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. (Gwillim, Goldman)
102. Introduction to Acting II. Theatre 101. (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 texts of representative playwrights. Scene work is stressed, with some papers and selected reading. Brief, informal interviews are required for admission to all sections. Further details at Theatre Office, Room 2550, Frieze Building.
211/RC Hums. 280/English 245. Introduction to Drama and Theatre. (4). (HU).
See English 245. (Ferran)
232. Black Theatre Workshop: I. (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 lecture, discussion, reading and performance of selected scenes and texts. In addition, a portion of this course will concentrate on the development of fundamental acting skills and techniques related to the presentation of drama from a Black perspective. Text: THE THEATER of BLACK AMERICANS ed. by Errol Hill. (Jackson)
235(435). Movement I. (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. (Goldman)
237(336). Acting II. Theatre 101 or 236, and permission of instructor. (3). (Excl).
Step two of acting definition within the Theatre Department's sequence of acting classes. Some papers and selected reading. "On feet" work with particular emphasis on the spoken word, getting the text off the page. Theatre 236 and/or permission of the instructor.
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 their performance of assigned crew work. (Section 001 – Decker; Section 002 – Reynolds; Section 003 – Ridley section 004 – Heller; Section 005 – Finley; Section 006 – Beudert; Section 007 – Crow.
251. Introduction to Technical Theatre Practices. Concurrent enrollment in Theatre 250. (3). (HU).
Introduction to the basic principles and practices of stagecraft. A survey of scenic construction, materials, scene painting, stage properties, costumes and stage lighting, lecture, and lab. In lab, students build scenery, drops and costumes for University Players Productions. Must also elect Theatre and Drama 250. No prior theatre experience needed. Required course for all Theatre and Drama, and Musical Theatre concentrators. Text: THEATRICAL DESIGN and PRODUCTION by Michael Gillete. (Decker)
322(422)/English 444. History of Theatre II. (3). (HU).
A survey of the development of Western Theatre – including non-Western influences – from the end of the 17th century to the present. The focus is on the production and presentation of theatre in its historical and societal context. Representative plays are also studied. (Aronson)
337(437). Acting IV. Theatre 234, 235, 336 and permission of instructor. (3). (Excl).
Step four of acting definition within the Theatre Department's sequence of acting classes. Some papers and selected reading. Play reading required, with particular attention to Shakespeare and style pieces. Emphasis on verse speaking, getting the advanced text off the page. Memorization of prose and verse. Theatre 234, 235, 336, and permission of instructor. (Kerr)
386(486). Practicum in Performing Arts Management. Permission of instructor. (2). (Excl). May be elected for a total of 6 credits.
Students will gain practical experience in arts administration by assisting in the creation of approximately six 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, and managing the house during performances. One hour of class per week is required plus weekly duties according to the particular production. Theatre 385 is a suggested prerequisite concurrently, or previous backstage experience. (Kuras)
402. Theatre Forum. Permission of instructor. (1). (Excl). May be elected for a total of 4 credits.
This course should be elected by all concentrators, and is closed to all but theatre concentrators, though in exceptional cases others may attend by permission of instructor. Repeatable three times. At this weekly 'meet' of concentrators, theoretical issues of topical moment will be discussed, talks on theatrical topics will be given by faculty and occasional visitors, and criticism of current production on-campus will be assayed. Grades will be awarded on the basis of class contribution and papers. (Nightingale)
423/English 449. American Theatre and Drama. (3). (HU).
The course explores American Theatre and Drama from 1920 to the present. Students will study the works of a number of playwrights including O'Neill, Miller, Williams, Shepard, and Mamet in their theatrical and social contexts. The development of major companies and institutions such as the Federal Theater Project, the Group Theater, and the Actors Studio will also be examined. The method of instruction will be lecture and discussion with some informal staging of studied works. Midterm, final, paper, and scene presentation. (Cohen)
425/MARC 451. Medieval English Theatre and Drama. (3). (HU).
For Winter 1988, this course is jointly offered with English 450.
435. Movement II. Theatre 235 or permission of instructor. (2). (Excl). May be elected for a total of 4 credits with permission of instructor.
A continued exploration of the performer's body. Physical health and discipline are expected. The body as an expressive instrument is investigated through strength and flexibility exercises, and some consideration of mime and mask. Particular attention is given to the actor's body in relation to a text. Theatre 235, and/or permission of instructor. (Goldman)
437. Senior Seminar in Performance. Permission of instructor. (3). (Excl).
Section 001 – SEMINAR in PERFORMANCE; SHAKESPEARE. This course studies how to perform in Shakespeare's plays: it is for students who wish to understand the detailed demands on actors which are made by the texts, and to begin to respond to them. Using one unfamiliar play (KING JOHN), the classes will explore ways of moving from reading to full performance. Practice will accompany study throughout the term. Evaluation will be on written papers and on practical work. Weekly meetings of two hours will be on Monday afternoons and further practical classes will be either on Wednesday mornings or, in smaller groups at other times and days, by individual arrangement. Additionally, there will be a few longer sessions on two or three weekends during the term, and an evening presentation of "work in progress" towards the end of the term. This course is designed especially for Juniors. It is NOT in a sequence of courses in the Department but no one will be admitted who has not completed successfully at least TWO acting classes. Entry is by permission of the instructor. (Brown)
Section 002 – ADAPTING DRAMA ACTIVITIES FOR CHILDREN and ADULTS WITH DISABILITIES. The course explores the way various theater activities, role playing, story telling, theater games, movement, improvisation, and so on, may be adapted for specific disables populations and gives students an opportunity to work directly with a group of disabled children or adults in a community setting. One session a week will meet on campus and will focus on the learning and adapting of theater activities. The second meeting will take place at a community facility such as High Point (mentally retarded children and adolescents) or one of the county's special education classrooms for the deaf or blind children where students will conduct a drama workshop under the supervision of the course instructor. Theater experience will be helpful but is not a prerequisite. It is expected that the course will be made up of students from a number of disciplines including theater, dance, education and psychology. (Cohen)
442. Directing II. Theatre 441 and permission of instructor. (3). (Excl).
Exercises, projects and readings exploring further the art of the theatre and play directing. Intended for advanced Theatre students. Evaluation is based on presentation of assignments devised to develop students' skills and creativity. The term's work culminates with a showing of representative directing assignments by class members. (Ferran)
451. Advanced Technical Theatre Practices. Theatre 251 or permission of instructor. (3). (Excl).
Study of constructions and rigging of stage scenery. Drafting, wood metal and plastics fabrication is covered. Students do special construction projects for University Productions. Evaluations by exams plus lab work. Text: Gillette, STAGE SCENERY ITS CONSTRUCTION and RIGGING. (Decker)
472. Stage Makeup. Theatre 211 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, 6th edition.
University of Michigan | College of LS&A | Student Academic Affairs | LS&A Bulletin Index
This page maintained by LS&A Academic Information and Publications, 1228 Angell Hall
The Regents of the University of Michigan,
Ann Arbor, MI 48109 USA +1 734 764-1817