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. (Jackson, Klautsch)
211/Res. College Hums. 280/English 245. Introduction to Drama and Theatre. (4). (HU).
See English 245. (Ferran)
222(232)/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. (Jackson)
233/CAAS 342. Acting and the Black Experience. (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 (Jackson)
234(334). Voice I. Permission of instructor. (2). (Excl).
This course is an introduction to the voice both technically and imaginatively. This class enables students to discover their vocal instruments, increasing their vocal responsiveness for performance. This introduction is meant to give students a greater appreciation of the vocal process leading to a fuller, richer voice. (Klautsch)
235(435). 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. (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. (Gwillim)
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. All other sections by permission of instructor only.)
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, props 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)
345(445). Stage Management. Theatre 251 and permission of instructor. (2). (Excl). May be elected for a total of 4 credits.
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 or dance) 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. (Finley)
351. Theatrical Design I. (3). (Excl).
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 Graduate 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.
356(456). Introduction to Lighting for the Stage. Theatre 251 or permission of instructor. (3). (Excl).
An introduction to the theory and practice of lighting design for the stage, TV, and dance. Topics to be covered include: Text analysis, methods and approaches to lighting different forms of stages and performances, equipment specifications and use, light plots and schedules, color, basic electricity, etc. It is recommended that the student have a basic knowledge of technical theatre practices. Course grades will be based on midterm and final exams, written analyses of play texts and two design projects. Also each student is required to participate on the lighting crew for a Theatre Department production during the term. Instructional methods will include lecture, demonstration and practical application. Graduate students should sign up for Theatre 557. (Billings)
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 operations, and managing the house during performances. One 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. (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 and staff)
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)
435. Movement II. Theatre 235 and 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).
This course explores the way various theater activities, role playing, story telling, theater games, movement, improvisation, and so on, may be adapted for specific disabled populations and gives students an opportunity to work directly with a group of disabled children or adults in a community setting. Each week students will meet on campus to learn and adapt theater activities. In addition, for 8 weeks of the term, they will take part in a drama workshop under the supervision of the course instructor at a community facility such as High Point (mentally retarded children and adolescents) or one of the county's special education classrooms for deaf or blind children. 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 theatre, dance, education, and psychology. (Cohen)
439. Acting Practicum. Permission of instructor. (1). (Excl). May be elected for a total of 4 credits.
This course is for students who wish to participate as performers in the playwriting courses offered by English. This will involve reading, trying out and acting scenes as required.
441. Directing I. Theatre 102 or 237, and permission of instructor. (3). (Excl).
This course serves to stimulate and develop in each student a directorial approach to drama. Focusing on the individual's ability to analyze, interpret, and conceptualize plays in terms of unified productions, the class will combine practical work with group study and discussion of various plays and significant directing theories. Practical exploration will involve a number of assignments related to the translation of the written word into an artistic point of view influencing the elements of production such as movement, arrangement, rhythm, and mood. Class study will center on the elements of play construction and the contributions of such directors as Artaud, Meyerhold, Brecht, Brook, and Sellars. Students will be evaluated on the merits of their projects, written work, reading assignments, and participation in group discussion. (Klautsch)
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: Burris Meyer & Cole, SCENERY FOR THE THEATRE. (Decker)
462. Drafting and Model Making. Theatre 251 or permission of instructor. (2). (Excl).
A studio course in drafting for the theatrical designers and technicians, with special emphasis placed on methods of scenographic communication and portfolio presentation. Intended for advanced undergraduate concentrators in this field, as well as entering M.F.A. candidates in Theatrical Design. (Billings)
463. Design Rendering. Theatre 351, 460, or 470; or permission of instructor. (3). (Excl).
A basic skills course to familiarize the student with the various methods and techniques of communicating the theatrical design idea for scenery and costumes. Projects will be assigned to teach the use of transparent and opaque water colors, colored pencil, inks, and magic marker. Course grade will be based on rendering assignments. Lab/discussion format. (Billings)
578. Historical Garment Construction. Theatre 577 or permission of instructor. (3). (Excl).
An in-depth study of the construction of clothing for a select number of historical periods and how those silhouettes may best be translated to costume for the stage. (Crow)
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