|
|
|
|
|
|
|
|
|
|
Course Criteria
Add courses to your favorites to save, share, and find your best transfer school.
-
3.00 Credits
This course explores the fluidity of genres by focusing on tragedy and comedy. Each began as a grafted thing, a hybrid, a fusion of poetic, musical and dance genres previously developed for a variety of occasions outside the Theater of Dionysus. Fusion continued to energize both genres, and we will attend to its effects as we read several tragedies by Aeschylus, Sophocles, and Euripides and comedies by Aristophanes from fifth-century Athens; a comedy by Menander from the early post-Alexandrian Greek world; comedies by Plautus and Terence from republican Rome; and a tragedy by Seneca from the imperial Rome of Nero. We will also read short selections from (or read about) the genres out of which tragedy and comedy were created and re-created, and into which they sometimes made their own incursions (e.g., heroic epic, women's laments, choral and solo lyric poetry, wisdom poetry, oratory, philosophical texts, histories, mime, farce, various kinds of dance, music and visual arts). We will especially attend to the ways tragedy and comedy inflected one another. Critical readings, along with modern productions of ancient tragedies and comedies, will guide us as we consider all these generic exchanges in light of changing conditions and occasions of theatrical performance, other public spectacles shaping the expectations of theater audiences, and the development of writing and reading as modes of performance.
-
3.00 Credits
This is a writing workshop for the time-based arts. We will study the use of language in a variety of kinds of film, video, and performance-based artworks. We will study examples in avant garde film, video art, performance art, narrative cinema, and essay films. Students will generate monologues, voiceovers, screenplays and avant garde forms, and will also write several response papers about the use of language in film, video, and performance. The second half of the course will focus especially on narrative screenwriting.
-
3.00 Credits
This course focuses on the artistic, intellectual, and practical roles of a set designer in the development of works of theatre. Grounded in textual analysis and research, a range of techniques will be explored and utilized to create theoretical stage designs for several plays, musicals and/or operas over the course of the semester. Emphasis will be on 3-dimensional modeling as the primary means of process and presentation, but sketching, drafting, and digital tools will also be important factors in course work. Unique, diverse, and strong points of view will be encouraged.
Prerequisite:
Theatre 201 or permission of instructor
-
3.00 Credits
A study of the art and techniques of stage lighting. This class will provide instruction in the basic physics of light and color; the use of angle, intensity, color, texture and movement of light as compositional tools; various kinds of stage lighting instruments and their uses; conceptual development of a lighting design; translation of concept into light plot and channel hookup; focusing the plot in the theater; and writing cues. Texts for the course will be the texts and scores of the plays, operas and other dramatic works that we will examine from the lighting designer's perspective, supplemented with readings that address the technical aspects of stage lighting. The class format will be a combination of lecture/discussion sessions and practical labs. Every effort will be made to provide students with lighting design opportunities on departmental productions as a part of their coursework, in accordance with students' abilities and interests and in consultation with directors and other faculty. Students are encouraged to seek out lighting design opportunities outside the department as well, and may incorporate these projects into their coursework.
-
3.00 Credits
This course is both an introductory and an intensive study of the art of costume design. The course focuses on the designer's process: script analysis, collaboration, research, color theory, basic design principles, rendering techniques, fabric research, organizational skills and presentation of designs.
Prerequisite:
Successful completion of any 200-level course in any of the fine or performing arts or permission of the instructor
-
3.00 Credits
This course for advanced students of acting will focus on particular aspects of performance as determined by the instructor in each semester in which the course is taught. Topics may include acting in verse drama, movement for the actor, voice, performing Shakespeare, aspects of physical theatre, non-realist acting, etc. The course will be taught by members of the Theatre faculty and/or Guest Artists, and may be repeated by students as instructors and topics change. Texts and reading assignments will vary depending on each semester's focus. This semester Theatre 306 will focus on processes of Physical Theatre. The class is open to students interested in developing their ability in communication through the art of body language. Assigned research, analysis, discussions, and improvised exercises on stage will give us the opportunity to expand our understanding of physical vocabulary and will help us to express our intentions by evocative behavior. Based on various theatre techniques, including Grotoski's and Suzuki's, this course will hone artistic skills for performance and improve students' confidence in their interactions with other people.
Prerequisite:
Permission of the instructor
-
3.00 Credits
For complex reasons, Shakespeare has always revealed as much about those who speculate on him as the speculators have revealed about him. In this course, we will engage a few plays in considerable depth: Merchant of Venice, King Lear or Hamlet and Antony and Cleopatra. But we will also use these works as a means to engage some of the most compelling trends in recent critical thought, including cultural theory and post-Marxist analysis, political theology, deconstruction and rhetorical theory, psychoanalytic thought and theories of gender and sexuality. In some instances, we will look at applied criticism, in others we will simply place a theoretical work along side a play and see what they have to say to each other--what, for instance, would a Shakespearean reading of Jacques Lacan look like?
Prerequisite:
A 100-level English course, or a score of 5 on the Advanced Placement examination in English Literature or a 6 or 7 on the International Baccalaureate
-
3.00 Credits
English drama began as a communal religious event only to be reinvented as a peculiarly lurid--and profitable--form of popular entertainment. In this course we will study plays and masques written between the opening of the first commercial theater in London in 1576 and the official closing of the theaters by parliamentary decree in 1642. We will focus on the sensational aspects of these works--their preoccupation with revenge, black magic, sexual ambiguity and grotesque violence--and also on their technical virtuosity. Authors will include Christopher Marlowe, Thomas Kyd, William Shakespeare, Ben Jonson, John Webster and Cyril Tourneur.
Prerequisite:
A 100-level English course, or a score of 5 on the Advanced Placement examination in English Literature or a 6 or 7 on the International Baccalaureate
-
3.00 Credits
No course description available.
-
3.00 Credits
As Gertrude Stein once remarked, "The hardest thing is to know one's present moment." What is going on it today's theatre? What are the hot topics? Who are the writers and directors of our recent past and present moment? This seminar course will consider both experimental and mainstream drama and performance from the past twenty years, focusing on topics such as: auteur-directors, new realism, identity theatre, environmental theatre, performance art, cyber-plays, and the "virtuosic theatre" of the new century. Artists to be considered may include: The Wooster Group, Richard Foreman, Robert Wilson, Edward Albee, Sam Shepard, David Mamet, Rachel Rosenthal, Caryl Churchill, Mac Wellman, Tony Kushner, David Henry-Hwang, Suzan-Lori Parks, Sarah Kane, Richard Maxwell, Annie Baker, and others.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Privacy Statement
|
Terms of Use
|
Institutional Membership Information
|
About AcademyOne
Copyright 2006 - 2024 AcademyOne, Inc.
|
|
|