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Course Criteria
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This two-week course offers a unique workshop experience for young writers and performers interested in the special challenges of writing sketch comedy for performance. Students will work both collaboratively and individually to develop and refine short scenes, to edit them based on student and instructor feedback, to stage them with minimal time and resources, and afterwards to assess and critique the effectiveness of their own work and the work of other members of the class.
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How do you write a play or film script? What's different about writing for the dramatic media, as distinct from developing a short story, poem, or novel? Scripts are strange creatures in the world of writing: they are designed to disappear into another medium. Scripts are like an architect's blueprint: unlike novels or poems, they are designed as instruction manuals for building a performance or film. The successful dramatic writer therefore needs to learn to think in three dimensions, imagining their script as a blueprint for a fully realized world in performance.
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When I dare to be powerful, to use my strength in the service of my vision, then it becomes less and less important whether I am afraid. Audre Lorde
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In this writing workshop, we’re going to explore some of the things plays have been and some of the things plays could be. We will write things that are plays, things that resemble plays, and things that might seem like no play anyone has ever seen. But this is not about thinking “outside the box.” This is about examining our assumptions of what makes a play.
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This three-week intensive course is designed to help students explore the development of relationships in theatrical space without the benefit (or confinement) of a script. By cultivating and developing basic performance skills including spontaneity, self-awareness, unobstructed use of the body and mind, access to the imagination, and collaborativity, this course has applications for actors and other performers interested in all types of performance as well as those interested in improvised performance specifically.
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In contemporary Western theater, the director is the most powerful voice in the creative process, yet often the most invisible. Historically, the designation of the role of the director is a relatively recent one. The complexity of the role remains difficult to define and codify. Is the director a creative or an interpretive artist? Is their primary responsibility visual, emotional, narrative, linguistic, managerial? What is the nature of the director-actor collaboration? How does the rehearsal process work? What are their practical responsibilities? These questions are most effectively asked and answered through practical exploration, application, and experimentation.
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Everybody knows that the “clothes make the man,” but fashion is also often considered “superficial” and pointless. There are fashion victims and multi-million dollar fashion businesses and plenty of television like Project Runway that will tell you what to wear and, of course, What Not to Wear. After all, everybody wears clothes, and if you didn’t, that would be a real fashion statement. This class will give an introduction to fashion theory, examining ideas from art, theatre, sociology, psychology, philosophy, design, and business to think through what fashion means now and historically.
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Sporting events and sports culture have long been a place where mass happenings are made real through performance, where bodies are brought together in competition while crowds gather to cheer their heroes and condemn their villains. This course uses a performance studies approach to critically inquire behind these gathered bodies and examine sport as a site for national imaginings, cultural encounters, and the performance of race and gender. Live sporting events and their histories, their relationships with the media and with economic structures will be used to trace the ways in which sport as performance and spectacle have been used as a site for restriction and colonization, but also form a potent site for challenging widely held beliefs and displaying cultural identity.
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In 1994, Nelson Mandela was elected President of South Africa, ending nearly 50 years of brutal apartheid rule by the whites-only National Party. The government justified apartheid (from an Afrikaans word meaning “separateness”) as a kind of “good neighborliness.” This neighborliness consisted of limits on speech and movement for non-whites; broad denial of access to education, healthcare, and employment; and outright torture and violence. In this three-week course, students will explore how novelists, playwrights, dancers, and singers responded to the brutalities of everyday life in the “old” South Africa.
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This course will introduce students to a range of social, political, and artistic applications of surveillance technologies in the 20th and early 21st Centuries. Through a mix of theoretical and practical explorations, students will examine surveillance technologies as tools of socio-political discipline as well as tools of performance in social and artistic frameworks. Beginning with foundational cultural theories of surveillance and discipline in modernity, the course will guide students through substantive changes in the cultural landscape of surveillance in the second half of the 20th century, paying particular attention to the rise of digital information networks and the post-9/11 political climate.
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