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Student Auditions/ 4F56/Awards
Faculty of Humanities: Department of Dramatic Arts
Student Auditions/ 4F56/Awards
Fourth Year and Registering into your courses
DIE & AT students - if you are going into fourth year be sure to check in with Academic Advisor Alisa Cunnington at firstname.lastname@example.org . She'll set you up with the courses you need, including DART 4P91.
All students: here's some information about DART 3F99/3P97/98 Advanced Project Courses (previously called 'Advanced Tutorial') and DART 4F94 Honours Thesis. An application form is available here.
Students wishing to register for DART 2F41 and 2P42 and who have achieved the minimum grades required will already have an override processed and may proceed to register at the appropriate time without contacting the instructors for permission.
Contact the Department for more Information.
DART 4F56 Advanced Studies in Theatre
Invitation to Apply for 2013-14:
Please note that there are diverse roles to create and collaborate in the 4F56 theatre company: 10-14 performers, 2-4 designers, technicians or stage managers, and dramaturges or assistant directors. Role descriptions are included in the course outline. In your application we are interested to learn of the qualities and the skills that you will bring to the research, collaboration, and production work of the 4F56 ensemble. Please describe the theatre you admire and want to create, explain why you think 4F56 can be a stepping stone in your development as a creating artist.
calendar entry is here.
DART AUDITIONS 2013 INFORMATION
AUDITIONS are required for:
- Performance Concentration (applying to enter OR to continue)
- DART 3F50
- DART 4F56 (a written submission will be required after auditions)
- Mainstage Productions (November 2013 and February 2014)
- General Brock Soirée (October 2013)
BAND AUDITION sheets & info (for Twelfth Night) will be posted soon!!!
Please arrive early so you can complete your audition form and warm up. Your acting instructors and the directors of next year's main stage shows will be present. Possibly, assistant directors will also attend. We hope to keep the atmosphere as relaxed and informal as possible while sticking to the schedule-- please be aware that we are rooting for you -- we are on your side!
1. A Shakespeare monologue or soliloquy or a sonnet --of about one and a half (1 ½) minutes in length. If your character is addressing another character or the audience you may address the auditioners directly and make eye contact.
2. A physical, non-verbal version of that monologue. It should reflect the major argument or idea of the piece as you interpret it. It should not be you simply retelling the story in mime. Guttural sound and breath-emotion are very welcome, but try to avoid actual words in this performance—unless you feel one key line is absolutely essential! Try to increase the scale of the monologue as you express it through the body. Convey the spirit of the monologue and the story/character transitions honestly, as far as possible without mime or indication. Again, we invite you to make eye contact with the auditioners if you want to during this performance (no obligation!), but try to avoid "mugging"--i.e. using excessive facial indication. The real objective is to find the honesty and the action impulses of the character. Be truthful and all else will follow. You may use music to accompany the work, but it is not required.
3. [optional] – sing one verse or one chorus of a song a cappella. If you wish to do it accompanied, please bring your own instrument or recorded music.
Please be sure to fill out your special skills on the audition form – we are particularly looking for what musical instruments you play, your singing and your extended movement skills, including stage combat.
You have 5 MINUTES in total for your audition, so select short audition pieces that display your best qualities, skills and range.
November 2013 Twelfth Night by William Shakespeare, directed by Gyllian Raby and Danielle Wilson
February 2012 Jehanne and the Witches by Sally Clark, directed by Virginia Reh
Copies of Jehanne of the Witches are available on loan outside Gini’s office (146E)
Information about Twelfth Night
is available in this document.
Information about Jehane of the Witches
is available in this document.
QUESTIONS??? Please contact email@example.com
for 2013 - 2014
|TWELFTH NIGHT, (or what you will), by William Shakespeare.
DIRECTED BY Gyllian Raby.
Co-Director and Vocal Coach: Danielle Wilson
Music Director: Max Holten-Anderson
Assistant Director and Dramaturge: Keavy Lynch
|Viola /Cesario, shipwrecked||Bri Lidstone|
|Sebastian, shipwrecked||Alex Canaran MacFabe|
|Sea Captain, helps Viola; as cast (Watch/ Priest)||Nick Leno|
|Antonio, pirate captain, helps Sebastian||Evan Bawtinheimer|
|Orsino, loves Olivia||Omar al-Aufy|
|Curio, bass guitar
|Olivia, loves Cesario||Rachelle Lauzon|
|Julia maid to Olivia; as cast (band)||Sean McClelland|
|Malvolio, major domo to Olivia||Colin Anthes|
|Feste, itinerant musician||Marcus Schwan|
|Sir Andrew Ague-Cheek, as cast (shipwreck)||Chris Chapman|
|Sir Toby Belch, as cast (shipwreck)||Sean Rintoul|
|Maria, maid to Olivia; as cast (band, shipwreck)||Kristy Bird|
|Balthazar, percussion and sax||Rob Grady|
|JEHANE OF THE WITCHES, by Sally Clark.
DIRECTED BY Virginia Reh
Assistant Director: Casey Gillis
Dramaturg: Brittany Stewart
|Voice 1 / Michael, Poulegny, Minguet, Bastard of Orleans, Courtier & a Mother . . .
|Voice 2/ Catherine, de Baudricourt, La Hire, Court Lady, Whore 2 and a Mother . . .
|Voice 3/Margaret, Court Lady, English Soldier and Attendant:
. . .
|Isabelle, Court Lady||Elizabeth Smith|
|Marie de Raie, Fool, Whore 1 (Court Lady)
|Gilles de Rais
|George de Remouille, Bishop Cauchon . . .
|Charles the Dauphin, God, Bishop . . .
|Priest (Pierre), Village Priest, Archbishop of Rheims, Pasquerel . . .
Scholarships, Bursaries, and Awards for students in DART
In addition to the Scholarships, Bursaries, and Awards available to all incoming and continuing students at Brock University, the Department of Dramatic Arts offers a selection of need-based bursaries as well as awards for academic and community excellence. These include:
- Amadeus Book Prize
- Elizabeth Miller Bursary
- F. Janet Dolman Prize in Playwrighting
- J. H. and J. F. Harding Prize in Dramatic Literature and Theatre
- Jane Forrest Prize in Dramatic and Theatre Arts
- Jean Harding Prize
- L. Amy Kerr Book Prize
- Marlene Moser Memorial Scholarship (new for 2011)
- M.E. and L.E. Miller Prize in Drama and Theatre Arts
- Mike Holmes Heron Memorial Bursary
- Norah Morgan Book Prize for Drama in Education
- Theatre Students and Alumni Book Prize for Theatre
- Warren Hartman Bursary
For a complete list of Dramatic Arts-related and other university awards, as well application information, please see here.
Erica Charles seen with her father at the recent Faculty of Humanities Convocation on June 11, 2013.
Congratulations to 2013 SSHRC award recipient and Dramatic Arts graduate, Erica Charles
The Department extends its hearty congratulations to 2013 SSHRC award recipient and Dramatic Arts graduate, Erica Charles. Erica was awarded the Social Sciences and Humanities Research Council of Canada Award: Joseph-Armand Bombardier Canada Graduate Scholarship — Master’s for her work “The voice in phenomenology and semiotic theory.”
Erica is one of 31 Brock graduate students who received a share of $975,000 of funding under SSHRC’s Talent Program, designed to give master’s and doctoral students a boost.
Most of these students, including Erica, received funding under SSHRC’s Joseph-Armand Bombardier Canada Graduate Scholarships - Master’s category. The remainder had grants under two doctoral categories.
“Graduate students are involved in outstanding research that matters in so many ways to people of all ages living in our closest neighbourhoods, in communities around Canada, and in the far reaches of the world,” says Mike Plyley, Dean, Faculty of Graduate Studies.
“We are very proud of the success of our students in these highly competitive awards. This is a measure of excellence and recognition of the scope and calibre of work that our students pursue as they create their distinct identities as the researchers, scholars, and leaders of tomorrow.”
Erica was recently seen performing in An Acre of Time by Jason Sherman, Studio Theatre, and The Blue Room by David Hare, Sean O'Sullivan Theatre, both productions of the Department of Dramatic Arts of the Marilyn I Walker School of Fine and Performing Arts at Brock University. She will be seen on the stages of the Toronto and Hamilton Fringe Festivals in Fulcrum Theatre's production of HERE. A multimedia dance-theatre piece from the company that won Best of Hamilton Fringe in 2012,HERE examines the notions of being stuck and learning when to say goodbye to something you love.