101. Introduction to Acting 1. Permission of instructor.
Open to non-concentrators. (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, seeking to explore the nature of acting and to increase the students' abilities as actors. Classes will follow two parallel lines: technical work on body, voice and speech, and imaginative work involving improvision, observation, enquiry, and building a character and scene. Cost:1 WL:2 (Brown)
Sections 003. 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. Sign up for an interview with the instructor (interview times are posted about the time when the Time Schedules come out, further details at the Theatre Office, Room 2550, Frieze Building. Cost:1 (Maylie)
102. Introduction to Acting 2. Permission of instructor. (3). (Excl).
This course is designed for students wishing to add to their knowledge and experience of acting, especially for those who have already taken Theatre 101 or Theatre 181 with a grade of B or better. Other students may be admitted on permission of the Instructor (times for interviews will be posted in the Theatre Department at the end of Fall Term). The practical classes will include work based on observation, improvisation and imitation, together with exploration of texts, contemporary and Shakespearean. Assessment will depend on practical work throughout the term and on two written examinations. Cost:1 WL:4 (Brown)
This course is designed to build on the experience of Theatre 101 or Theatre 181. The course offers an introduction to acting in the theatre, with particular attention to the fundamentals of dramatic action and characterization. Scene work is stressed. Scenes and monologues will be performed in class, and graded, and a midterm examination will also be part of the grade in the course. Brief, informal interviews are required for admission to all sections. Further details at Theatre Office, Room 2550, Frieze Building. Texts: Robert Cohen, Acting One, 2d edition, and Ed. McNamara, Plays from the Contemporary American Theater. Cost:2 (Woods)
211/RC Hums. 280/English 245. Introduction to Drama and Theatre. No credit granted to those who have completed or are enrolled in RC Hums. 281. (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, MoliËre, 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. 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. Text: The Theatre of Black Americans, ed. by Errol Hill. Cost:1 WL:3,4 (Bridges)
245. Introduction to Stage Management. Theatre 250. (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 also be assigned as Assistant Stage Manager on a School of Music production (theatre, opera, musical theatre). Evaluation is based on class participation, occasional written assignments, and execution of assigned stage management duties. (Uffner)
250. Introduction to Technical Theatre Practices. (3). (Excl).
Theatre 250 is a survey of theatrical production techniques. The design and craft of scenery, lighting, properties, paint and costumes for the stage will be investigated. The course consists of two parts; a lecture portion that is evaluated by written examination and a production laboratory. Production faculty conduct labs in costumes, lighting, paint, properties, and scenery for Theatre 250 students. Students learn basic theatre craft skills while working on School of Music theatre, opera, and musical theatre productions. (Decker)
251. Production Practicum 1. (1). (Excl).
Theatre Practicum. Students enrolled in this class perform duties as stage scenery, lighting, sound, wardrobe, or stage properties crews for School of Music Theatre, Dance, Opera, and Musical Theatre Productions. No previous experience required. Evaluation based on performance on crew and journal that is kept of crew experience. No Text. WL:4, Assignment meeting 5:00 PM Jan. 17 in Room 2518 Frieze. (Sullivan)
260. Introduction to Design. Theatre 250. (3). (Excl).
A practical and theoretical introduction to the ideas and process of set, light, and costume design. Class format includes lectures, discussions, and demonstrations which frame a series of visual projects that explore design principles, text analysis, and the collaborative process as applied to stage design. Students will be evaluated on assigned projects and class participation. Cost:2 WL:3 (Andonyadis)
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, and one short scene. Texts include History of the Theatre, 7th ed. (Brockett) and Masterpieces of the Drama, 6th ed. (eds. Allison et al). Cost:2 WL:3 (Woods)
330. Contemporary American Women Playwrights. (3). (HU).
Particular emphasis will be placed on exploring dramatic language, performance styles, cultural, history, and the impact the work of these playwrights has on the American theatre and drama landscape. A central technique in the exploration of these works will be script-in-hand scenes from each of the plays. The scenes are prepared by class members and presented in class for discussion.
334. Cross-Cultural Collaboration II. (3). (Excl).
Section 001 – Remaking A Melting Pot (Part II). Fashioned after the intensive workshop rehearsal process that led to the creation of Michael Bennett's A Chorus Line, this course will require students to share aspects of their own ethnic backgrounds and university life experiences while debating, deconstructing, and ultimately re-staging the second half of Israel Zangwill's seminal 1908 melodrama, The Melting Pot. We will expand upon the efforts made by last year's 334 ensemble which culminated in the presentation of a 75-minute theater piece generated from student testimony, improvisations, and adapted material. Like Bennett's musical about dancers, Remaking a Melting Pot is a work-in-progress that is a play about doing a play. Material will include original monologues, poems, and songs, high-camp acting, and documentary-styled re-enactments of actual class sessions. This is an opportunity to help in the creation of a performance piece which will be workshopped in the spring of 1997 in New York at the HB Playwrights Foundation, where the work has been commissioned. All students must sign release-forms giving permission for their material to be incorporated (often in transformed or edited form) in exchange for Contributing Author credit which will last for the life of the play. The course is an open call to students from many disciplines and backgrounds. It requires no previous acting or theater training, though a willingness to share, be honest, and supportive is essential. Supplemental readings and research will fortify discussion and debate. Students will be expected to complete journal assignments, turn in frequent writing assignments, and rehearse a collectively-generated text to be presented at term's end. Cost:1 WL:4 (Roth)
345. Stage Management Practicum: Plays. Theatre 245 and permission of instructor. (2-3). (Excl). May be elected for a total of 4 credits.
Seminar class covers methods of stage management including rehearsal and performance coordination, prompt book preparation, record keeping, and director, cast, and crew relationships. Students will be assigned as Stage Manager on a Theatre Department production. Evaluation is based on execution of assigned stage management duties. WL:3 (Uffner)
353. Sound for the Theatre. Theatre 250 and permission of instructor. (2). (Excl).
This is a introductory laboratory style course in Sound for the Theatre. The emphasis will be on how sound can reinforce and support the script, and enhance the overall production. Students will work in the Frieze sound studio and in various theatres. Topics will include creation of electronic and "live" sound effects, script analysis, tape editing, and related work. Student evaluation will be through individual projects and two short discussion papers. Cost:2 WL:3 (Reynolds)
370. Costume Design I. Theatre 260. (3). (Excl).
This course is designed to familiarize students with the art and process of costume design. There will be strong emphasis on text and character analysis as well as methods of research. An introduction to basic drawing skills will be combined with other visual options in presenting design ideas. Grading will be based on design presentations, attendance, attitude, and class participation. Texts: DRAWING ON THE RIGHT SIDE OF THE BRAIN (Edwards) and COSTUME DESIGN (Anderson). (Hahn)
386. Practicum in Performing Arts Management. Permission of instructor. (3). (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:1 WL:3 (Kuras)
390. Honors Tutorial. Open only to junior Honors concentrators. (1). (Excl). (INDEPENDENT).
Students work on individual projects under the guidance of a staff member in the student's area of interest. Cost:1
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. Cost:3 WL:3 (Cardullo)
403. Design and Production Forum I. (2). (Excl).
Theatre 403 is an active discussion class that explores issues of contemporary theatre, particularly in relation to design and production. The course broadens the student's knowledge of contemporary theatre artists and practices and sharpens esthetic judgment of productions. The class involves weekly topical readings, research into significant theatre artists, and critiques of university productions. A portion of class time is also used to the students for professional practice and presentation. Grades are determined by evaluation of written assignments and class participation. (Mountain)
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 artists, 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. Actors, directors, designers, and students generally interested in theatre arts are welcome. Experience is helpful but not required. Cost:2 WL:3 (OyamO)
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 in the post-WWII era, and the avant-garde's oppositions and promises since the 1960s. Requirements include an obligatory reading list of about 15 plays, two analytic papers, class participation, a midterm exam, and a final. Class will be a combination of informal lecture and discussion. Cost:4 WL:4 (Cardullo)
445. Stage Management Practicum: Opera and Musicals. Theatre 245. (2-3). (Excl). May be repeated 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 School of Music production (opera or musical theatre) requiring, during the rehearsal/performance period, approximately 170 hours outside of class time. Evaluation is based on execution of assigned stage management duties. Cost:3 WL:3 (Uffner)
451. Introduction to Technical Direction. Theatre 252 and 462. (3). (Excl).
This course is an introduction to the production and management skills needed by the technical director. Areas investigated will include: the drafting of construction drawings, cost analysis and materials of scenic construction, metal and wood fabrication techniques, environmental and structural safety, scenery rigging, movement, and mechanization. Student work will include various studio projects and laboratory work on Theatre Department productions. Grading will be by evaluation of studio projects, laboratory participation and examination. (Lindsay)
460. Scene Design II. Theatre 360. (3). (Excl).
An advanced course for the study of scenic design. Course work will include drawing, drafting, model-building, and other skills related to the art of stage design. Cost:3 WL:1 (Mountain)
464. Scene Painting for the Theatre. Theatre 250. (3). (Excl). Laboratory fee ($30) required.
This lab course is designed to examine and practice the basic techniques of theatrical scene painting. Students in this course will learn, practice and combine skills for layout, color mixing, basic painting techniques, and multi media techniques. Suitable clothing and lab fee required. Cost:2 WL:2 (Crabtree)
472. Stage Makeup. (2). (Excl). Lab 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 WL:2 (Sadler)
476. Costume Crafts. (3). (Excl).
Theatre 474 is an introduction to the materials and techniques used in the design and construction of craft work associated with theatrical costumes. Specific topics explored will include millinery, mask making, and dyeing and painting of fabric. The class will consist of lectures and demonstrations providing a survey of possible techniques and materials as well as specific projects designed to develop practical skills. Students will be evaluated on assigned projects and class participation. (Andonyadis)
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