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]

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, Moliere, 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] (Walsh / Brown)

222/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:3] (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. (Schweibert)

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)

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. Cost:1 (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:3] (Billings)

353. Sound for the Theatre. Theatre 250 and permission of instructor. (2). (Excl).

This is a introductory laboratory style course in Sound for the Theatre. The emphasis will be on how sound can reinforce and support the script, and enhance the overall production. Students will work in the Frieze sound studio and in various theatres. Topics will include creation of electronic and "live" sound effects, script analysis, tape editing, and related work. Student evaluation will be through individual projects and two short discussion papers. (Reynolds)

385. Performing Arts Management. Theatre 250 and permission of instructor. (2). (Excl).
Management of the Performing Arts
is a broad survey course designed to introduce students to the administrative operations carried on by arts companies, and to teach some elementary techniques for effectively managing these companies. By use of the case method, students make managerial decisions presented in scenarios from a wide range of arts organizations, including symphonies, theatres, dance companies, and opera companies. The overall themes of the course are (1) setting long-term and short-term goals (how to avoid crisis management); (2) interpersonal and organizational issues (How to manage people); (3) arts companies and the community (Do they want what we want?); and (4) administering money (How to get it and how to spend it). This course is useful to future performers for understanding the environment in which they will seek employment, and why their prospective employers make the decisions they do. Topics of arts administration: Budgeting and ticket pricing; Contracts and agents; Financial statements; Corporate structure; incorporations; 501 (c)(3) organizations; Long range planning; strategic plans; Marketing theory; market segmentation; Marketing mix and plan; marketing of services; Promotion: advertising and public relations; Board of Directors; Individual, corporate, & foundation fundraising; Governmental grants & grant writing. Some texts are required, as well as a course pack. Students need an override, 763-5213, at the University Productions offices located in the Michigan League.

386. Practicum in Performing Arts Management. Permission of instructor. (2). (Excl).

Students will gain practical experience in arts administration by assisting in the creation of approximately five 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, managing the house during performances, and analyzing budgets. 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. Students who are interested in all types of performing arts are welcome. Cost:2 WL:3 (Kuras)

402. Ideas of Theatre: Dramatic Theory and Criticism. Permission of instructor. (3). (Excl).

This course should be elected by all BA Theatre concentrators. It will be offered once every year. The course will consist of a selection of major texts in dramatic and theatrical theory through which students will gain an acquaintance with the dominant historical ideas concerning the aesthetic and cultural offices of theatre and drama. The method will entail rigorous discussion of the readings, and requirements will entail rigorous discussion of the readings, and requirements will include a term paper on a particular theorist or critical topic, as well as several critical reviews of local production. This course may involve a "team" approach with selected faculty from the RC and may be elected for credit through the RC.

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:4 WL:4 (Ferran)

436. Acting V. Theatre 337 and permission of instructor. (3). (Excl).

Space is limited, and is only potentially available for the student who has demonstrated an interest and aptitude as assessed by the acting faculty in the preliminary course(s). The method of exploration will be that of actively funding a variety of texts that may include examples from the Jacobean and Elizabethan period, as well as an in depth consideration of selected scenes from such playwrights as George Walker and Michele Trembly. Cost:2 WL:3. Student must be recommended by the instructor of 337. (Fredricksen)

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:4] [WL:1] (Beudert)

463. Design Rendering. Theatre 351, 460, or 470; or permission of instructor. (3). (Excl).

A basic skills course to familiarize the student with the various methods and techniques of communicating the theatrical design idea for scenery and costumes. Projects will be assigned to teach the use of transparent and opaque water colors, colored pencil, inks, and magic marker. Course grade will be based on rendering assignments. Lab/discussion format. [Cost:2] [WL:1] (Billings)

577. History of Dress. Theatre 351 or permission of instructor. (3). (Excl).

A slide survey course tracing the history of dress from ancient times through present day with emphasis on the societies which produced particular manners and styles of dress. [Cost:2] [WL:1] (Crow)

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