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Artists at school


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Anna Springate-Floch
Matt Enos

Performing arts


Anna Springate-Floch

Anna Springate-Floch is one of the co-founders and artistic directors of Jubilee Theatre. She holds a BA in Drama from Bishop’s University, and an MA in Classical Theatre (Directing) from Kingston University (London, U.K.). She has produced and directed a Canadian tour of Who’s Afraid of Virginia Woolf? (Albee), as well as London, U.K. productions of Never Swim Alone (MacIvor) and Faustmaschine (Mount). Her acting experience includes ensemble work in Unwin’s. As You Like It (Shakespeare) at the Rose Theatre (London), and most recently, Seduced (Shepard) with Raise the Stakes Theatre (Montréal). Anna has professional experience teaching drama to youth of all ages. These experiences have culminated into an artistic process that uses structure, technique and fun to encourage organic growth, learning and creative freedom. She conducts workshops in tandem with artist Matt Enos.

Proposed approach and type of activities

Anna’s professional practice is characterized by a need to tell compelling stories that run the gamut of human experience. Her work in theatre explores what connects us to our stories and, ultimately, to each other. Anna’s year in England, and her tutelage under Moon Fool and Adam Ainsworth, opened her eyes to physical theatre and the possibility of using the body as a primary means of expression. Simultaneously, Anna studied text and language with Frank Whately, Sir Peter Hall, and Barbara Houseman, which allowed her to delve more deeply into texts and to use language as the jumping-off point from which she might explore a story. As a result, Anna’s approach to story telling is a holistic one, in which she directs her actors to create physical and vocal scores for their performances while remaining open to improvising and reacting to scenes as they unfold. Whether directing Shakespearean or other texts, Anna aims to make classical stories feel fresh and visceral. One of the greatest lessons Anna took from her Master's degree was the impact that laughter can have on learning and creative processes.

Other examples of activities

Workshop 1

Back to basics: Storytelling 101

The purpose of this workshop is to introduce students to the fundamentals of Western story telling (including character development and story arc) in a playful and fun manner. The creative objectives are primarily to assist students to be open and reactive listeners onstage using the improvisation principle of "always say yes," and ensuring that students are having fun while they are hitting all of the major marks of the story. The workshop will begin with warm-up games designed to make participants laugh and to get their blood and imaginations pumping. Students will be guided through improvisational games and exercises that focus on being generous to one another and saying "yes" to each other’s creative input. Students will create short skits in small groups to be presented to the other groups at the end of the workshop. Participants may write/devise their own story with the assistance of Anna and Matt, or they may work from the framework of one of the stories that will be provided to them. Stories are fun for all ages, which is why this workshop can be adapted for all levels. The subject matter and the complexity of the narratives will naturally change according to age group.

Workshop 2

The body: Mask and movement

This workshop is designed to bring students’ attention to body language in relation to theatre through the use of masks. After some warm-up games, students will use masks with basic facial expressions in order to develop characters and tell stories using their bodies. They will explore various masks until they have found a physical vocabulary for the facial expressions. At this point they will find the counter mask, or the facial expression that is the opposite of their mask, and they will try adapting that body language in order to give their characters more complexity. Students will be guided to find masks with their own bodies, without the use of an external mask. The creative objectives of this workshop are to strengthen ensemble work while allowing students to inhabit their bodies, giving them power to control what they are projecting. This workshop is about playing and about trusting one’s physical instinct on stage. It is about developing trust between actors and is suitable for all ages, as it is primarily about play and discovery as learning tools.

Workshop 3

Decoding Shakespeare: From page to stage

This workshop serves to give students the tools to make Shakespearean text come alive when reading it. Using the methods of Sir Peter Hall, Anna and Matt will teach students how iambic pentameter and the rhythm inherent in Shakespeare’s writing can inform the mood and tempo of a scene. The workshop will start with warm-up games. It will then progress to a basic explanation of how Shakespeare’s plays work in a performance context, the emphasis of rhythmic structure, the use of each word’s meaning and sound, the intention and pace necessary to make it sound like heightened but realistic speech and the importance of punctuation in discovering intention and urgency.

Special conditions

We require a space large enough to allow students to move around freely and to work in small groups.

For information

Phone : 514 292-8878
Email :

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Primary 3, Primary 4, Primary 5, Primary 6, Secondary 1, Secondary 2, Secondary 3, Secondary 4, Secondary 5

Available in

In every regions

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