Urjo Kareda Residency Grant for an Emerging Theatre Artist
The deadline for applications is December 16, 2011.
The Urjo Kareda Residency Grant supports the training and artistic residency of an emerging theatre artist each season at Tarragon Theatre. The successful applicant will spend twenty weeks at Tarragon Theatre pursuing his/her own training and artistic goals by working in collaboration with professional artists in his/her chosen field(s) of interest.
The grant is valued at $15,000 and made possibly by an annual donation from The Youssef-Warren Foundation.
Eligibility:
To be eligible for the Urjo Kareda Residency Grant, you must define yourself as an emerging theatre artist. For the purposes of this competition, we define an emerging theatre artist as:- an artist who has spent no fewer than two years and no more than five in his/her chosen field (after training, if applicable).
- an artist who has demonstrated a strong ability for working in theatre.
- an artist who has created or participated in at least one theatrical work that has been presented, produced, or published.
Further eligibility requirements:
- The artist must reside in Canada.
- The artist must be prepared to relocate to Toronto if his/her application is successful for the duration of the proposed program.
We encourage applications from artists who wish to apprentice in one or more of the following fields:
- Design
- Production
- Dramaturgy
- Playwriting
- Direction
- Artistic Direction
We also encourage applications from artists of diverse cultures and artists working in non-traditional forms of theatre.
Application Process:
In order to apply for the UKRG, the applicant must:- Begin to familiarize him/herself with the programs and opportunities Tarragon Theatre offers using its website.
- Contact the Director of Education and Outreach at least two weeks prior to the deadline to discuss the details of the proposed training and residency program.
- Submit a training and residency proposal and detailed schedule, along with two reference letters from theatre professionals familiar with his/her work, by Friday, December 16, 2011.
Please note: You must contact the Director of Education and Outreach to obtain full Application Guidelines and to discuss your application prior to submitting it. If you fail to do this, your application will not be considered for the program.
Erin Brubacher
Director of Education and Outreach
outreach@tarragontheatre.com
(416) 536-5018 ext. 229
Urjo Kareda
Urjo Kareda was artistic director of Tarragon Theatre from 1982 to his untimely passing in December 2001. He was a champion of Canadian playwrights and new Canadian plays, and firmly established Tarragon Theatre's reputation as a hotbed of new play development and an accomplished producer of new Canadian work. His honours included the Order of Canada (1995), the City of Toronto Award for the Performing Arts (1999), and the Chalmers National Award for Artistic Direction (2000).Past Residents
Ravi Jain
Alex Eddington
My residency was extremely valuable to me in several ways. First, it is a nationally-recognized residency that will doubtless open more doors for me as my theatre career progresses. Second, the personal and professional connections that I made are many, diverse, and deep. And third, the artistic experiences that Tarragon was able to provide me with brought my own artistry forward. I applied to the residency with a dual-discipline proposal that complements my own interest, and this was how the residency played out: I spent the first half of it shadowing and assisting three professional sound designers (one of whom was Christian Barry, a former UKRG recipient) on three productions in Tarragon's season; and I spent the entire 20-residency writing my first full-length play -Emily C."
Tessa King
My overall objectve for my residency was: To investigate the role of the playwright and playwright-centred development models in the future of Canadian theatre. This goal was achieved through various observational and practical artistic opportunities and experiences. I have gained a new understanding and perspective on the process and importance of playwrights and playwright centred development models. I have also been exposed to new development models which have greatly influenced my own practice as a writer. The residency gave me a chance to talk to others and open my mind to new ways of working.
Christian Barry
In my time at the Tarragon, I have had the joy of working on shows that I truly loved, the pleasure of forging bonds with the most inspiring of artistic peers, and the privilege of working under the mentorship of not only one, but now two of Toronto’s foremost artistic directors in Richard Rose, and Andy McKim. My mandate for the residency can best be summed up as: To broaden my understanding of the role of the director-dramaturge in bringing new works to the stage. This goal was indeed achieved through many diverse and engaging experiences.
Alan Dilworth
I learned so much in such a condensed amount of time, I know I will be unpacking my theatrical suitcase for many years to come. This is an outstanding program. Given its hands-on, "thrown into the scrum" nature, it can play a pivotal role in the development of an emerging artist.
Beatriz Pizano
Beatriz Pizano spent the 2004-2005 season as an emerging writer/director in residence.
In September she began work as a Script Coordinator for the developmental workshop of Care. In late November she was the assistant director in Bea’s Niece. Next, she worked on Goodness. In late January she helped organize the readings for the Playwrights Unit. Last but not least, she completed her residency working as an assistant director/script coordinator for Alice’s Affair directed by Eda Holmes.
In addition to her work at the theatre, during these eight months she also completed three drafts of her new play entitled Madre and began work on yet another script, The Communion. It later went on to be produced as a fifteen minute radio play for the CBC. In addition, she directed a successful production at the Summerworks Festival called Capturing Freedom.
Lee Wilson
My season at the Tarragon gave me the opportunity to assist on two Canadian premiere main stage shows, a workshop of an important new Canadian adaptation, a play reading week of new Canadian plays, being able to watch some of the finest actors in the country, apprenticing one of the top Canadian directors/developers of new works, witness the incredible theatre model of the Tarragon and staff, and the ability to ask questions about the running of a professional theatre.
Kilby Smith-McGregor
Kilby Smith-McGregor says her Tarragon experience provided her with an extraordinary atelier in artistic leadership, from the practicalities of scheduling and resource management to the finer points of directing, dramaturgy, along with an understanding of the skills needed for inspiring a team of collaborators. Working closely with several playwrights through their own development processes, and being present within the Tarragon’s dramaturgical process was invaluable. It helped her assess and refine her own craft as a playwright. She gained an understanding of the new play development process in context. While receiving mentorship herself, she was also able to mentor others through participation in the Tarragon youth programs. She has left the Tarragon with expanded breadth and vision, as well as artistic and mentorship relationships that she will carry into the future.