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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