Courses in Theatre and Drama (Division 695)

Courses in Theatre and Drama are listed in the Time Schedule under the School of Music in the subsection Theatre and Drama.

The following courses count as LS&A courses for LS&A degree credit.

101. Introduction to Acting 1. Permission of instructor. Open to non-concentrators. (3). (CE).
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. Sign up at the dep't office for an interview. Sign up sheets go up the same time the Time Schedules come out. Cost:1 (001: Gwillim; 002: Jones)
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102. Introduction to Acting 2. Permission of instructor. (3). (CE).
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 (Schwiebert)
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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, 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. 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)
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222/CAAS 341. Introduction to Black Theatre. (3). (HU).
A beginning course in Black theatre, acquainting students with origins, developments, current trends and the significant contributions of African-Americans to the theatre of Western civilization and to the theatre of Black America. Cost:1 WL:2 (Dickerson)
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245. Introduction to Stage Management. Theatre 250. (2). (CE).
Class covers methods of stage management including rehearsal coordination, prompt book preparation, record keeping, and director, cast, and crew relationships during rehearsal and performance. 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)
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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)
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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)
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260. Introduction to Design. Theatre 250. (3). (CE).
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 (Pasha)
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262. Production Practicum 4. Theatre 261. (1). (Excl). May be repeated for a total of three 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)
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322/English 444. History of Theatre II. (3). (HU).
This course will survey theatre in Western Europe and the United States from the end of the 17th century to the present. We will focus on the production of theatre in its historical, social, ideological, and material contexts. Students will also study representative plays as sources and reflections of theatrical and social history in the times in which the plays were first produced, or in times in which important revivals of the plays were mounted. We will examine periods and nations at first in chronological order and, later in the semester, will focus on trends and developments unfolding more generally during the 20th century. Classes will consist of a mixture of lecture and discussion, and students will be encouraged to come to class with things to talk about drawn from their reading, their thinking about theatre, and their practical experience as spectators and/or makers of theatre. (Walsh)
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345. Stage Management Practicum: Plays. Theatre 245 and permission of instructor. (2-3). (Excl). May be repeated for a total of four 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)
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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)
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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. Text: COSTUME DESIGN (Anderson) and (recommended) DRAWING ON THE RIGHT SIDE OF THE BRAIN (Edwards). (Hahn)
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399. Topics in Drama. (1-3). (Excl).
Section 002 and 003 Dynamically Speaking. (3 credits.)
This course is a "hands on" practical course designed to improve the speaking abilities of any public speaker or lecturer. Effective speaking techniques, both physical and vocal will be explored. Various improvizational games will be used to encourage risk-taking and creativity. Techniques to enhance audience contact and personal engagement will be studied and rehearsed. Other tools such as effective writing styles for spoken text and how to support material with vivid images will be explored. Each student will discover their own personal style and approach. Presentation skills involving use of materials, overhead projectors, slides, and other presentation tools will be discussed and practised. Rehearsed and unrehearsed speeches will be recorded, critiqued, and evaluated. Course Goals: expand understanding and awareness of basic speaking techniques; ability to reproduce various exercises designed to enhance the individual physical and vocal skills as needed for speaking; increase the effective use of presentation tools and materials; develop writing skills that are specifically needed for spoken text; Increase the ability to take "risks" and cope with the "fears" of public speaking; Present rehearsed and unrehearsed speeches for discussion and critique. Text: I Can See You Naked by Ron Hoff. Grading Policy: 50% Class Participation, 30% Written Assignments, 20% Attendance. Limited enrollment. Cost:1 WL:2 (Masson)
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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)
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420. Playwriting Toward Production. Permission of instructor. (3). (Excl).
This course is intended as a comprehensive introduction to the collaborative nature of preparing a play for production. Each playwright must have a completed early or first draft of a full-length or a one act play on which to work. Writers who want to be considered must submit a play to OyamO in the Department of Theatre and Drama by school's end in December. Depending on the availability of actors, directors, and designers, each of the plays will go through various phases of the collaborative process involving the above designated collaborators. The instructors will act as dramaturges 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. OyamO will work with the writers and Kate Mendeloff with the directors, actors, and designers. Student directors in the course are encouraged to enroll in a complementary two credit mini-course, RC Humanities 485 "Directors Workshop" to gain more additional directorial technique for their work. Cost:2 WL:1 (OyamO and Mendeloff)
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423/English 449. American Theatre and Drama. (3). (HU).
Section 001.
See English 449.001. (Hammond)

Section 002 American Drama: Before O'Neill/After Shepard. This survey course will examine the origin and development of U.S. Drama in the twentieth century. Beginning with playwrights like O'Neill, Glaspell, Rice, Odets, and Treadwell, the class will focus on the interrelationship of U.S. culture in American Drama and American Drama in U.S. culture, especially as it manifests itself in the mid-century plays of Miller, Williams, and Hellman. Topics of class discussion will include: the emergence of a nativist theater tradition, the role of ethnicity, the situation of the female playwright, the conflict between commercial and artistic values, and the move to a more pluralistic and inclusive theater, one in which previously marginalized voices move to center stage. Additional playwrights on the reading list include Hansberry, Albee, Mamet, Shepard, Fornes, Lanford Wilson, Kushner, Wang, and August Wilson. This course satisfies the American Literature requirement for English concentrators. Cost:3 (Brater)
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460. Scene Design II. Theatre 360. (3). (Excl).
An advanced course for the study of scenic design. Course work will include text analysis of play scripts, perspective sketching, drafting, model-building, and other skills related to the art of stage design. Cost:3 WL:3 (Mountain)
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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 the course will learn, practice, and combine skills for layout, color mixing, basic painting techniques, and multi media techniques. A text, written by Crabtree, will be required. Suitable clothing and lab fee required. Cost:2 WL:2 (Crabtree)
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466. History of Decor. Theatre 260. (3). (Excl).
A chronological study of the decorative styles of interiors and exteriors in Western architecture and their applications to the stage. (Decker)
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