205. Introduction to Theatre. (4). (HU).
This course introduces the non-theatre major to the art of theatre. Its purpose is to develop in the student a critical awareness and appreciation of theatre as an art form. The course focuses on theatre as performance and emphasizes plays as they have been realized on the stage. Topics include playwriting, directing, acting, scenery, costumes, makeup, lighting, and sound. Students are required to attend and to review current productions given in the Power Center, Trueblood Theatre, and the Mendelssohn Theatre. These performances are as much a part of the course as the printed texts. There are two written critiques and two examinations. (Reid)
211. Drama to Theatre. (3). (HU).
This course serves as an introduction to the process of play analysis and proceeds on two basic premises. First, a play text is not the same thing as a play. Accordingly, then, the course focuses on play texts as scenarios for theatrical production and not on plays as literary documents. The second premise of the course is that play analysis is practical and not merely an exercise of the critical faculties. Thus, the course attempts to provide a method of play analysis that is useful to directors, designers, and actors as well as to theatre-goers. The course format includes both lectures and discussions focusing on plays which are read as well as those which are seen on the stage. Students are required to attend, at very much reduced prices, assigned performances. These performances are as much a part of the course requirements as are assigned texts. Course requirements include two papers (one in the form of a production critique) as well as one examination.
230. Introduction to Oral Interpretation. (3). (HU).
The structure and content of selected prose, poetry, and drama studied with the aim of communicating these works through the special qualities of oral reading. The class format consists of a combination of lecture, discussion, and performance, but emphasis is placed upon the interpretation of literature through performance in class. Course requirements include a midterm examination and a final examination.
231. Acting for Radio, Television, and Theatre. No credit granted to those who have completed 236. (3). (HU).
This course is intended primarily for the non-concentrator who is interested in a course in acting which focuses upon the means of communicating character by the actor and upon the distinction of performance by means of the stage, radio, and television. Beginning with pantomime, monologue, and exercises, the student progresses through scenes for theatre and television. Written midterm and final examinations.
232. Black Theatre Workshop: I. (3). (HU).
This course, like Theatre and Drama 233, is intended to serve as an introduction to the art of acting. It concentrates upon the development of acting skills from a Black perspective, and the plays from which scenes are presented are from the Black Theatre. Previous acting experience is not expected. After an examination of the objective of the actor, the course then focuses upon the development of the skills of the actor including the means of achieving the creative state of mind, the development of body and voice, and the foundation of the character from within the script. Basic reading and lecture material provide a background for the presentation of class scenes.
236. Acting I: Fundamentals. No credit granted to those who have completed 231. Concentrators should elect Theatre 236. (3). (HU).
This course serves as an introduction to the practical skills of acting for the theatre and is the base for all succeeding acting courses in the theatre curriculum. Instructional methods are largely those of lecture, discussion, theatre exercises, and performance of scenes. Some instructors may also recommend or require other readings.
250. Production Practicum. (1). (Excl). May be repeated for a total of 4 credits.
Special laboratory work in theatre production. No text. No exams. Grades are based on the performance of assigned crew work. (Section 001 – Brooks; Section 002 – Weisfeld; Section 003 – Billings; Section 004 – Wolf)
251. Introduction to Technical Theatre Practices. Concurrent enrollment in Theatre 250. (3). (HU).
Introduction to the basic principles and practices of stagecraft: costume and scenic materials, construction and painting, stage lighting. Must also elect Theatre and Drama 250. Lecture, exams, projects. Text: Parker & Smith, Scene Design and Stage Lighting. (Brooks)
334. Fundamentals of Voice for the Actor. Theatre 236. (2). (Excl).
This course is designed to provide the actor with a working knowledge of his voice with emphasis on voice and body connection, breathing, placement and pronunciation. Sound and movement exercises along with concentration on language aid the actor in expanding the expressive means of his voice. (Mahler)
336. Acting II: Self Analysis. Theatre 236 or permission of instructor. (3). (HU). May be repeated for a total of 6 hours credit.
The second course in acting, required for theatre concentrators. An intensive course in self-analysis aimed at enabling students to evaluate their strengths and weaknesses as actors. Emotional inhibitions, ability to analyse, vocal and physical technique are reviewed. An audition near the end of this course is required for permission to elect 436. (Sections 001, 003: Mahler; section 002: Martin; section 004: Reid)
421. History of Theatre: I. (4). (HU).
This is primarily a course in the art of the theatre rather than a course in drama. A play as realized in the theatre represents the playwright's feelings and ideas given form through an actor in an environment enhanced by scenery, lighting, and costume designers under the creative eye of a director. Thus, the focus is not just on the play itself but also on the audience, the theatre architecture, the conventions of scenery and costuming, and approaches to acting. These aspects of theatre are all examined from the time of the Greeks to 1700 in an attempt to relate the plays to their theatrical environment. After ancient Greece, the class studies the theatres of Rome, the Middle Ages, Renaissance Italy, the Golden Age of Spain, Elizabethan and Restoration England, and 17th-century France. The class notes the influence of previous ages and distinct characteristics of the new age. There are three one hour examinations, a final examination, and a research paper. (Pilkington)
423. History of American Theatre. Upperclass standing. (3). (HU).
The many facets of the American Theatre from its beginnings to the present, not simply its drama, provide the subject matter of this course. Theatre as performance – its actors, drama, production methods, and management – are all a part of the scope of interest. Popular theatre, such as the minstrel show, burlesque, vaudeville, and the musical, is interwoven with the development of the "legitimate theatre. " All are related to the American cultural and social scene. As these conditions have changed, so has the American theatre. The course is based on lecture and student reading. The text materials have not been chosen. Grading is based on two hourly examinations, a final examination and a term paper. (Bender).
434. Voice Theory for the Actor. Theatre 334 and permission of instructor. (2). (Excl).
Voice Theory for the Actor is an introduction to fundamentals of voice and speech for graduate actors and a continuation of the fundamental vocal work that was introduced in Theatre 334 for undergraduates. The class is designed to release physical and emotional blocks which inhibit the free and natural voice. Work in articulation and diction is intended to remove pronounced regionalisms and equip the actor with clear, articulate speech. (Cantu)
435. Movement for the Actor. Theatre 336. (2). (Excl).
This course is designed to provide actors with a working knowledge of their bodies with emphasis on relaxation of body tension, flexibility and centering. Exercises and improvisational techniques will aid in developing awareness of the body as an expressive means. Lecture/studio.
436. Acting III: Textual Analysis. Theatre
205, 211, 334, 336, 435, and permission of instructor. (4). (Excl).
Section 001. An advanced undergraduate acting course which places major emphasis on drawing maximum evidence from text relevant to sense, comedy, characterization, pace, etc. A short unit on verse is included. Departmental jury required for admission. (Burgwin)
Section 002. Exploration and performance application of text analysis using basic principles of Stanislavski. Emphasis is placed on giving the actor a methodology with which to approach scene work. All prospective students should make arrangements to audition for the Theatre faculty jury. (Fredrickson)
439. Acting Practicum. Theatre 236, 334, 336, 436, and permission of department chairman. Concurrent enrollment in an acting course. (2). (Excl). May be elected for credit twice.
This course provides credit for advanced acting students for the rehearsal and performance of major roles. New course. For detailed and specific information in individual cases consult the department.
441. Directing I: Principles. Theatre 205, 211, 251, and 336. (3). (HU).
This course surveys the process of play directing from the analysis of a play text to its realization in theatrical terms. Course requirements include the presentation of two scenes, a classroom laboratory situation, the development of a production analysis for a play and special exercises either written or performed in class. Texts: Candida by Shaw and Mother Courage by Brecht. (Martin)
445. Stage Management. Theatre 205 and 251 and permission of instructor. (1-2). (Excl). May be repeated once for a total of four credits.
This is a course in practical stage management for the theatre. Each student serves either as a stage manager or an assistant stage manager for a full-scale theatre production. There are no examinations, papers, or projects except for those projects directly related to the student's production. The course meets for two hours one day each week. (Wolf)
456. Introduction to Lighting for Stage and Television. Theatre 205 and 251; or permission of instructor. (3). (Excl).
Basic principles of the design of lighting for the stage, television, dance; characteristics of control of light and color. Not part of a department sequence, but students must have had a basic stagecraft course. Course grade is based on exams and assigned design projects. Lecture. (Billings)
460. Principles of Scenic Design. Theatre 205 and 251; or permission of instructor. No credit granted to those who have completed 461. (3). (Excl).
Basic principles of the design of scenery for the stage; use of line, mass, color; study of production styles and influence of spatial design on movement. For design majors only, requires background in drawing, painting and basic stagecraft. Lecture, discussion. Course grade is based on assigned design projects. (Billings)
461. Scenic Design Theory. Theatre 205 and 251; or permission of instructor. No credit granted to those who have completed 460. (2). (Excl).
Theory and practice of scene design and its influence on stage directing. For non-technical students. This course is not part of a department sequence, but the student must have had a basic stagecraft course. Course grade is based on exams and design projects; lecture and discussion. (Billings)
472. Stage Makeup. Theatre 205 or permission of instructor. (2). (Excl).
Theatrical Makeup is studied through theory and demonstration with students practicing application of makeup from basic corrective makeups through more complicated character ones as the term progresses. Laboratory, in addition to class practice, includes the crewing of the departmental productions. Evaluation is based on progress, class participation, graded exercises, crew work and final practical exam. Text: Richard Corson, Stage Makeup. (Chambers)
485. Management for the Performing Arts. Four courses in theatre or permission of instructor. (2). (Excl).
An introductory course in the principles of performing arts management including budgeting, promotion, facility planning and organization. Professional techniques with their adaptation to academic and non-professional organizations. A lecture course utilizing guest speakers and discussion. Students evaluated on the basis of class participation and written projects. Texts: Theatre Management by Stephen Langley, and Subscribe Now! by Danny Newman. (Galan)
486. Practicum in Performing Arts Management. Permission of instructor. (2). (Excl). May be repeated for credit twice.
A laboratory in performing arts management including box office, publicity, front of house management, promotion. (Galan)
505. Special Work in Theatre Production and Performance. Permission of instructor. (1-6). (Excl).
This course provides academic credit in appropriate quantity to independent creative work undertaken under faculty supervision. A wide variety of projects may be undertaken with the mutual agreement of student and faculty member.
540. Directing Practicum. Theatre 541 and permission of instructor. (2). (Excl).
For advanced acting students only. Entrance by permission only. The Practicum consists of the production of a one-act play in the Studio Theatre. This course serves as a screening for prospective Showcase Series directors. (Martin)
541. The Production Concept. Theatre 436 and permission of instructor. (3). (Excl).
This course, for advanced directing students, focuses on the problem of forming and communicating conceptions of plays for production. Twenty plays are studied; ten are used as basis for class discussion, ten are used as basis for weekly papers. (Burgwin)
577. Costume History and Design I. Theatre 351; or permission of instructor. (4). (Excl).
The first half of a two semester sequence covering the history of western dress from classical Greek times through 1485. Application of historical dress to theatrical production and the process of designing for the stage are an integral part of the study. The course is designed for graduate theatre students in all areas, but is the beginning level for graduate costume design majors. Weekly design projects which explore historical research and various aspects of theatrical design plus a 40 hour lab and a production running crew in wardrobe for a department production. The course continues the second semester through 1940 with fewer projects and an intensive final project of costume designs for a theorized production. (Weisfeld)
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