In order to best prepare dancers for a successful career in a highly competitive field, advancement each year is not automatic. Students must meet the School’s high standards for artistic excellence, as demonstrated through both progress and potential, in order to continue through the program.
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Class Descriptions
Contemporary Dance Techniques
Classes in contemporary barre focus on integrating the use of torso and limbs; articulation of different body parts; alignment; and use of energy, weight, and space. Dancers work on physicality, centering, musicality, and clarity of movement. Different sources of movement are explored, with a strong focus on internal/external motivation. The class comprises work at the barre, centre work, and movement across the floor, including a variety of jumps.
Graham technique is derived from the work of American modern dance pioneer, Martha Graham. These classes provide dancers with an understanding and an experience of the use of the basic movement principles of contraction/release and spiral, beginning in the body’s centre and radiating into its extremities. With variations in falls and turns, the body sculpts the space in three-dimensional curves. One of the most dramatic of modern dance techniques, the Graham movement vocabulary has tremendous power and expressive potential. Class begins with breath-related exercises seated on the floor, and it progresses through codified floorwork to standing work and complex movement phrases travelling through space.
As part of the contemporary dance techniques course, students also receive classes in Limón Technique and ballet for contemporary dancers. In recent years, special workshops have been held to introduce students to Cunningham, Horton, and Skinner Releasing techniques.
All classes in contemporary dance technique feature live music provided by an experienced dance accompanist using percussion or piano.
Repertory
Repertory is an exciting, challenging, and very tangible way for dancers to prepare for the profession, and gives them the chance to apply a multitude of technical improvements to their performance skills. The course provides an opportunity for students to work with a variety of gifted choreographers, both learning existing repertoire and having new work created for them. The work can be transformative, allowing dancers to experience tremendous artistic challenges and growth. They learn how to work in an ensemble, and how to take direction as well as how to lead. They become familiar with rehearsal and performance practices, they learn how to recognize a choreographer’s intent, and they acquire performance and interpretive skills. They are encouraged to bring themselves fully to the work, and to become powerful and stimulating instruments for the choreographer. Third-year dancers also work on intimate, small cast repertory in addition to their ensemble work. Repertory classes build towards public performances at the end of the fall and spring terms.
Body Work
The challenges of technique to each particular physique require exploration and application outside of class throughout a dancer’s entire career. Body work sessions are designed as an adjunct to technique classes and provide students with personal practice material in a number of key areas. A hands-on experience for the dancer, these classes are taught in private, small group, or full class settings. Body work classes address individual technical concerns, including issues relating to flexibility, strength, and injury prevention. The classes provoke personal investigation and movement research, and they promote a sense of responsibility towards learning, critical analysis, and becoming one’s own teacher.
Improvisation
This course provides opportunities for the dancer to participate in the creative process and to bring form to the instincts of the body and spirit. The class provides a non-judgmental atmosphere for dancers to discover movement that comes from their own impulses. Dancers can begin to find building blocks to forming their own style as they develop sensitivity, tools for expression, performance abilities, and choreographic skills. They are encouraged to take creative risks, and to provoke themselves to explore beyond their own movement vocabulary in order to discover new ways of moving.
Bouffon
Bouffon is a physical theatre style that uses parodies of different human characteristics, revealing the dualistic nature of each person and his or her ridiculous aspect. It is developed through the exploration of four families: the dwarves, the big bums and bellies, the hunchbacks, and the heretic priest. Characteristically, the bouffon will deliver commonplace statements in a tone of high seriousness and serious declarations as if they were humorous. The bouffon embodies ironic awareness. The physical approach to bouffon forces students to break through boundaries of self-consciousness and empowers them with a sense of boldness in performance presence.
Contact Improvisation
This course explores the style and technique, based on improvisation, in which dancers support and utilize each others’ body weight while in motion. Developed by dance artist Steve Paxton in the 1970s, contact improvisation is traditionally performed as a duet. The emphasis is on touching, falling, lifting, leaning, sliding, counter-balancing, and supporting the weight of another person. Characteristics of sharing, co-operation, egalitarianism, and informality define the atmosphere among participants. This technique is a valuable tool for dancers approaching partnering work in choreography.
Creative Process
In this course, the dancer examines new and emerging areas of thought, investigates a wide range of choices about ways to choreograph, and explores the craft of choreography. Course instructors lead discussions on aesthetic choices, and on practical creative skills. The student delves into elements of choreography through structured improvisation and choreographic studies. Free improvisation is explored and solo, duet, and group choreography is created. Throughout the course, students develop their analytical and descriptive abilities to discuss work and give feedback to their peers; they begin to define their artistic point of view; they defend their values; they expand their critical thinking; and they cultivate the ability to take creative risks, and to be artistically vulnerable. They explore a multitude of elements of the craft of choreography, including space, time, intention, content, form, structure, theme, source, imagery, and dynamics. Attention is directed to the relationship of choreography to music/sound. Students develop practical skills in handling technical and production support for performances, and in third year, they are required to produce a work for public presentation. Even for dancers who have no choreographic aspirations themselves, the process of creating and producing their own work will significantly enhance their understanding of the realities of their professional obligations as performers,
Music
This course is designed to help dancers acquire and/or sharpen basic musicianship skills in order to develop a fuller appreciation of music and how it relates to dance. Listening exercises concentrate on the manner in which music functions theatrically to encourage students to consider ways in which music can inspire or reflect movement. First-year students also learn to recognize, read, and respond to different rhythmic patterns; second- and third-year students study vocal production.
Elements of Production
Taught by a stage manager with many years’ experience in dance, this course provides an overview of the fundamental elements of theatrical production for the stage, including an introduction to technical definitions and theatrical terminology. Students become familiar with stage management, sound production, and production management; they also participate in a workshop on lighting techniques. General theatrical safety principles are addressed, and students become familiar with job descriptions for a variety of positions in theatre.
Theatre
This course examines the performer’s craft from the perspective of theatre and dance. It emphasizes character development, use of text, theatrical play, and the performer’s presence in the shared space of the theatre. The goal is to provide students with a practical vocabulary of skills that will enable them to respond with confidence and individuality in any rehearsal context.
Anatomy
This course is designed and taught by a physiotherapist with a parallel career as a dance artist. It gives the dancer a practical understanding of functional anatomy, including basic musculoskeletal physiology, the nervous system, and their application to the dance artist. Classes are interactive, and include exploration of functional anatomy — bony landmarks, locating muscle groups, and palpation on each other in a professionally facilitated manner. Basic taping principles and the purpose of taping for an injury are covered. Nutritional requirements for dancers are also addressed. Readings, assignments, and examinations are a mandatory part of the coursework.
Dance History
This course provides an overview of developments in western modern dance in the 20th century; it is designed to give dancers an understanding of the legacy of the art form and the context for their training. Classes include videotaped examples of the work of various key choreographers, and may include presentations by visiting artists and workshop experiences with different movement styles. Students are encouraged to look at dance in economic, social, political, and art-historical contexts. Second- and third-year students also explore concepts from visual art, theatre, literature, music, and architecture, in order to understand the impact of other art forms on western theatre dance. Readings and assignments are included in the coursework.
Pedagogy
This course assists dancers with skills needed to teach contemporary dance at beginner and elementary levels. Included are observations of various teaching strategies, sessions with visiting master teachers on their teaching philosophies, discussions with a teacher of creative movement for children, and sessions with an experienced dance accompanist on the use of music. Dancers learn how to create a phrase of movement, how to use their voice effectively when teaching, how to demonstrate for a senior teacher, and how to use a demonstrator in their own teaching. Third-year students participate in practicum teaching sessions in a variety of settings.
Career Paths
Students acquire practical experience in résumé writing, writing a cover letter, writing both theoretical and actual grant applications, and developing budgets. The course provides information on legislation regarding the status of the artist, the Canadian Artist Code, and the Professional Standards for Dance. An introduction to financial management, including income tax preparation, is addressed, and parallel careers are examined. Information is provided regarding relevant granting bodies, service organizations, and artists’ unions. Third-year students are required to attend the “On The Move” Career Day organized by the dance service organizations of Ontario.
Special Workshops, Master Classes
Workshops and intensive courses are given by guest artists and speakers. Topics have ranged from various dance techniques including African, Bharatanatyam, butoh, Cunningham, Horton, Limón, Mitzvah, and Skinner Releasing; to health and fitness subjects such as nutrition, performance psychology, Pilates mat work, and yoga. Third-year students may participate in an exchange program with LADMMI – L’École de danse contemporaine, in Montreal.
Dance Adventures
Dance Adventures are a series of presentations for the entire student body, in which visiting and resident artists are invited to speak informally about their background, work, philosophy, and career. Dance Adventures can include video presentations, demonstrations, and movement workshops to elaborate and illuminate the artists’ talk.
All classes and curriculum details are subject to change.
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Performance Opportunities
Mainstage performances – winter and spring programs involving the entire student body, and an additional program of small ensemble repertory for third-year students – provide opportunities to perform special commissions or remounts of work by acclaimed choreographers; works by Christopher House from the repertory of Toronto Dance Theatre; works by talented emerging contemporary creators; and classic dances by significant international choreographers. The School’s artistic staff find the best possible working professional choreographers to create new work; these artists are committed to working with students, and along with dedicated rehearsal directors and coaches, make every effort to bring out the best qualities in the student performers, with an optimal amount of support. Dancers have the chance to learn different choreographic points of view, and are prepared to become the most versatile of instruments as professional dancers. Student-run choreographic workshops and more informal “coffee house” performances regularly present original student choreography. Recently, students have also appeared in performances at the Canada Dance Festival (Ottawa) and Premiere Dance Theatre (Toronto).
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Joint Program with York University
The School of Toronto Dance Theatre has developed a joint program with York University’s Faculty of Fine Arts. After successful completion of the three-year Professional Training Program at the School, students who meet the university’s requirements and who wish to obtain a university degree may apply to be admitted to York’s dance program. Upon acceptance, the university would recognize the training received in the PTP by awarding up to 58.5 credits; students would need to obtain an additional 61.5 credits in order to obtain an Honours Bachelor of Fine Arts degree. These credits could be obtained within two years or accumulated over a number of years of part-time study. In order to qualify for admission into this program at York University, students must maintain a B average while attending The School of Toronto Dance Theatre. The joint program does not involve concurrent enrollment at both the School and York University.
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Artistic Staff & Faculty
Artistic Staff
Artistic Director: Patricia Fraser
Artistic Associate: Susan Macpherson
Artistic Associate: Patricia Miner
Professional Programs Co-ordinator: Andrea Roberts
Artistic Advisor to Professional Training Program, Artistic Director of Toronto Dance Theatre: Christopher House
Administrative Staff
General Manager: Andrea Vagianos
Student Services Co-ordinator: Heather Dunford
Marketing and Outreach Co-ordinator: Carolyne Topdjian
Faculty
Wendy Chiles
Susanna Hood
Sasha Ivanochko
Rosemary James
Helen Jones
Robert McCollum
Julia Sasso
Darryl Tracy
Adjunct Faculty
Massimo Agostinelli
Johanna Bergfeldt
Pam Johnson
Kaeja d’Dance
Sean Ling
Graham McKelvie
Sharon Moore
Jeff Morris
Michelle Silagy
Heidi Strauss
Michael Trent
Jeannie Wyse
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Recent Guest Artists/Faculty
Conrad Alexandrowicz
Elizabeth Auclair
Peggy Baker
Patricia Beatty
Marc Boivin
Rachel Browne
Peter Chin
Bill Coleman
Irene Dowd
Paul-André Fortier
Margie Gillis
Fiona Griffiths
Danny Grossman
Dance Company
Kate Hays
D.A. Hoskins
Karen Jamieson
Susie Langley
Coralee McLaren
Tedd Robinson
Risa Steinberg
Erika-Leigh Stirton
Toronto Dance Theatre
Debbie Wilson
Christine Wright |
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Students have recently performed works by:
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Massimo Agostinelli
Conrad Alexandrowicz
Peggy Baker
Patricia Beatty
Marc Boivin
Rachel Browne
Peter Chin
Robert Cohan
Bill Coleman
Murray Darroch
Sylvain Émard
Paul-André Fortier
Danny Grossman
D.A. Hoskins
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Christopher House
Sasha Ivanochko
Karen Jamieson
Mitch Kirsch
José Limón
Coralee McLaren
Sharon Moore
Tedd Robinson
Julia Sasso
Roger Sinha
Heidi Strauss
Darryl Tracy
Michael Trent
Charles Weidman |
All faculty and staff are subject to change.
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