Relevant Degree Programs
Complete these steps before you reach out to a faculty member!
- Familiarize yourself with program requirements. You want to learn as much as possible from the information available to you before you reach out to a faculty member. Be sure to visit the graduate degree program listing and program-specific websites.
- Check whether the program requires you to seek commitment from a supervisor prior to submitting an application. For some programs this is an essential step while others match successful applicants with faculty members within the first year of study. This is either indicated in the program profile under "Admission Information & Requirements" - "Prepare Application" - "Supervision" or on the program website.
- Identify specific faculty members who are conducting research in your specific area of interest.
- Establish that your research interests align with the faculty member’s research interests.
- Read up on the faculty members in the program and the research being conducted in the department.
- Familiarize yourself with their work, read their recent publications and past theses/dissertations that they supervised. Be certain that their research is indeed what you are hoping to study.
- Compose an error-free and grammatically correct email addressed to your specifically targeted faculty member, and remember to use their correct titles.
- Do not send non-specific, mass emails to everyone in the department hoping for a match.
- Address the faculty members by name. Your contact should be genuine rather than generic.
- Include a brief outline of your academic background, why you are interested in working with the faculty member, and what experience you could bring to the department. The supervision enquiry form guides you with targeted questions. Ensure to craft compelling answers to these questions.
- Highlight your achievements and why you are a top student. Faculty members receive dozens of requests from prospective students and you may have less than 30 seconds to pique someone’s interest.
- Demonstrate that you are familiar with their research:
- Convey the specific ways you are a good fit for the program.
- Convey the specific ways the program/lab/faculty member is a good fit for the research you are interested in/already conducting.
- Be enthusiastic, but don’t overdo it.
G+PS regularly provides virtual sessions that focus on admission requirements and procedures and tips how to improve your application.
Graduate Student Supervision
Master's Student Supervision
Theses completed in 2010 or later are listed below. Please note that there is a 6-12 month delay to add the latest theses.
This thesis report covers the creative process and final Scenic Design for Timothy Findley’s The Wars Adapted by Dennis Garnhum. The show was performed at The Frederic Wood Theatre and run from the 7th of November 2019 to the 23rd of November 2019.Timothy Findley’s The Wars was directed by Lois Anderson, and the creative team was composed as follows: Lighting Design by MFA Student Matthew Piton, assisted by BFA Students Rebekah Lazar and John Tolton, Costume Design by BFA Student Erica Sterry, assisted by BFA Students Candice Honeycutt-Li and Chenwei Angela Zhu, Sound Design by BFA Student Zachary Levis, assisted by BFA Student Yuxin Zhang, Stage Management by BFA Student Emily Chen, assisted by BFA Students Hannah Abbott and Sherry Yang. As Scenic Designer, I was assisted by BFA Students Rebecca Scherman and Samantha Lam.The design process began the 1st of August 2019, and this paper follows the production timeline from the initial creative meetings and research to the final design on the stage.
"The most personal, is the most creative." - Bong Joon-ho The above quote is from the director of Snowpiercer while receiving his Oscar for the movie Parasite. I was inspired by this quote when I began the ideation process for my thesis. This movie has motivated me and propelled my interest in the post dystopian/ sci-fi genre. By working through the design for this film, I realized how a whole world could be compressed into tiny film sets that link together to form one extensive self-sustaining ecosystem. The movie was an adaptation of the post-apocalyptic French graphic novel "Le Transperceneige" by Jacques Lob and Jean-Marc Rochette. The film was released in 2013. It was directed by Korean director Bong Joon-ho and the production designer was Ondrej Nekvasil. This paper documents my personal ideas and creative process for designing theoretical sets for the movie “ Snowpiercer.”
No abstract available.
This paper documents and describes the design process and final Scenic design for the play The Changeling. The staged show was an adaptation of the original version of the Jacobean tragedy written by Thomas Middleton and William Rowley. The script was adapted by the MFA student Luciana Silvestre Fernandez, who also assumed the role of director. The show was produced by the Department of Theater & Film at the University of British Columbia. Various UBC faculties were involved in the project. The production was presented at the Telus Studio Theatre at the Chan Centre for The Performing Arts from January 16 to February 1, 2020, as part of the UBC Theater & Film 2019/2020 Season. The design process began in October 2019 with a design team comprised of UBC students Charlotte Chang (Costume Design), Zach Levis (Lighting Design) and Jacob Wan (Sound Design). I was the scenic designer and was assisted by Kallista Dittrick-Katevatis and Yujia Cao. The advisor for this production was Patrick Rizzotti and the Technical director was Derek Meehan. Several BFA students were involved in the construction of the set and selected BFA acting students performed it as part of their program.
This thesis explores how the theatre industry could adopt virtual reality into the creative set design process to provide a director with a walkthrough of a set before it is built. The aim is to create a better visual platform for communication between a director and a scenic designer, as well as enhance collaboration with the entire production team. I investigate different software to achieve a successful workflow that is used in a case study that involves creating a set design from start to finish with a director and other industry professionals. The results and responses are evaluated to establish if virtual reality will benefit the creative set design process and how it can be used in other creative streams in the industry.
William Shakespeare’s Much Ado About Nothing was presented by the University of British Columbia’s Theatre Department in November 2018. The play was performed at the Frederic Wood Theatre and was the first mainstage production of the department’s 2018–2019 season. It was adapted and directed by UBC Theatre alumna Lois Anderson, with costume design by Erica Sterry, lighting design by Erika Champion and sound design by Mai Inagaki. This thesis report documents my scenic designs and Jacqueline Gilchrist's design process for the production.