|
|
|
|
|
|
|
|
|
|
Course Criteria
Add courses to your favorites to save, share, and find your best transfer school.
-
3.00 Credits
The films of Pedro Almodóvar dating from 1980 to 2006 consistently present a Spanish society in which the local and the global interconnect in complex ways. Through a hybrid genre that incorporates elements of comedy, melodrama, and thriller, Almodóvar offers a view of Spain in which individual and collective identities are permeable and continuously shaped and reshaped by global and local influences. Almodóvar's films are the primary objects of analysis in this unit. Readings on the films' historical and cultural contexts complement students' understanding of Spain through Almodóvar's work. Recommended background: Spanish 362. Prerequisite(s): one 200-level literature course in Spanish or Spanish 208. F. Lóp
-
3.00 Credits
Students, in consultation with a faculty advisor, individually design and plan a course of study or research not offered in the curriculum. Course work includes a reflective component, evaluation, and completion of an agreed-upon product. Sponsorship by a faculty member in the program/department, a course prospectus, and permission of the chair are required. Students may register for no more than one independent study during a Short Term. Normally offered every year. Staff.
-
3.00 Credits
This course focuses on the gender-related differences in voice from the beginning of language acquisition through learning and development of a human voice. A variety of interdisciplinary perspectives is examined according to the different determinants of voice production-physiological, psychological, social interactional, and cultural. Students explore how race, ethnicity, class, sexual orientation, and age affect vocal expression. Students also analyze "famous" and "attractive" human voices and discuss what makes them so. Recommended background: Theater 263 and/or Women and Gender Studies 100. Open to first-year students. K. Vecsey.
-
3.00 Credits
A practical study of movement for actors. Making use of the principles of Laban Movement Analysis and the techniques of contact improvisation, students explore and develop ways to create character through movement in theatrical performance. Work with masks and character-related gesture encourages students to expand their movement vocabularies. The goal of the course is to test and experience a variety of methods through which the actor can achieve full physical expressiveness on stage. Enrollment limited to 16. Instructor permission is required. Staff.
-
3.00 Credits
This course focuses on the study of Spanish classical drama of the sixteenth and seventeenth centuries. Reading and critical analysis of selected dramatic works by Lope de Vega, Tirso de Molina, Calderón de la Barca, Miguel de Cervantes, Ana Caro, MarÃa de Zayas, and Sor Juana Inés de la Cruz, among others, offer an insight into the totality of the dramatic spectacle of Spanish society during its imperial century. Conducted in Spanish. Prerequisite(s): one Spanish 200-level literature course. Not open to students who have received credit for SP/TH 241 or Spanish 241. Enrollment limited to 20. B. Fra-Molinero.
-
3.00 Credits
A survey of the nature and history of drama on stage and in motion pictures. Beginning with a discussion of action, plot, and character, the course moves on to consider the elements of theatrical performance-including acting, directing, and design-as well as important plays from the Greeks to the present. These may include works by Sophocles, Shakespeare, Ibsen, Chekhov, Brecht, and Beckett. It then shifts focus to film, examining the elements of mise-en-scène, cinematography, editing, and sound, and concluding with a study of major films from the silent era to the twenty-first century. These may include works by Chaplin, Wells, Bergman, Hitchcock, Scorsese, and David Lynch. Normally offered every year. M. Andrucki.
-
3.00 Credits
The creation of theater is a synthesis of text, performance, and visual imagery. This course explores how the visual aspect of theatrical design affects the way an audience perceives, feels, and responds to text and action. Students learn to use line, mass, color, and texture to communicate metaphoric and thematic ideas as they relate to the overall theatrical experience. They examine how forms of art, architecture, and music use these tools to influence and transform the audience, and build on this foundation to create a design vocabulary for theater. Students discuss how clothing, adornment, and body language influence the way individuals perceive others and present themselves. They learn the fundamentals of collaborative creation, and design scenery and costumes for a classic work of dramatic literature. Required of all majors. No previous art or theater training is required. Enrollment limited to 14. Normally offered every year. C. McDowell.
-
3.00 Credits
This course provides a look "behind the curtain" to reveal the secrets of theater magic. Students learn the geography of the stage, how scenery is built, how lighting works, what hardware is right for the job, and how to handle tools safely. Many of the skills learned in this class are basic ones and will be useful in everyday life. This is a hands-on course; all students participate in preparing theater department productions. Enrollment limited to 14. M. Reidy.
-
3.00 Credits
We still measure theatrical excellence by the achievements of ancient Greece and Rome, Elizabethan England, and seventeenth-century France. This course studies selected plays and works of critical theory from those remarkable times and places. Authors may include Aeschylus, Sophocles, Euripides, Aristophanes, Plato, Aristotle, Plautus, Terence, Horace, Marlowe, Shakespeare, Jonson, Webster, Corneille, Racine, Molière, and the neoclassical theorists of France and Italy. The viewing of filmed versions of several of the plays on the syllabus reveals the continuing vigor of these classical works in performance. Open to first-year students. M. Andrucki.
-
3.00 Credits
A study of the film versions of several plays by William Shakespeare. These may include Hamlet, King Lear, Macbeth, Richard III, Henry V, Romeo and Juliet, Much Ado about Nothing, Titus Andronicus and A Midsummer Night's Dream. Film directors may include Reinhardt, Olivier, Kurosawa, Kozintsev, Branagh, and Taymore. Readings in film analysis and criticism supplement the close study of the texts of the plays and careful viewing of the films. Open to first-year students. M. Andrucki.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Privacy Statement
|
Terms of Use
|
Institutional Membership Information
|
About AcademyOne
Copyright 2006 - 2025 AcademyOne, Inc.
|
|
|