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 playwriting, acting, directing, and design. In addition to the traditional lecture format, 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 examinations, one written critique, and contributions to the discussion groups. (Hallquist)
211. Drama to Theatre. (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 one paper (a production critique) as well as two examinations.
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 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.
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 and is the base for all succeeding acting courses in the theatre curriculum. Instructional methods are largely those of lecture, discussion, theatre exercises, and performance of 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 – Brooks; Section 002 – Weisfeld; Section 003 – Chambers; Section 004 – Billings; Section 005 – Pollack)
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. (Brooks)
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: Brockett, Oscar G., The Theatre: an Introduction; Klaus, C.H., Gilbert, M., and Field, B.S., Stages of Drama. (Weisfeld)
334. Fundamentals of Voice for the Actor. Theatre 236. (2). (Excl).
This is a first level voice class, there being no prerequisite. Course theme is realizing the body's potential for producing vocal energy. The course material is based almost entirely upon physical work employing bio-energetics (modified yoga positions) and Linklater techniques, the Alexander principle, a smattering of phonetics and the use of specifically assigned texts. There is no required text. Student evaluation is determined by attendance, class participation and the individual's progress during the class. (M. Chambers)
336. Acting II: Self Analysis. Theatre 236 or permission of instructor. (3). (HU). May be repeated for a total of 6 hours credit.
This is the second level acting class, the prerequisite being Acting 236 or 231. Course theme is the performer at the service of the play. Course study techniques include given circumstances, the play as a whole, realizing the objective in a scene, scoring the action, emotional memory and improvisation, discovering means of communicating analysis, characterization and introduction to text study, Shakespeare. Student evaluation is based on attendance, class participation, and performance. No textbook is required but Stanislavsky's Creating a Role and Building A Character are recommended. (M. Chambers)
351. Introduction to Theatrical Design. Theatre 205 and 251 and 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, design projects, and production crew work. (Chambers)
422. History of Theatre: II. (4). (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)
435. Movement for the Actor. Theatre 336. (2). (Excl).
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.
437. Acting IV: Character Analysis. Theatre 436 and permission of instructor. (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, 1983, 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 205, 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. Possible texts: Candida by Shaw and Mother Courage by Brecht. (Kelly)
442. Directing II: Problems. Theatre 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. Possible text: Drama, Stage, and Audience by Styan.
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. (Pollock)
463. Design Rendering. Theatre 205 or 251; and permission of instructor. (3). (Excl).
A basic skills course designed to familiarize the student with drawing, painting, and other rendering techniques used in designing for theatre. Includes a review of color theory, sketching perspective, and the theory of visual composition. Lab/discussion format. Course grade determined by skill improvement and participation. (Jan Chambers)
464. Scene Painting for the Theatre. Theatre 205 and 251; and permission of instructor. (3). (Excl).
An introductory study in the techniques and methods of painting scenery for the stage. Class demonstration, critiques, projects. The course grade will be based on assigned painting projects. Students are required to serve on one paint crew for a Theatre Dept. production during the term. No specific text, but reading in the library will be assigned. (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.
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. (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)
556. Advanced Stage Lighting Design. Theatre 456 or permission of instructor. No credit granted to those who have completed 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. (Pollock)
557. Lighting Design Theory. Theatre 205 and 251; or permission of instructor. No credit granted to those who have completed 556. (2). (Excl).
A lecture and discussion-oriented course intended to acquaint the student with light and how designers work with it in a theatrical context. The evolution of design from concept to execution and the interrelation of design disciplines in the theatre will be explored through collaboration on actual design projects and practical experience. (Pollock)
578. Costume History and Design II. Theatre 577 or permission of instructor. (4). (Excl).
The second half of a two term sequence covering the history of western dress from 1485 to the present. Application of historical dress to theatrical production and the process of designing for the stage are an integral part of the study. Designed for graduate theatre students in all areas, but the beginning level for graduate costume design students. Weekly design projects which explore various aspects of theatrical design and culminate in a final design project of a complete play (theorized). Work on U. Players productions. (Weisfeld)
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