While many Canadian theatre students gain academic knowledge of avant-garde and non-realistic theories much of the public work continues to be of realistic nature. How can acting instructors help students gain from, and make use of, the cross-cultural and cross-disciplinary practical research that is available to them? This paper focuses on the process of mounting Ted Galay's Tysmbaly, an essentially realistic play. During the course of the project, actors were taught and then expected to apply training and dramaturgical techniques generally associated with non-realistic forms of theatre and with other art forms. This study examines both the ways in which these senior acting students were able to apply these methods and principles to their own acting process and the way in which the application of these production in a realistic piece and the way in which the individual use of these methods and principles affected the production as a whole.
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