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Course Criteria
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3.00 Credits
PQ: TAPS 10700 or consent of instructor required; previous experience in stage design or visual art recommended. This course is an exploration of various forms and processes of designing sets for theatrical performance. We pay particular attention to a cohesive reading of a text, contextual and historical exploration, and visual and thematic research, as well as the documentation needed to complete a show (e.g., model, drafting, paint elevations). We also explore, nominally, the history of stage design and look at major trends in modern stage design. Lab fee required. T. Burch. Spring.
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3.00 Credits
May be taken in sequence with ENGL 13900/31100 or individually. This course is a survey of major trends and theatrical accomplishments in Western drama from the ancient Greeks through the Renaissance: Aeschylus, Sophocles, Euripides, Aristophanes, medieval religious drama, Marlowe, Shakespeare, and Jonson, along with some consideration of dramatic theory by Aristotle, Horace, Sir Philip Sidney, and Dryden. The goal is not to develop acting skill but, rather, to discover what is at work in the scene and to write up that process in a somewhat informal report. Students have the option of writing essays or putting on short scenes in cooperation with other members of the class. End-of-week workshops, in which individual scenes are read aloud dramatically and discussed, are optional but highly recommended. D. Bevington, H. Coleman. Autumn.
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3.00 Credits
May be taken in sequence with CMLT 20500/30500 or individually. This course is a survey of major trends and theatrical accomplishments in Western drama from the late seventeenth century into the twentieth (i.e., Molière, Goldsmith, Ibsen, Chekhov, Strindberg, Wilde, Shaw, Brecht, Beckett, Stoppard). Attention is also paid to theorists of the drama (e.g., Stanislavsky, Artaud, Grotowski). The goal is not to develop acting skill but, rather, to discover what is at work in the scene and to write up that process in a somewhat informal report. Students have the option of writing essays or putting on short scenes in cooperation with other students. End -of-week workshops, in which individual scenes are read aloud dramatically and discussed, are optional but highly recommended. D. Bevington, H. Coleman. Winter.
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3.00 Credits
This course is an exploration of Shakespeare's major plays in the genres of history plays and romantic comedy, from the first half (roughly speaking) of his professional career: Richard III, Henry IV (Parts 1 and 2), Henry V, A Midsummer Night' s Dream, Much Ado about Nothing, Twelfth Night , an d Troilus and Cressida. D. Bevington. Winter.
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3.00 Credits
ENGL 16500 recommended but not required. This course studies the second half of Shakespeare's career, from 1600 to 1611, when the major genres that he worked in were tragedy and "romance" or tragicomedy. Plays read inclu de Hamlet, Measure for Measure, Othello, King Lea r (quarto and folio versions ), Macbeth, Coriolanus, Antony and Cleopatra, Pericles, T he Winter 's Ta le, and The Tempest. R. Strier. Sprin
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3.00 Credits
This course may be repeated. This course is designed for students with a background or special interest in any art form to develop "performance installations" by exploring the intersections and boundaries between art forms (i.e., theater, visual art, music, dance, creative writing) and practices that are themselves at the margins of what we think of as art (e.g., martial arts, circus, comic books, new media, graffiti). The work will be collectively created . Lab fee $50. P. Pascoe. Autumn, Spring.
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3.00 Credits
This course is a theoretical and ethnographic overview of past, current, and future directions of anthropological research on the mass media. We study issues as diverse as projects of media representation and cultural conservation among indigenous peoples, the relationship of mass media to nationalism across the world, the social life of journalism and news making in an era of new technologies and ownership consolidation, and current debates over the role of mass media. D. Boyer. Summer.
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3.00 Credits
This seminar considers and pushes beyond such recent instances as the alleged complicity between the televised "Ramayana" and the rise of a violently intolerant Hindu nationalism. We consider the potentials and entailments of various forms of mediation and performance for political action on the subcontinent, from "classical" textual sources, through "folk" traditions and "progressive" dramatic practice, to contemporary skirmishes over "obscenity" in commerci al films. W. T. S. Mazzarella. Not of f ered 2009-10; will be o f fered
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3.00 Credits
This course is a reading of a comic play by Plautus or Terence with discussion of original performance context and issues of genre, Roman comedy's relation to Hellenistic New Comedy, and related questions. Spring.
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3.00 Credits
PQ: ARTV 10100 or 10200, or consent of instructor. This course is an introduction to video making with digital cameras and nonlinear (digital) editing. Students produce a group of short works, which is contextualized by viewing and discussion of historical and contemporary video works. Video versus film, editing strategies, and appropriation are some of the subjects that are part of an ongoing conversation. Lab fee $70. C. Sullivan, S. Wolniak. Winter, Spring.
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