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 history, acting, directing, and design. In addition to lecture, 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 hourly examinations, a final, two written critiques, and contributions to the discussion groups. (Burgwin)

211/Res. College Hums. 280/English 245. Introduction to Drama and Theatre. (4). (HU).

See English 245. (McNamara)

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 Staff; Section 002 Weisfeld; Section 003 Billings; Section 004 Staff; Section 005 J. Ryerson)

421/English 443. History of Theatre: I. (4). (HU).

See English 443. (Bender)

423. History of American Theatre. Upperclass standing. (3). (HU).

This course presents the historical development of the American theatre from its beginnings in the eighteenth century to the present. The focus of attention is placed upon the changing nature of the theatre in relation to its social and cultural backgrounds. Of particular importance is the changing drama from its self-conscious nationalism and provincialism to a drama of international stature; movement from the Golden Age of the star actor to twentieth-century ensemble playing; the competition of the theatre managers; the evolution of modern concepts of theatre architecture and design; and the many theatre movements of the twentieth century. Although a general knowledge of theatre history is useful, it is not necessary. A midterm examination, a final examination, and a term paper are the basis for grading. The class is conducted largely as lecture. (J. Bender)

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

Voice Theory for the Actor is a second level course focusing on the development and application of basic vocal skills introduced in the 334. Through a developmental series of warm-ups, exercises and, especially, work with text, the actor's voice is freed, strengthened and extended, the speech clarified, energized and focused. Some theoretic concepts of voice production and speech will be introduced and discussed, but the emphasis is on the actual use of the voice in performance.

435. Movement for the Actor. Theatre 336. (2). (Excl).
Section 001.
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. (M. Chambers)

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 basic course in the art of direction reviews the entire process the director must follow from play selection to opening night. Practical exercises in key phases of the process supplement lecture and discussion. Required for Theatre concentrators. Grade based on exercises, quizzes and class participation. (Burgwin)

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.

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)

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, 6th edition. (Ryerson)

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.

540. Directing Practicum. Theatre 541 and permission of instructor. (2). (Excl).

This course is a laboratory in which advanced directing students are able to direct a one-act play in the Studio series. Successful completion of Theatre and Drama 441 and 442 and instructor's recommendation required. (Burguin)

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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