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Theatre & Dance

Current Courses

 

SPRING 2017

THEATRE

 

THE  102 Drama, Stage, and Society II 

(Volansky; MWF 11:30 am - 12:20 pm)

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 theatre 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. 

THE  206 Shakespeare II  - ENG 206-10 Cross Listing

(Moncrief; TTH 2:30 - 3:45 pm)

Reading and analysis of Shakespeare’s best known plays (comedy, tragedy, history, and  romance) both in the context of early modern English culture and as play scripts/performances.               

THE  211 Acting I 

(Sommerfeld; MWF 10:30 am-11:20 am; MWF 11:30 am-12:20 pm; Daigle:  MWF 12:30-1:20 pm; MWF 1:30-2:20 pm)

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

THE  231 Theatre Technology I  

(Stahl; TTH 10:00 - 11:15 am)

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.     

THE  285 Advanced THE Practicum: Stage Management

(Volansky; TH 5:00 - 6:00 pm)

This course provides an opportunity for student stage managers of departmental productions  (both SCE and faculty­ directed) to receive credit for their work. To be enrolled in this course,  stage managers must participate in production meetings, rehearsals, and weekly roundtable  discussions with the faculty. (Specific duties are determined based on the needs of the
production; guidelines are available from the instructor.) Stage managers will receive 4 credits  (pass/fail) and should expect to devote a total of 120­ - 200 hours over the course of the  production. This course is open to majors and non­majors. It may be taken for credit only  once, although students are encouraged to participate in as many departmental productions  as they wish. (Non-­credit­ bearing participants will be noted as auditors.) To enroll for credit, contact the instructor.

THE 294-10   SpTp: Devised Theatre

(Daigle; TH 2:30 - 5:00 pm)

Devised Theatre will examine the history, theory and practice of devising and devised theatre. Students will study the methods of various contemporary devising  theatre companies and experiment with their rehearsal techniques. The course will culminate in a public performance created by the class.

THE 294-11   SpTp: Adv. Acting: Shaw / Wilde / Stoppard

(Fox, B; TTH  10:00 - 11:15 am)

Can words dazzle? Can they change someone’s heart? Nudge the world a little in a new direction? For the playwrights George Bernard Shaw (Pygmalion), Oscar Wilde (The Importance of Being Earnest) and Tom Stoppard (Arcadia), the answers are all passionately yes. Building on ideas explored in Acting I of character and motivation, we will explore all three authors through exercises, multimedia, monologues and scene work. Shaw, Wilde and Stoppard all broke new ground with their combination of complex female characters, using wit and humor to persuade and empower, and allowing the personal and political to take center stage. Prerequisites: Acting I or permission of instructor.

THE 294-12  SpTp: Arts Administration (BUS 394-10; MUS 394-12 - Cross Listing)

(staff;  TTH  11:30 am – 12:45 pm)

This course will offer an introduction to various aspects of performing arts management and administration. Topics may include: For-profit vs Not-for-profit distinctions, strategic planning, governance, staff and leadership models, operations, finance, production management, hiring and contracting artists and staff, working with unions, marketing & public relations, and fundraising.

THE 358   Dramaturgy 

(Volansky; MW 2:30 - 3:45 pm)   

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.            

THE 381 Junior Seminar

(Fox, B; TTH 1:00 - 2:15 pm)

This course prepares Theatre majors for their senior capstone experience through a rigorous study of text and context.  Enrollment by permission of the Chair, Department of Theatre and Dance only.

THE 394-10  SpTp: Advanced Design:  Lighting

(staff;   TTH 2:30 - 3:45 pm)


This course will offer an introduction to various aspects of performing arts management and administration. Topics may include: For-profit vs Not-for-profit distinctions, strategic planning, governance, staff and leadership models, operations, finance, production management, hiring and contracting artists and staff, working with unions, marketing & public relations, and fundraising.

THE 394-11 SpTp: Performance Art 1909 - present (ART 394-12 cross listing)

(Markoski; TTH 1:00 – 2:15 pm)


Performance Art has come to occupy a crucial place in histories of twentieth- and twenty-first-century art. Moving chronologically, this course will survey the development of performance as a medium across a range of primarily western historical, political, and social contexts, beginning with experiments in live art undertaken by the Italian Futurists and ending with contemporary practices. As we examine specific artists and movements, we will also explore the intersections between performance and other media; the ways performance artists have engaged questions of politics, race, gender, sexuality, and the relationship between performer and audience; theories of performance and performativity; and the place of performance within broader histories of art. What is performance art, we will ask, and what creative possibilities did it offer its practitioners at different historical moments? Throughout the semester, we will also lend careful consideration to the special problems that attend an investigation of ephemeral and time-based work. ART 200 recommended but not required.

THE 400 Elements of Production

(Volansky)

This course provides hands­-on experiential learning for majors and minors through participation in ushering, work calls, and strikes for departmental productions. By enrolling in this course, students commit to completing all required activities during the indicated semester. Course requirements will be clearly outlined by the instructor at the beginning of the semester, but typically include: three ushering shifts, two work calls per faculty­-directed show, all faculty­-directed show strikes, one SCE work call, and two SCE strikes. This is a zero-­credit course and is graded pass/fail. Majors must enroll in and pass the course four times; minors must enroll and pass twice. Students are strongly encouraged to plan ahead, anticipating busy semesters and study abroad. Students must enroll themselves in this course, either during the open registration period or drop/add period.

THE 410  Shakespeare Now (ENG 410-90 Cross Listing)

(Moncrief; TTH 1:00 - 2:15 pm)

This course focuses on the advanced study of plays initially covered in the 200-level Shakespeare course in conjunction with the study of contemporary literary theory. The semester begins with an introduction to literary theory and methodology. Then, using plays as case studies, we will examine each play in relation to historical, seminal, or controversial criticism. Reading will concentrate on important critical approaches to the study of Shakespeare (i.e., New Criticism, Reader Response Theory, Structuralism, Post-structuralism, Psychoanalytic Criticism, Marxism, Feminism, New Historicism/ Cultural Materialism, Queer Theory, Performance Criticism and Post-Colonialism).

SPRING 2017

DANCE

  

DAN 213   Ballet II/Intermediate    

(Klopcic; TTH   1:00 - 2:15 pm)

This course continues the mastery of technique and skill of classical ballet. While emphasis is still on placement of the body, alignment, and proper technique at the barre, center, and en diagonale, variations of adagio, petite allegro, and grande allegro will be more complicated and more lengthy; and students should demonstrate improved physical control and coordination. Course includes ballet history and terminology and introduces partnering. Prerequisite: Ballet I or permission of the instructor

DAN 227 Modern Dance

(Staff;  MW 2:30 – 3:45 pm)

An introduction to basic principles of modern dance as a creative art form: dance movement, body alignment, coordination, strength, and flexibility, movement vocabulary, dance sequences, and musicality. Improvisation exercises and short composition studies will be included. If taken for academic credit, concert attendance and two short papers are required. Focuses on a biomechanical approach to movement and basic principles and techniques derived from the American founders of modern dance—Graham, Cunningham, Limon, and Weidman. Some choreography, research, and writing required.

DAN 294   Special Topics               

(Staff; MW 4:00 - 5:15 pm)

The intensive study of some selected movement, theory or studio practice of particular interest to the faculty member teaching this class.        

DAN 310 Dance Production/Performance 

(staff; TTH 2:30 - 3:45 pm)

A practicum of theatre crafts and techniques involved in dance production, including lighting,  sound, set and costume design and construction, makeup, stage­management, and filming  dance. Includes choreography, production, and performance of student and faculty works,  both on and off campus.  

DAN 313 Ballet III/Advanced

 Further development of ballet technique including differentiation between classical and  modern forms; investigates Cecchetti, Russian/Vaganova, Bournonville/Royal Danish Ballet  styles; and emphasizes clean line, technique, and vocabulary. Teaching methods and solo  and group choreography are explored.  Some reading, research, and writing required.  Prerequisite: Ballet II or permission of the instructor.