Courses in Theatre and Drama (Division 695)

101. Introduction to Acting I. Permission of instructor (brief interview). (3). (Excl).

Sections 001 and 002. 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. [Cost:1] [WL:2] (Weissman)

Section 003 See description for Sections 001 and 002. [Cost:2] [WL:3] (Woods)

Section 004 See description for Sections 001 and 002. [Cost:1] [WL:3] (Jackson)

211/Res. College Hums. 280/English 245. Introduction to Drama and Theatre. (4). (HU).

What have "theater" and "drama" meant at different times in history, what do they mean now, and what else could they mean? What impulses and skills have gone and go into the creation of theatrical events, and what needs do they attempt to fulfill? What's meant by "performance," "stage," "audience," "director," "tragedy," "comedy," and a dozen other terms we tend nowadays to use rather casually? In attempting to answer such questions we will be examining certain key scripts in their theatrical and social contexts. The relevant playwrights are likely to include Euripedes, Shakespeare, Molière, Ibsen, Chekhov, Brecht, and Beckett. Students will also be introduced to some of the practical requirements of theatre-making, as a further means of comprehending the complex enterprise which is "Theatre-and-drama." Course requirements include participation in class discussion and activities, written projects, and exams. [Cost:2] [WL:1] (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. [Cost:1] [WL:3] (Jackson)

233/CAAS 342. Acting and the Black Experience. Permission of instructor (brief interview). (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. [Cost:1] [WL:3] (Jackson)

234(334). Voice I. Permission of instructor. (2). (Excl).

This course is an introduction to the voice both technically and imaginatively. Through lectures and extensive exercises students increase their physical awareness and vocal responsiveness for performance. This introduction is meant to give students a greater appreciation of the vocal process leading to a fuller, richer voice. [Cost:1] [WL:3] (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. [WL:3] (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. [Cost:1] [WL:3] (Gwillim)

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

This course is a survey of technical theatre practices. Scenery, properties, costumes, scenic painting, sound, and stage lighting are investigated in this course. The course meets for lectures twice a week. Textbook readings are assigned in conjunction with the lectures. Students will receive hands-on-experience with faculty and staff supervision in the University shops building University Players productions. Evaluation for the course is by examination. [Cost:2] [WL:4] (Decker)

251(250). Production Practicum. Concurrent enrollment in Theatre 250. (1). (Excl). May be repeated for a total of 4 credits.

Laboratory in theatre production. [Cost:1] [WL:3] (Decker)

252. Advanced Theatre Practicum I. Theatre 250 and permission of instructor. (1-3). (Excl). May be repeated for a total of 3 credits.

This course is a more intensive examination into one of the many subjects of technical theatre and design covered in Theatre and Drama 250. Students will work closely with faculty and staff to explore areas of expertise associated with productions at various university theatres. [Cost:1] [WL:3] (Decker)

262. Advanced Theatre Practicum II. Theatre 250, 252, and permission of instructor. (1-3). (Excl). May be repeated for a total of 3 credits.

This course is a continuation of Theatre and Drama 252. It will further explore the various crafts and skills that are associated with the theatre as covered in Theatre and Drama 250. The student will work closely with faculty and staff to pursue individual projects in association with productions at the various university theatres. [WL:3] (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 17 century to the mid-20th century. The focus is on the production and presentation of theatre in its historical and societal context. Representative plays are also studied. The course method is a combination of lecture and discussion. Texts include HISTORY OF THE THEATRE (Oscar Brockett) and MASTERPIECES OF THE DRAMA (Allison, Carr, and Eastman). (Cohen)

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. [Cost:1] [WL:3] (Kerr)

345(445). Stage Management. Theatre 250 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. [Cost:1] [WL:3] (Finley)

351. Introduction to Design. (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. [Cost:2] [WL:3/4] (Billings)

356(456). Introduction to Lighting for the Stage. Theatre 250 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. [Cost:2] [WL:3/4] (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. [Cost:1] [WL:3] (Kuras)

399. Topics in Drama. (3). (Excl). (INDEPENDENT).

Section 001 CHEKHOV IN PERFORMANCE. A seminar considering the plays in the theatre of their own time and in English language productions of the present time. Chekhov's life; the establishment, development and repertoire of the Moscow Art Theatre; the plays' reflection of the political, social and intellectual life of Chekhov's time; problems of translation, stage-settings, acting, directing and production will also be considered. The plays will be read in English translations. (Brown)

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.

423/English 449. American Theatre and Drama. (3). (HU).

See English 449. (Garner)

434. Voice II. Theatre 234 or permission of instructor. (2). (Excl).

This class continues to explore the vocal process in more depth. Exercises and scenework will concentrate on all vocal variables to expand the student's individual flexibility and sensitivity to all aspects of the voice. Further, the class focuses on applying these vocal skills to the works of different playwrights and poets. [Cost:2] [WL:3] (Klautsch)

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. [WL:1] (Goldman)

437. Senior Seminar in Performance. Permission of instructor. (3). (Excl).

This course is intended for the advanced acting student and is designed to provide exercises, projects and readings exploring various theatrical performance styles. Emphasis of the "on-fee" scene work will be in classical drama ancient Greek through Restoration texts will be utilized and serve as the basis for class assignments. The class work will culminate in a prepared, public presentation of student performers. [Cost:2] [WL:3] (Klautsch)

439. Acting Practicum. Permission of instructor. (1). (Excl). May be elected for a total of 4 credits.

Section 003 This course is for students who wish to participate as performers in the Directing II class offered by the Department of Theatre and Drama. This will involve reading, trying out, and acting scenes as required. [Cost:1] [WL:4] (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. [Cost:2] [WL:3] (Klautsch)

451. Advanced Technical Theatre Practices. Theatre 250 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 of projects and labwork. Text: Burris, Meyer and Cole, SCENERY FOR THE THEATRE. [Cost:2] [WL:4] (Decker)

460. Principles of Scene Design. Theatre 250 or permission of instructor. (3). (Excl).

An introductory course in the design of scenery and space for theatrical productions. Topics to be covered include: analysis of the play script and the development of a production concept; the expression of the concept through use of design and compositional elements, production style and period; theatre floor plans and tech drawings; set rendering. This course is specifically for students who have some art training. Course grades will be based on written analyses of specific play texts and design projects. Each student will be required to participate on one full production crew for a Theatre Department production during the term. It is recommended that the student have some basic knowledge of technical theatre practices. Method of teaching will be by lecture, demonstration and practical application. [Cost:2] [WL:3/4] (Billings)

461. Scenic Design Theory. Theatre 251 or permission of instructor. No credit granted to those who have completed 460. (2). (Excl).

This course is basically the same as Theatre 460, but is geared for the student who does not have some basic proficiency in drawing and painting, but who wishes an understanding of the place of scenic design within the art of theatre production and the process of developing a concept and design from a play text. [Cost:2] [WL:3/4] (Billings)

464. Scene Painting for the Theatre. Theatre 250 or permission of instructor. (3). (Excl).

This course is a lab course designed to examine and practice the basic techniques of painting for the theatre. It will explore the various paint media commonly used in the theatre as well as various techniques of brushing, spraying, spattering, and texturing. Lab fee is required. (Crabtree)

472. Stage Makeup. Theatre 211 or permission of instructor. (2). (Excl).

The study by practical application of the materials and processes used in designing and applying theatrical make-up to the face, hands and neck. Instruction through lab/discussion. Evaluation by attendance and participation, in-class applications, compiled reference file, and fulfillment of make-up running crew assignment. Text: Richard Corson, STAGE MAKEUP, 7th ed. [Cost:3] (Sadler)

570. Advanced Costume Design. Theatre 470. (3). (Excl).

This course continues on from Theatre 470 with more advanced costume design for video projects and film work. Taught in conjunction with the communications, film and video and acting departments. It is a laboratory where students may explore theoretical concepts and put them into practice. Designed for graduate students, but experienced undergraduates will be allowed into the course. Text: A COMPILATION OF WRITINGS ABOUT TV, VIDEO AND FILM PRODUCTION. [Cost:2] [WL:See instructor or departmental secretary about getting an Override.] (Crow)

571. Costume Materials and Methods. Permission of instructor. (3). (Excl).

Section 001. DYE WORKSHOP AND FABRIC MODIFICATION. We will experiment with various types of dyes including acid, direct, and fiber-reactive. We will also practice different fabric modification techniques including batik, marbling, stencils, printing and painting. We will practice dyeing silk, wool, cotton, and some synthetic fibers. We will also stress safety precautions for working with dyestuffs (such as skin and lung protection, proper ventilation, etc.) [Cost:3] [WL:3] (Gutosky)

578. Historical Garment Construction. Theatre 577 or permission of instructor. (3). (Excl).

An in-depth study of the drafting, draping and construction of period garments and how that translates to historical costume for the stage. Designed to be taken in conduction with Theatre 577. Planned for graduate students mainly, but advanced undergraduates may take this course with permission of instructor. Text: Jean Hunnisett, PERIOD COSTUME FOR STAGE AND SCREEN. [Cost:2] [WL:See instructor or departmental secretary about getting an Override.] (Crow)


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