PERFORMANCE DOESN’T REQUIRE A STRETCH OF THE IMAGINATION. — Lauren Der | The Eyeopener
SHOWS
director sonia norris set design pavlo bosyy costume design brett postil lighting design kennedy brooks sound design bertha lee featuring performance acting La Ronde explores how sexuality traverses class and social boundaries. The play follows the sexual escapades of 10 characters from all walks of life, set against and challenging the backdrop of the constrictive world of Vienna at the turn of the century.
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LA RONDE
ALUMNI PROFILE
TAL SHULMAN Actor, featured as Father Tumnus in The Lion, the Witch and the Wardrobe at Stratford Festival
A STUDENT SHOWCASE DURING HIS FINAL YEAR AT RYERSON HELPED LAND TAL SHULMAN AN AUDITION WITH THE STRATFORD FESTIVAL, EVENTUALLY LEADING TO FESTIVAL ROLES IN SHAKESPEARE IN LOVE AND THE LION, THE WITCH AND THE WARDROBE. HOW DID STUDYING THEATRE AT RYERSON HELP SHAPE YOU AS AN ACTOR?
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I had an awesome time at Ryerson. It really helped shape a lot of my thoughts about theatre, and acting, and has obviously given me a really strong technical foundation that I’ve really been able to use as a launching pad for my career in the few years since I graduated. What’s really nice about the program at Ryerson is that it doesn’t necessarily focus on one element of theatre. It didn’t focus exclusively on classical works, or contemporary, or any specific acting method, but instead introduced us
WHAT REALLY GOT ME STARTED IN THEATRE IS HOW COMFORTABLE AND ACCEPTED I WOULD FEEL IN A DRAMA CLASS.
ALUMNI PROFILE
What really attracts me to the world of theatre is the human connection that is innate in every element of the work.
to a variety of things, and really encouraged us to figure out what styles we liked, and were interested in pursuing. The program isn’t set up to create one type of actor, but simply introduced us to the enormous possibilities of what theatre can do. WHAT’S IT LIKE BEING A PART OF THE STRATFORD WORLD?
It really feels like its own world. I’ve only ever worked in Toronto since graduating, so I have found that it can be lonely to be separated from my life, and my friends for so long. That said, it’s also an incredible experience to be here, to be part of this place with such a vast theatre history. It really is something so special, and rare to be a part of, especially in Canada. I feel so lucky to work with people who I’ve admired for years, people I could never have imagined working with in my wildest dreams. Stratford is also unique in its incredible resources available to its actors. I’ve been especially appreciative of the coaching that is available to the actors here. Janine Pearson, the head of coaching (and who also taught me at Ryerson for one semester!) is a magical person. I feel so thankful to have these resources to continue my training.
WHAT DO YOU LOVE MOST ABOUT WORKING IN THE WORLD OF THEATRE?
What really attracts me to the world of theatre is the human connection that is innate in every element of the work. What really got me started in theatre — and I think I’m not alone in this - is how comfortable and accepted I would feel in a drama class. If it weren’t for my fellow weirdo drama kids, I think I’d have never come out of my shell, and I’d have never made any friends at all. It may sound like an exaggeration, but I really think that’s true. As I’ve grown, and trained in theatre, I’ve started to realize how that sense of connection can be extended beyond just myself and my fellow actors onstage. As an audience member, I live for that moment in the theatre, where I can really connect with what’s happening, where a situation happens, or a line is spoken, and I think “I thought I was the only one.” That’s the experience I had coming to theatre in the first place.
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ALUMNI PROFILE
REBECCA LIDDIARD
ALUMNI PROFILE WHAT WAS YOUR EXPERIENCE IN THE PROGRAM LIKE?
My experience was wonderful, just wonderful. I don’t know where to begin. With the teachers? They are hard-working professionals in the field, and they have a wealth of career and life experience to share. The classes would be
Actor, featured as Adelaide Stratton of Global’s TV series, Houdini & Doyle
REBECCA LIDDIARD WAS WORKING PART-TIME AS AN OFFICE MANAGER WHEN SHE GOT THE CALL OFFERING HER A LEADING ROLE ON THE TV DRAMA HOUDINI & DOYLE. WITHIN FIVE DAYS OF ACCEPTING, SHE WAS ON A PLANE, HEADING TO THE UK TO FILM HER BREAKOUT ROLE. WHY DID YOU CHOOSE RYERSON?
I chose Ryerson because at the time I understood it to be the best there was in Canada for a university education in theatre. It was pretty important to my parents that I get that degree, so Ryerson was a good fit. Not to mention it’s in the heart of downtown Toronto. For someone aspiring to a career in theatre, Toronto is probably the best place to be — my parents couldn’t argue with that!
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I GRADUATED AS A CREATOR AND ADVOCATE, AS WELL AS A PERFORMER.
useless without the amazing people who teach them. It was their ideas and their lessons that have shaped who I am as a performer. I continue to look to them for support, guidance, inspiration — and it is also very gratifying that I am now at the level where I have the opportunity to work with them as a professional!
ALUMNI PROFILE
ALUMNI PROFILE
I would also like to add that I didn’t just go to Ryerson as an actor. I believe I graduated as a creator and advocate, as well as a performer. They really push the importance of the creation process there, how to make your own work, whether it’s a play or installation or creating a character. This is incredibly important as a working performer: we need to create. At Ryerson I had the opportunity to explore and delve into what I have to offer to this field. At the moment, I work primarily as an actor, but that may not be the case forever. Should that time come, I am confident I will be ready and able to do something else within the theatre and/or film industry. WHEN YOU TAKE ON A NEW ROLE, HOW DO YOU FIRST APPROACH YOUR CHARACTER?
Character is sort of a weird concept that I’m not sure if I have even wrapped my head around. So far, I have discovered it is one part intellectual and one or two or three parts visceral. In one or two readings of a script, I have a sense of how I will play the character and I just go from there. I will do research and read and whatever else interests me but I think those initial reactions that you feel in your body are the key.
WHO HAS BEEN YOUR FAVOURITE CHARACTER TO PLAY, AND WHY?
Adelaide (from Houdini & Doyle) obviously, and a very, very close second would be Ella from a webseries I did called “Mslabelled.” I love these ladies because they are wide-eyed and a little naive but so extremely smart. These two make mistakes and they aren’t necessarily sure of themselves or their opinions, but then they figure it out! And that puts them on a trajectory to success. I feel like I can relate to that in my personal life being a young person, a woman, who is just trying to figure it out and doesn’t always get it right. Because, whatever, we are intelligent and we will make it work whether it’s right or not. I love, love, love playing smart girls.... who also have excellent wardrobes.
[The teachers] are hard-working professionals in the field, and they have a wealth of career and life experience to share.
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DANCE
PERFORMANCE
DANCE The Dance program is the most intensive and comprehensive undergraduate program of its kind in Canada. Delivered by a faculty with extensive professional experience and a passion for student development, the program has earned widespread respect throughout the national dance community.
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Photographer: Andrew Oxenham
DANCE YOUR FOUR YEARS IN THE PROGRAM will train you, daily and rigorously, in the disciplines of ballet, modern, jazz, and contemporary. That daily training will be combined with academic studies in improvisation, composition, music and anatomy, and classes in acting, singing, and choreography.
PROGRAM
overview
Throughout the program, you’ll be honing your craft through frequent performances of your own, as well as original works choreographed by faculty and guest artists. An annual choreographic performance featuring original student creations will give you the opportunity to publicly showcase your work. By the end of your four years, you’ll be prepared to perform, choreograph and teach, with an expert level of technique, virtuosity, and presentation skills.
I CAN’T IMAGINE A MORE INTENSIVE OR CREATIVE ENVIRONMENT FOR A YOUNG ASPIRING ARTIST. — Jeannette Zingg & Marshall Pynkoski
BFA - DANCE Four-year program Bachelor of Fine Arts degree (BFA) Dance classes every day Minors available
DANCE & CHOREOGRAPHY OUR YEAR-END SHOW FEATURES MORE THAN 40 STUDENT WORKS ON THE RYERSON MAINSTAGE.
Jordan Wyllie in Choreographic Works (Opposite page) photograph by Andrew Oxenham.
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DANCE
DANCE
CURRICULUM
*This program features an intensive studio unit that provides students with at least 10 hours of sweat equity each week. Students also complete additional studio hours for workshops, rehearsals, and production requirements.
YEARS ONE AND TWO
YEARS THREE AND FOUR
Your first two years in the program will be focused on the fundamentals of theatre performance, growing your knowledge of the industry. You’ll take courses in ballet, jazz and modern dance form, while studying anatomy, film, performance history, Canadian dance, and music. You will also look at the technical elements of production and creative performance studies. These foundation courses will teach you how to critically approach your work, find joy in the creative process and think entrepreneurially.
Having gained a foundation in years one and two, your third and fourth years of the program will expand your work to include large-scale live performances both in studio and on stage. You’ll produce and perform your own work, as well as dance in various roles for several productions. Your choice of professional and professionally-related electives will enhance your career preparation and specialization, with options in business such as entrepreneurship and new venture startup, or more traditional theatre focuses like film, musical theatre, dance criticism and many more.
YEAR 1
YEAR 2
YEAR 3
YEAR 4
Music I: Introduction
The Moving Image in Performance I
Creative Performance Studies III
Creative Performance Studies IV
Creative Performance Studies I
Music II: Singing
Conceiving the Production
Independent Study Seminars
Anatomy of Movement and Lifestyle I
Creative Performance Studies II
Two Liberal Studies
One Liberal Studies
Elements of Production I
One Liberal Studies
Two Professional Electives
Two Professional Electives
Timelines of Performance History I & II
One Professionally-Related Elective
One Professionally-Related Elective
Two Professionally-Related Electives
Intermediary Tech: Dance I & II*
Performance Tech: Dance I & II*
Advanced Performance Tech: Dance I & II*
Two Liberal Studies Fundamentals of Tech: Dance I & II*
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SHOWS
KUDELKA
choreography james kudelka lighting design simon rossiter sound design john gzowski
D ances
meets Ryerson
The School of Performance was proud to present new choreography by internationally renowned choreographer James Kudelka, our distinguished guest artist. Over four weeks Kudelka choreographed a new work featuring 57 of our dancers
Photograph by Jeremy Mimnagh
STUDENT PROFILE
CLARA EATON Current student of performance dance TELL ME ABOUT YOUR EXPERIENCE IN RYERSON’S DANCE PROGRAM. HOW HAS IT SHAPED WHO YOU ARE AS A DANCER?
Ryerson University’s dance program is known to be the best in Canada but it is definitely a rollercoaster. By this I mean the faculty pushes you to your physical, mental and personal limits to ensure that you will be able to succeed post-program. The class schedule balances 20-30 hours of dancing and rehearsals a week along with a full academic course load. This makes it extremely demanding, physically and mentally. Because of this, it has taught me to be tough and to “take things with a grain of salt”, as I always say. This program has definitely tested my limits and shown me how truly passionate I am about dance.
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WHAT IS THE DANCE COMMUNITY IN TORONTO LIKE?
The Toronto dance community is probably one of the largest and most diverse in Canada, along with Montreal. That being said, there are a few different worlds such as the commercial dancers, concert dancers, and street dancers. As big as the city is, the dance world is incredibly small and it’s so special to be able to be surrounded by people that support you. WHAT’S THE MOST REWARDING PART OF YOUR CAREER AS A DANCER?
The most rewarding feeling would have to be the feeling I get when I step into a class or on stage. It’s truly indescribable. Feeling the music and letting it take over your body is something that has always brought me to a special and emotional place that I cannot seem to get over. It brings me back day-to-day and fuels me to push forward, learn more and just express
BIRTHDAY: December 10th, 1994 HOMETOWN: Brantford, ON, Canada CURRENT CITY: Toronto, ON, Canada
myself through movement. On the other side of this, it’s also amazing to hear feedback that you’ve touched someone’s heart from the movement you produced...so unexplainable. HOW HAVE YOU BEEN ABLE TO GET INVOLVED AND MAKE CONNECTIONS OUTSIDE OF SCHOOL?
As for activities outside of school, I have just taken every opportunity that has come my way. This past summer I got the opportunity to travel to New York City where I participated in the Parsons Dance Company choreography
intensive. It was a valuable opportunity, in the sense that I got a chance to work very closely with the founder and artistic director of the company, David Parsons. I also had the opportunity to do a few different photoshoots with NYC photographers that run initiatives like Kevin Richardson’s “Dance As Art” photography series. These experiences have allowed for valuable relationships to form and provided me with much more depth on what the dance industry has to offer!
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ALUMNI PROFILE
ALUMNI PROFILE
OPERA ATELIER
Dance alumni and founders of Opera Atelier, Marshall Pynkoski (left) and Jeannette Zingg.
Alumni Jeannette Zingg & Marshall Pynkoski
WHEN THEY MET AT RYERSON, THEY HAD NO IDEA IT WOULD LAUNCH A LIFELONG ROMANTIC AND PROFESSIONAL PARTNERSHIP. TOGETHER THEY FOUNDED OPERA ATELIER, A WORLD LEADER IN BAROQUE THEATRE PRODUCTIONS. HOW DID YOU TWO MEET?
Jeannette and I met in pas de deux classes which were being conducted for the Ryerson dance program by the great ballet instructor, John Marshall. I was an ideal height to partner Jeannette, who is 5’10” even before she is on pointe. We were constantly chosen to work together. We gradually discovered we had a significant number of interests in common — in particular, a passion for the visual arts in addition to theatre and music. It was not until we had both studied outside of Toronto and
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NOTHING IS MORE IMPORTANT THAN DANCING IN FRONT OF A LIVE AUDIENCE.
ALUMNI PROFILE returned to perform in Prokofiev’s Peter and the Wolf at Young People’s Theatre that we became romantically involved.
Don’t get trapped in your own discipline to the exclusion of other artistic expression.
YOU’VE WORKED ALL OVER THE WORLD. WHAT MAKES THE TORONTO ARTS COMMUNITY UNIQUE?
The Toronto arts community has a unique energy which, to our minds, is a direct result of the extraordinary racial and cultural mix of the city. Toronto, we believe, is the most multicultural city in the world and is a thrilling example of the success of our country’s focus on fostering a mosaic as opposed to a melting pot. Toronto’s cultural diversity has resulted in a unique art scene which brings together the
best of the entire world. We both adore travelling to and living in other countries, but it is always a pleasure to return to Toronto. WHAT HAVE THE HIGHLIGHTS BEEN OF YOUR SHARED CAREER?
Opera Atelier now enjoys the busiest international touring schedule of any theatre company in Canada. Highlights would include our production of Dido and Aeneas for the 100th anniversary of the BBC Proms (Royal Albert Hall), our debut at the Salzburg Festival with Mozart’s
JEANNETTE ZINGG
MARSHALL PYNKOSKI
Co-Artistic Director, Opera Atelier CURRENT CITY: Toronto, ON, Canada
Co-Artistic Director, Opera Atelier CURRENT CITY: Toronto, ON, Canada
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Lucio Silla, and our debut at La Scala with the same repertoire and Jeannette choreographing for La Scala’s dancers. We are most proud however of our relationship with the Royal Opera House at Versailles. Last year we appeared at the Royal Opera House just one week after the terrorist attacks of November 13th. Opera Atelier officially reopened the Royal Opera House with more than 80 of Canada’s finest singers, dancers and instrumentalists including all of the members of Tafelmusik Baroque Orchestra. It was a deeply moving event.
WHAT ADVICE WOULD YOU GIVE TO ASPIRING DANCERS IN TORONTO?
Take every opportunity that presents itself to choreograph or dance — regardless of whether or not it pays. Nothing is more important than dancing in front of a live audience, or having a live audience respond to your choreography. It doesn’t matter how big or small the audience is, the important thing is that you put yourself and your creative energies on the line and you learn from the experience. If no one is hiring you, then create something for yourself.
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PRODUCTION
PERFORMANCE
PRODUCTION The Performance Production program is recognized internationally for delivering a curriculum of unmatched breadth for artists who wish to apply their creativity to the entertainment industry.
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Photographer: Taylah Golden and Mika Orotea Models: Bridget Thelander, Lauren Rice, Sofia Pyette
PRODUCTION DURING YOUR FOUR YEARS IN THE program, you’ll study each and every behindthe-scenes element of live production. You’ll take a cross-sectional set of courses that will train you in artist relations and contract management, budgeting, staffing, set and model building, lighting, design, scenic painting, pattern drafting, and sewing.
PROGRAM
overview The Production program produces specialists who have the creative vision, ingenuity and technical know-how to bring artistic performances to life. You’ll learn how to facilitate all aspects of a live show — publicity and marketing, props and costumes, lighting and sound, and technical direction.
You’ll be able to select an area of production that interests you most — management, production or design — and focus your studies accordingly. If your interest is management, you’ll take courses in stage management, business and financial planning, and theatre administration. If production is what you want to focus on, you’ll study set and prop construction, lighting, makeup, and pyrotechnics. If you choose design, you’ll look at drawing, drafting, costume design, sound design, and colour.
BFA - PRODUCTION Four-year program Bachelor of Fine Arts degree (BFA) Conservatorystyle program Minors available
Throughout the program, you’ll be developing written and oral communication skills, and you’ll have opportunities to acquire practical experience with roles in the School of Performance productions.
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PRODUCTION
PRODUCTION *This course has a short lecture component, as well as lab hours each week. You’ll also gain real-world experience as you’re assigned a role in the production of one of the school’s shows. This learning opportunity comes with additional hours outside of class time for production, rehearsals, and showtimes.
CURRICULUM YEARS ONE AND TWO
YEARS THREE AND FOUR
Your first two years of the program will introduce you to the multidisciplinary and collaborative nature of production work. You’ll undertake management-related studies, including scheduling, staffing, budgeting, personnel, and technical direction, as well as the hands-on techniques and skills needed for prop and costume construction. You’ll round out these studies with a look at performance history, as well as at the Canadian theatre and musical production scene.
In your third and fourth years, you’ll select the area of performance that interests you most: management, production or design. Through lecture and studio, you’ll drill down in one of these areas, putting skills into practice with more senior positions with the school’s dance and theatre productions. You will undertake an independent study project related to your chosen field of interest such as directing a play, creating a business plan, or designing lighting for a show. You’ll also collaborate with acting and dance students to put on several shows throughout the year.
YEAR 1
YEAR 2
YEAR 3
YEAR 4
Elements of Production I & II
Landmarks in Canadian Theatre
Musicology
Independent Study
Timelines of Performance History I & II
Production Communication II
Conceiving the Production
One Liberal Studies
Design Communication I & II
Landmarks of Choreographic Development
Two Liberal Studies
Two Professional Electives
Two Professional Electives
One Professionally-Related Elective
Production Communication I One Liberal Studies
Research Methods
One Professionally-Related Elective Production Technique VII & VIII*
Design Communication III Production Technique I & II*
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Two Liberal Studies Production Technique III & IV*
Production Technique V & VI*
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SHOWS
YOU
can t ’ TAKE
IT WITH YOU Photograph by Pavlo Bosyy
IT’S ALL HAND-PAINTED VINES, CROWNS, MOTIFS …. IT’S EXTREMELY DETAILED. — Krista Gorizzan | Set Painter
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by moss hart & george s. kaufman director blair williams* set design pavlo bosyy costume design deann gao lighting design mathieu arsenault sound design james butler The conventionally normal Kirby family collide with the hilariously eccentric Vanderhof/Sycamore family in this comedy about relationships, success and love. The fourth year acting students take on Ryerson’s School of Performance first play of the winter season with the help of guest director, Blair Williams. Blair Williams is a graduate of The National Theatre School and has performed and directed in the Shaw Festival for over 20 seasons. *blair williams appears with the permission of canadian actor’s equity association
SHOWS
by รถdรถn von horvรกth in a version by david harrower director dr. cynthia ashperger choreography kelly arnsby music direction leslie barcza set design julie choi costume design victoria ius lighting design andrew morris The story takes place in the late 1920s in the highlands near the capital of Austria, Vienna. It is a satire about the deception and brutality of the petite-bourgeoisie; the tragic and brutal story about a girl, Marianne, and a conventional butcher named Oskar, reflecting the uncertainties and difficulties during a period of global economic crisis.
The Classics
TALES from the VIENNA WOODS
ALUMNI PROFILE
ALUMNI PROFILE
JULIA KIM
WHAT ARE THE MISCONCEPTIONS ABOUT COSTUME DESIGN?
I think that many people think that the designer’s job is only to create beautiful designs. But, the duties of a designer extend far beyond creating designs, especially in the independent theatre industry. As a designer, you also need to know how to sew, paint, and build set elements. I think you also have to be a well-rounded craftsperson as well.
Assistant Designer, Shaw Festival
JULIA WALKED OUT OF GRADUATION AND INTO A ROLE WITH THE WORLD-CLASS SHAW FESTIVAL IN 2015. TODAY, SHE IS CONTINUALLY GROWING IN HER CAPACITY AS A DESIGNER. HOW DID YOU WIND UP WITH THE DESIGN ASSISTANT ROLE AT SHAW FESTIVAL?
In my last semester at Ryerson, I chose to do an outreach placement, instead of doing a Ryerson production. I knew that set and costume design were what I wanted to do and that I wanted to learn from the best. So, I went to Caroline O’Brien, the program director of Performance Production,
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WHAT WORK ARE YOU MOST PROUD OF?
for some advice. She was able to connect me with Bill Schmuck, the head of design at Shaw. I worked at Shaw two days every week in my last semester as a design intern, and also had an opportunity to work in the wardrobe as well. Immediately after graduating, I continued working there in wardrobe until the end of June.
I’m most proud of my installation work at Toronto Nuit Blanche. Submitting an application for a grant, writing the thesis about the work, managing the budget, and executing the design taught me so much. Creating the design was fun but very challenging. We can never create exactly what we want because of budget and resources. I learned how to downsize and simplify my design to be within budget, and without losing the essence.
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ALUMNI PROFILE
WHAT DO YOU LOVE MOST ABOUT WORKING IN THE WORLD OF THEATRE?
I love visually creating the world on stage. I love figuring out how to represent or create realistic objects in theatrical and creative ways. And I love my process as a designer, enhancing the text in the plays and amplifying the messages that we are trying to deliver to the audience through the visuals on stage.
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I LOVE VISUALLY CREATING THE WORLD ON STAGE.
ALUMNI PROFILE
CHRISTOPHER DENNIS Production Director, San Francisco Ballet
RYERSON ALUMNUS CHRISTOPHER DENNIS TRANSFORMS STAGES INTO SCENERY FOR COMEDIES, FAIRY TALES, LOVE STORIES AND ADVENTURES WITH THE SAN FRANCISCO BALLET — AMERICA’S OLDEST PROFESSIONAL BALLET COMPANY.
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There should be a caption for this photo right up in here. Photograph by Insert Photographer’s Name.
WHAT WAS YOUR EXPERIENCE LIKE IN THE PERFORMANCE PRODUCTION PROGRAM?
HOW DID YOU WIND UP IN SAN FRANCISCO?
As the years at Ryerson progressed, my experience, in a nutshell, was special. Not just because of what I learned, but because of the unique friendships I developed and have maintained throughout my professional career. My original plan was to leave Ryerson as a set designer and take on the world of theatre, dance, and Broadway, but the wonderful thing about Ryerson is that you get exposed to so many disciplines, and lighting design is the career path that Ryerson helped shape.
The San Francisco Ballet was looking for a technical director with a strong lighting background. I said, “That sounds like something I could do.” I always said, lighting designers make the best technical directors in dance. I also had a previous relationship with the San
Francisco Ballet, when I was the resident lighting designer for The National Ballet of Canada, so I thought this could be a good fit. WHAT DO YOU LOVE MOST ABOUT WORKING IN THE WORLD OF THEATRE?
I enjoy knowing that I was a big part of getting someone’s artistic and creative vision on stage.
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ALUMNI PROFILE
I also love the fact that I get to collaborate with so many talented choreographers, dancers, designers, craftspeople, and stagehands. AT WHAT POINT DID YOU FEEL LIKE “AH, I’VE MADE IT”?
Bowing onstage at the opening night performance of Cinderella for the American Ballet Theatre on The Met stage in New York. My wife in the audience and everyone cheering the creative team on, followed by a glowing review in the New York Times about my lighting. That was the “Ah” moment! WHAT ADVICE DO YOU HAVE FOR A STUDENT IN THE PERFORMANCE PRODUCTION PROGRAM AT RYERSON?
My advice is to be mindful and respectful of the relationships that you develop in this industry. It’s truly a small world, and there is much truth to the fact that your friends and colleagues will keep you working. The other little piece of advice is to develop an inner strength I refer to as “staying power.” There are many times during your career that you may feel discouraged, and you may want to call it quits! The ability to get through the storm of the seeming issues will make you wiser the next time the same issues arise.
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...my experience, in a nutshell, was special. Not just because of what I learned, but because of the unique friendships I developed and have maintained throughout my professional career.
A PART OF FCAD
A Creative Space OUR FACILITIES allow students to set their imaginations free at the crossroads of technology and art. We have professional studios, workshops, advanced fabrication technologies, theatres, sound stages and cutting-edge recording, mixing and editing booths.
A Unique Student Experience CO-CURRICULAR LEARNING – Paid opportunities around campus to work on client-based projects let you hone your skills.
FCAD
The Creative Innovation Hub
THE FACULTY OF COMMUNICATION AND DESIGN (FCAD) IS HOME TO NINE OF CANADA’S LEADING SCHOOLS IN MEDIA AND CREATIVE INDUSTRIES. FOR SEVEN DECADES, OUR UNIQUE PROGRAMS HAVE BEEN AT THE HEART OF THE EVOLUTION OF CULTURAL INDUSTRIES IN CANADA. 62
PARTNERSHIPS – We work with big brands to create unique opportunities, like showcasing student work with TIFF Bell Lightbox, Ontario Science Centre, Joe Fresh, the Bata Shoe Museum and many more. A GLOBAL PERSPECTIVE – Through international exchanges, research, faculty, distinguished visiting professors, alumni and partnerships, FCAD offers opportunities for global learning. ZONES – Have an idea for a project, business or creative event? Apply to one of Ryerson’s on-campus hubs for ideation and collaboration, including FCAD’s Design Fabrication Zone, Fashion Zone and Transmedia Zone. Offering advice, mentorship and resources, Zones can make your ideas a reality.
OUR DYNAMIC COMMUNITY, WITH ITS BREADTH AND FOCUS ON INNOVATION, IS UNIQUELY POSITIONED TO BE AT FOREFRONT OF CHANGE.
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Leading Schools
Creative Industries Fashion Graphic Communications Management Image Arts Interior Design Journalism Performance Professional Communication RTA School of Media
JOIN US Ryerson University is Canada's leader in innovative, career-oriented education, and a university clearly on the move.
“THE SCHOOL OF PERFORMANCE offers the best of both conservatory and academic approaches. Here you will find a community of artists, performers and producers whose imagination is fuelled by world-class instructors, faculty and facilities.”
“OUR FACULTY AND ITS NINE LEADING SCHOOLS have been at the heart of the evolution of cultural industries for seven decades. Here you can immerse yourself in new worlds of design, storytelling, media and creative leadership -- surrounded by like-minded peers and mentors. We hope you’ll join us.”
DR. PEGGY SHANNON
CHARLES FALZON
Chair, School of Performance
Dean, Faculty of Communication & Design
Connect with Performance @RUPerformance
Connect with FCAD @RyersonFCAD
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With a mission to serve societal needs and a long-standing commitment to engaging its community, Ryerson offers more than 100 undergraduate and graduate programs. Distinctly urban, culturally diverse and inclusive, the university is home to more than 41,500 students, including 2,400 Masters and PhD students, nearly 3,200 faculty and staff, and more than 170,000 alumni worldwide.