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Course Criteria
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3.00 Credits
From Shakespeare's The Tempest to contemporary performance art, some plays are autobiographical or confessional in nature. Controversial examples of dramatizing the self on stage: Ibsen (The Master Builder), Strindberg (The Dance of Death), Chekhov (Uncle Vanya), O'Neill (Long Day's Journey Into Night), Williams (The Glass Menagerie), Miller (After the Fall); contemporary works by Amiri Baraka, Brian Friel, Sam Shepard, and Wendy Wasserstein; performance artists/monologists such as Karen Finley or Spalding Gray. Prerequisite: Drama 207E or 208E.
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3.00 Credits
This course examines Shakespeare's comedies in performance. Combining scene work and production history, students gain access to the world of the comedies from a hands-on, theoretical, and historical perspective. Prerequisites: Drama 395C or permission of instructor.
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3.00 Credits
A practical course exploring the basic techniques and different methods of constructing hats and accessories. Students work with a variety of materials including buckram, straw, felt, and wire that they purchase. Research and design projects culminate in the construction of several projects in class. Prerequisite: Drama 307 or 421 or permission of instructor.
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3.00 Credits
This course is for writers with writing experience, but not necessarily experience in playwrighting. The course explores the relationship between the writer and the page. Exercises dispel any lingering doctrine that presupposes a certain style of writing. Craft enters the course through writing exercises and games. A large percentage of the class is spent writing, the remainder of the time sharing. The informal moments between look at the process beyond the first draft-i.e. the maintaining of "the work" through rewrites, developmental readings, workshops, productions, agents, and critics.
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3.00 Credits
This course explores in depth the major theoretical texts on acting and performance theory. Pertinent philosophical texts, dramatic theories, acting systems, and methodologies are studied. The survey operates chronologically from early documents on acting (Greek, Roman, Italian Renaissance) through to modern and contemporary documents that inform acting and acting training today (Stanislavsky, Brecht, Grotowski, Meisner, Spolin, Suzuki). Methodologies and practices of select major stage actors are explored as well. In some cases, directing theories that have had major influence on acting theory are examined.
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3.00 Credits
An exploration of the history of masks used in the theater. Topics include drama of ancient Greece, the ancient No Theater of Japan, the Italian theater of commedia dell'arte, the dance drama of Bali, the Venetian and Mardi Gras Carnival celebrations, and ritual and ceremonial masks of other cultures: Africa, Latin America, and Asia, using the instructor's extensive collection of masks as primary research subjects. Projects include: an in-class presentation and research paper with three to five fully realized mask designs are constructed within class and at an additional lab time discussed on the first day.
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3.00 Credits
Encompassing both creative and technical aspects of sound in the performing arts, the course gives theoretical knowledge of and practical experience in the following areas: fundamental rules of physics and electronics related to sound, use of standard digital recording studio equipment, "training" of the ear, and basic techniques of sound montage. Students are expected to participate in a variety of conceptual and research-oriented exercises as well as complete several lab projects. Sound-related work on Performing Arts Department productions may be required. Prerequisites: Drama 212 and permission of instructor.
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3.00 Credits
This course examines political perspectives on war as seen on the stage from the Greeks to the present day. Beginning with masterpieces such as Aeschylus' tragedy Agamemnon and Aristophanes' satirical comedy Lysistrata, we consider the political strategies of classical Greek drama. Turning to modern approaches to the subject, we move from Shakespeare (Troilus and Cressida, Coriolanus) through Brecht (Mother Courage) to consider the dramatists' political perspective and its relation to theatrical form. Asking questions about the relationship between art and politics, we consider whether we are entitled to use the same standards in evaluating political theater as we would in discussing other, less engaged works of art. We discuss contemporary political theater in the United States and abroad, including playwright David Rabe's trilogy on the Vietnam war. Finally, the course examines the Arab-Israeli conflict.
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3.00 Credits
Rotating upper-level topics course. Topics come from Theater Culture Studies sequence.
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3.00 Credits
Specialized study in a selected area in drama. Required of all drama majors not taking Drama 499. Prerequisite: 15 units of advanced work in drama at the 300 or 400 level.
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