Kate Valk

2008/2009 Theatre Mentor

Interview with Kate Valk

Did you notice any similarities between the ways that you and Nahuel work in rehearsal?

I would say we’re both intuitive and emotional. Although he’s quieter and has a deep personal narrative; I like to lose myself in something else.

If you could give Nahuel ― and other young performers like him ― one piece of advice, what would it be?

Just keep working ― with people you trust and admire. Ron Vawter, one of The Wooster Group’s founding members, told me a great story about the brilliant performance artist Jack Smith, who at rehearsal in a fit of pique yelled at his associates: “If you have nothing to do, will you please do it on stage!”

You spent time going to concerts and visiting galleries with your protégé. How important are arts like painting and music to your own work?

Going to museums and other performances helps develop a discriminating eye. It informs thoughts, reactions, your knowledge base. The work of another artist may be relevant to a particular creative project at hand [or] it may not. It may surface later as an important source. It may clarify what one doesn't want to do.

Did you recognize anything in your protégé that you felt as an actor when you were his age? Is he as courageous as you were, as willing to explore new worlds in his art?

I have no idea what to say! Nahuel seems centred to me when he's working. All his senses are alert, listening, making subtle choices. His presence is riveting. I don't know what that presence is. I don't know if it's courage, but it makes him special.

What's the most surprising thing you learned about Nahuel during this process?

Nahuel seems wise beyond his youth ― or beyond his youthful insecurities.

Do you plan to stay in touch with Nahuel now that his mentorship is ending?

Yes. He's become a friend.