101. Introduction to Acting I. Permission of instructor (brief interview). (3). (Excl).
This course is designed as a general introduction to the fundamental skills of acting in the theatre. It involves discussion and practical work, including theatre games, warm-up, monologue, and scene work. Some papers and selected reading. Brief, informal interviews are required for admission to all sections. Further details at Theatre Office, Room 2550, Frieze Building. [Cost:1] (Gwillim,Maylie)
102. Introduction to Acting II. Permission of instructor. (3). (Excl).
This course is designed to build on the experience of Theatre 101 or Theatre 236. An introduction to acting in the theatre, with particular attention to the fundamentals of dramatic action and working up a part. Scene work is stressed with actor's score and selected reading. Brief, informal interviews are required for admission to all sections. Further details at Theatre Office, Room 2550, Frieze Building. Cost:1 (Woods)
211/Res. College Hums. 280/English 245. Introduction to Drama and Theatre. (4). (HU).
What have "theater" and "drama" meant at different times in history, what do they mean now, and what else could they mean? What impulses and skills have gone and go into the creation of theatrical events, and what needs do they attempt to fulfill? What's meant by "performance," "stage," "audience," "director," "tragedy," "comedy," and a dozen other terms we tend nowadays to use rather casually? In attempting to answer such questions we will be examining certain key scripts in their theatrical and social contexts. The relevant playwrights are likely to include Euripides, Shakespeare, Molière, Ibsen, Chekhov, Brecht, and Beckett. Students will also be introduced to some of the practical requirements of theatre-making, as a further means of comprehending the complex enterprise which is "Theatre-and-drama." Course requirements include participation in class discussion and activities, written projects, and exams. The course functions by lectures and sections, the second of which allows more detailed discussion and some elementary scene-work. [Cost:3] [WL:4] (Ferran)
222(232)/CAAS 341. Introduction to Black Theatre. (3). (HU).
This course will cover the origins, development and current trends in Black Theatre. It will focus on the basic concepts, creations, methods of operation, and artistic contributions of Black Americans to the theatre of Western Civilization and the theatre of Black America. It will also include an in-depth study of the significance and results connected with the selected deletion of the Black American contribution to the development of American theatre and drama. Representative plays from the Black theatre will be explored through lectures, discussions and interpretive readings. Participation in class and attendance are mandatory as are assignments such as viewing campus theatre productions and other productions in the Ann Arbor area. A written essay, four quizzes, a midterm and final examination will also be given in partial fulfillment of the course requirements. Text: THE THEATRE OF BLACK AMERICANS, ed. by Errol Hill. [Cost:1] [WL:2,4] (Jackson)
233/CAAS 342. Acting and the Black Experience. Permission of instructor (brief interview). (3). (HU).
This course is designed as an introduction to the fundamental skills of acting in the theatre, with special emphasis on the presentation of drama from a Black perspective. Course content involves discussion and practical work, including theater games, improvisation, development of warm-up exercises, monologue, and scene work. All dramatic texts used for monologues and scene study will come from the works of representative Black playwrights. Some papers and selected reading, a midterm and final examination are required. A brief, informal interview is required for admission to this course. Further details at Theatre Office, Room 2550, Frieze Building. Text: ACTING ONE, by Robert Cohen. [Cost:1] [WL:2,4] (Jackson)
234. Voice I. Permission of instructor. (2). (Excl).
This course is an introduction to the voice both technically and imaginatively. Through lectures and extensive exercises students increase their physical awareness and vocal responsiveness for performance. This introduction is meant to give students a greater appreciation of the vocal process leading to a fuller, richer voice. [Cost:1] [WL:4] (A.Klautsch)
235. Movement I. Permission of instructor. (2). (Excl).
This course aims to provide performers with a working knowledge of their bodies. Exercises, improvisation, and other techniques will aid in developing awareness of the physical 'instrument' as an expressive means. [Cost:1] (Schweibert)
236. Acting I. Permission of instructor (audition). (3). (Excl).
This course serves only those students having a serious interest in the art of acting and the intention of progressing to more advanced performance classes. It is still, however, an introductory course, offering 'on feet' work with a particular emphasis on the exploration and definition of the physical aspects of acting through theatre games, exercises, and improvisation. Papers and selected readings are required, as is student attendance at departmental productions. Entry is by permission of instructor, determined through a short audition and interview. Audition sign-ups with further information will be posted at Room 2545A, Frieze Building, by March 28. [Cost:1] WL:5. Must satisfy audition and prerequisite conditions. (Fredricksen, Schwiebert)
252. Advanced Theatre Practicum I. Theatre 250 and permission of instructor. (1-3). (Excl). May be repeated for a total of 3 credits.
This course is a more intensive examination into one of the many subjects of technical theatre and design covered in Theatre and Drama 250. Students will work closely with faculty and staff to explore areas of expertise associated with productions at various university theatres. [Cost:1]
262. Advanced Theatre Practicum II. Theatre 250, 252, and permission of instructor. (1-3). (Excl). May be repeated for a total of 3 credits.
This course is a continuation of Theatre and Drama 252. It will further explore the various crafts and skills that are associated with the theatre as covered in Theatre and Drama 250. The student will work closely with faculty and staff to pursue individual projects in association with productions at the various university theatres. [Cost:1]
321/English 443. History of Theatre I. (3). (HU).
This course should be elected by all concentrators. A survey of the development of theatre from the ancient Greeks to the 17th century. The focus is on the production of theatre in its historical and social context, but we shall also study representative plays. Cost:3 WL:4 (Cardullo)
336. Acting III. Theatre 235, 237 and permission of instructor. (3). (Excl).
This course is designed for the serious and committed student. It offers continual "on-feet" scene study, with particular emphasis on characterization, relationships, and the exploration of properties and locales. There will be some papers, selected readings, and play-reading. Permission of instructor is required for entry. [Cost:1] [WL:2] (Klautsch)
345. Stage Management. Theatre 250 and permission of instructor. (2). (Excl). May be elected for a total of 4 credits.
Class covers methods of stage management including rehearsal coordination, prompt book preparation, record keeping, and director, cast, and crew relationships during the rehearsal period. Students will be assigned as Assistant Stage Manager on a School of Music production (theatre, opera, musical theatre or dance) requiring, during the rehearsal/performance period, approximately 70 hrs. outside of class time. Evaluation is based on class participation, occasional written assignments, and execution of assigned stage management duties. (Finley)
351. Introduction to Design. (3). (Excl).
A general theatre design course that will introduce students to all aspects of design including scenery, costumes, and lighting. It is team-taught by members of the Design faculty with the goal of acquainting students with the "process" that is necessary to analyze a script in order to develop a design concept for the production. Basic graphic communication techniques will also be explored. [Cost:2] [WL:4] (Billings)
385. Performing Arts Management. Theatre 250 and permission of instructor. (2). (Excl).
Course topics of Arts Administration that we will cover: 1. Setting goals (strategic planning) 2. Interpersonal and organizational issues (managing people) 3. Artistic organizations and the community (Do they want what we want?) 4. Administering money (how to get it and how to spend it) 5. Marketing the arts. Detailed topics to be considered as part of the above: 1. Organizational structure. 2. Using boards of directors effectively. 3. Planning a season. 4. General principles of contracts. 5. Budgeting techniques and analysis. 6. Using financial statements effectively. 7. Commercial vs. nonprofit. 8. Fundraising and grants. 9. Setting ticket prices 10. How to do a press release and plan a brochure. Texts: course packs of various readings, articles, and cases. Frequent use of the case method for teaching. [Cost:2] [WL:3] (Kuras)
386. Practicum in Performing Arts Management. Permission of instructor. (2). (Excl). May be elected for a total of 6 credits.
Students will gain practical experience in arts administration by assisting in the creation of approximately six productions per term presented under the auspices of the School of Music, including drama, dance, musical theatre, and opera. Students are required to meet "real world" deadlines and to contribute toward meeting actual ticket-sales goals. Administrative assignments include: writing press releases, developing marketing campaigns, creating print and radio ads, assisting in ticket-office operations, and managing the house during performances. One hour class per week is required plus weekly duties according to the particular production. Theatre 385 is a suggested prerequisite (or concurrently), or previous backstage experience. [Cost:1] [WL:3] (Kuras)
402. Theatre Forum. Permission of instructor. (1). (Excl). May be elected for a total of 4 credits.
This course should be elected by all concentrators, and is closed to all but theatre concentrators, though in exceptional cases others may attend by permission of instructor. Repeatable four times. At this weekly 'meet' of concentrators, theoretical issues of topical moment will be discussed, talks on theatrical topics will be given by faculty and occasional visitors, and criticism of current production on-campus will be assayed. Grades will be awarded on the basis of class contribution and papers. [Cost:1] [WL:3] (Ferran)
423/English 449. American Theatre and Drama. (3). (HU).
A survey of American drama and theatre, from its 18th-century beginnings to the present. Emphasis will be placed on the artistic awakenings and European influences in the 1920s, the proliferation of theatres, plays, and politics in the 1930s, the major dramatists (and commercial growth of Broadway) in the post-WWII era, and the avant-garde's oppositions and promises since the 1960s. Requirements include an obligatory reading list of about 30 plays (with intense analysis of 6 or 7), 3 secondary works, 2 analytic papers, participation in prepared and impromptu scene presentations, a midterm exam, and a final class project. Class will be a 50/50 combination of informal lecture and practice/discussion. Cost:3 (Ferran)
432. Stage Dialects. Theatre 234 and permission of instructor. (2). (Excl).
This course will introduce students to a methodology for acquiring stage dialects. Students will learn several domestic and foreign dialects using skills developed in Voice I. Developing a dialect requires vocal flexibility and a heightened awareness of dialectal variations including articulation, rhythm, resonance and stress. Students will learn the International Phonetic Alphabet as a means of notating the changes for each dialect. Dialects will also be examined as a tool for character development. They reflect the location and circumstances of a play. Students will perform monologues from many different plays and will be graded on these class assignments, phonetic transcriptions and quizzes. Cost:2 WL:3 (Klautsch)
436. Acting V. Theatre 337 and permission of instructor. (3). (Excl).
This course is designed for performance concentrators in Theatre and Musical Theatre, or those with a demonstrated experience in acting. There will be particular attention paid to individual rehearsal and audition techniques, and students will be prepared for graduate, conservatory or professional work. Scene laboratory and memorization will be required. Some papers and selected reading will also be required. Limited television studio work will be available and is encouraged. Individual work with the instructor is also encouraged. The normal prerequisite will be 234, 235, 337 and permission of instructor. Cost:1 [WL:2-3] (Kerr)
460. Principles of Scene Design. Theatre 250 or permission of instructor. (3). (Excl).
This is an introductory course in scenic design for the theatre. Students will work in text analysis as well as learn the basic visual concepts behind the work of a theatrical designer. Such crafts as drafting, drawing, and model-building will be taught in the class. In addition, crew work for one University production will be required of the student. [Cost:3] [WL:1] (Beudert)
462. Drafting. Theatre 250 or permission of instructor. (2). (Excl).
A studio course in drafting for the theatrical designer and technicians, with special emphasis on methods of scenographic communication and portfolio presentation. Intended for advanced undergraduate concentrators in this field, and entering M.F.A. candidates in Theatrical Design. Cost:2 WL:4 (Billings)
472. Stage Makeup. (2). (Excl).Laboratory fee ($30) required.
The study by practical application of the materials and processes used in designing and applying theatrical make-up to the face, hands and neck. Instruction through lab/discussion. Evaluation by attendance and participation, in-class applications, compiled reference file, and fulfillment of make-up running crew assignment. Text: Richard Corson, STAGE MAKEUP, 8th ed. [Cost:3] WL:1 (Sadler)
505. Special Work in Theatre Production and Performance. Permission of instructor. (1-6). (Excl). (INDEPENDENT).
This course provides academic credit in appropriate quantity for independent CREATIVE work undertaken under faculty supervision. A wide variety of projects may be undertaken with the mutual agreement of student and faculty member.
556. Advanced Stage Lighting Design. Theatre 356, or permission of instructor. No credit granted to those who have completed or are enrolled in Theatre 557. (3). (Excl).
A lecture/practicum-oriented course intended to acquaint the prospective lighting designer with a variety of genres of design and theatrical presentation. Several projects will be assigned and executed in concert with design theory students. Special attention will be placed on individual development and portfolio. (Tan)
570. Advanced Costume Design. Theatre 470. (3). (Excl).
This course continues on from Theatre 470 with more advanced costume design for video projects and film work. Taught in conjunction with the communications, film and video and acting departments. It is a laboratory where students may explore theoretical concepts and put them into practice. Text: A COMPILATION OF WRITINGS ABOUT TV, VIDEO AND FILM PRODUCTION. Cost:2 WL:4 (Crow)
580. Lighting Design Lab Theatre 351, 356, and permission of instructor. (1). (Excl). May be elected for a total of five credits.
A laboratory for the exploration of the lighting designers' skills. Includes drafting, optics, color theory, lighting mechanics and practice, as well as assisting a designer with a production. [Cost:1] (Tan)
581. Scenic Design Lab. Theatre 351, 461, and permission of instructor. (1). (Excl). May be elected for a total of five credits.
This is a laboratory course intended for undergraduate and graduate students already enrolled in design classes or in the process of designing a production at the University or an approved outside production. The laboratory is a place of active exploration of practical design problems. Topics to be explored include drawing, painting, drafting, set decoration, and other related topics. Additional assignment as an assistant designer may be part of the course work. [Cost:3] [WL:1] (Beudert)
582. Costume Design Lab. Theatre 351, 470, and permission of instructor. (1). (Excl). May be elected for a total of five credits.
A laboratory for the exploration of the costume designers skills. Includes drawing, painting, collage and computer aided design work as well as assisting a designer with a production. Planned to be taken in conjunction with Graduate Design Core classes. [Cost:2] [WL:4] (Crow)
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