101. Introduction to Acting 1. 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

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/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. Cost:1 WL:Very few spaces for non-BFA performance majors. (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 extensive exercises, students increase their physical awareness and vocal responsiveness for performance. This introduction is designed to give students a greater appreciation of the vocal process leading to a naturally freer and individually connected voice. (Masson)

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:2 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, 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 and is appropriate for individuals committed to professional training. 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 and then to Theatre concentrators with an Acting Emphasis should space be available. The course will be necessitate discipline, health, and outside practice. A final scene presentation involving the above three areas of concentration is mandatory for completion of the class. Interviews required for all potential students before admittance. Cost:2 WL:2. Very few spaces for non-BFA (Fredericksen)

245(345). Introduction to Stage Management. Theatre 250, or permission of instructor. (2). (Excl).

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) 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)

251(250). Production Practicum. (1). (Excl).

Students work on university players productions. Cost:1 WL:3 (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. Four quizzes, final, one research paper. Texts include HISTORY OF THE THEATRE (Oscar Brockett) and MASTERPIECES OF THE DRAMA (Allison, Carr, and Eastman). Cost:4 WL:3 (Woods)

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 Practicum: Plays. Theatre 250 and permission of instructor. (2). (Excl). May be elected for a total of 4 credits.
Seminar 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 Stage Manager on a Theatre Department production requiring, during the rehearsal/performance period, approximately 170 hrs. outside of class time. Evaluation is based on execution of assigned stage management duties. (Finley)

356. 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. Topics to be covered include technical information of lighting equipment, methods of lighting, development of design concept and application, drafting and design paperwork, color, and script analysis. Course grade will be based on design projects and written analyses of plays. Course work will include three design projects as well as participation on the light crew for a University Productions show. Instructional methods will include lecture, discussion and practical application. Cost:1 WL:3 (Tan)

370(470). Costume Design I. Theatre 260 or permission of instructor. (3) . (Excl).

A beginning course in the process of designing costumes for the stage. The course will cover character analysis and color focus, design rendering in various media, use of design elements to communicate concept. Grade based on design project.

386. Practicum in Performing Arts Management. Permission of instructor. (2). (Excl).

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 and one-half 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. Cost:2 WL:3 (Kuras)

402. Ideas of Theatre: Dramatic Theory and Criticism. Permission of instructor. (3). (Excl).

The course will consist of a selection of major texts in dramatic and theatrical theory, structured along broad lines (e.g., classical-romantic-modern), through which students will gain an acquaintance with the dominant historical ideas concerning the aesthetic and cultural offices of theatre and drama. The theoretical readings will be augmented by a short list of pertinent plays; these will be part of a departmental "Essential Plays List," and students will be using this course (among others in the department) to move towards completing the reading on this list. (Consultation among all teachers requiring play-reading will head off any possible duplication.) The method of "Ideas of Theatre" will entail rigorous discussion of the readings, and requirements will include a term paper on a particular theorist or critical topic as well as several critical reviews (as opposed to journalistic "notices") of local productions.

420. Playwriting Toward Production. Permission of instructor. (3). (Excl).

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 various phases of the collaborative process as if in a genuine production situation. The writer will confer with a director, various design artist and actors. The instructor will act as dramaturg for all the plays. Writers are expected to consider rewriting based upon input from the various collaborators. Cost:2 WL:5. Submit full length play or one act in December, '92. (OyamO)

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

See English 449. (Bauland)

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

This class continues to explore the vocal process in greater depth. Exercises and textwork will concentrate on all vocal variables designed to expand the student's individual flexibility, range, and sensitivity to all aspects of the voice. The vocal skills will be applied to a variety of texts and individual monologues. (Masson)

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

To prepare the serious and committed student of acting for professional auditions and interviews. Emphasis will include prepared and cold reading techniques for stage, film and commercial television; building a practical repertoire of monologues, engaging in various interview scenarios, preparing appropriate resumes, cover letters, head shots, and becoming familiar with union requirements. The student must have completed most of the performance degree requirements and/or receive permission from the instructor. Cost:1 (Maylie)

440. Stage Combat II. Theatre 240, 234, and 337; and 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. Cost:3 (Fredericksen)

445. Stage Management Practicum: Opera. Theatre 245. (2). (Excl).
Operas and Musicals.
Seminar 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 Stage Manager on a School of Music production (opera or musical theatre) requiring, during the rehearsal/performance period, approximately 170 hrs. outside of class time. Evaluation is based on execution of assigned stage management duties. (Finley)

472. Stage Makeup. (2). (Excl). Lab fee ($30) required.

Fundamentals of makeup for theatre. Study of facial structures, the physiology of age, character, and the psychology of color. Lecture and laboratory.

557. Stage Lighting Theory. Theatre 250, or permission of instructor. No credit granted to those who have completed or are enrolled in Theatre 556. (3). (Excl).
Lighting Design for musicals, operas, and dance.
An advanced course for the study of lighting design as it applies to musicals, operas, and dance. Course work will emphasize the development of individual design approach to lighting musicals and operas, the analysis of text, libretto, and score, the development and placement of musical cues, the use of followspots, and the lighting of dance and movement. Four projects will be assigned for design development. Assisting the lighting designer on a musical is also required. Cost:1 WL:3 (Tan)

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