101. Introduction to Acting 1. 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 (Maylie)

102. Introduction to Acting 2. Permission of instructor. (3). (Excl).

This course is designed to build on the experience of Theatre 101 or Theatre 236. The course offers an introduction to acting in the theatre, with particular attention to the fundamentals of dramatic action and characterization. Scene work is stressed. Scenes and monologues will be performed in class, and graded, and a midterm examination will also be part of the grade in the course. Brief, informal interviews are required for admission to all sections. Further details at Theatre Office, Room 2550, Frieze Building. Texts: Robert Cohen, Acting One, 2d edition, and Ed. McNamara, Plays from the Contemporary American Theater. Cost:2 (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. Course requirements include participation in class discussion, the reading of an introductory text as well as plays, reviews of university productions, and exams. The course functions by lectures and sections, the second of which allows more detailed discussion. Cost:3 WL:3 (Cardullo)

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)

230. Acting for the Camera I. Theatre 236 or permission of instructor. (2). (Excl).

OBJECTIVE To use the camera to focus on basic acting technique for the preprofessional as it relates to the medium. EVALUATIVE CRITERIA/SYLLABUS Participation: You are responsible to be attentive to the work of your classmates as well as your own in order to sharpen your critical eye and help to define your weaknesses and strengths as an actor on camera. Professional commitment: Respect others who are working, know lines, be punctual, have an open and inquiring attitude toward all aspects of class work. Exercise work: Story, monologue, cold reading, situation scenes. Assigned scene Assigned January 21, performed Feb. 9, 11, or 16. Date to be assigned. Copy of Student-chosen Scene to be handed in no later than March 4. For the chosen scenes, you choose your partner and a 3 or 4 minute scene from any of these playwrights: Shepard, Miller, Williams, Inge. Student-chosen Scene performed March 23, 25 or 30. Date to be assigned. Attendance: You are expected to be present for all classes, for the entire class period. Inability or unwillingness will negatively affect your grade. Mid-term Evaluation to be given February 18.
**Dates and exercises are subject to change. Reasonable notice will be given. (Maylie)

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 extensive exercises, students increase their physical awareness and vocal responsiveness for performance. This introduction is designed to give students a greater appreciation of the vocal process leading to a naturally freer and individually connected voice. (Masson)

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)

245(345). Introduction to Stage Management. Theatre 250, or permission of instructor. (2). (Excl).

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) 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. WL:3 (Finley)

250. Introduction to Technical Theatre Practices. (3). (Excl).

This class is s survey of all aspects of theatre production. Scenery construction, rigging and painting, stage lighting, costume construction, and stage makeup are among topics investigated. Students also work in University Productions in the lab portion of the class. Cost:2 WL:4 (Decker)

251. Production Practicum 1. (1). (Excl).
Theatre Practicum.
Students enrolled in this class perform duties as stage scenery, lighting, sound, wardrobe, or stage properties crews for School of Music Theatre, Dance, Opera, and Musical Theatre Productions. No previous experience required. No Text. WL:4 Assignment meeting 5:00 PM Sept. 17 in the Trueblood Theatre. (Decker)

260(351). Introduction to Design. Theatre 250 or permission of instructor. (3). (Excl).
Introduction to Theatrical Design.
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 (Decker)

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:4 WL:3 (Cardullo)

345. Stage Management Practicum: Plays. Theatre 250 and permission of instructor. (2). (Excl). May be elected for a total of 4 credits.
Seminar 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 Stage Manager on a Theatre Department production requiring, during the rehearsal/performance period, approximately 170 hrs. outside of class time. Evaluation is based on execution of assigned stage management duties. WL:3 (Finley)

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. Cost:2 WL:3 (Reynolds)

360(460). Scene Design I. 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)

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.

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 and one-half 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)

399. Topics in Drama. (1-3). (Excl).

Theatre Symposium. Theatre symposium is essentially a largely informal discussion group that examines a broad range of issues and topics in the theatre. The issues and topics are most often the choices of the students. There will be no papers assigned or an exam; however, each student will be asked to make an informal class presentation around at least one of the topics during the term. Class participation is imperative. The effort shall be to examine issues, not resolve them. No topic or issue relating to the theatre is taboo. (OyamO)

423/English 449. American Theatre and Drama. (3). (HU).

See English 449. (Roth)

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. As dialects reflect the location and circumstances of a play, students will perform monologues from different plays and will be graded on these class assignments, phonetic transcriptions and quizzes. Cost:2 WL:3 (Masson)

437. Senior Seminar in Performance. Permission of instructor. (3). (Excl).

Course Objective: To prepare the committed student of acting for professional auditions, and the consideration of acting as a business. Emphases will include prepared and cold reading techniques for stage, film and commercial television; building a practical repertoire of monologues, engaging in various interview scenarios, preparing appropriate pictures and resumes, and becoming familiar with union requirements and trade information sources. Students will be actively encouraged to attend as many auditions (including professional, non-union and university productions) as possible, and to keep a record of each audition attended. (details to be explained). Course Requirements: Grading will be based on the following areas of involvement: (1) the level of professional discipline you exhibit in class on a meeting to-meeting basis, which includes attendance, promptness, preparedness, etc; (2) in-class work; (3) completion of assigned class projects (4) several major "auditions" within the term, dates and types of which will be announced shortly prior to their occurrence. Special Note: At various times throughout the term, we will have guest auditiors come in to see and critique your audition work. Guests expected: Libby Appel, Artistic Director, Indiana Repertory Theatre; Edward Stern, Artistic Director, Cincinnati Playhouse; Jeff Daniels, film and stage actor; commercial casting director and/or agent (tba); others to be announced. (Maylie)

445. Stage Management Practicum: Opera and Musicals. Theatre 245. (2). (Excl). May be repeated for a total of 4 credits.

Seminar 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 Stage Manager on a School of Music production (opera or musical theatre) requiring, during the rehearsal/performance period, approximately 170 hrs. outside of class time. Evaluation is based on execution of assigned stage management duties. Cost:3 (Finley)

452. Methods and Materials for Theatre Production. Permission of instructor. (2). (Excl).

This course will investigate and demonstrate the basic techniques and elements of costume construction from simple operations to complex construction procedures necessary to transform two dimensional fabric into three dimensional garments. Through a combination of lecture and lab experience students will acquire the skill, ability, and knowledge to assemble and finish garments for stage and street wear. This is a class useful to students who desire to advance to pattern drafting and draping as well as to potential costume/fashion designers who desire to understand how garments are put together. Rudimentary sewing skills would be helpful but not necessary. Cost:3 WL:by faculty override (Haven)

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 (Bergsman/Staff)

472. Stage Makeup. (2). (Excl). Lab 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:4 WL:2 (Sadler)

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