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Course Criteria
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3.00 Credits
Acting and directing experience helpful but not required. This course introduces students to fundamental skills of directing for the stage, from first contact with the script to final performance. After a preliminary examination of directing theory, the class offers practical experience in script analysis, composition work, blocking, and the rehearsal process. Students are expected to prepare a minimum of three assigned scenes ranging in style (e.g., Williams, Brecht, Shakespeare) with actors outside of class for critique, with final scenes performed publicly during tenth week. S. Graney. Autumn.
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3.00 Credits
PQ: TAPS 23000. This course expands upon concepts introduced in TAPS 23000. We study various directing theories and styles. We learn how to incorporate design into the directorial vision. Class exercises and lectures are applied into ten- to twenty-minute scenes throughout the quarter. S. Graney. Winter.
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3.00 Credits
The concept phase of the shared creative process in theater requires clarity of vision and impulse to dream while negotiating the realities of budget and space. With students in the roles of director and designer, this class tackles the preproduction period from initial concept meetings to design presentations for rehearsal. Students develop vocabulary that fully expresses the director's vision and simultaneously provides creative room for the designer. T. Burch, H. Coleman. Spring.
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3.00 Credits
PQ: Students must attend first class to confirm enrollment, which is based on consent of instructor. This course is an advanced writing workshop devoted to the art of playwriting. Students produce at least one draft of a full-length play during the quarter and engage in active discussion of the plays presented by their colleagues during each workshop session. Writers are also required to complete writing exercises and post responses to the reading list on our class website. The workshop investigates strategies for writing dramatic text, with a special focus on time theory and the theatricalization of time on the stage. The Advanced playwriting workshop is open to students admitted by permission on the first day of class. B. Metzgar. Autumn.
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3.00 Credits
Prior knowledge of adaptation not required. Working with source material (e.g., poetry, journalism, journals, short stories), this course provides students the opportunity to engage in a variety of adaptation processes through in-class assignments and projects developed independently outside of the class. We generate material that supports traditional narrative theater making, as well as material that pushes the adaptation process into a more physical and metaphoric realm. Questions to be addressed include: What makes a story performative How we can translate story to the stage without using text What tools are needed to transform narrative material into scene Students are asked to bring a short story, epic poem, or other comparable source they are interested in adapting to the first day of class. A. Boyd. Spring.
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3.00 Credits
This course introduces the basic elements of a literate screenplay (e.g., format, exposition, characterization, dialog, voice-over, adaptation, vagaries of the three-act structure). Weekly meetings include a brief lecture period, screenings of scenes from selected films, extended discussion, and assorted readings of class assignments. Because this is primarily a writing class, students write a four- to five-page weekly assignment related to the script topic of the week. J. Petrakis. Autumn, Winter.
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3.00 Credits
PQ: TAPS 27311, and consent of instructor based on eight-page writing sample in screenplay format. Class limited to eight students. This course requires students to complete the first draft of a feature-length screenplay (at least ninety pages in length), based on an original idea brought to the first or second class. No adaptations or partially completed scripts are allowed. Weekly class sessions include reading of script pages and critique by classmates and instructor. J. Petrakis. Winter, Spring.
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3.00 Credits
The revolutionary ideas behind modern dance created perceptual shifts in how dance performance and the body itself were viewed. In this course, students learn physical skills specific to modern dance technique through the perspective of the artists who originated these ideas. Students physically embody the history of modern dance, perceiving how technique and the body became an agent of both aesthetic and cultural transformation. Major artists include Isadora Duncan, Martha Graham, Doris Humphrey, Merce Cunningham, Alvin Ailey, and the Judson Church artists, as well as such contemporary artists as Twyla Tharp and Mark Morris. C. Jarrett. Winter.
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3.00 Credits
When does movement become text How do bodies combine with time, space, and energy to communicate ideas In this workshop-formatted course, we explore these questions as we study and create dance. Students develop improvisational skills by exploring the dance principles of space, time, dynamics, and the process of abstraction. Through physical exercises, discussions, and readings, students learn how to initiate and develop movement ideas. Major dance works from many styles (e.g., ballet, modern, avant-garde) are viewed and analyzed, as students develop an understanding of choreographic forms. Students also develop a proficiency in the areas of observation and constructive criticism. The course culminates with a choreographic project. C. Jarrett. Spring.
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3.00 Credits
This course is a discovery of the history and theories of costume design, as well as an interpretation of character and theme through rendering a fabrication of costumes for the stage. Students develop a visual vocabulary through use of texture, color, and period. After focusing on basic design rules and costume history, we do a series of design projects. C. Warren. Winter.
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