| Summary: | This study of Primus Theatre is evidence of many things. First and foremost it is a long overdue print recognition of Primus Theatre's substantial artistic accomplishments and its important contribution to the development of theatre-making in English-speaking Canada. In examining the various factors contributing to the founding of the theatre company and the extremely challenging conditions in which company members functioned over the years, it remains truly remarkable that Primus Theatre existed at all.
Three central determinations emerge from the examination of Primus Theatre's practice. The theatre company truly was a pioneering venture in English Canada. Company members established an "as-if-permanent" ensemble that engaged in the creation of original performance work drawn from research that emerged from their regular training practice. The company adopted a theatre-making practice generated by the Odin Theatre in Denmark and then adapted it to vastly different cultural and fiscal contexts. It can also be determined that the origins of the company are inextricably bound to Artistic Director Richard Fowler's personal artistic journey. His strong sense of the creative and communal potential for theatre not only fuelled his own creative journey but also inspired National Theatre School students to launch their own acts of courage.
The third determination arising from this study is that, while all aspects of Primus Theatre's creative practice can be linked to that of the Odin Theatre, this relationship can most accurately be described as an imprinting, rather than as an extension, of Odin Theatre practices. The conscious and unconscious permutation and advancement of the practice, driven by the technical and creative needs and interests of the young Canadian company and deeply affected by substantial financial hardships and creative set-backs, forced Primus to emerge as a unique theatrical entity developing from a particular and identifiable geneology.
This study of the establishment of Primus Theatre also provides evidence that the substantial hardships faced by company members did not dissuade them from advancing their practice of continued exploration of form and expression. The study provides evidence not only of Primus Theatre's substantial body of creative work but also of its substantial pedagogical efforts. Subsequently, a new generation of theatre artists has been inspired by and trained in this alternative theatre-making model, and are making their own contributions to the continued redefinition of theatre in English Canada.
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