Courses in Theatre and Drama (Division 492)

205. Introduction to Theatre. (3). (HU).

This course introduces the non-theatre major to the art of 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, directing, acting, scenery, costumes, makeup, lighting, and sound. Students are required to attend and to review current productions given in the Power Center, Trueblood Theatre, and the Mendelssohn Theatre. These performances are as much a part of the course as the printed texts. There are two written critiques and two examinations. (Reid)

211. Drama to Theatre: I (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 two papers (one in the form of a production critique) as well as one examination.

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. (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, radio, and television. Beginning with pantomime, monologue, and exercises, the student progresses through scenes for theatre and television. Written midterm and final examinations.

233. Black Theatre Workshop: II. (3). (HU).

This is the second half of a beginning course in acting taught from a Black perspective. Like Theatre 232, it focuses upon the development of acting skills for the theatre and relies largely on lecture, discussion, exercises, and performance of scenes for instructional methods. Black plays, for the most part, provide the basis for the performance of scenes. (Ganey)

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 Wolf; Section 002 Weisfeld; Section 003 Billings; Section 004 Chambers)

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. (Grekin)

311. Drama to Theatre: II. Theatre 211 and 251 or permission of instructor. (3). (HU).

To teach the student good theatrical form through understanding the interrelationships of the visual elements as they relate to play analysis and interpretation. To learn to create style in production. As part of the theatre area sequence for all majors, a knowledge of play analysis (Theatre 211) is assumed. The play is then studied in terms of its relation to reality and the visual aspects of that reality. The various visual aspects, scenery, costume, lighting, dressings and makeup are studied with a view towards the successful integration of all of them with the acting style, language, etc. Students are evaluated through written examinations and a final analytical paper on production of a particular play. Instruction is through lecture, discussion, demonstration, with visuals (slides, film). About 12 plays plus Departmental productions are read and used. Texts: Heffner, Selden, Sellman, Modern Theatre Practice; and Theodore W. Hatlin, Orientation to the Theatre. (Weisfeld)

334. Fundamentals of Voice for the Actor. Theatre 236. (2). (Excl).

This course is designed to provide the actor with a working knowledge of his voice with emphasis on voice and body connection, breathing, placement and pronunciation. Sound and movement exercises along with concentration on language aid the actor in expanding the expressive means of his voice. (Cantu, Mahler)

336. Acting II: Self Analysis. Theatre 236 or permission of instructor. (3). (HU).

The second course in acting, required for theatre concentrators. An intensive course in self-analysis aimed at enabling students to evaluate their strengths and weakness as actor. Emotional inhibitions, ability to analyze, vocal and physical technique are reviewed. Recommendations from this course required for permission to elect acting courses beyond this level. (Section 001 and 002 Long; section 003 Reynolds)

351. Introduction to Theatrical Design. Theatre 251 and 311. Concurrent enrollment in Theatre 250. (3). (Excl).

An introductory course in the theory and method of visual design of stage scenery, costumes, and lighting; analysis of the play in terms of design, and the procedures a designer follows in designing for the stage. The course grade will be based on written exams, a design project, and production crew work. (Chambers)

412. Comparative Drama: II. Upperclass standing. (3). (HU).

The course provides an intensive study of the drama of the Western World in its relationship to the theatre and the audience from the end of the 17th century to the present. This and Comparative Drama: I (Theatre and Drama 411) are intended to provide the student with a comprehensive view of the development of drama. Class is conducted largely through lecture, but emphasis is placed upon the individual student reading of the plays through a paper, a midterm examination, and a final examination. Each student reads about twenty-two plays although everyone may not necessarily read the same plays. (Bender)

417. Black Theatre and Drama. Theatre 205, 211 or 232 or permission of instructor. (3). (HU).

This course traces the development of Black theatre and drama in the United States from 1867 to the present. The emphasis, however, is on the 20th century development. About twelve plays are read and discussed. The aims, objectives, and accomplishments of specific Black theatre movements are explored. Two examinations and one paper. (J. Reid)

422. History of Theatre: II. (3). (HU).

This course deals with the development of theatre as an art form in its historical context from 1700 to the present. Topics include theatre structures, production, drama, theory, criticism, and social history relevant to the art. The preceding course, Theatre 421, serves as a useful basis for understanding these last three centuries, and students who wish to take this course out of sequence should discuss their plans with the instructor beforehand. The course is primarily lecture oriented with some time set aside for discussion. Juniors, Seniors, and graduate students (with a deficiency in theatre history) are encouraged to take this course; it is not designed for freshmen and sophomores. Four quizzes, one comprehensive examination, and a research paper form the basis of evaluation. (Pilkinton)

425/MARC 451. Medieval English Theatre and Drama. (3). (HU).

This course focuses on medieval English theatre and drama from the emergence of liturgical drama in the tenth century to the opening of The Theatre in 1576. While literary analysis forms a portion of the course, the overwhelming emphasis is on production and performance. Topics include performance spaces, production techniques, acting styles, the drama, and social history relevant to the development of the art form. The course is primarily discussion oriented with time set aside for "hands on" scene work with selected plays. Graduate students and advanced undergraduates are encouraged to take this course. Theatre History 421-422 is a useful but not required prerequisite. Three quizzes, a comprehensive examination, a research paper, and a production project form the basis of evaluation. (Pilkinton)

435. Movement for the Actor. Theatre 336. (2). (Excl).
Sections 001 and 002.
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. (Lomasson and Mahler)

Section 003. An extension of the actor's body awareness, balance, flexibility and concentration through an introduction to some of the basic techniques of stage combat. (Fredricksen)

Section 004. See sections 001 and 002. This section is open to M.F.A. students only. (Fredricksen)

437. Acting IV: Character Analysis. Theatre 436 and permission of instructor. Prior or concurrent enrollment in Theatre 435. (4). (HU).

An advanced acting course which carries forward the work of Theatre 436 in text analysis with special emphasis on characterization. Intensive analysis and performance of scenes from Chekhov and other playwrights noted for richness and complexity of characterization. For Winter Term, 1981, prior or concurrent enrollment in Theatre 334 and 435, or 436, and permission of the instructor are prerequisites. (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.

441. Directing I: Principles. Theatre 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. Texts: Candida by Shaw and Mother Courage by Brecht. (Martin)

442. Directing II: Problems. Theatre 436 and 441. (3). (HU).

Exercises, projects and readings exploring further the art of the theatre and play directing. Intended for advanced Theatre students. Evaluation is based on weekly presentations of special exercises devised to develop students' skills and creativity. The term's work culminates in a public performance collectively directed by class members. This course is the undergraduate prerequisite to directing a Studio Theatre production. Text: Drama, Stage, and Audience by Styan. (Martin)

445. Stage Management. Theatre 251 and 311 and permission of instructor. (1-2). (Excl). May be repeated 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 full-scale theatre production. There are no examinations, papers, or projects except for those projects directly related to the student's production. The course meets for two hours one day each week. (Wolf)

451. Advanced Technical Theatre Practices. Theatre 251 or permission of instructor. (3). (Excl).

A review of the basic methods of construction and rigging of stage scenery; study in the theories and methods of construction of more intricate scenic forms; use of new materials. Lecture and lab. Exams and projects. Text: Stage Scenery, Its Construction and Rigging 3rd ed. by A.G. Gillette/Michael Gillette. (Billings)

472. Stage Makeup. Theatre 311 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. (Uhler)

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. (Galan)

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. (Galan)

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).

For advanced directing students only. Entrance by permission only. The Practicum consists of the production of a one-act play in the Studio Theatre. This course serves as a screening for prospective Showcase Series directors. (Burgwin)

556. Advanced Stage Lighting Design. Theatre 456 or permission of instructor. No credit granted to those who have completed 557. (3). (Excl).

Theatre 556 deals with the aesthetics of lighting design and is intended for the serious lighting design student. The course meets 3 hours per week and involves a number of projects and one quiz. (Wolf)

557. Lighting Design Theory. Theatre 251 and 311; or permission of instructor. No credit granted to those who have completed 556. (2). (Excl).

Theatre 557 is taught concurrently with Theatre 556. Both courses deal with design aesthetics with particular emphasis on lighting for the stage. Theatre 557 should be elected by the student who does not intend to become a lighting designer, but wants further experience and insight into lighting design. One quiz/several projects. (Wolf)

560. Advanced Scenic Design. Theatre 460 or permission of instructor. (3). (Excl).

Study of historic periods of architecture and interior furnishings and their application to scenery design for theatre and television. (Billings)


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