David Fancy

Faculty of Humanities

David Fancy

Rank: Associate Professor
Department: Dramatic Arts
Ext: 3584
E-mail: dfancy@brocku.ca

Work currently in progress, or about to be begun, along with indication of when the project is likely to culminate and what form it will take:
My current research is a book length project on immanence and performance, with specific emphasis on bringing the work of Gilles Deleuze into discussion with the history of the stage actor. I am also developing an exhibition with a curator that will accompany the second production of my recent play Khalida, and am currently finishing another play for production in 2010.

Work previously undertaken, research achievements or projects completed:
1. Book Chapters

Fancy, David. “Patrice Chéreau and the ‘New Europe.’” The Director and the ‘New Europe.’ Ed. Marie Delgado and Paul Heritage. New York: Routledge, 2009.

Fancy, David and Susan Spearey. “Mindfulness and Embodiment Practices as Teaching Pathways in the Humanities.” Power, Pedagogy, and Praxis: Social Justice in the Globalized Classroom. Ed. Shannon and Richard Moore. Rotterdam: Sense Publishers, 2008.

Fancy, David and Susan Spearey. “Witnessing States of Complexity.” Silences. Ed. Betsy Warland. Gatineau: Gauvin Press, 2008. 75-78.

Fancy, David. “Testimonial.” Making a Difference: Toute la différence. Ed. Lerch, Marilyn. Hamilton: Centre for Leadership in Learning, 2005. 7.

Fancy, David. “Sallinger” and “Quay West” (trans.). Koltès Plays: Two. Ed. David Bradby and Maria Delgado. London: Methuen, 2004. 27-97, 99-185.

Fancy, David and Maria Delgado. “Koltès et le monde anglo-saxon.” Koltès: la Question du lieu. Ed. André Petitjean. Metz: Cresef, 1999. 85-103.

2.Articles in Refereed Journals

Fancy, David. “L’Affaire Koltès: a Contextualization.” Contemporary Theatre Review. 18.4 (2008).

Fancy, David. “The Gathering of the Gurus: Spiritual Capital and the Shambhala Authentic Leadership Program.” Theatre Research in Canada. 26.1-2 (2005): 84-101.

Fancy, David. “The ‘Darkness’ at the End of the Theatre: Chéreau, Koltès, Nanterre.” Contemporary Theatre Review. 14.4 (2004): 68-82.

Fancy, David and Maria Delgado. “Bernard-Marie Koltès and the ‘Other’ Spaces of Translation.” New Theatre Quarterly. 17.66 (2001): 41-60.

3.Creative Research

2008. Founded NEXT theatre company of Niagara to do theatre and social change work in Niagara. Trained five individuals in Augusto Boal’s theatre and social change techniques over a ten week period in April-July.

2008. Completed Khalida, a new play. Staged in SummerWorks festival in Toronto in August. Play won the Enbridge Alberta Theatre Projects Emerging playRites Prize for 2008. Designated as one of the ‘outstanding new plays’ of the SummerWorks festival. Production received four stars and ‘Critic’s Pick’ from Jon Kaplan in Toronto’s Now Magazine. Was one of two productions given special mention by critic Lynn Slotkin on CBC Radio One.

2008. February. Mainstage production for Dramatic Arts, The Skriker by Caryl Churchill.

2007. November. Invited to teach a two-day intensive at the Carnegie Melon School of Drama.

2006. March. Workshop leader and project co-ordinator, Kairon Project. A year-long series of expressive arts workshops designed for women living with and beyond breast cancer.

2005. November. Director of Brock Departmental Mainstage production of Timberlake Wertenbaker’s Our Country’s Good.

2005. March. Public reading of a new text, Florence of America, at Theatre Beyond Words, St.Catharines.

2003-04. New writing coordinator, Untold Stories Project, Teesri Duniya Theatre.

2002-03. Stage director, Untold Stories Project, Teesri Duniya Theatre. Directed two large productions in this ongoing series of projects designed to give voice to untold stories from members of diverse cultural communities from various socio-economic strata.

2002-03. Artistic Director, Youthworks, Black Theatre Workshop. Trained actors aged 16-22 on a weekly basis. Secured $50,000 per annum Heritage Canada funding to begin three-year Afrocentric curriculum with Black Theatre Workshop’s Young Company.

2000. Founded MarshFire People’s Theatre Company in New Brunswick. Created a community-based play involving 15 trained artists, 150 members of three cultural communities, and socio-economically marginalized youth. This $200,000 project involved professionals from the arts (actors, painters, puppeteers and musicians), social workers, cultural geographers and a variety of young artists on internships. A DVD documentary about the company’s work is available, and I have written about the project for the Canadian Theatre Review (Spring 2001) and alt. theatre, cultural diversity and the stage (Spring 2001).

1999. Invited to be permanent member of R. Murray Shafer’s annual Wolf Project in Haliburton, Ontario. At this annual gathering, 64 professional and amateur artists contribute to an ongoing cycle of performances in a wilderness setting.

1998. Awarded the 1998/99 French Embassy/Irish Translator’s Association translation award to translate B.M. Koltès’ Sallinger into English.

1998. Commissioned by Dublin’s Bedrock Theatre Company to write a translation of Bernard Marie Koltès’ Quai ouest for its first-ever professional English language production. Received Canada Council Arts Flight for travel to Dublin from Canada to dramaturg on the production during its 1999 run.

1994-98. Founding member of Hybrid Theatre Company, Dublin, Ireland. One of four actor/singers in productions of Jacques Brel is Alive and Well (50+ performances in Andrew’s Lane Theatre—a 350 seat house, Dublin, Ireland) and one of three actor/singers in Farewell Ella (Tribute to Ella Fitzgerald, 75+ Performances, Andrew’s Lane Theatre, Tivoli Theatre—400 seats, Dublin). Various promotional television appearances.

1994-98. Member of Artslab, the Samuel Beckett Centre’s (Trinity College, Dublin) experimental affiliate company. Frequent workshops and works-in-progress presentations with visiting directors and acting trainers.

1996-98. Founding member of Lila Actor’s Co-operative which offered acting training and created two productions for the Dublin Fringe Festivals in 1996 and 1997.

1996. McCormick Puppets, Gilgamesh. Performances at the International Puppet Festival, Dublin and Lahore International Puppet Festival, Pakistan.

1995. Directed Vaclav Havel’s Unveiling for the First Dublin Fringe Festival. Toured to Galway, Ireland and Murcia and Alicante, Spain.

1994-95. Toured with Mount Allison University’s bilingual touring ensemble, Tintamarre, to over 40 Maritime schools with Bonsoir Irène Goodnight and Le Test.

4. Articles in non-refereed journals

Fancy, David. “Polynation.” alt. theatre, cultural diversity and the stage. (Spring) 2004. 8-15.

Fancy, David. “Productive Transgressions: The MarshFire People’s Theatre Company.” Canadian Theatre Review. 106 (Spring) 2001. 11-15.

Fancy, David. ‘The MarshFire Guild System’, alt. theatre, cultural diversity and the stage, (Spring) 2001.


2008. October. “Cosmopolitanism and Mindfulness” With Sue Spearey. Conference on Cosmopoltanism and Human Futures. University of Western Ontario.

2005. November. “Mindfulness, Critical Theory, and Embodiment in Post-Secondary Education.” Critical Theory Working Group, McMaster University.

2005. May. Society for Teaching and Learning in Higher Education, Charlottetown, Prince Edward Island. Panel participant: “From Scholarship to Change.”

2004. February. “Ghosts of the self once removed.” The Putting a Life on Stage conference, University of British Columbia. Convenor: Sherrill Grace.

2003. November. “Théâtre et Exile.” Université de Quebec à Montréal. Seminar series on theatre and exile. Convenor: Fréderic Maurin.

2003. May. “Prometheus Performed: The Aesthetics of the Amateur Actor.” Association for Canadian Theatre Research, Dalhousie University. Winner of the Association for Canadian Theatre Research Robert Lawrence prize for best paper by an emerging scholar.

2002. May. “Koltès, Blackness and the Other.” Association for Canadian Theatre Research, University of Toronto.

2001. May. “MarshFire: Pedagogy on the Edge.” Association for Canadian Theatre Research, Laval University.

1999. Nov. ‘Koltès, Ethnicity and Translation.” American Society for Theatre Research, City University of New York.

1999. Jan. “Koltès en traduction.” Premières Rencontres Internationales Bernard-Marie Koltès, Metz, France. Co-presented with Maria Delgado.

Research Grants and Research Awards or Honours:

2008 Enbridge Alberta Theatre Projects playRITES Emerging Playwrights Prize

2003 Lawrence Emerging Scholar Prize, Canadian Association for Canadian Theatre Research

1998 French Embassy/Irish Translator’s Association Translation Award


Internal grants

2008 Humanities Research Institute. Further funding for Khalida Project

2007 Humanities Research Institute. Funding for Khalida production.

2006 Special Initiatives Funding. Creative Arts Therapies Symposium.

2005 Chancellor’s Chair for Teaching Excellence.

2005 SSHRC Internal Seed Grant (co-applicant). Performance Documentation.

2005 Humanities Research Institute (co-applicant) Conference planning grant.

2005 Conference Travel Grant.

2004 SSHRC Internal Seed Grant. “Postcolonial Koltès”

2004 Humanities Research Institute: Translation grant.

Refereed external grants

2008 Toronto Arts Council, for production of Khalida (with A. Seay).

2008 Ontario Arts Council, for production of Khalida (with A. Seay).

2008 Enbridge Alberta Theatre Projects, playRITES Emerging Playwight.

2008 Canada Council for the Arts (with A. Seay) for Khalida.

2006-2010 SSHRC Standard Research Grant. “Theatre and the ‘Minoritarian.’”

2005 Canadian Breast Cancer Foundation. Arts and Empowerment in a Community Health Setting (with K. Perry and N. Cook).

2003 Heritage Canada Black Theatre Workshop (with R. Van Fossen).

2001 New Brunswick Arts Council, Documentation grant.

2000 Human Resources Development Canada.

2000 Crake Institute. Project grant.

2000 Millennium Fund. Project grant.

2000 New Brunswick Arts Council. Project grant.

1998 Canada Council for the Arts, Travel grant.

1998 French Ambassador to Ireland, Translation award.

Areas of Research Interest (in brief):
*Immanence and performance


*Acting training