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. [Cost:1] (Maylie)
102. Introduction to Acting II. Permission of instructor. (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 the fundamentals of dramatic action and working up a part. Scene work is stressed with actor's score and selected reading. Brief, informal interviews are required for admission to all sections. Further details at Theatre Office, Room 2550, Frieze Building. Cost:1 (Schweibert)
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:3] [WL:4] (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:1] (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:Go to the department office to sign up for interview appointment with instructor.] (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. [Cost:1] (Schweibert)
237(336). Acting II. Theatre 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. (Kerr,Gwillim)
250(251). Introduction to Technical Theatre Practices. (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. (1). (Excl). May be repeated for a total of 4 credits.
Students work on university players productions. 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] (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. [Cost:1] (Decker)
322(422)/English 444. History of Theatre II. (3). (HU).
A survey of the development of Western Theatre from the end of the 17 century to the mid-20th century. The focus is on the production of theatre in its historical and societal context. Representative plays are also studied. The course method is a combination of lecture and discussion. Midterm, final, two papers (one long, one short). Texts include HISTORY OF THE THEATRE (Oscar Brockett) and MASTERPIECES OF THE DRAMA (Allison, Carr, and Eastman). [Cost:4] [WL:3] (Cardullo)
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. (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 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] (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:1] [WL:3] (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).
Section 001,002 – THEATRICAL COMBAT. This class will explore the acting problems and solutions involved in the theatrical presentation of staged violence. The class will concentrate on developing partner harmony and responsibility and the relaxed yet committed focus necessary to enact UNARMED stage violence as well as QUATERSTAFF, and single RAPIER. This will be at the introductory level. Students must have completed Acting 336 as well as one of the two Movement classes offered through the Theatre department. Preferences will be given to BFAs in Acting or Musical Theatre as well as Theatre concentrators with an Acting Emphasis. The course will be practical and will necessitate good health and outside practice. There will be required reading of hand out material and a final scene presentation involving the above three areas of concentration. Interviews will be required for all potential students before admittance. (Fredericksen)
Section 003. PLAYWRITING TOWARD PRODUCTION is intended as a comprehensive introduction to the collaborative nature of preparing a play for production. Each playwright must have a completed early or 1st draft of a full length or a one act play on which to work. The plays will go through the various phases of the collaborative process as if in a genuine production situation. The writer will confer with a director, various design artists and actors. The instructor will act as dramaturg for all the plays. Writers are expected to consider rewriting based on input from the various collaborators. (OyamO)
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 four 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. [Cost:1] [WL:3] (Ferran)
423/English 449. American Theatre and Drama. (3). (HU).
See English 449. (Ben-Zvi)
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:1] [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 as an expressive instrument. Physical health and discipline are expected. Strength and flexibility exercises, tai-chi, and Alexander Arg used as a reference and some consideration of mask. Particular attention is given to the actor's body in relation to a text. Theatre 235, and/or permission of instructor. [Cost:1] (Schweibert)
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 I 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)
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 Sellers. Students will be evaluated on the merits of their projects, written work, reading assignments, and participation in group discussion. (Klautsch)
451. Advanced Technical Theatre Practices. Theatre 250 or permission of instructor. (3). (Excl).
Study of constructions and rigging of stage scenery. 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] (Decker)
466(560). History of Decor. Theatre 351 or permission of instructor. (3). (Excl).
A chronological study of the decorative styles of interiors and exteriors in Western Architecture and its application to the stage. Cost:3 WL:1 (Beudert)
470. Costume Design I. Theatre 351 or permission of instructor. (3). (Excl).
This course is designed to familiarize students with the field of costume design for theatre and television. Character and script analysis will be stressed as well as color focus. Drawing skills will be needed. There is no prerequisite. Texts: DRAWING ON THE RIGHT SIDE OF THE BRAIN (Edwards). DRAWING FROM THE ARTIST WITHIN (Edwards), COSTUME DESIGN (Andersen), BRIDGMAN'S LIFE DRAWING (Bridgman). Cost:2 WL:3 (Crow)
472. Stage Makeup. (2). (Excl).Laboratory fee ($30) required.
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, 8th ed. [Cost:4] (Sadler)
580. Lighting Design Lab Theatre 351, 356, and permission of instructor. (1). (Excl). May be elected for a total of five credits.
A laboratory for the exploration of the lighting designers' skills. Includes drafting, optics, color theory, lighting mechanics and practice, as well as assisting a designer with a production. [Cost:1] (Tan)
581. Scenic Design Lab. Theatre 351, 461, and permission of instructor. (1). (Excl). May be elected for a total of five credits.
This is a laboratory course intended for undergraduate and graduate students already enrolled in design classes or in the process of designing a production at the University or an approved outside production. The laboratory is a place of active exploration of practical design problems. Topics to be explored include drawing, painting, drafting, set decoration, and other related topics. Additional assignment as an assistant designer may be part of the course work. [Cost:3] [WL:3] (Beudert)
582. Costume Design Lab. Theatre 351, 470, and permission of instructor. (1). (Excl). May be elected for a total of five credits.
A laboratory for the exploration of the costume designers skills. Includes drawing, painting, collage and computer aided design work as well as assisting a designer with a production. Planned to be taken in conjunction with Graduate Design Core classes. [Cost:2] [WL:3] (Crow)
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