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Course Criteria
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3.00 Credits
Every other year. Spring 2008. WILLIAM WATTERSON. Examines Hamlet, Othello, Macbeth, King Lear, Julius Caesar, Antony and Cleopatra, and Coriolanus in light of recent critical thought. Special attention is given to psychoanalysis, new historicism, and genre theory. (Same as English 211.) Prerequisite: One first-year seminar or 100-level course in the English department. Note: This course fulfills the pre-1800 literature requirement for English majors.
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3.00 Credits
Every other year. Fall 2006. WILLIAM WATTERSON. Explores the relationship of Richard III, 2 Henry VI, and the second tetralogy (Richard II, the two parts of Henry IV and Henry V) to the genre of English chronicle play that flourished in the 1580s and 1590s. Readings in primary sources (More, Hall, and Holinshed) are supplemented by readings of critics (Tillyard, Kelly, Siegel, Greenblatt, Goldberg, etc.) concerned with locating Shakespeare's own orientation toward questions of history and historical meaning. Regular screenings of BBC productions. (Same as English 212). Prerequisite: One first-year seminar or 100-level course in the English department. Note: This course fulfills the pre-1800 literature requirement for English majors.
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3.00 Credits
Every year. Spring 2007. SONJA MOSER. An intermediate acting course focused on the link between language, thought, and feeling, with the goal of achieving full-mind-body engagement in the act of communication. Students work with poetry, plays, and other dramatic texts to encourage vocal, physical, and emotional freedom. Breathing exercises attune students to the physiological impulse to speak, while vocal exercises concentrate on developing increased range, strength, and color of expression. Interpretation is explored through close readings of texts. Prerequisite: Previous 100-level theater course.
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3.00 Credits
Fall 2006. AARON KITCH. Traces the explosion of popular drama in England between the construction of the first permanent London theater in 1576 and parliamentary closure of English theater in 1642. Pays special attention to the plots that audiences liked best-revenge, war, the accumulation of wealth, marriage, and adultery-and the monarchs, citizens, merchants, and clowns who enacted them on the stage. Explores how popular genres like revenge tragedy, domestic tragedy, and city comedy fulfilled political and cultural desires of the age. Also examines questions of staging and the professional rivalry between some of the most memorable playwrights in English drama, including Thomas Kyd, Christopher Marlowe, William Shakespeare, Ben Jonson, Elizabeth Cary, and Thomas Middleton. (Same as English 223.) Prerequisite: One first-year seminar or 100-level course in the English department. Note: This course fulfills the pre-1800 literature requirement for English majors.
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3.00 Credits
Every year. Fall 2006. DAVIS ROBINSON. Extends the principles of Acting I through a full semester of rigorous physical acting work focused on presence, energy, relaxation, alignment, and emotional freedom. Develops and brings the entire body to the act of being on stage through highly structured individual exercises and ensemble-oriented improvisational work. Scene work is explored through the movement-based acting disciplines of Lecoq, Grotowski, Meyerhold, or Viewpoints. Contemporary physical theater makers Théatre de Complicité, Mabou Mines, SITI company, andThéatre de Soleil are discussed. Part of a two-semester sequence with Acting II/ Voice and Text that can be taken individually or in any order. Prerequisite: Previous 100-level theater course.
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3.00 Credits
Every other year. Spring 2007. ANN KIBBIE. An overview of the development of the theater from the re-opening of the playhouses in 1660 to the end of the eighteenth century, with special emphasis on the emergence of new dramatic modes such as Restoration comedy, heroic tragedy, "she-tragedy," sentimentalcomedy, and opera. Other topics include the legacy of Puritan anxieties about theatricality; the introduction of actresses on the professional stage; adaptations of Shakespeare on the Restoration and eighteenth-century stage; other sites of public performance, such as the masquerade and the scaffold; and the representation of theatricality in the eighteenth-century novel. (Same as English 230.) Prerequisite: One first-year seminar or 100-level course in the English department. Note: This course fulfills the pre-1800 literature requirement for English majors.
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3.00 Credits
d - IP,VPA.Puppetry
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3.00 Credits
Every other year. Fall 2006. GRETCHEN BERG. A writing workshop for contemporary performance that includes introductory exercises in writing dialogue, scenes, and solo performance texts, then moves to the writing (and rewriting) of a short play. Students read plays and performance scripts, considering how writers use image, action, speech, and silence; how they structure plays and performance pieces; and how they approach character and plot. (Same as English 260.) Prerequisite: A 100-level course in theater or dance or permission of the instructor.
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3.00 Credits
Drama and Performance in the Twentieth Century and Beyond
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3.00 Credits
Every year. Fall 2006. SONJA MOSER. Introduces students to the major principles of play direction, including conceiving a production, script analysis, staging, casting, and rehearsing with actors. Students actively engage directing theories and techniques through collaborative class projects, and complete the course by conceiving, casting, rehearsing, and presenting short plays of their choosing. A final research and rehearsal portfolio is required. Prerequisite: Previous 100-level course in theater or dance.
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