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Theatre Arts Courses
An introduction to aesthetics and the art of the theatre through an analysis of stage development and production technique. (Credit, full course.) Backlund, Cook, Smith
Study of basic film techniques, vocabulary, themes, and criticism, with detailed analysis of key films for structure and content. (Credit, full course.) Staff
Beginning ballet introduces the vocabulary and technique of classical ballet to begin a basic foundation for the dance form. Among the course requirements, students must attend a total of three theatre/dance/music performances during the semester (at least one dance performance) and write a review of the performances. (Credit, half course.) P. Pearigen
An approach to Shakespearean performance that begins with a consideration of how Shakespeare learned to write and speak at Stratford Grammar School. In addition to traditional work in acting Shakespeare, student actors engage in exercises in written composition and verbal improvisation based on Renaissance rhetoric. In addition to three meetings a week, this course requires one afternoon a week for a performance lab. (Credit, full course.) Landon
Rear Window serves as a model for Hitchcock’s persistent interest in climactic chases, claustrophobic locations, sexual voyeurism, ironic humor, and a sense of the inevitability of fate. Analysis of other Hitchcock films from the late twenties to the mid sixties emphasize the director’s treatment of editing, framing, sound, and mise en scene. Students become familiar with a variety of critical approaches and with cultural and historical influences on Hitchcock’s work. (Credit, full course.) L. Richardson
An examination of the collaborative contributions costume, scenery, lighting, and property technicians make to the art of theatre. An introduction to the materials, technologies, equipment, structures, and best practices used in contemporary theatre production. (Credit, full course). Matthews, Piccard
An analysis of theatre as a collaborative art form with an introduction to the materials, forms, and functions of theatrical art. A discussion of genre, dramatic structure, and theory of performance. An introduction to vocal technique and the work of the performer. (Credit, full course). Smith
An introduction to dance technique utilizing the rhythms of jazz and rock for accompaniment. The vocabulary and techniques of jazz dance, including the Luigi and Mattox systems, are introduced. (Credit, half course.) P. Pearigen
An analysis of theatrical design as a collaborative art form with an introduction to the materials, forms, and functions of design. An introduction to the research, analysis, graphics, materials, and techniques used in contemporary theatre design. (Credit, full course.) Backlund
Beginning tap dance introduces the vocabulary and technique of tap to build a basic foundation of the dance form. (Credit, half course.) P. Pearigen
The development of intuitive and creative performance technique through improvisational exercises. Prerequisite: consent of the instructor. (Credit, full course.) Smith
Video/film techniques including primary use of camera, visual and auditory editors, visual and sound image coordination, cinematography, script planning, and basic directing. Ten films are analyzed with written reviews. Other films are studied in terms of imagery and metaphor, narrative development, presentation and development, structural parentheses and patterns, picture rhythm, and film time and film space augmentation. Students participate in two group film-making experiences, followed by two individual assignments. (Credit, full course.) Staff
Beginning modern dance will introduce its vocabulary and technique and build a basic foundation of the dance form, emphasizing the Horton technique. Among the course requirements, students must attend a total of three theatre/dance/music performances during the semester (at least one dance performance) and write a review of the performance. (Credit, half course.) P. Pearigen
An introduction to the methods used in the design and creation of masks and hats for stage costumes. (Credit, half course.) Matthews
An exploration of the stage make-up techniques used by actors and designers in the creation of characters. (Credit, half course.) Matthews
A study of intermediate techniques of classical ballet. Among the course requirements, students must attend a total of three theatre/dance/music performances during the semester (at least one dance performance) and write a review of the performances. Prerequisite: consent of the instructor. (Credit, half course.) P. Pearigen
Continued study of the jazz technique: the vocabulary is extended and technical skills are developed. Among the course requirements, students must attend a total of three theatre/dance/music performances during the semester (at least one dance performance) and write a review of the performances. Prerequisite: consent of the instructor. (Credit, half course.) P. Pearigen
A survey of the history of the theatre with particular emphasis on the development of theatrical presentation and stage space. Prerequisite: sophomore standing or above. (Credit, full course.) Smith
A continuation of the study of the tap technique. The vocabulary is extended and technical skills are developed. Among the course requirements, students must attend a total of three theatre/dance/music performances during the semester (at least one dance performance) and write a review of the performances. Prerequisite: consent of the instructor. (Credit, half course.) P. Pearigen
A comparative and historical examination of works for the lyric stage, including grand opera, comic opera in its various national manifestations, and American musical theatre. Literary sources of stage works are read in conjunction with the study of scores. (Credit, full course.) Shrader
An introductory survey of traditional Asian theatre with particular emphasis on the cultural, sociological, and aesthetic context of theatre and dance form in the Noh, Kabuki, and Bunraku of Japan. Chinese Opera, Sanskrit drama, the Indian Kathakali, Malaysian shadow play, and Balinese dance theatre. (Credit, full course.) Backlund
An introduction to the actor’s art through improvisation, performance exercises, and scene work. Particular attention is given to the acting approach developed by Constantin Stanislavski and his followers. Prerequisite: consent of the instructor. (Credit, full course.) Landon
Intensive rehearsal of selected monologues and soliloquies. Exercises in this course help students develop vocal and physical expressiveness and skill in speaking heightened language. Prerequisite: Thtr 231 or permission of instructor. (Credit, half course.) Landon
Intensive rehearsal of selected scenes in verse and prose. Exercises in this course help students develop vocal and physical expressiveness and skill in speaking heightened language. Prerequisite: Thtr 231 or permission of instructor. (Credit, half course.) Landon
An introduction to the actor training methods of Jacques Lecoque with an emphasis on comedy. Exercises in movement, mime, character, improvisation, clowning, and for the neutral, larval, and Commedia mask. Students develop performance projects: original clown acts and performance pieces, traditional clown entrances, improvisations based on Commedia lazzi, scenes influenced by the Commedia from plays by authors such as Shakespeare and Molière. (Credit, full course.) Landon
Work in voice production, articulation, and interpretation through readings of literary and dramatic texts. A substantial amount of memorization is required. (Credit, full course.) Smith
An in-depth study of the techniques used in the creation of stage costumes. Students explore historical and modern methods of drafting, draping, and fabric modification, including advanced construction skills. Prerequisite: Thtr 111 or permission of instructor. (Credit, full course.) Matthews
A study of the basic principles and techniques in the design and construction of scenery, lighting, properties, costumes, and sound for the theatre. (Credit, full course.) Piccard
Video/film techniques (editing, cinematography, narrative and episodic development, time sequence augmentation, and light process) are explored through film analysis, interpretation and practical experience. Ten films are analyzed with written reviews. Number and length of student/film/tape productions to be individually negotiated between professor and student. Prerequisite: ArtS 141. (Credit, full course.) Staff
Selection and preparation of audition monologues from the modern and classical repertories. The course involves reading from script. This course does not meet the general distribution requirement in fine arts. Prerequisite: Thtr 231. (Credit, half course.) Landon
A survey of architecture, decor, and clothing from ancient to modern with special emphasis on the stylistic trends of each era. Emphasis in this class is on research and analysis of period styles. By looking at the common decorative elements of a certain era, the stage designer and director are able to understand the period style to create a more believable and unified stage picture. (Credit, full course.) Matthews
A study of the advanced techniques of classical ballet. Among the course requirements, students must attend a total of three theatre/dance/music performances during the semester (at least one dance performance) and write a review of the performances. Prerequisite: consent of the instructor. (Credit, half course.) P. Pearigen
A seminar in the development of post-modern performance theory. Theatricalization of contemporary thought and concepts of performance are studied in the work of Antonin Artaud and Bertold Brecht, in The Theatre of the Absurd, environmental theatre, impossible theatre, theatre of images, and others. Prerequisite: Junior (or above) standing or consent of instructor. (Credit, full course.) Smith
Intensive rehearsal of scenes from the classical repertory with an emphasis on the Greeks, Shakespeare, and Moliere. This course does not meet the general distribution requirement in fine arts. Prerequisite: Thtr 233. (Credit, half course.) Landon
An introduction to the art of solo performance. Exercises in dramatic style, storytelling, and in writing and performing such solo genres as the autobiographical and character monologue. Consideration of selected examples of solo work from Homer, Sappho, the Medieval jongleurs, the West African griots, and such modern performance artists as Ruth Draper, Whoopi Goldberg, Danny Hoch, and Spalding Gray. Each student writes and rehearses an original performance project for public presentation at the end of the semester. Prerequisite: consent of the instructor. (Credit, full course.) Landon
Deals with script analysis, scenic research techniques, periods and styles of production, exercises in scale, proportion, volume, and color. The student is expected to complete a series of projects culminating in the completed design of a classic or contemporary play. Prerequisite: Thtr 241 or permission of the instructor. (Credit, full course.) Backlund
Further study in video techniques and aesthetics emphasizing style, theme, and content. Students develop a series of individual projects from personally selected themes and motifs. Prerequisite: Art 243. (Credit, full course.) Staff
Exercises in script analysis, research options, styles of production, lighting theory, techniques, and equipment. Through journals and projects, students interpret and communicate with light. (Credit, full course.) Backlund
A study of basic techniques, tools, and procedures employed by the scenic artist. Projects include exercises in color theory and mixing; problem solving; and common finishes on hard, soft, and three-dimensional scenic units. Prerequisite: Permission of the instructor. (Credit, full course.) Backlund
A study of advanced problems in performing arts design. The student is introduced to the fundamentals of CADD (computer-aided drafting and design.) Scenic and lighting designers work together to create design solutions for different performance media. Prerequisite: Thtr 342 or 345, Art 342 or 345, and permission of instructor. (Credit, full course.) Backlund
Introduction to the theoretical and technical aspects of directing through production of short scenes from the classical repertoire. (Credit, full course.) Smith
A continuation of 351. Further application of directorial technique to staging problems in classical and modern plays. Prerequisite: 351 or consent of instructor. (Credit, full course.) Smith
A continuation of the study in the design of costumes for theatre and dance. Advanced research in the history and development of costume rendering, construction methods, and design practices. Culminates in actual design projects for theatre and dance. Prerequisites: Thtr 361 or consent of instructor. (Credit, full course.) Staff
This project-based course prepares the advanced scenic designer to conceive, craft and present actual 3-D scenic models to the production team. Models are explored as part of the process of exploration and discovery, initial sharing of ideas, and final presentation. Basic and advanced model-making techniques are learned and executed on a series of projects, culminating with a fully realized scenic model as the final project. Prerequisite: Thtr 342. (Credit, half course.) Backlund
This project-based course prepares the advanced scenic designer to conceive, craft, and present fully rendered perspective scenic sketches to the production team. Perspective sketches are explored as part of the exploration and discovery process, initial idea sharing, and final presentation process. Basic and advanced perspective and rendering techniques are learned and executed on a series of projects, culminating with a fully realized series of scenic perspectives as the final project. Prerequisite: Thtr 342. (Credit, half course.) Backlund
This course focuses on the exploration of the remarkable world of traditional Southeast Asian Theatre from its roots in the Indian Theatre. Students learn about the development of major traditional forms from their origins in folklore, myth, and religion, within the historical, cultural, and aesthetic framework of their times, as well as their place in today’s world. The most exciting features of the course are that students study and observe training practices in seven of Southeast Asia’s best traditional theatre schools, see at least 15 live performances followed by backstage tours where they meet with the artists, and in addition, tour some of the most important historical and cultural locations in the region. (Credit, full course.) Backlund
This course focuses on the exploration of the remarkable world of traditional Chinese Theatre. Students consider the development of major traditional forms from their origins in folklore, myth, and religion, within the historical, cultural, and aesthetic framework of their times, as well as their place in today’s world. The most exciting features of the course are that participants study and observe training practices in seven of China’s best traditional theatre schools, see at least 15 live performances followed by backstage tours where they meet with the artists, and in addition, tour some of the most important historical and cultural locations in China. (Credit, full course.) Backlund
Work on projects of particular interest to individual actors: character work, scenes, short plays, monologues, original work, or honors presentations. This course may be repeated twice for credit. Prerequisite: Thtr 231 and consent of the instructor. (Credit, half course.) Landon
An opportunity for advanced students to work on particular acting, directing, design, or technical problems — either in production situations or in special workshops. Repeatable to a maximum of six hours. Prerequisite: Junior standing or above and permission of instructor. (Credit, half to full course.) Staff
Advanced work for selected students. May be taken more than once for credit. (Credit, half to full course.) Staff
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