Courses

 

Prof. LaRonika Thomas

This theatre history course will examine the development of (primarily) Western drama against a backdrop of historical and social change. Students will read a variety of plays and discuss theatre history, dramatic theory, and criticism representing the major currents in (primarily) Western theatre from its origins to the 18th century CE. We will frequently employ one or more of the following “lenses” or viewpoints to focus our lectures and discussions: the physical theatre (how the material artifacts of theater—buildings, documents, etc.—tell the story of theatre history and influence dramaturgy); the social theatre (how the theatre relates to its social context, including consideration of the audience); and the performing theatre (the plays themselves and how they were/are performed). Students will be encouraged to draw connections between the material we cover in this course and the many intellectual and aesthetic parallels to be found in contemporaneous trends in history, philosophy, literature, and the arts.

 

This theatre history course will examine the development of (primarily) Western drama against a backdrop of historical and social change. Students will read a variety of plays and discuss theatre history, dramatic theory, and criticism representing the major currents in (primarily) Western theatre from the 18th century to 1992. We will frequently employ one or more of the following “lenses” or viewpoints to focus our lectures and discussions: the physical theatre (how the material artifacts of theater—buildings, documents, etc.—tell the story of theatre history and influence dramaturgy); the social theatre (how the theatre relates to its social context, including consideration of the audience); and the performing theatre (the plays themselves and how they were/are performed). Students will be encouraged to draw connections between the material we cover in this course and the many intellectual and aesthetic parallels to be found in contemporaneous trends in history, philosophy, literature, and the arts. Theatre Majors and Minors may not take this class pass/fail or as an audit.

 

This course examines some of Shakespeare's best known earlier plays (those written before the death of Queen Elizabeth in 1603) both in the context of early modern English culture and as play scripts/performances. Using films and live productions (when available) it considers the plays as they have been and could be interpreted for performance. This course counts toward the history/theory/lit requirement of the Theatre major.

 

This course examines some of Shakespeare's best known later plays (those written after the death of Queen Elizabeth in 1603) both in the context of early modern English culture and as play scripts/performances. Using films and live productions (when available) it considers the plays as they have been and could be interpreted for performance. This course counts toward the history/theory/lit requirement of the Theatre major. 

Profs. Dale Daigle & Polly Sommerfeld

Analysis and application of basic acting techniques with a concentration on scene study and character analysis.

Prof. Dale Daigle

Study of the basic principles and practices of directing, including interpretation, structural analysis, and investigation of basic staging techniques.

(Prof. Hannah D'Elia)

Investigation of methods and materials used in the theatrical production process. Laboratory hours will be required. This course is designed primarily for those who plan to participate in future theatrical productions. This course (particularly its lab hour requirement) will be modified for remote instruction.

This course will give an overview of major topics in creativity: the pleasures and pitfalls as well as effective strategies to use in creative work. Each week we tackle another issue and explore ways to approach creativity in the broadest sense. At the same time students work on self-directed projects throughout the semester (largely outside of class time), submit weekly progress updates, and periodically share with the class. By the end of the semester students will have a range of tools and hands-on experiences to return to again and again in their future creative work. Prerequisite: One course of Studio Art, Music, Theatre, Dance, or Creative Writing, or permission of the instructor

 

This course replaces THE241, offering a deeper exploration of the tangible theatrical design disciplines (scenery, costumes, and properties). The course will include both discussion and hands-on instruction, with an emphasis on cross-disciplinary skills such as close reading (of texts and images), research, and clear communication (written, visual, and aural). Students will learn to approach theatrical questions from a variety of angles and will develop a basic understanding of how design elements function theatrically and how they fit together. This course will count in place of THE241 (Intro Design) for THE/CMS majors & minors.

This course examines early modern English drama, exclusive of Shakespeare, from the 1580s through the 1630s in its unique cultural, historical, and theatrical context. It explores plays by prominent dramatists including Thomas Kyd, Christopher Marlowe, John Lyly, Thomas Dekker, Thomas Heywood, Ben Jonson, Thomas Middleton, William Rowley, John Webster and John Ford. Key issues will include the following: playing conditions (theatres and theatre companies), the relationship of the stage to the monarchy, the importance of the city (London), the relationship of the stage to dominant religious beliefs and practices, the impact of Puritanism and anti-theatricality, the effect of censorship and licensing, the role of gender and cross dressing in theatrical representation and the staging of desire.

The study of experimentation and innovation in dramatic writing and theatrical convention in Europe and America from 1875 to 1950 with emphasis on the principal reactions to naturalism: symbolism, impressionism, expressionism, theatricalism.

The study of musical theater in America from the turn of the century to the present with emphasis on the form itself and its history. The course will explore the structure of the musical and the dramatic functions of score, lyrics, and libretto as well as the political, societal, musical, and theatrical reasons for changes in the form.

This course will study the plays and significant theatrical movements which have occurred since 1992 and the production of Tony Kushner’s landmark play Angels in America. Students will read new works (both published and non-published) by established and emerging American playwrights, with a special focus being placed on the theatrical and social context out of which these works emerged.

Using varying texts and performance styles, this course builds upon the ideas and skills of Introduction to Acting, with a focus on incorporating characterization and given circumstances with scene study. Students will employ action-based techniques to determine their characters’ objectives and to explore the tactics they use to overcome obstacles and achieve their goals. Performance texts and styles vary by semester; details will be posted before registration. Past offerings have included: Shakespeare, Contemporary Styles, Meisner, and Acting for the Camera. Prerequisite: THE 211 or permission of the instructor.

The course will examine the history, theory, and practice of theatrical improvisation as practiced in the United States and Canada since 1950. The class will meet once a week for 2.5 hours. Prerequisite: THE 211 or permission of the instructor.

This course will build upon the concepts initially explored in Intro Directing. Through discussion, exercises, and scene work, students will delve deeper into the craft of directing. Topics may include leadership approaches, collaboration with actors / designers / stage managers, text analysis, and exploration of different theatrical styles. Prerequisite: THE221, or THE187, or permission of the instructor.

Analysis and practical application of techniques and styles employed in writing for the stage.

Analysis and discussion of the theoretical and practical aspects of dramaturgy, with particular emphasis placed on script analysis and historical research. This course is not recommended for first-year students.

This course explores the theory and practice of adapting non-dramatic literature for the stage. Students examine the form through writing and staging short story adaptations, whose size and scope allow students to learn and explore various approaches to this kind of theatrical storytelling. The course provides students with a strong introduction to the theoretical and critical body of knowledge in the area of adaptation of literature. In addition, students will develop skills in acting, directing, writing, and dramaturgy.

This course provides a thorough exploration of the roles and duties of the theatrical stage manager, from pre-production through closing night and beyond. Using a mix of readings, discussion, paperwork assignments, and lab activities, students develop both hard skills (such as document design, scheduling, and preparedness) and soft skills (such as communication, leadership, management, and collaboration). By the end of the semester, students will be well prepared to stage manage a fully produced show. This course has no curricular prerequisite, but requires a baseline understanding of the rehearsal and production process; accordingly, enrolled students should have some experience working in the theatre (as an actor, designer, crew member, etc.).

This course explores various aspects of leadership, management, and entrepreneurship for the visual and performing arts. Students will learn how arts organizations define themselves, make decisions, and plan for the future. Topics may include leadership & governance, mission & strategy, program planning & evaluation, intellectual property & contracting, marketing & public relations, and/or budgeting & fundraising. This course has no curricular prerequisite but requires a baseline interest in and understanding of the arts.

(Prof. Dale Daigle)

Acting for the Camera applies and builds upon the fundamentals established in Introduction to Acting. Performance techniques and methods relevant to camera work will be explored. Students will work on film and TV scripts and will learn the technical and emotional adjustments required for working in front of a camera. Prerequisite: THE211 or permission of the instructor. 

For hundreds of years, women playwrights have created indelible characters and dramatic situations that provide rich opportunities for performance. This class will explore the skills of acting using plays covering a wide variety of styles, including Restoration Comedy writer Aphra Behn and contemporary feminist icon Caryl Churchill, among others. Throughout the semester we’ll employ imagination, research, and creativity to unlock issues of gender, power, and human relationships onstage. Prerequisites: THE211 (Intro Acting), or THE182 (departmental performance experience), or permission of the instructor.

Throughout history, thinkers have been variously excited, enraged, bothered or bored by theater. Through the rigorous study of the writings and historical context of the major thinkers in the evolution of theater (from Aristotle to Ehn), students will come to a greater understanding of the various changes, permutations, and responses to theater in the Western World.

The course will examine the history, theory, and practice of actor training in the 20th and 21st centuries. Prerequisite: any 4-credit THE class.

(Prof. Hannah D'Elia)

This course will provide students with a greater understanding of the various behind-the-scenes roles that support a theatrical production. Over the semester, students will watch, read, and listen to material covering many different perspectives on the production process. During that time they will have opportunities to engage with industry professionals and discuss current theatre practices. For Theatre & Dance majors/minors, this course can replace 1 semester of THE400 or any THE/DAN Practicum course. 2 credits, graded. No prerequisite; open to THE/DAN majors & minors, or to others with permission of the instructor.

Guest Prof. Raina Lucas

Dance in Culture and Society is an introduction to the study of dance in the academy. This survey course will introduce students to dance as both an aesthetic and cultural experience. The aim is to present the breadth of the field, specifically where dance happens, the diverse functions it serves, and ways of making meaning of the dance experience. Through movement laboratories, readings, videos, observations, and discussions students will explore the dance discipline.

Beginning Ballet is an introduction to the fundamentals of ballet technique as well as ballet terminology, traditions, and etiquette. Ballet class begins at the ballet barre and progresses to ballet centre adagio, and allegro combinations, all of which emphasize clarity of line, movement efficiency, range of motion, and artistry. Readings, videos, reflective and analytical writing, and live performance will contextualize the in-class work. 4 credits.

Beginning Modern Dance is an introduction to basic principles of modern dance as a creative art form. Special emphasis is placed on body awareness, alignment, and artistic expression. The class structure includes a full body warm-up, center movement studies, traveling sequences and an extended modern dance phrase made up of both choreography and improvisation. Readings, videos, reflective and analytical writing, and live performance will contextualize the movement practice. 4 credits.

Dance Composition is an introduction to the craft of making dances. It is designed to allow students to experience the process of discovering, creating, and performing original movement. Students utilize choreographic theories and compositional devices to develop solo and small group works. Students are encouraged to create in a range of vocabularies. The course emphasizes the development of selfexpression, creative inquiry, and critical awareness. Research, writing, and discussion required. 4 credits.

Jazz Dance offers an exploration of movement vocabularies of the American dance form Jazz, demonstrating its evolution as both an art form and vehicle for individual and group expression. Emphasis will be placed on rhythm, style, technical development, and self-expression. Students will experience a range of jazz vocabularies including Authentic Jazz Dance (ex. Lindy Hop), Classical Concert Jazz Dance (jazz dance originating at the time of Jack Cole), Musical Theatre Jazz Dance (Broadway), and Contemporary Jazz Dance (ex. Lyrical Jazz and Pop Jazz). Class structure includes isolation techniques, warm-up techniques, coordination techniques, traveling sequences, and an extended jazz dance phrase that integrates and builds upon concepts introduced earlier in class. Articles, videos, reflective and critical writing, and live performance will contextualize the movement practice. 4 credits.

This course will give an overview of major topics in creativity: the pleasures and pitfalls as well as effective strategies to use in creative work. Each week we tackle another issue and explore ways to approach creativity in the broadest sense. At the same time students work on self-directed projects throughout the semester (largely outside of class time), submit weekly progress updates, and periodically share with the class. By the end of the semester students will have a range of tools and hands-on experiences to return to again and again in their future creative work. Prerequisite: One course of Studio Art, Music, Theatre, Dance, or Creative Writing, or permission of the instructor. 4 credits.

Research shows that nearly 90% of dancers who stay in the field past college teach at least part time. Introduction to Teaching Dance will provide students with the practical and theoretical foundation necessary to teach dance in a studio, school, or community environment. Specific topics will vary from semester to semester, but may include philosophies of dance education, kinesthetic & emotional safety, national arts education standards, community engagement, learner-centric lesson planning, pedagogical ethics, educational activism, and other contemporary issues in dance instruction. Through observation, peer teaching practicums, and individual reflection, students will gain experience planning, teaching, and evaluating dance technique classes. 4 credits.

Intermediate Ballet is a progression of Beginning Ballet. Special emphasis will be placed on working in optimal alignment, building both strength and flexibility, and negotiating stability and mobility. Intermediate Ballet emphasizes clarity of line, movement efficiency, range of motion, and artistry. Readings, videos, reflective and analytical writing, and live performance will contextualize the in-class work. 4 credits.

Intermediate Modern Dance is a progression of Beginning Modern Dance. Students work to develop a keen awareness of their bodies in order to build clarity, movement efficiency, grounded ness, and dynamism. Special emphasis is placed on working in optimal alignment, building both strength and flexibility, and negotiating control and abandon. The focus is on technical development as it relates to inviting forward artistry and physical mastery of the body. Readings, videos, reflective and analytical writing, and live performance will contextualize the movement practice. 4 credits.

(Prof. Ben Tilghman)

This course explores various aspects of leadership, management, and entrepreneurship for the visual and performing arts. Students will learn how arts organizations define themselves, make decisions, and plan for the future. Topics may include: leadership & governance, mission & strategy, program planning & evaluation, intellectual property & contracting, marketing & public relations, and/or budgeting & fundraising. This course has no curricular prerequisite, but requires a baseline interest in and understanding of the arts.

Dance Portfolio culminates the dance minor. Students submit a digital portfolio of their work for faculty review. Upon declaring a dance minor, students schedule a meeting with the dance minor director to discuss the dance portfolio submission guidelines. Students maintain chronological digital files of their artistic work including choreographic, performance, teaching, and footage and photos. In addition to compiling work samples from class work and outside departmental activities, students will write an Artist Statement, Teaching Philosophy, and Dance Resume. Dance Portfolio is done as an independent study with 4 scheduled meetings with the dance minor director during the spring semester of senior year.