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Course Criteria
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4.00 Credits
Combines the study of drama as literary text with the study of theatre as its three-dimensional translation, both theoretically and practically. Drawing on the rich theatrical resources of New York City, students see approximately 12 plays, covering classical to contemporary and traditional to experimental theatre. Readings include plays and essays in theory and criticism.
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4.00 Credits
This course (different each time) uses key theoretical concepts of the field of performance studies to examine a diverse range of performance practices. Topics include ritual studies, interculturalism, tourist performances, discourses of stardom, theatre anthropology, and documentary performances.
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4.00 Credits
This course (different each time) examines the interactions of cultures through cinema. Topics include Japanese, Chinese, and various East Asian Cultures and the connection to Western culture through cinema.
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4.00 Credits
Presents medieval literature as a set of springboards to performance rather than as a series of "books" to be read. In this strongly performance-oriented course, students approach this "literature" as works that were acted out, sung, and narrated from memory as part of a storytelling tradition. Students are invited to draw on their dramatic and musical skills and interests, and stage medieval works. For their final project, students participate in staging and putting on a play, perform a substantial piece of narrative poetry, sing or play a body of medieval songs, or a similar endeavor.
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4.00 Credits
This course (different every time) introduces students to the specific choices that a director must make to transform the "printed word" into a visual auditory experience. For example, point of view becomes a challenge of camera shots; a described room becomes a matter of lighting, color, and sound; and the sense of time becomes a product of editing, rhythm, music, and splicing. Throughout the course, we pit a director's view against an author's view to examine how the same story may express different agendas, depending on the rendering. Works may include Euripides' Medea (Pasolini), Nabokov's Lolita (Kubrick), Tennessee Williams's A Streetcar Named Desire (Kazan), Paul Schrader's Taxi Driver (Scorsese), Virginia Woolf 's Orlando (Potter), and Thomas Hardy's Tess (Polanski). Creative exercises required along with three five-page papers.
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4.00 Credits
Studies representation of Italian history through the medium of film from ancient Rome through the Risorgimento. Issues to be covered throughout include the use of filmic history as a means of forging national identity.
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4.00 Credits
Exposes the student to various modes, such as expressionism, social realism, and the projection of the hero. One film is viewed per week and analyzed with reading assignments that include novels, plays, and poems. The objective is to exploit the potentiality of different media and to make vivid and Major/Minor in Dramatic Literature intellectual the climate of Europe on which these media so often focus.
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4.00 Credits
Studies the relationship between Italian literature and post-World War II cinema. Among the authors and directors examined are Lampedusa, Bassani, Sciascia, Visconti, De Sica, and Rosi.
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4.00 Credits
Studies representations of Italian history through the medium of film, from the unification of Italy to the present. Fascism, the resistance, 1968, and other events are covered, as are questions of how film functions with respect to canonical national narratives and dominant systems of power.
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4.00 Credits
This course (different each time) explores the history and semiotics of one of several hybrid genres, such as opera, dance, drama, film adaptations of plays, or multimedia works.
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