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Simon Fortin

Part-time Faculty
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Son and grandson of Canadian actors, Simon Fortin trained at the Conservatoire d’Art Dramatique du Québec, then at Drama Studio London. A member of both American and Canadian Actors’ Equity, he has acted and sung in more than 80 professional productions in Canada, England and the United States. In Canada, he received many awards and distinctions: 3 best actor awards at the Prix de la Culture, one Felix award from the ADISQ, and many other nominations including The Dora Award for Best New Play in Toronto and Best actor in a musical at the New Hampshire theatre awards. His work has been supported with multiple grants from funders including The Canada Art Council, Quebec Cultural Affairs Ministry, Ville de Québec, and Quebec Delegation in New York City. He is the author of several plays and television dramas produced in both French and English and published in English and Romanian. In 2005 he received an MA in Shakespeare Studies from the Gallatin School of Individualized Studies, at New York University. Last spring he received his doctorate degree for his dissertation entitled "Dying to Learn, Learning to Die: The Craft of Dying in Early Modern English Drama and the Cultivation of Dying-Voice Literacy .” He has presented his scholarly work at various international conferences, most recently at the International Narrative Medicine Conference at King’s College, London (2013), and The Swiss Association of Medieval and Early Modern Studies Conference in Fribourg (2014). He recently returned from Johannesburg, South Africa, where he performed Dying to Learn, Learning to Die : a Death Scene recital at Pop Art Theatre. Recent acting credits include, Peter Ilych Tchaikovsky in None but the Lonely Hearts , at BAM (Brooklyn Academy of Music) in 2014 and in August 2015 Simon played Vincent Van Gogh for Ensemble for the Romantic Century in Collaboration with the Clark Institute, Williamstown in the Berkshires.

Simon Fortin


B.A. Theatre History, SUNY Empire State College, 2002
M.A., New York University, 2005


2016 Spring

Going Baroque: Baroque Theater, from Ambiguity to Hyperbole