|
|
|
|
|
|
|
|
|
|
Course Criteria
Add courses to your favorites to save, share, and find your best transfer school.
-
3.00 Credits
PQ: STAT 31300 or consent of instructor. This course provides a detailed, rigorous treatment of probability from the point of view of measure theory, as well as existence theorems, integration and expected values, characteristic functions, moment problems, limit laws, Radon-Nikodym derivatives, and conditional probabilities. Autumn.
-
3.00 Credits
PQ: STAT 38100. This course is a continuation of STAT 38100. Topics include Lp spaces, Radon-Nikodym theorem, conditional expectation, and martingale theory. Winter.
-
3.00 Credits
Attendance at first class meeting is mandatory. At least three sections are offered per quarter, with class limited to twenty students. This course meets the general education requirement in the dramatic, musical, and visual arts. Students examine the performance and the aesthetics of two dramatic works in contrasting styles but with unifying themes. The goal of this course is to develop an appreciation and understanding of a variety of techniques and of the processes by which they are theatrically realized. Rather than focus on the dramatic text itself, we concentrate on the piece in performance, including the impact of cultural context on interpretation. To achieve this, students are required to act, direct, and design during the course. P. Pascoe, T. Trent, Staff. Autumn, Winter, Spring.
-
3.00 Credits
Attendance at first class meeting required; prior theater or acting training not required. This course meets the general education requirement in the dramatic, musical, and visual arts. This course introduces fundamental concepts of performance in the theater with emphasis on the development of creative faculties and techniques of observation, as well as vocal and physical interpretation. Concepts are introduced through directed reading, improvisation, and scene study. P. Pascoe, T. Trent. Autumn, Spring.
-
3.00 Credits
Class limited to fifteen students. Theater combines words and bodies in time and space in ways that audiences find convincing or realistic. What counts as realistic representation and why How can the illusionistic stage and empathetic performances of Henrik Ibsen's Dollhouse and the experimental disillusion of Bertolt Brecht' s Mother Courag e both be called "realist theatre " How do we make sense of Shakespear e's empty stage and abundant vers e in Ham let To answer these questions, we study the words of these and other playwrights alongside critical theory and performances both recorded and live. Assignments include the observation and analysis of theater on stage in Chicago, as well as short physical and verbal exercises in embodim ent. S. Graney. Spri
-
3.00 Credits
This course uses the terrain of the family to explore possibilities of staging pairing classical and contemporary texts in conversations with each other using both dramaturgical and theoretical texts to facilitate this dialogue. From Medea to Martha, Lear to Lohman, Oedipus to Ed TV, familial constellations have provided casts and characters and fuelled plots, yet "family" as we have come to recognize it is a twentieth-century construct. The father of Shakespeare occupies an entirely different position that the father of Miller. How do historical contexts impact our readings of relationships How can critical analysis through staging undermine this nostalgia How can analysis itself be a performative practice and performance serve as a critical endeavor Through critical discussion, analytic writings, and stagings, we begin mapping this territory . H. Coleman. Autumn.
-
3.00 Credits
This course explores the interplay between horror, terror, and pleasure through in-class discussions of theoretical works and the possibilities of practical creative application. The paradox of the attraction to repulsion is considered, as well as the values of shock, suspense, and subtlety. Texts include Grand Guignol, Shakespeare, Gothic novels, and horror films. H. Coleman. Autumn.
-
3.00 Credits
This course explores the application of the visual and aural arts to the varied forms of design for the stage (i.e., scenic, lighting, costume, sound). We pay particular attention to the development of a cogent and well-reasoned analysis of text and an articulate use of the elements of design through a set of guided practical projects. Lab fee required. T. Burch. Autumn.
-
3.00 Credits
How do we talk about plays And what is a play We read new play texts from the contemporary American theater and develop vocabulary for discussing new forms, structures, languages, plasticities, and poeticisms. We also explore the question of what makes a text "theatrical." In addition to discussing these plays, students begin to stage these plays to develop a performative process of discovery . B. Metzgar. Spring.
-
3.00 Credits
Prior solo work not required. This goal of this course is to develop solo work and investigate the unique performer-to-audience dynamic of solo performance and its particular challenges and power. This experience offers insight into the collaborative process and develops the ability to evaluate work from an interior and an exterior perspective, through independent as well as group work. Inspired by Oulipian constraint-based exercises, students generate new works through in-class and take-home assignments. Sources include journals, personal research, improvisation, the use of multi-media, and viewpoints. The course culminates in a performance of solo works for UT Day. A. Boyd. Winter.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Privacy Statement
|
Terms of Use
|
Institutional Membership Information
|
About AcademyOne
Copyright 2006 - 2024 AcademyOne, Inc.
|
|
|