As promised, issue #2 in our series on mentorship. This time:INTERVIEW WITH KIM SELODY
FM:What is your experience with/opinions on mentorship?
KS: The Canada Council is not mandated to support the training of Artists. [Personally] I mentored under Larry Lillo, as his Assistant while directing The Miser.
FM:What are the direct benefits of mentoring that you feel cannot be developed via other means?
KS: For me, the greatest opportunity mentoring offers is the change to watch someone else make the mistakes.
FM: Are there limitations to mentorship?
KS: Often, mentoring means watching not doing. At some point, the artist needs the opportunity to make their own mistakes.
FM: Why are mentorships not more readily available?
KS: When companies are under resourced, mentoring is often the first thing to go. . . Opportunities vary greatly from province to province
FM: Do you have any suggestions on how to instigate change in current apprenticeship availabilities?
KS: We are discussing what role [the Canada Council] can play in encouraging senior artists to mentor younger artists. Many of the programs focused on youth are for youth engagement and employment, without funds for the mentors.
FM: Advice to those seeking an apprenticeship?
KS: Get to where the action is. Either by an official apprenticeship or mentorship, or by working there in another context.
KIM SELODY is a Program Officer in the theatre section at the Canada Council for the Arts. He has worked across Canada, and internationally as an actor, director, educator, artistic director and writer.
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