Courses in Theatre and Drama (Division 492)

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 hourly examinations, written critiques, and contributions to the discussion groups. (Bender)

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. Concentrators should elect Theatre 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 a beginning course in acting taught from a Black perspective. The class is designed to build the skills of the performer using exercises in concentration, relaxation, sensory awareness, intentions and objectives and warm-up techniques. All text will be drawn from Black Dramatic literature. Concurrently this course will provide a general overview of Black drama and Black theatre history; its development and evolution. This course intends to provide an understanding of the Afro-American experience in dramatic literature. (G. Ricks)

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 Ault; Section 002 Weisfeld; Section 003 Ryerson; Section 004 Billings; Section 005 Pollock.

251. Introduction to Technical Theatre Practices. Concurrent enrollment in Theatre 250. (3). (HU).

Introduction to the basic principles and practices of stagecraft : set construction, costume construction, stage lighting, sound, properties and painting. Lecture, demonstrations, theatre tours, "in shop" practicum and exams. Text: Willard F. Bellman, Scene Design, Stage Lighting, Sound, Costume and Makeup. (T. Ault)

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, a design project, and production crew work. (Ryerson)

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 from the fifth century to the present. 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)

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, two comprehensive examinations, and a research paper form the basis of evaluation. (Pilkinton)

437. Acting IV: Character Analysis. Theatre 436 and permission of instructor. (4). (HU).

Acting IV is a concentrated study of acting techniques. The course is the most advanced in a departmental sequence. The prerequisite courses are: Acting 236 and 336, Voice 334, Movement and approval of instructor. Student evaluation is based on attendance, class participation and the progress students reveal in class work. Method of instruction includes scene study from contemporary and classic plays, improvisational work and discussion. No text is required though many are recommended. (Chambers)

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. The course meets one hour a week as a formal lecture or for individual consultation. (Pollock)

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: Scenery for the Theatre Revised ed. by Harold Boris-Meyer and Edward C. Cole. (Billings)

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. (J. Ryerson)

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.

536. Acting V: Style Analysis. Permission of instructor. (4). (Excl).

This course is a study of style in the acting of period plays. It studies the development of style in the Renaissance especially as it applies to Shakespeare's plays, it covers the specific techniques and attitudes required for playing Molière and Restoration and eighteenth century plays; it concludes with the romantic qualities appropriate to Schiller and Goethe. The class performs a series of scenes; the grade is based primarily on the scene work. Progress is an important factor. Permission of instructor required. (Burgwin)

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)

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)

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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