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Course Criteria
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3.00 Credits
This course examines some of the most representative works by the generation of Latin American literary giants known as the "Boom." This is a fiction that lays bare the paradoxes at the very core of fiction: exposing the double-sidedness of boundaries, turning life inside out and death outside in, dismantling the construction of subjectivity, and constantly assaulting and reconstructing the reader's own identity. And yet for all this, the reader is always caught in the very dense web of socio historical conditions (and at times gruesome political reality) of Latin America. It is, therefore, a literature responsive to the whole of human experience. Prerequisite: Open to all; recommended for sophomores and above. (Paiewonsky Cond e, offered alternate years
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3.00 Credits
s This course provides a close study of major novels and stories by this extraordinary writer, as well as some of his journalistic pieces and key interviews. Consideration is given to both the political and magic-realist perspectives in his work. The context of ideological controversy (the politics of culture) in contemporary Latin America is examined. Prerequisites: Open to all; recommended for sophomores or above. (Paiewonsky-Conde , offered alternate years)
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3.00 Credits
From the dark days of the Spanish Inquisition to the enlightened sexual politics of the present, Spain has undergone a major socio-political transformation in its treatment of homosexuality. Lorca, murdered by fascist forces in 1936, is still buried in a nameless grave; symbolically, the first authorized edition of his "Sonnets of Dark Love" did not appear until 1984. Almodóvar, whose "Law of Desire" made him an international icon of gay cinema, continues to reach new heights in Spanish filmmaking history, and is hailed by most as the leader of his generation. This course will examine Lorca's theater and poetry alongside Almodóvar's work. Class discussions will trace the thematic connections between the two authors (freedom and oppression, gender and sexuality, love and desire, among other themes) in the larger context of the human condition. Students in this course will have the opportunity to hone their critical skills through academic writing, and to explore their own creative impulses through creative writing, performance and filmmaking. Prerequisite: Open to seniors. ( Liébana, offered alternat
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3.00 Credits
Independent Study
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3.00 Credits
This course will consist of an in-depth study and interpretation of Cervantes's Don Quixote, a masterpiece of world literature and one of the most printed, translated and imitated books. We will explore the cultural and historical context of the novel, as well as its main literary and artistic aspects, through the study of such topics as identity and change, truth and fiction, narrative genres and the birth of the modern novel. Cultural themes such as love and marriage, and the representation of gender, race and class will also be emphasized. While we will make use of the critical insights of Cervantes scholars, students will be encouraged in this course to develop their own reading of the text. Additional features of the class will include a recent film version of Don Quixote, visual representations of the author, characters and the book throughout the centuries and exercises in creative writing and theater performance. We will use Tom Lathrop's translation of Don Quixote. Open to all. (Mülle r, offered occasionally
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3.00 Credits
This course is designed to introduce the beginning student to the craft of acting through the use of improvisation, theatre games, and acting exercises. Actor training focuses on and makes use of individual and group exercises that challenge both the mind and the body. Emphasis is placed on developing concentration and focus, the use of the imagination, sensory awareness, and verbal and physical improvisational skills. Exercises are designed to encourage the acting student to listen to his or her impulses and to respond to them within the context of an imaginary circumstance. Students also learn to work off of a partner in order to discover their own true and authentic responses to another person. This course is a prerequisite for Acting II. (Black, offered each semester)
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3.00 Credits
More is happening in a theatrical production than just "acting" or "literature". This course will look at three additional components of a production: namely the audience, the director/designer collaboration, and the script, as a blueprint for production. We will examine the contributions of each component with the goal of developing a methodology to create a visual design for theatrical productions. Prerequisite: Theatre 278 or permission of the instructor. (Dressl er, offered occasionall
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3.00 Credits
The history of dramatic literature and theatrical performance from the early 20th century, with the plays of Rachel Crothers, Eugene O'Neill and Susan Glaspell, to the present, with the theatrical experiments of the Ontological-Hysteric Theatre and the Wooster Group. The course traces the development of dramatic forms, theatrical organizations, and changing styles in directing, acting and design. Prerequisite: Theatre 278.(Gross, offered every three years)
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3.00 Credits
A continuation of the skills discovered in Acting I, this course is designed to deepen the student's understanding of the craft of acting through the use of structured improvisations, acting exercises, and scene work. Actor training focuses on and makes use of individual and group exercises that can be applied to the use of a text. The acting student goes further into his or her explorations of the emotional life, learns how to create a basic who/what/where scene using a text, learns about the importance of cause and effect sequencing, and works on mastering the skill of working off of a partner as well as listening and responding truthfully. The acting student also learns about the basic function of rehearsal and how to research a role. Prerequisite: Theatre 178 (Black, Spring)
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3.00 Credits
How is reading a play different from reading other forms of literature How do the realities of theatrical production challenge us to think about reading and interpretation differently We will look at playtexts from the perspective of the designer, actor, and director. Readings will range widely, from Asian to European, "classic" to contemporary. (Gross , Fall, offered alternate years)
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