Courses in Theatre and Drama (Division 492)

205. Introduction to Theatre. (4). (HU).

This course introduces the student to the art of the 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, acting, directing, and design. In addition to the traditional lecture format, each student attends one weekly discussion group. Students are required to attend and review current theatrical productions. These performances are as much a part of the course as the printed texts. Evaluation is based upon two examinations, one written critique, and contributions to the discussion groups. (Hallquist)

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 one paper (a production critique) as well as two examinations.

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. Concentrators should elect Theatre 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 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. It is a prerequisite for Theatre and Drama 334 and 336 which are in turn required for 400 level acting courses in the theatre curriculum. Instructional methods are largely those of lecture, discussion, theatre exercises, and performance of scenes. Plays are read from a recommended list and serve as the basis for the performance of the 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 Pollack; Section 005 Staff)

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 is a first level voice class, there being no prerequisite. Course theme is realizing the body's potential for producing vocal energy. The course material is based almost entirely upon physical work employing bio-energetics (modified yoga positions) and Linklater techniques, the Alexander principle, a smattering of phonetics and the use of specifically assigned texts. There is no required text. Student evaluation is determined by attendance, class participation and the individual's progress during the class. (M. Chambers)

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: Chambers; Sections 002 and 003: Hallquist; section 004: Kelly)

411. Comparative Drama: I. Upperclass standing. (3). (HU).

This course provides the first half of a two-term sequence which is concerned with the development of the drama of the Western World. It has the double objective of focusing upon the continuity of this development and of distinguishing the unique aspects of the drama of a particular era. The approach is comparative in nature. Representative plays are studied as works designed to function in the theatre of their time. For this half of the sequence, plays are read from the time of ancient Greece to the end of the seventeenth century. Course requirements include a paper, a midterm, and a final. (Bender)

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)

434. Voice Theory for the Actor. Theatre 334 and permission of instructor. (2). (Excl).

Building on the concept of the free, natural voice introduced in the first level course, the class will concentrate on the development of range, resonance, power, flexibility, quality and speech clarity. This will be accomplished both through exercises, with continued emphasis upon breathing, and through the use of a graded series of poetry and prose assignments, selected according to the needs of the individual student. Required text for the class is Voice And The Actor by Cicely Berry. (Lane-Plescia)

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 audition. (4). (Excl).

An advanced undergraduate acting course which places a major emphasis on developing a personalized working process, enabling the actor to invest text choices informed by a variety of explorative processes. Jury required for entrance, continuation in 437 expected. (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. (Eysselinck)

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. Possible texts: Candida by Shaw, Mother Courage by Brecht, The Open Space by Peter Brook. (Kelly)

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 fully mounted theatre production. There is one theoretical project in addition to the practicum requirement. The course meets one hour a week as a formal lecture or for individual consultation. (Pollock)

453. Sound for the Theatre. Theatre 351 or permission of instructor. (2). (Excl).

A course in the techniques and aesthetics of sound design and reproduction for the theatre. Lectures stress materials and methods with an emphasis on studio work and introductory room acoustics. Students are assigned several short creative projects and will design or engineer sound for a departmental production. Text: Stage Sound, David Collison. (Pollock)

456. Introduction to Lighting for Stage and Television. Theatre 205 and 251; or permission of instructor. (3). (Excl).

This course focuses on the theory and technique of stage and television lighting as well as on the characteristics and control of light and color and their application to theatre, television, and dance. It is advisable for the student to have completed a basic stagecraft course as a prerequisite. Student evaluation will be based on written examination, lighting design projects, and practical work on productions. Lecture/demonstration. (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).

This course considers the use of design elements and styles of production in the design of scenery for the theatre. The course is devised specifically for students who have a practical art background. Student evaluation is based on written exams, design projects, and practical work on productions. Basic stagecraft and play analysis courses are prerequisites to the course. (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)

462. Drafting and Model Making. Theatre 205 and 251; or permission of instructor. (2). (Excl).

A studio course in drafting and introductory model-making for the theatrical designers and technicians, with special emphasis placed on methods of scenographic communication and portfolio presentation. Intended for advanced undergraduate concentrators in this field, as well as entering M.F.A. candidates in Theatrical Design. (Pollock)

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.

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. (Lindsey Nelson)

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. (Nelson)

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.

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-term 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 term through 1940 with fewer projects and an intensive final project of costume designs for a theorized production. (Weisfeld)

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