1. Acting Training Institutions: A State of the Nation
  2. Alex Fallis, Kathryn Shaw, Perry Schneiderman, Todd Hennessey, Kathleen Weiss
  3. pp. 8-13
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  1. Aesthetic Diversities in Acting Training
  2. Barry Freeman, Alex McLean, Daniel Mroz, Sonia Norris, Ker Wells, Maiko Bae Yamamoto
  3. pp. 15-20
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  1. Gender and Sexuality in Acting Training
  2. Virginie Magnat, Sherry Bie, Brendan Healy, Matthew Jocelyn, Muriel Miguel
  3. pp. 21-25
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  1. Cultural Diversities in Acting Training
  2. Nina Lee Aquino, Michael Greyeyes, Alanis King, Mieko Ouchi, Joseph Jomo Pierre, Marcus Youssef
  3. pp. 26-31
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  1. Postgraduate and Company-Based Training in Canada
  2. Ravi Jain, Denise Clarke, Leah Cherniak, Sarah Garton Stanley
  3. pp. 32-36
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  1. Perspectives of a Master Teacher
  2. Diana Belshaw, David Latham
  3. pp. 37-41
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  1. A Funder’s Perspective
  2. Pat Bradley
  3. pp. 42-43
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  1. Mapping New Futures: Solutions for Acting Training in English-Speaking Canada
  2. Diana Belshaw, David Fancy
  3. pp. 44-45
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  1. Preliminary Bibliography: Actor Training in English-Speaking Canada
  2. Kelsy Vivash
  3. pp. 46-47
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  1. on the virtues of tailoring
  2. David Yee
  3. pp. 48-62
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  1. Editorial
  2. Jenn Stephenson
  3. p. 63
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  1. Crowdfunding Indie Theatre: Understanding the Costs
  2. Alex Dault
  3. pp. 64-67
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  1. Theatre SMASH CAMP
  2. Stacey Norton, Ashlie Corcoran
  3. pp. 68-72
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  1. Of Civil Liberties and Condom-ball: Praxis Theatre’s You Should Have Stayed Home
  2. Christine Quintana
  3. pp. 73-76
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  1. All Together Now and Always: Soulpepper’s Angels in America Part I and II
  2. Stephen Low
  3. pp. 77-79
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  1. Work on the Self: Examining the Grotowski Women
  2. Lara Szypszak
  3. pp. 80-82
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  1. Introduction: Why Acting Training?
  2. Diana Belshaw, David Fancy
  3. pp. 5-7
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  1. An Approach to Actor Training—: Humber Theatre
  2. Diana Belshaw
  3. pp. S1-S14
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