Published on Brock University (http://www.brocku.ca)
Dr. Fancy received his doctoral training at the Samuel Beckett Centre, Trinity College Dublin, Ireland working on questions around the ontology of stage presence and their intersection with concerns around postcoloniality in the work of playwright Bernard-Marie Koltès and director Patrice Chéreau. His research interests and current publishing revolves around questions of ontology, immanence and performance, with a specific interest in immanence and performativity, immanence and performance training, and immanence and technology. Fancy has an extensive creative practice as a playwright and director.
(Forthcoming) Eds D. Belshaw and D. Fancy, Eds. Acting Training in English Speaking Canada: Diversities. A special issue of Canadian Theatre Review. #158 Fall 2014.
(In Press) Fancy, David. “Becoming Imperceptible: affect in the studio en trois temps.” Ed. Erin Hurley. The Theatre of Affect (Essays), Volume 4 in the New Essays on Canadian Theatre series, Gen. Ed. Ric Knowles. Toronto: Playwrights Canada Press, 2014.
(In press) Fancy, David. “Deleuze & Guattari, Architecturality and Performance.” Intensities and Lines of Flight: Deleuze, Guattari and the Arts. Ed. Antonio Calcagno. London: Rowman and Littlefield, 2014.
(In Press) Fancy, David. “Subrepresentational Performativity in Gilles Deleuze’s Difference and Repetition.” Performance Research. 2014.
Fancy, David. “‘I Scream the Body Electric’: performance, the field body, and zombies in societies of entrainment.” Performance, Identity, and the Neo-Political Subject. Eds. Matthew Causey and Fintan Walsh. London: Routledge, 2013. 63-83.
Fancy, David and Susan Spearey. “Mindfulness and Pedagogy in the Humanities.” Ed. Ananta Kumar Giri. Pathways of Creative Research: Towards a Festival of Dialogues. Primus Press: Madras, 2013.
Fancy, David. “St Nina and the Abstract Machine: Aesthetics, Ontology, Immanence.” TRANS(performing) Nina Arsenault. Ed Judith Rudakoff. Chicago: Intellect, 2012. 173-189
Fancy, David. “Geoperformativity: Immanence, Performance, and the Earth.” Performance Research, 16.4 (2011): 62-72.
Fancy, David. “The Marshfire Guild System: Mobilizing Community Resources.” Ed Julie Salverson. Community Engaged Theatre and Performance. Playwrights Canada Press: Toronto, 2011. 111-114
Fancy, David. “Patrice Chéreau: Staging the European Crisis.” Contemporary European Theatre Directors. Ed. Marie Delgado and Dan Rebellato. New York: Routledge, 2010. 49-68.
Fancy, David. “Difference, Bodies, Desire: The Collaborative Thought of Gilles Deleuze and Felix Guattari.” Science Fiction Film and Television. 3.1 (2010), 93–106.
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. 179-198.
Fancy, David and Susan Spearey. “Witnessing States of Complexity.” Silences. Ed. Betsy Warland. Gatineau: Gauvin Press, 2008. 75-78.
Fancy, David. “L’Affaire Koltès: a Contextualization.” Contemporary Theatre Review. 18.4 (2008). 487-96.
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. “Testimonial.” Making a Difference: Toute la différence. Ed. Lerch, Marilyn. Hamilton: Centre for Leadership in Learning, 2005. 7.
Fancy, David. “Sallinger” and “Quay West”. Koltès Plays: Two. Ed. David Bradby and Maria Delgado. London: Methuen, 2004. 27-97, 99-185.
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. 17.6 (2001): 41-60.
Fancy, David and Maria Delgado. “Koltès et le monde anglo-saxon.” Koltès: la Question du lieu. Ed. André Petitjean. Metz: Cresef, 1999. 85-103.
July 2008-present Founder and Co-Artistic Director, neXt Company Theatre. www.nextcompanytheatre.com
2013. October. Writer, lyricist and producer for Cabaret Sauvignon, Circus Cabaret. With neXt Company Theatre. Political cabaret in collaboration with former Cirque de Soleil artists. http://www.nextcompanytheatre.com/site/cabaret-sauvignon
2013. March. Producer and writing co-ordinator of Arab Spring Monologues, a community engaged performance on issues around Arab Canadian and Muslim identity in Niagara. http://www.nextcompanytheatre.com/site/arab-spring
2013. February. Writer director of Khalida, produced by NeXt Company Theatre, Courthouse Theatre St Catharines. Showreel with testimonials available at: http://vimeo.com/66024246
2012. May – December. Director of Niagara Travelling Roadshow. Fifteen spontaneous moments of culture presented as part of the Cultural Capitals of Canada campaign. http://www.nextcompanytheatre.com/site/roadshow
2012. August. Director and co-producer of the Opening Ceremonies of the World International Junior Swimming Championships at the Illuminaqua stage on the Welland Canal. Featuring 50 performing artists. http://www.nextcompanytheatre.com/site/fina
2011. Growing Together: A Celebration of Niagara Migrant Workers. Wrote and directed piece about migrant worker issues for cast of 35. Sean O’Sullivan Theatre. Sept 18th, 2011. Based on a two year collaborative process with migrant agricultural workers and twenty four regional social service organizations http://www.nextcompanytheatre.com/site/growing-together
2011. Wrote and directed production of That Woman at Sullivan Mahoney Courthouse Theatre, St Catharines, April 13-16. http://www.nextcompanytheatre.com/site/that-woman
2011. April. MC Artist for The Main Event. Artist Wrestling at Rodman Hall, April.
2010. September. Wrote and created production of Remember to See the Worker Too in collaboration with the Niagara Migrant Workers Interest Group, Brock University.
2009. Invited to be guest artist at Lincoln Centre for the Arts, New York City. as the author of Khalida. Text featured at core of three-week long International Director’s Lab creative research laboratory.
2009. Guest performance instructor at Carnegie Melon School of Drama.
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. Founded NEXT theatre company of Niagara. Trained five individuals in Augusto Boal’s theatre and social change techniques over a ten week period in April-July.
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. 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. Montreal 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. Served as 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.
Winner (with Dr Spearey) of the Chancellor’s Chair for Teaching Excellence (2005-2008).
David Fancy regularly teaches critical theory and performance at the undergraduate level, courses in Deleuze and aesthetics as well as performance studies for the MA program in Studies in Comparative Literature and Arts, and courses in research methodologies in the PhD Program in Interdisciplinarity Humanities. He supervises at the MA and PhD level and serves as an external examiner on doctoral theses at other institutions.
Recipient of external funding and investment from SSHRC, the Ontario Arts Council, Heritage Canada, the St Catharines and Cultural Investment Program, Trillium Foundation, St Catharines Performing Arts Centre, Canada Council for the Arts.