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]
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 (Brown,Woods)
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 Euripides, Shakespeare, Moliere, 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.
The course functions by lectures and sections, the second of which
allows more detailed discussion and some elementary scene-work.
[Cost:3] [WL:4] (Cardullo)
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:2,4] (Jackson)
230. Acting for the Camera I. Theatre
236 or permission of instructor. (2). (Excl).
Most acting for film and television focuses on those principles
commonly referred to as "fundamentals". They include
focused talking and listening, image work, exploration of subtext, sensorial and affective memory as well as relaxation. A course
of study on the above-mentioned areas of training with the advantage
of utilizing video feedback would be of immense value to the pre-professional.
An exploration of the fundamentals of acting techniques with the
use of the camera. Concentration on such basics as purposeful
relaxation, image work, subtext, and basic action playing. Methods
used will include improvisation, storytelling, monologues, and short scenes. Subject matter explored will be of a contemporary
nature and will utilize in-class critique. (Maylie)
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:2,4]
(Jackson)
234. 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. 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. 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. [Cost:1] [WL:3] (Gwillim)
240. Stage Combat I. Theatre 235 and 236;
or permission of instructor. (2). (Excl).
Theatrical Combat. The 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 QUARTERSTAFF, 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. Preference 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. Cost:2 WL:2. Very few spaces for non-BFA (Fredericksen)
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 conjuntion 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).
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/English 444. History
of Theatre II. (3). (HU).
A survey of the development of Western Theatre from the end of the 17th 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. 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. 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)
386. 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 five 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, managing the house during performances, and analyzing budgets.
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. Students
who are interested in all types of performing arts are welcome.
(Kuras)
399. Topics in Drama. (3). (Excl).
Section 001: The Constant Couple. This course, admission
by permission of the instructor, will examine in seminar and practical
sessions, THE CONSTANT COUPLE, the first success of George
Farquhar in the year 1700. The play's background, theatre history
and viability in performance today will be the chief subjects
for enquiry, but these will lead to a consideration of Restoration
Comedy and the nature of comedy. Towards the end of term a presentation
will be made including a performance of parts of the play, or the whole of it. Students will be expected to attend sessions
in preparation for this outside normal hours. All members of the
class will take part in practical classes, but acting experience
is not a prerequisite. Evaluation on class work and TWO papers.
Cost:1 WL:3 (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 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] (Cardullo)
423/English 449. American
Theatre and Drama. (3). (HU).
A survey of American drama and theatre, from its 18th-century
beginnings to the present. Emphasis will be placed on the artistic
awakenings and European influences in the 1920s, the proliferation
of theatres, plays, and politics in the 1930s, the major dramatists
(and commercial growth of Broadway) in the post-WWII era, and the avant-garde's oppositions and promises since the 1960s. Requirements
include an obligatory reading list of about 30 plays (with intense
analysis of 6 or 7), 3 secondary works, 2 analytic papers, participation
in prepared and impromptu scene presentations, a midterm exam, and a final class project. Class will be a 50/50 combination of
informal lecture and practice/discussion. Cost:4 WL:4 (Ferran)
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. Strenth
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)
440. Stage Combat II. Theatre 240, 234, and 337; or permission of instructor. (2). (Excl).
Stage combat will be focused on the enabling of the actor to safely
extend his range of truth and responsibility. It will deal with
problems inherent in moving from pedestrian forms of indicated
conflict to the more demanding challenges of safely and effectively
portraying acted physical violence. It will impart a
philosophical and (when appropriate) historical overview relative
to three major areas of concentration: (1) Unarmed combat; (2)
Quarterstaff; (3) Single rapier and rapier and dagger. Certain
essentials common to all movement study in general and to acting
in particular that must be addressed are: Relaxation and balance, partner responsibility, extended focus, commitment to objective, responsivity to specific stimuli, circle of concentration. The
course will address the above by demanding an expanded sense of
reality and the playing for large stakes. (Fredericksen)
441. Directing I. Theatre 102 or 237, and permission of instructor. (3). (Excl).
An introduction to the practice and theory of theatre directing.
Students will concentrate on analyzing selected pieces of dramatic
texts, with the aim of forming a coherent and appropriate idea
for a stage production of one play. To inform their analyses and the resultant "production concept," students will read
several kinds of secondary literature, including documents pertaining
to the play's history, critical appraisals of the play and its
past performances, and essays on the nature and history of theatre
directing. Practical experiments in staging will reinforce and test this analytic work. Course requirements include: several
written analyses (of varying length, prepared and impromptu), a work journal, and a final project comprising both presentational
and written work. Cost:2 WL:3 (Ferran)
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 paint media commonly used in the theatre as well as various
techniques of brushing, spraying, spattering, and texturing. Lab
fee is required. (Blevins)
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. There will be strong emphasis on text and character
analysis as well as methods of research. Some drawing skills will
be needed although students will be encouraged to experiment with
several options for presenting visual ideas. There will be a design
presentation at the end of term and grading will be based on that
along with attendance and attitude. Texts: DRAWING ON THE
RIGHT SIDE OF THE BRAIN (Edwards), COSTUME DESIGN
(Anderson), BRIDGMAN'S LIFE DRAWING (Bridgman). Cost:2
WL:4 (Crow)
474. New Textile Technology. (3). (Excl).
This course will acquaint students with a variety of methods and materials for dyeing and modifying textiles for use in theatre
and design. The text for the class will be Dyeing and Painting
for the Theatre by Deborah Dryden, and it will be supplemented
by other relevant reading material. A brief summary of the history
of textiles will be included. This will be, primarily, a "hands-on"
class. Students will have the opportunity to experiment with a
variety of techniques and dyestuffs in the course of the term.
These will include acid, direct, and fiber-reactive dyes and various
textile paints (such as Deka and F.E.V.). The various techniques
include batik, marbling, stencils, printing, painting, and distressing.
We will work with silk, wool, cotton, and some synthetic fibers.
We will also stress safety precautions for working with the dyestuffs
(such as skin and lung protection and proper ventilation). The
final will be a presentation of work done in the lab. Students
will be graded on effort, the quality and design of their work, and their use and understanding of the various techniques and materials. (Gutoskey)
505. Special Work in Theatre Production and Performance.
Permission of instructor. (1-6). (Excl). (INDEPENDENT).
This course provides academic credit in appropriate quantity for
independent CREATIVE work undertaken under faculty supervision.
A wide variety of projects may be undertaken with the mutual agreement
of student and faculty member.
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:1] (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:4] (Crow)
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