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  • THEA 3600: Theatre History

    4.00 Credits
    New College of Florida

    This theatre history course will be approached from a global perspective as we explore the development of dramatic forms, theater practices, and performance. We will discuss histories of theater and performance (scripts, design elements, audience, conventions, cultural functions etc.) within contexts of social, artistic, economic, and political realities that are both local and global. In this non-comprehensive curated survey, we will focus on representative case studies that examine broader themes, questions, and narratives. We will investigate world theatre history from a historiographical perspective. This means that we will examine material not only for content but also for how that content is conveyed. In our exploration of how theater history is crafted we will develop critical skills and tools including how to ask historical questions, assess primary sources, critique narratives, and clearly communicate our historiographical ideas and arguments. Through discussion, debates, images, videos, readings, exams, papers, presentations, and projects, students will become familiar with theatrical practices, figures, and texts across a broad spectrum of contexts, definitions, and approaches. No prerequisites.
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  • THEA 3675: Russian Theater and Drama in the International Context - Transmissions and Transformations

    4.00 Credits
    New College of Florida

    Russian theatrical tradition has had and continues to have a tremendous influence on the development and teaching of theatre all over the word. Less is known, however, about the influence of international traditions upon Russian theatre. This course will examine these connections, revealing some of the best kept secrets of the theatrical world. Among them, the influence upon the development of the Russian tradition by the great 19th century African-American traveling star Ira Aldridge, and how it inspired the teachings of Stanislavsky and his followers. The course will explore some of the most influential works of Russian dramatic literature, Stanislavsky System's transformation into American Method (Strasberg, Meisner, etc.), and its influence on the theatrical aesthetic of Bertolt Brecht. This course will also explore the influence of Asian theatre and esoteric disciplines upon Russian theatrical culture, and its transformation in contemporary theatrical disciplines and practices, worldwide. Russia's key playwrights, to be considered in this course, are Pushkin, Gogol, Turgenev, Chekhov, Bulgakov, Erdman, Tsvetayeva, Petrushevskaya, and Sadur. The course will examine their unparalleled influence on Russian politics and society, as well as their integral connection with one of the most important events in Modern History, the Russian Revolution of 1917. Students in this course will be asked to examine original sources, as well as critical articles and biographic materials. This is a seminar-type course, which is based in discussion and exchange of discoveries and ideas. Coursework will also include short responses to plays and productions, short papers and prepared presentations. This course is capped at 12 participants. Students with prior Theatre or Literature coursework are given priority, but everyone with interest in the subject is encouraged to apply.
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  • THEA 3700: Theatrical Adaptation - Scriptwriting

    4.00 Credits
    New College of Florida

    The Little Prince, a novella by French aristocrat, writer, and aviator Antoine de Saint-Exupéry, is known for its universal power and its ability to speak across generations; its engagement with questions about friendship, love, loyalty, loneliness; and for its defiance of societal stereotypes and materialistic values. Published in 1943, it has been translated into hundreds of languages and is one of the best-selling books in publishing history. During the academic year 2020-2021, Professor Malaev-Babel will offer a course in Theatrical Adaptation, in which students will create a full production of The Little Prince. This current course is designed for students interested in adapting Saint-Exupéry's novel to create the script, and develop design concept and drafts for future production. Students in this course will be reading the novella and working collaboratively to translate it into a performable script and stage/costume design concepts and drafts, under Professor Malaev-Babel's guidance and supervision. All interested students are encouraged to participate; students with previous dramatic writing and scenic/costume design experience are particularly welcome. During the course, Professor Malaev-Babel will be assisted by Alex Pelletier, a third year student from the FSU/Asolo Conservatory, who has been serving as his TA in Acting 1 this semester. Attributes: First-Year Appropriate Course, Humanities LAC, Humanities, Theater, Dance, Perf Studies, Theater.
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  • THEA 3720: Voice and Speech for the Actor

    4.00 Credits
    New College of Florida

    This practical theatre course will explore the fundamentals of vocal production and the study of voice and speech for the actor through physical exercises and text work. Students will develop an awareness of relaxation, sound production, breath, resonance, intention, and sensory awareness. The primary focus is the development of a process/practice of voice techniques as a preparation for theatrical performance. Class work will include a series of exercises designed to liberate the speaking voice from habitual psychophysical tension to develop vocal range, stamina, clarity, power and sensitivity to impulse. Although this is a performance-based course, reading, research, writing, and class discussions will play a major role in your learning. Students from all disciplines may find this training useful for gaining skills in presentation delivery, poetry reading, and other public speaking scenarios where a clear speaking voice and intelligible delivery of content is necessary. No prerequisites.
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  • THEA 3750: Performance Practicum - Theater

    4.00 Credits
    New College of Florida

    The Little Prince, a novella by French aristocrat, writer, and aviator Antoine de Saint-Exupéry, is known for its universal power and its ability to speak across generations; its engagement with questions about friendship, love, loyalty, loneliness; and for its defiance of societal stereotypes and materialistic values. Published in 1943, it has been translated into hundreds of languages and is one of the best-selling books in publishing history. The script was adapted during the Spring 2020 semester by students in Theatrical Adaptation: Screenwriting course, conducted by Professor Malaev-Babel. Theatrical Adaptation: Performance Practicum course gives students the opportunity both to act and to participate in the greater process of making a production, based on The Little Prince adapted script. In addition to their role in the production, each actor will take a job on the technical/administrative side of this process, filling the roles of directing, publicity, dramaturgy and stage management. The methods of Russian theater practitioner Nikolai Demidov, studied and practiced under the guidance of Professor Malaev-Babel, will be used in order to bring to life this original adaptation of a classic work.
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  • THEA 3800: Heritage and Tourism Performance

    4.00 Credits
    New College of Florida

    This course will examine case studies of travel undertaken in order to experience places and practices deemed to be authentically related to the culture of a specific geography. Using performance studies as a foundational theoretical lens we will explore readings from several disciplines that investigate tourism, intangible and tangible cultural heritage, pilgrimage, diasporic identity, as well as joy and trauma. Aside from defining performance within heritage travel and tourism encounters, our class will focus on how identity and authenticity are constructed and reinforced. We will ask: How is culture connected to a specific geography? How is culture performed and curated? What role do objects play in intangible cultural experiences? In what ways does performance allow us to critique tourism and heritage? Some of the sites we will focus on are Elmina Castle in Ghana, Birthright trips to Israel, El Camino pilgrimage in Spain, and the Sisterhood of Good Death in Brazil, amongst others. Using performance as the unifying element, students will be encouraged to write about topics and theories that connect class readings to other disciplines they may be studying. Prerequisite: Must have SAT a theory course in Performance Studies OR a beginning-level course in a related discipline whose coursework intersected with Performance (such as Anthropology, Archeology, Sociology, Gender Studies, International and Area Studies, etc.). This class is primarily in-person and synchronous, with certain days utilizing remote instruction. Students working entirely remotely are welcome to contact the instructor about possible accommodation.
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  • THEA 4500: Acting III

    4.00 Credits
    New College of Florida

    The goal of the course is to assist the participants on their path of developing the feeling of theatrical form, and of its organic synergy with the play's content. While practically approaching the scenes from classical repertoire (from Aeschylus to Brecht), students will train in developing unique ways of living onstage characteristic for different "styles" of theatre. The course will stress sophisticated psychophysical techniques, developed specifically for the theatre of the heightened emotion and elevated language. Through a series of specially designed exercises, students will work to establish artistic harmony between their bodies, speech and psychology. The course is designed for the higher-level students, as the cumulative part of the acting sequence. It requires maturity and dedication. Participants are expected to demonstrate exemplary attendance - the ensemble as a whole, and each of the partners will depend on it. Students are also required to dedicate time to working with partners outside of the class. The prerequisites for the course are Acting I and one more "applied" theatre course, such as Acting II, Theatrical Adaptation or Directing. The course is capped at 10.
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  • THEA 4600: Theater/Performance: History and Theory

    4.00 Credits
    New College of Florida

    What is a performer? What is an audience? What happens between them? How do these questions deny historical difference and how do they depend on it? What is the relation between specific dramatic productions performed in certain times and places, and the field of performance theory, which often seems as if it might expand to include all human social activity? This course will focus on three periods of English theater (Renaissance, Victorian, and late 20th century) that made radically different assumptions about the physical and social conditions of performance. We will examine these moments in theater history through the works of significant theorists of performance, and vice versa. Students are responsible for one oral presentation/performance experiment, several short papers, and one seminar paper. This course is designed for students with some previous work in theater, theory, or literature of at least one of the periods to be studied; enrollment may be limited. The course is particularly appropriate for students who have taken Performance Theory or Theatre History. This course meets the Historical Engagement and Criticism/ Theory requirements for the English AOC, the Drama requirement for the Literature AOC, and the Theory requirement for the TDPS AOC. Estimated Enrollment 10.
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  • THEA 4620: Latin American and Caribbean Performance

    4.00 Credits
    New College of Florida

    In this course, we will examine how scholars across disciplines narrate and analyze histories and practices of theater and performance in the geographies of the Caribbean and Latin America from before contact to the present. Students will engage research that draws upon a diverse array of methodologies within Latin American theater as well as outside disciplines. Some of that research will explore decolonial writing and performance, global souths, performance studies, theater history, corporeality/embodiment, textuality, historiography, critical race studies, gender, and sexuality. This is a seminar course that will engage with geopolitical and disciplinary legacies as well as politics and provocations contained implicitly and explicitly within the field of Latin American theater and performance. This is an advanced TDPS course. Prerequisites: Must have taken a theatre (or dramatic literature) class with substantial writing assignments and/or a Latin American Studies (or Global/Area Studies) course that featured performance in some way. This is a writing enhanced course. Estimated Enrollment and Cap 12. Diverse Perspectives, Writing Enhanced Course, Gender Studies Eligible, Environmental Studies Eligible, Caribbean and Latin American Studies Eligible.
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  • THEA 4700: Movement for the Actor

    4.00 Credits
    New College of Florida

    In this advanced acting course, students will be engaged in a process of exploration that centers on the physical relationship of the actor to their text, the stage, their peers, and the audience. You will be introduced to a broad spectrum of contemporary and classic movement theories/approaches to constructing performance. We will explore breath and sound in conjunction with how our bodies move on stage. A workshop approach of learning through doing will be employed. Emphasis will be placed on experimentation, problem solving and group participation in order to learn special skills such as physical listening, contact improvisation, object work, and image work. Prerequisites: You must have taken a college-level acting, voice, movement, dance, directing, and/or choreography course. Estimated Enrollment 16.
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