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Course Criteria
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3.00 Credits
Prereq: Workshop I. The Sanford Meisner repetition exercises are explored in detail. They form the basis of Workshop II. The Uta Hagen exercises are also pursued. As in Workshop I, the principal classroom activities will consist of scene work, exercises, lectures, and discussion. Some rehearsal will also take place during school hours. It is expected that substantial out-of-class time be spent on rehearsals and exercises.
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3.00 Credits
Prereqs: Two acting courses. Special attention is given to the development of spontaneity and emotional freedom using the principles of Workshops I and II. Hands on work with John Astin’s “The Process” and the second Silverberg workbook are employed, along with the Uta Hagen text. Boleslavsky and Michael Chekhov are introduced. The Clurman, Meisner, Stanislavsky and Strasberg approaches are included. Substantial out of class time is required.
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3.00 Credits
The techniques and craft of following a Shakespearean text directly into character and action. Students will work with a selection of Shakespeare's plays---Measure for Measure, Comedy of Errors, Henry IV, Part I---in exploring specific ways in which the power of the lines can be translated dynamically and immediately into vocal and physical performance. (Some background in the acting sequence is encouraged).
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3.00 Credits
Permission Required. A hands-on approach to the technical and theoretical elements of production. Meets in the Merrick Barn Scene Shop and Classroom.
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3.00 Credits
The student is given specific acting assignments, and develops them as special projects for public performance under the direct supervision of the instructor. A professional level performance is the goal. Audition Req'd. Out of class rehearsal time required. Check at the Barn (6-0618) Auditions in November.
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3.00 Credits
The fundamentals of stage design, with an emphasis on process, including script analysis, research, conceptualization, and implementation, from the first reading of the play to opening night, along with an overview of theatre architecture from the Greeks to the current day and into our imagined future.
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3.00 Credits
For aspiring playwrights, dramaturgs, and literary translators, this course is a workshop opportunity in learning to adapt both dramatic and non-dramatic works into fresh versions for the stage. Students with ability in foreign languages and literatures are encouraged to explore translation of drama as well as adaptation of foreign language fiction in English. Fiction, classical dramas, folk and fairy tales, independent interviews, or versions of plays from foreign languages are covered.
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3.00 Credits
Existentialism, a powerful movement in modern drama and theatre, has had a profound influence on contemporary political thought, ethics, and psychology, and has transformed our very notion of how to stage a play. Selected readings and lectures on the philosophy of Kierkegaard, Nietszche, Camus and Sartre -- and discussion of works for the stage by Sartre, Ionesco, Genet, Beckett, Albee, Pinter, Athol Fugard (with Nkani & Nshone), Heiner Müller and the late plays of Caryl Churchill. Opportunities for projects on Dürrenmatt, Frisch, Havel, Witkiewicz, and Mrozek.
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3.00 Credits
This course will introduce the student to improvisation for the theatre and for life. It will be an exploration of imagination, creativity, and the senses, using basic techniques of Improvisation. There will be exercises in personal awareness, conflict resolution, leadership, and ensemble building. There will also be theatre games based on texts by Spolin, Johnstone, LaBan and Feldencreis.
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3.00 Credits
The goal of this course is to explore issues of race and ethnicity in American education. We begin by studying the landmark Supreme Court case, Brown V. Board of Education, and related school segregation and resegregation issues. Through lectures, discussions, and films, students will become familiar with various sociological lens through which the educational issues facing blacks, Asians, Latinos, and American Indians are analyzed. Cross-listed with the Center for Africana Studies.
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