{"id":793,"date":"2023-01-20T17:40:05","date_gmt":"2023-01-20T17:40:05","guid":{"rendered":"https:\/\/www.libspry.com\/?page_id=793"},"modified":"2023-01-20T18:13:58","modified_gmt":"2023-01-20T18:13:58","slug":"resume","status":"publish","type":"page","link":"https:\/\/www.libspry.com\/fr\/resume\/","title":{"rendered":"Carri\u00e8re"},"content":{"rendered":"
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Carri\u00e8re<\/h1>\n<\/div><\/div>\n<\/div><\/div>\n\n\n\n\n\n\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t
Ateliers<\/strong><\/td>1980-Present: Have taught workshops in the following subjects: Theatre of the Oppressed, Popular Theatre, Playwriting, Performance, Clown, Commedia d\u2019ell Arte, Brecht, Movement and Mask.<\/td>\n<\/tr>\n
<\/td>Those taught include: National Art Centre\/GCTC playwriting unit, Teesri Duniya Theatre Company, La Veille 17, Ottawa District Labour Council; Th\u00e9\u00e2tre du Jade, Paris, France; Women’s Health Interaction, Ottawa, Ontario; Nova Scotia Popular Theatre Alliance, Dalhousie University; The Coady Institute, St Francis Xavier University, Antigonish, N.S; International Adult Education Conference, Toronto: University of Michigan, Ann Arbor; Windsor Ecology Coalition; Returned Peace Corp Volunteers, Madison, Wisconsin;; Canadian Popular Theatre Alliance Festival, \u201cStandin\u2019 The Gaff\u201d Sydney, Nova Scotia; Common Ground Women\u2019s Centre, Toronto; Outaouais Popular Theatre, Ottawa; McGill Women\u2019s Union; CUSO, Montr\u00e9al; Carlos Busolanos Cultural Workshop, Toronto; International Ladies Garment Workers\u2019 Union, Toronto; Canadian University Press; Sheatre, Blythe, Ontario; Popular Education Network, Winnipeg; Elgin House Literacy Centre, Winnipeg; Women in the Workplace, Toronto; Registered Nurses Association of Ontario; Manitoba Popular Theatre Alliance; Native Women\u2019s Transition Centre, Winnipeg.<\/td>\n<\/tr>\n
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Direction<\/strong><\/td>Professional<\/strong><\/td><\/td>\n<\/tr>\n
<\/td><\/strong><\/td><\/td>\n<\/tr>\n
<\/td>Almighty Voice and His Wife: Daniel David Moses. Theatre Kingston, Kingston.<\/td>\n<\/tr>\n
<\/td>AMBIG\u00dcIT\u00c9: Guy Marsan. Ottawa<\/td>\n<\/tr>\n
<\/td>LETTERS TO MY GRANDMA: Anusree Roy. Teesri Duniya Theatre. Montreal<\/td>\n<\/tr>\n
<\/td>WHERE THE BLOOD MIXES: Kevin Loring. Teesri Duniya Theatre, Montreal.<\/td>\n<\/tr>\n
<\/td>FALLING OPEN: Luna Allison. Also Co-creator, dramaturge. Montreal & Ottawa Fringes, GCTC Undercurrents Festival.<\/td>\n<\/tr>\n
<\/td>ON A TOUS LE M\u00caME \u00c2GE MAIS PAS EN M\u00caME TEMPS\u2026 Mich\u00e8le Matteau with Lib Spry and Esther Beauchemin. La Vielle 17, Ottawa<\/td>\n<\/tr>\n
<\/td>NO POWER GREATER\/L\u2019UNION FAIT LA FORCE: Lib Spry. Dramamuse. *<\/td>\n<\/tr>\n
<\/td>HANSEL AND GRETEL: Shirley Barrie. Geordie Productions.<\/td>\n<\/tr>\n
<\/td>JULY 2, 1872: Lib Spry. Parliament Hill Players, Ottawa:<\/td>\n<\/tr>\n
<\/td>WHAT IF?: Shirley Barrie. Straight Stitching Productions, Toronto.<\/td>\n<\/tr>\n
<\/td>CARRYING THE CALF: Shirley Barrie. Straight Stitching Productions, Toronto. Dora Award Winner: Best Theatre for Young Audiences.<\/td>\n<\/tr>\n
<\/td>Almighty Voice and His Wife: Daniel David Moses. Great Canadian Theatre Company, Ottawa.<\/td>\n<\/tr>\n
<\/td>STRESS\/ANGST, PUIS-JE VOUS AIDER, CAN I HELP YOU? *: Luciano Iogna and Lib Spry. Passionate Balance. Ottawa.<\/td>\n<\/tr>\n
<\/td>Straight Stitching: Shirley Barrie.. Straight Stitching Productions, Toronto. Nominated for 1990 Dora Award in Theatre for Young Audiences category. Chalmers\u2019 Award winner in the same category.<\/td>\n<\/tr>\n
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<\/td><\/td><\/td>\n<\/tr>\n
<\/td>Community<\/strong><\/td><\/td>\n<\/tr>\n
<\/td><\/td><\/td>\n<\/tr>\n
<\/td>WE ARE OLD! WE ARE WONDERFUL!: devised. RECAA, Montreal<\/td>\n<\/tr>\n
<\/td>SHE CAN\u2019T HEAR ME: collective RECAA, Montreal<\/td>\n<\/tr>\n
<\/td>BREAKFAST: collective. Theatre Forum of Elder Abuse. RECAA, Montreal.<\/td>\n<\/tr>\n
<\/td>AUNT ENID: collective. Theatre Forum of Elder Abuse . RECAA, Montreal.<\/td>\n<\/tr>\n
<\/td>THE CASSANDRA PROJECT: Collective Creation. Windsor Feminist Theatre. With Lea Schaetzel.<\/td>\n<\/tr>\n
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<\/td>Training\/University<\/strong><\/td><\/td>\n<\/tr>\n
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<\/td>JELLY BELLYMAKES GABAGE DELIGHT OF ALLIGATOR PIE: Dennis Lee\/Kim Selody. Ottawa Theatre School.<\/td>\n<\/tr>\n
<\/td>RED NOSES: Peter Barnes. Drama Guild, University of Ottawa<\/td>\n<\/tr>\n
<\/td>BLOOD AND ICE: Liz Lochead. Concordia University Theatre Department.<\/td>\n<\/tr>\n
<\/td>CAUCASIAN CHALK CIRCLE: Bertolt Brecht. Concordia University Theatre Department.<\/td>\n<\/tr>\n
<\/td>WE WON\u2019T PAY! WE WON\u2019T PAY!: Dario Fo. Concordia University Theatre Department.<\/td>\n<\/tr>\n
<\/td>THE SERVANT OF TWO MASTERS: Carlo Goldoni. Theatre Guild, University of Ottawa.<\/td>\n<\/tr>\n
<\/td>THE GOOD PERSON OF SZECHWAN: Bertolt Brecht. Theatre Guild, University of Ottawa.<\/td>\n<\/tr>\n
<\/td><\/td><\/td>\n<\/tr>\n
<\/td><\/td><\/td>\n<\/tr>\n
Writing (selected)<\/strong><\/td>TRANCE FOR MATRON: Theatre Agile, Montreal June 2013<\/td>\n<\/tr>\n
<\/td>WE ARE OLD! WE ARE WONDERFUL: with members of RECAA, Montreal 2013.<\/td>\n<\/tr>\n
<\/td>NO POWER GREATER\/L\u2019UNION FAIT LA FORCE: Dramamuse.* Gatineau<\/td>\n<\/tr>\n
<\/td>PLAYING ROBIN HOOD: Salamander Theatre, Ottawa.<\/td>\n<\/tr>\n
<\/td>BUNGSU AND THE BIG SNAKE: Odyssey Theatre. Ottawa<\/td>\n<\/tr>\n
<\/td>THE RAVEN: Carlo Gozzi: Odyssey Theatre, Ottawa. Co-translator\/adapter with Laurie Steven.<\/td>\n<\/tr>\n
<\/td>KAMALAY. Odyssey Theatre, Ottawa.<\/td>\n<\/tr>\n
<\/td>THE MISER: Odyssey Theatre. Ottawa. Co- translator and adapter with Laurie Steven<\/td>\n<\/tr>\n
<\/td>JULY 2, 1872: Parliament Hill Players, Ottawa: *<\/td>\n<\/tr>\n
<\/td>TURANDOT: Odyssey Theatre: Ottawa<\/td>\n<\/tr>\n
<\/td>WHAT ABOUT US\/ET NOUS AUTRES? * Commissioned by Revenue Canada’s Women’s Committee. Passionate Balance. Ottawa<\/td>\n<\/tr>\n
<\/td>CONGRESS: Andr\u00e9 Rousseau: Translator. Th\u00e9\u00e2tre Derives Urbaines: Gatineau<\/td>\n<\/tr>\n
<\/td>IT’S OUR LIFE, ISN’T IT? created for CUPE. Passionate Balance. Ottawa.<\/td>\n<\/tr>\n
<\/td>THE TRAVAILS OF TRAVEL. Dramamuse, Museum of Civilization, Gatineau,<\/td>\n<\/tr>\n
<\/td>LE BON, LA VITE ET LE PLUS LENT. La Grosse Valise, Joliette<\/td>\n<\/tr>\n
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Acting (selected)<\/strong><\/td>TRANCE FOR MATRON. Theatre Agile. June 2013. Eadeg.<\/td>\n<\/tr>\n
<\/td>ON A TOUS LE M\u00caME \u00c2GE MAIS PAS EN M\u00caME TEMPS\u2026 La Vielle 17. Joker.<\/td>\n<\/tr>\n
<\/td>LEMONADE. Mile End Productions. Montreal QC. Dr. Clayton.<\/td>\n<\/tr>\n
<\/td>MYRRH: Panth\u00e9\u00e2tre, Paris. Workshop Production. Nurse and others.<\/td>\n<\/tr>\n
<\/td>THEY CAME IN FROM THE SEA: collective: Welfare State International, Ullverston, England: Marie Louise, Landlady. *<\/td>\n<\/tr>\n
<\/td>BRIGIT BONDFAST: SPACE SCIENTIST: Shirley Barrie. Straight Stitching Productions: One woman show for Senior K-Grade 3: Brigit<\/td>\n<\/tr>\n
<\/td>EVIDENCE TO THE CONTRARY: H\u00e9l\u00e8ne Pedneault. CBC Radio Drama, Montr\u00e9al: Laura<\/td>\n<\/tr>\n
<\/td>THE SPIRIT GARDEN: R. Murray Schaffer: The Spirit Garden Collective. Ottawa. Mistress of the Planting<\/td>\n<\/tr>\n
<\/td>MOTHER COURAGE: Bertolt Brecht. Sock\u2019 n Buskin, Ottawa. Mother Courage (Guest Artist.)<\/td>\n<\/tr>\n
<\/td>CONGR\u00c9S: Andr\u00e9 Rousseau: Th\u00e9\u00e2tre Derives Urbaines: Gatineau. Emma Brown.<\/td>\n<\/tr>\n
<\/td>SPECIAL DU JOUR: Collective. La Grosse Valise. Joliette. Emma Plum.<\/td>\n<\/tr>\n
<\/td><\/td><\/td>\n<\/tr>\n
<\/td><\/td><\/td>\n<\/tr>\n
Academia<\/strong><\/td>2017 – 2019<\/td>Queens University, Kingston, On<\/strong><\/td>\n<\/tr>\n
<\/strong><\/td><\/td>Drama Teacher: Advanced Acting. Stage and Screen Playing With History.<\/td>\n<\/tr>\n
<\/td><\/td>Drama Department: 1998 – 1999<\/td>\n<\/tr>\n
<\/td>2005 – 2007<\/td>McGill University, Montreal, Qc<\/strong><\/td>\n<\/tr>\n
<\/td><\/td>Introduction to Performance, Playwriting.<\/td>\n<\/tr>\n
<\/td>2003 – 2005<\/td>Concordia University, Montreal, Qc<\/strong><\/td>\n<\/tr>\n
<\/td><\/td>Artist in Residence: Taught Script Analysis, Introduction to Acting, Brechtian Acting, Story Telling, plus directing two productions.<\/td>\n<\/tr>\n
<\/td>2003<\/td>Guest Director: We Won\u2019t Pay, We Won\u2019t Pay! Dario Fo.<\/td>\n<\/tr>\n
<\/td>1997 – 1998<\/td>Theatre and Development: Popular Theatre<\/td>\n<\/tr>\n
<\/td>1984 – 2002<\/td>University of Ottawa, Ottawa, On<\/strong><\/td>\n<\/tr>\n
<\/td><\/td>Part-time teacher. Taught Introduction to Acting, The Stanislavski Tradition, Theatre History, Introduction to Theatre, Dramaturgy. Directed: A Servant of Two Marsters; The Good Person of Schezwan: The Pear is Ripe; The Caucasian Chalk Circle.<\/td>\n<\/tr>\n
<\/td><\/td>Artist in Residence 1999 and 1988.<\/td>\n<\/tr>\n
<\/td>1975 – 1985<\/td>Vanier College, St Laurent, Qc<\/strong><\/td>\n<\/tr>\n
<\/td><\/td>Theatre Department: Full-time Professor. Redesigned and taught all the theatre classes.<\/td>\n<\/tr>\n
<\/td><\/td><\/td>\n<\/tr>\n
<\/td><\/td><\/td>\n<\/tr>\n
Professional Memberships<\/strong><\/td>Canadian Association for Theatre Research, Indigenous Literary Studies Association,<\/td>\n<\/tr>\n
<\/td>Canadian Actors Equity Association,<\/td>\n<\/tr>\n
<\/td>Playwrights Guild of Canada,<\/td>\n<\/tr>\n
<\/td>Playwrights Workshop of Montreal.<\/td>\n<\/tr>\n
<\/td><\/td><\/td>\n<\/tr>\n
<\/td><\/td><\/td>\n<\/tr>\n
Areas of Research<\/strong><\/td>– Settler Decolonization<\/td>\n<\/tr>\n
<\/td>– Play as a tool for change<\/td>\n<\/tr>\n
<\/td>– Popular and vernacular theatre<\/td>\n<\/tr>\n
<\/td>– Political theatre and Humour<\/td>\n<\/tr>\n
<\/td>– Theatre in non-traditional venues.<\/td>\n<\/tr>\n
<\/td>– Digital embodiment<\/td>\n<\/tr>\n
<\/td>– Teaching acting from a physical theatre perspective.<\/td>\n<\/tr>\n
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<\/td><\/td><\/td>\n<\/tr>\n
\u00c9ducation<\/strong><\/td>2021 – 2023<\/td>Concordia University, Montreal Qc <\/strong><\/td>\n<\/tr>\n
<\/td><\/td>Postdoctoral Fellow<\/strong><\/td>\n<\/tr>\n
<\/td><\/td>Horizons program.<\/td>\n<\/tr>\n
<\/td>2014 – 2020<\/td>Queens University, Kingston, On<\/strong><\/td>\n<\/tr>\n
<\/td><\/td>PhD in Cultural Studies<\/strong><\/td>\n<\/tr>\n
<\/td><\/td>Thesis: Unsettling Settlers\u2019 Colonial Privilege Through Performance: Movement, Sound, Participation, Play, Laughter.<\/td>\n<\/tr>\n
<\/td><\/td>Supervisor: Clarke Mackey<\/td>\n<\/tr>\n
<\/td>2004 – 2006<\/td>Goddard College, Vermont<\/strong><\/td>\n<\/tr>\n
<\/td><\/td>MFA in Creative Writing<\/td>\n<\/tr>\n
<\/td><\/td>Thesis: Missing Earth – a play with songs and music. Supervisors: Deborah Brevoort and Jacquelyn Reingold<\/td>\n<\/tr>\n
<\/td>1964 – 1972<\/td>University of Saskatchewan, Saskatoon<\/strong><\/td>\n<\/tr>\n
<\/td><\/td>BA in Drama<\/td>\n<\/tr>\n
<\/td>1970 – 1971<\/td>York University, Toronto, On<\/strong><\/td>\n<\/tr>\n
<\/td><\/td>BA in Drama <\/td>\n<\/tr>\n
<\/td><\/td><\/td>\n<\/tr>\n
<\/td><\/td><\/td>\n<\/tr>\n
Formation<\/strong><\/td>2006 – 2009<\/td>L\u2019Ecole Philippe Gaulier, Paris, France<\/strong><\/td>\n<\/tr>\n
<\/td><\/td>3 years training in Jeu, Neutral Mask, Greek Tragedy, Play Mask, Bouffon, Character, Melodrama, Writing\/Directing, Shakespeare \/ Chekov, Clown 1, Vaudeville, Clown 2.<\/td>\n<\/tr>\n
<\/td>2000<\/td>Panth\u00e9\u00e2tre<\/strong><\/td>\n<\/tr>\n
<\/td><\/td>4-month training is voice and movement.<\/td>\n<\/tr>\n
<\/td>1984 – 1985<\/td>CEDITADE<\/strong><\/td>\n<\/tr>\n
<\/td><\/td>1 year apprenticeship with the Paris company of Augusto Boal. Took and gave workshops in all aspects of Theatre of the Oppressed. Co-wrote, directed and joked forums for the company.<\/td>\n<\/tr>\n
<\/td><\/td>Recent Workshops<\/strong><\/td>\n<\/tr>\n
<\/td><\/td>Banff Centre for Arts and Creativity: Future Narratives: Contemporary Indigenous Artistic Practice. Wanda Nanibush.<\/td>\n<\/tr>\n
<\/td><\/td>Gabriel Dumont Centre: mamawi-kiyokewin (good visiting-nehiyawewin\/Cree). A weekend of an artistic collaborative exchange between Saskatchewan First Nations and Metis elders and storytellers, performers, theatre artists and invited guests. Maria Campbell, Bruce Sinclair.<\/td>\n<\/tr>\n
<\/td><\/td>Jumblies Theatre Company: Art Essentials;<\/td>\n<\/tr>\n
<\/td><\/td>Francine Cot\u00e9: Bouffon;<\/td>\n<\/tr>\n
<\/td><\/td>Jesusa Rodriguez: Reality Doesn\u2019t Exist (How to build a political cabaret.)<\/td>\n<\/tr>\n
<\/td><\/td><\/td>\n<\/tr>\n
<\/td><\/td><\/td>\n<\/tr>\n
Publications<\/strong><\/td>Spry, Lib. \u201cBeing Old, Working with the Old, Performing Oldness.\u201d TRIC 42.2, Special Issue on “Age and Performance: Expanding Intersectionality” (Fall 2021).<\/td>\n<\/tr>\n
<\/td>Spry, Lib. \u201cFifty Years of Play\u201d Playwrights POV, PGC News Vol 2 Issue 3Spry, Lib. \u201cLightness and Political Theatre\u201d Alt. Theatre, Winter 2013<\/td>\n<\/tr>\n
<\/td>Spry, Lib. \u201cStructures of Power: Towards a Theatre of Liberation\u201d in PLAYING Boal: Theatre, Therapy, Activism; Eds. Mady Schutzman and Jan Cohen-Cruise; 1994; Routledge, NY & London.<\/td>\n<\/tr>\n
<\/td>Spry, Lib and Peggy Sample. PEACE AND PLENTY: 1993; Holt, Rhinehart and Winston; Toronto.<\/td>\n<\/tr>\n
<\/td>Spry, Lib. \u201cTheatre of the Oppressed\/But Not in Canada\u201d Canadian Theatre Review, Summer 1986.<\/td>\n<\/tr>\n
<\/td>Spry, Lib. A PRINCESS Never Should: 1979; Playwright’s Union of Canada; Toronto.<\/td>\n<\/tr>\n
<\/td>Spry, Lib & Annie Smith. \u201cExperiences from the Edges of the 8th Fire: Indigenous Sovereignty and Settler Responsibility\/Exp\u00e9riences des bords du 8e feu: souverainet\u00e9 autochtone et responsabilit\u00e9 des colons.\u201d TRIC\u00a043.2, (Fall 2022).<\/td>\n<\/tr>\n
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Conf\u00e9rences<\/strong><\/td>CATR 2017 Terra Nullius: Charting Paths To Reciprocal Settler–Indigenous Relationships through Indigenous Theatre and Performance in Academic Contexts”. A panel\/seminar organized with Annie Smith.<\/td>\n<\/tr>\n
<\/td>CATR 2016 Decolonizing Theatre and Performance Seminar 2: Indigenization, Settler Methodologies, and Intergenerational Responsibility. Dylan Robinson.<\/td>\n<\/tr>\n
<\/td>Festival Of Original Thought (UofT)\u00a0 2023 Thinking Outside the Black Box (lecture\/workshop) and Playing !Unsettling!\u00a0<\/td>\n<\/tr>\n
<\/td><\/td><\/td>\n<\/tr>\n
<\/td><\/td><\/td>\n<\/tr>\n
Jurys<\/strong><\/td>2012-14 Montreal English Theatre Awards<\/td>\n<\/tr>\n
<\/td>2013 Canada Council for the Arts: Artists and Community Collaboration Program<\/td>\n<\/tr>\n
<\/td>1994 Governor-General Award for Literature (Plays)<\/td>\n<\/tr>\n
<\/td>1992 Canada Council for the Arts: Projects<\/td>\n<\/tr>\n
<\/td>1990 Ontario Arts Council: Community Arts<\/td>\n<\/tr>\n
<\/td>1988 Ontario Arts Council: Projects<\/td>\n<\/tr>\n
<\/td>Ottawa-Carleton Region Theatre Projects<\/td>\n<\/tr>\n
<\/td>City of Ottawa Theatre Projects<\/td>\n<\/tr>\n
<\/td><\/td><\/td>\n<\/tr>\n
<\/td><\/td><\/td>\n<\/tr>\n
Prix<\/strong><\/td>Ontario Government Scholarships 2015-17<\/td>\n<\/tr>\n
<\/td>2012-13 Artists and Community Collaboration Program: \u201cWe Are Old! We Are Wonderful\u201d with Respecting Elders: Cultures Against Abuse (RECAA). Canada Council of the Arts.<\/td>\n<\/tr>\n
<\/td>2008 Professional Development Grant to work with Philippe Gaulier (second year). Conseil des arts et des letters du Qu\u00e9bec<\/td>\n<\/tr>\n
<\/td>2006-07 Professional Development Grant to work with Philippe Gaulier(first year). Canada Council of the Art<\/td>\n<\/tr>\n
<\/td>2001-2 Writer-in-Residence: Odyssey Theatre, Ottawa. Ontario Arts Council<\/td>\n<\/tr>\n
<\/td>1998-99 Writer- in -Residence: GCTC. Ontario Arts Council<\/td>\n<\/tr>\n
<\/td>1997 Artist in the Community Grant. Ontario Arts Council, City and Region of Ottawa.<\/td>\n<\/tr>\n
<\/td>1995 Maggie Bassett Award presented by Theatre Ontario in recognition for outstanding contribution to theatre in Ontario.<\/td>\n<\/tr>\n
<\/td>1995 Canada Council ‘B’ Grant to study mask with Laurie Steven & Karen Rodd and celebratory theatre with Diana and Jerrard Smith and Welfare State International<\/td>\n<\/tr>\n
<\/td>1994 Ontario Arts Council Artist in the Workplace grant to work with Kingston and Labour District Council.<\/td>\n<\/tr>\n
<\/td>1993 Canada Council project grant to attend The 7th International Theatre of the Oppressed Festival in Brazil<\/td>\n<\/tr>\n
<\/td>1992 Dora Award for best production theatre for young audiences: CARRYING THE CALF by Shirley Barrie<\/td>\n<\/tr>\n
<\/td>1989 Ontario Arts Council individual artist grant to work with Lea Schaetzel.<\/td>\n<\/tr>\n
<\/td>1984-85 Canada Council B grant to apprentice with Augusto Boal.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n
<\/div>\n\n\n
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\"LibSpry.com\"<\/figure>\n<\/div>\n\n\n
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