Stephen Heatley

Professor

Relevant Degree Programs

 

Graduate Student Supervision

Doctoral Student Supervision (Jan 2008 - May 2019)
The story of an idea : moving with a playmaking education (2015)

The full abstract for this thesis is available in the body of the thesis, and will be available when the embargo expires.

View record

Master's Student Supervision (2010 - 2018)
The Crucible : an exploration of the classical mixing with the contemporary (2018)

This is the written component of my thesis production of Arthur Miller’s The Crucible. This document chronicles my experience directing The Crucible on the Frederic Wood Theatre at the University of British Columbia for the Theatre at UBC’s 17/18 season; from pre-rehearsal planning, advising meetings, design meetings and planning, script analysis, rehearsal journals, rehearsal process, to finally post show reflections, and my growth as a director throughout this whole process. The first section outlines my script analysis and thinking of how to unlock, understand, and best direct The Crucible in a 2018 world with a feminist perspective in mind.The second section entails my thoughts about the play from auditions, design meetings, and rehearsals with the actors until opening night on March 15th, 2018. This portion reveals my thoughts about the play as I am making new discoveries and unlocking questions or puzzles around the play in real time during the entire pre-production and rehearsal process. The third section includes my analysis and personal reflections on the final product of The Crucible and myself as a director.

View record

The fluidity of collaboration : directing Sara Ruhl's Eurydice (2016)

The Fluidity of Collaboration: Directing Sarah Ruhl’s Eurydice explores the development of my directorial practice as I directed Eurydice in the UBC Department of Theatre and Film 2015-2016 season January 21 – February 6, 2016 at the Frederick Wood Theatre.The first sections of this document consists of the original script analysis I submitted as the basis for the production. This analysis traces my thinking about the play from first impressions and dominant images, through character and structural breakdown, the given circumstances of production and my intended approach to the text. The second section describes the process of producing the play, from the initial design concept meetings, the design refinement, budgeting and finalization process, casting, rehearsals and production. The bulk of this thesis, the second section focuses on how collaboration with designers, actors, coaches, stage management and technicians changed my thinking about the play. I also discuss the challenges that we faced through the design and rehearsal process, and how I attempted to overcome these challenges.The third section is a self evaluation, written after the run of Eurydice. In the evaluation, I compare my original intentions to the reality of the production, note the elements of the production I thought were generally successful, and examine the less successful aspects of the play. Specifically, I note the way that collaboration with the team of theatre artists that brought Eurydice to the stage changed my initial vision for the play. This collaborative effort brought many exciting and innovative ideas to the show, but it also diluted some of the thematic content I wanted to forward. Thus the overall question of this thesis is an exploration of the impact of collaboration on theatre creation.

View record

An experiment in alchemy : directing Triumph of Love, The Musical (2015)

An Experiment in Alchemy: directing Triumph of Love, the musical explores my directorial practice and the challenges presented in staging Triumph of Love as part of the UBC Department of Theatre and Film’s season at the Frederic Wood Theatre, March 19 – April 4, 2015.As presented in the following pages my primary objective was to present a wholehearted, entertaining production of this rarely presented musical. My practice explored the process of directing musical theatre by placing equal weight on text, music and movement. I believe that when all three elements are explored equally in the process of a musical, the alchemy of these three elements can have transformational effect on the audience. I also examined the idea of artistic collaboration within the role of director. In doing this I was able to overcome some of my previous challenges and anxieties and re-discover my strengths and love for the practice of directing theatre. This thesis includes my director’s preparation of the script, the journal chronicling my production process, production photos and a chapter containing my reflections on the experience in its entirety.

View record

Ubu Roi : a directorial adventure (2014)

This thesis explores the process undertaken and the challenges encountered in staging Alfred Jarry’s Ubu Roi as part of the UBC Department of Theatre and Film’s season at the Frederic Wood Theatre, March 20 to April 5, 2014. As outlined in the following pages, I attempted to find a way to honor the controversy wrought by the original production in 1896 in a theatrical ecology where shocking an audience is extremely challenging. By drawing inspiration from Ubu’s Paris premiere and also from the plays origins in a collective schoolboy imagination, I created a framework within which we presented our interpretation of Jarry’s classic play.

View record

"Elasticity and Image" : directing George Bernard Shaw's Arms and the Man (2011)

“Elasticity and Image”: Directing George Bernard Shaw’s Arms and the Man examines the research, preparation, and rehearsal process behind Arms and the Man, staged at the University of British Columbia’s Frederic Wood Theatre from March 18-27, 2010. My objective was to discover how to create a production that stayed true to the text, while appealing to a more contemporary audience. The ideas of elasticity and image were cornerstones in the development and rehearsal process. I was interested to see in which ways I could stretch the world of the play while maintaining its authenticity. During rehearsal, I wanted to create an environment of exploration and support the actors in staying connected to the text. Chapter 1 identifies key areas of research on George Bernard Shaw’s life leading up to and directly following 1894, when he wrote Arms and the Man. It includes bibliographical information. Chapter 2 is a detailed directorial analysis. Chapter 3 is a journal that follows my process from early design meetings, through development and research, rehearsal and the complete run of the production. Chapter 4 is a reflection, focusing on two elements of the process, using the theme of elasticity as the foundation for creation and the transition from the rehearsal hall into the theatre.

View record

A faithful interpretation of an unfaithful translation : directing Wild Honey (2011)

A Faithful Interpretation of an Unfaithful Translation: Directing Wild Honey examines the preparation, pre-production and rehearsal process involved in staging Wild Honey at the Frederick Wood Theatre in March 2011. My objective was to stage a viable, engaging production of Michael Frayn’s re-working of Chekhov’s untitled play. My methods included in-depth table rehearsals, impulse blocking, and working with a vocabulary of active language to best interpret the text with the actors. This play is a great challenge and we continued to unfold new truths from the script right through until closing night. The paper includes an essay on why Frayn is the ideal person to translate and adapt the works of Chekhov, a pre-production analysis of the script, a journal chronicling the entire process from project proposal until closing night, and a short reflection on the process concluding with final thoughts on the production.

View record

The utterance of our names : the practice and the person in vocal work (2010)

The author’s intention in undertaking a Master of Fine Arts degree in Theatre wasto gain a deeper understanding of vocal training for actors and to investigate themethodologies of a number of master voice teachers. Her program of study undertakenwithin the Department of Theatre and Film had a voice specialization. The learningframework included graduate courses in directing, assisting Gayle Murphy in voiceclasses and Neil Freeman in Shakespeare text classes in the Bachelor of Fine Arts Actingprogram at the University of British Columbia (UBC), and vocal coaching on theatreproductions at UBC. The author was a participant and then an associate instructor atCanada’s National Voice Intensive led by David Smukier and Judith Koltai. As well asobserving Dale Genge’ s voice class at Langara College’s professional theatre trainingprogram, Studio 58, she participated in Richard Armstrong’s International VoiceWorkshop at the Bauff Centre for the Arts.From this multi-layered learning experience, the author examined a variety ofapproaches to vocal and physical practices which increased her understanding of theevolution of voice work. She also reviewed her own early vocal development as well asher experience as a voice teacher and coach, and reflected on her pedagogical practice.In this thesis the author describes a greater awareness of the critical role the bodyplays in vocal work and outlines her discovery of the importance of examining thelanguage used by teachers. She found that asking students to articulate their direct, livedexperience aided in student development. As well, she reviewed her previous assumptionthat teachers choose either a prescriptive teaching model or an exploratory one exclusively, and concluded that there is value in both. Her investigations into theconnections between voice and body provide a clearer sense of the breadth of possibilitywithin this work. For the author, this course of study has reinforced the universality of thework: to begin an inquiry into the mysteries of the human voice is to begin to askourselves, at the deepest level, who we are.

View record

 
 

If this is your researcher profile you can log in to the Faculty & Staff portal to update your details and provide recruitment preferences.