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Theatre Courses
THE 103. INTRODUCTION TO THE THEATRE (3) (GEN. ED. #9)
Students will learn to recognize how meaning is constructed in the theatre. Play texts will be used as a jumping-off place to examine the literature of theatre—structure, form, genre, and style and how a play text is transformed into theatre through acting, design, and direction. The historical context of plays—performance conventions, architecture, and audience expectations will serve as a way of understanding contemporary theatre. The student’s ability to decipher the ways and means of communication in the theatre will be demonstrated in written critiques of live performance.
THE 105. SPEECH (3)
Students learn to effectively compose, organize, and present a variety of informative and persuasive speeches. Stress is placed on critical listening, vocal and nonverbal control, progressive outline development, credibility, and confidence in front of an audience. Four class hours.
THE 120. ACTING I (3) (GEN. ED. #8)
Exploration of the actor’s vocal, physical, intellectual, and emotional resources. Principles of character analysis and projection. Four class hours.
THE 131. COMMUNITY PERFORMANCE FOR PEACE, CONFLICT, AND DIALOGUE (3) (PCE 131) GEN. ED. #8 AND #10)
This course surveys the history, the theory, and the exemplar practitioners of community performance—synonymously called “theatre for social change” or “applied theatre.” Particular focus will be given to traditions that serve the goals of conflict resolution, popular education, activism, and community building. Through practical techniques, the course will demonstrate how performance structures can address community issues. This course is open to any students, actors and non-actors, interested in community arts and peace performance.
THE 140. THEATRE PRODUCTION (3) (GEN. ED. #8 WITH THE 140L)
An introductory course in the ways and means of theatre production. The course will explore the basics of scene design and construction, lighting design and operation, property design and building, and other areas of stagecraft. The course also includes basic drafting elements specific to stage design. Corequisite: THE 140L.
THE 140L. THEATRE PRODUCTION LABORATORY (1) (GEN. ED. #8 WITH THE 140)
Hands-on work complementary to the content from THE 140.
THE 200. 20TH-CENTURY THEATRE (3) (GEN. ED. #9)
Style and substance ofWestern theatre of the last 100 years. Plays studied range from the revolutions of content and form initiated by Ibsen and Strindberg to the different concerns and manners of expression that have evolved sinceWorldWar II.
THE 202. EXISTENTIALISM: PHILOSOPHY AND THEATRE (3) (PHL 224) (GEN. ED. #4)
Through the study of existentialist philosophers and playwrights, this course explores the relation of philosophy and theatre as the two human activities that enact the self-conscious reflection of the world. Using readings from philosophers—Nietzsche, Kierkegaard, Marcel, Sartre, de Beauvoir, and Duras—and dramatists—Artaud, Pirandello, Brecht, and Beckett— we will bring theatre and philosophy together in their shared standpoint on the clearing/stage of a conscious place in which we can see the world and see ourselves reflected in the world. By discovering how philosophy and theatre both “enact reality,” we will also discuss how both meaning in one’s life and personal identity are created, how political identities are created, how political communities and social relations are constituted, and how humans “enact” being. Prerequisite: either sophomore standing, a 100-level philosophy course, or permission of the instructor.
THE 204. WORLD THEATRE AND DRAMA (3) (GEN. ED. #9)
The purpose of this course is to introduce students to the rich array of theatrical and dramatic styles from around the world. The course will look at selected theatre production styles and dramatic literature from Asia, Europe, Africa, and the Americas and includes film representations of theatrical performances, as well as live performances when available. Prerequisite: THE 103 or permission of the instructor.
THE 205. WORKSHOP IN EXPERIMENTAL THEATRE (3) (GEN. ED. #8)
A collaborative working experience for advanced actors, directors, designers, and playwrights. Students work together to create a theatre production without the benefit of a pre-existing dramatic text. Dramatic material is drawn from current events and social issues, from nondramatic literature or art, or from other sources. The course culminates in a public performance of the work in progress. Four class hours. Prerequisite: one 100-level arts course and sophomore standing or permission of the instructor.
THE 207. TELEVISION DRAMA WORKSHOP (3) (COM 207) (GEN. ED. #8)
A study of the methods and processes of producing television drama. An examination of the history and development of television drama, acting and directing methods, differences among television genre styles, and practical approaches to creating television drama. Three class hours with additional outside rehearsal and taping time required. Prerequisites: COM 189 or 286 and THE 220 or permission of the instructor. THE 220 may be taken concurrently.
THE 211. HISTORY OF AMERICAN THEATRE AND DRAMA (3) (GEN. ED. #9)
The evolution of the American stage and its indigenous drama, including the development of the American musical theatre, melodrama, African American drama, and the work of such theatres as the Provincetown Players and the Group Theatre. The course will also examine works outside the theatrical mainstream, including feminist theatre, American avant-garde, and gay theatre. This course explores the social and historical contexts that influence theatrical and dramatic styles.
THE 220. ACTING II (3) (GEN. ED. #8 AND #9)
Building on the fundamental acting skills examined in Acting I, this course applies those skills to specific and diverse historical period styles. Students develop scenes from Shakespeare, Brecht, Beckett, or other modernist playwrights. Special attention is paid to the examination of how the society, politics, culture, and visual arts movements of the period influenced the acting styles of each time. Prerequisite: THE 120 or audition. Four class hours.
THE 222. ACTING III: REALISM (3)
Building on the skills learned in Acting I and Acting II, the advanced acting student explores the style of realism on the stage. Scene work will look at the differences between modern realist playwrights such as Chekhov and Ibsen and their contemporary offspring, including Lorraine Hansberry, Sam Shepard, Lillian Hellman, AugustWilson, David Mamet, Eugene O’Neill, and David Henry Hwang. Four class hours. Prerequisite: Acting II or permission of the instructor.
THE 228. EXPRESSIVE USE OF VOICE AND MOVEMENT (3) (COM 228)
Expansion of the performer’s physical and vocal range. The course examines methods of interpreting dramatic text through voice and movement, studies the physiological and psychological components of speech and movement, and focuses on the connection between stage speech and stage movement. Six class hours per week. Prerequisite: THE 120.
THE 231. DIRECTING (3) (GEN. ED. #8 AND #9)
Examination of the theories, craft, and art of the stage director. Special attention is paid to the diverse concerns of the director, including visual composition, aural orchestration, dramatic text analysis, interpersonal relations, and the social and cultural influences on meaning in stage production. Students develop scenes from non-literary inspirations, such as art and music, and stage scenes from dramatic literature. Prerequisite: THE 120 or 220 or permission of the instructor.
THE 232. PLAYWRITING (3)
An introduction to the creative possibilities of playwriting for the 21st century.While offering inspiration within a supportive workshop environment, this course provides students with the critical tools and basic concepts of playwriting through a series of writing exercises and script analysis techniques. Students will learn to create dramatic texts for a variety of forms, media, and venues, and to participate in a process of constructive critical response. Fall semester every year.
THE 238 INTRODUCTION TO DRAMATURGY (4)
Introduces students to the theories of textual analysis and contextual research within the framework of theatrical performance. Students will investigate the history and methodologies of dramaturgy, and then apply the best practices of the profession to the study and production of contemporary plays. Because dramaturgy is a collaborative endeavor, students will participate in projects like a theatrical adaptation from a non-dramatic source, the creation of an interdisciplinary theatre event or a multi-media performance, among others. By course end, students will be able to support their theatrical interests with dramaturgical insights and to work collaboratively to create productions that reflect the culture and aesthetic diversity of the 21st century.
THE 240. SCENE DESIGN (3)
The student will be able to develop design concepts by rigorously practicing playscript analysis, research, and creative experimentation. The student will be able to communicate design concepts verbally in a concept statement and visually using standard graphic means including drafting, rendering and model-making. Prerequisite: THE 140 or permission of the instructor. Corequisite: THE 240L.
THE 240L CAD AND 3D MODELING TECHNIQUES
The student will learn the fundamentals of computer-assisted drafting (CAD) and gain proficiency in the program, (Vectorworks) by solving theatrical design challenges. 3D modeling techniques using drawings made with the program will be taught as well as protocols for drafting a light plot. This course is taken concurrently with THE 240. It is open to any student with the prerequisite and is recommended for students who have taken or are planning to take THE 241.
THE 241. STAGE LIGHTING (3)
Students will understand the potentialities of light in the theatre by exploring lighting equipment hands-on, collaborating with a director to create effective light cues for a studio performance, and by engaging in the design process, executing all of the steps necessary to prepare a lighting design proposal including a drafted light plot. Prerequisite: THE 140 or permission of the instructor.
THE 242. COSTUME DESIGN (3)
Methods and materials for effective stage costume design and construction. Emphasis will be placed on design concept, period research, and design realization for stage, dance, and television production. Lab hours as assigned. Prerequisite: THE 140 or permission of the instructor.
THE 272G. INTENSIVE COURSE ABROAD SHAKESPEARE: STAGE AND PAGE (3) (ENG 272G) (GEN. ED. #3)
This course examines the relationship between Shakespeare as literature and Shakespeare as theatre; we examine Shakespeare’s works both from a historical/critical perspective and from a performance perspective. January intersession.
THE 272Y. INTENSIVE COURSE ABROAD FRENCH THEATRE IN PARIS AND MARSEILLES: LANGUAGES OF PERFORMANCE (2-4-2) (FR 272Y) (GEN. ED. #3 AND #9)
This interdisciplinary course builds French language skills and knowledge of French theatre through a seven-week, pre-program course in the spring, a three-week intensive immersion experience in France in May, and a seven-week post-course in the fall. Through the study of plays, productions, and performers, the course examines theatre as it both reflects and influences French social change. A key focus will be the innovations in theatre that reflect an increasingly transnational and multicultural France. There is an individualized project centered on a play that the class will stage. All students will contribute to this capstone project, but neither an acting role in the play nor prior theatre production experience is required. Prerequisites: FR 130 or concurrent enrollment (or equivalent proficiency) and permission of the instructor.
ARTS AND CULTURE IN WEST AFRICA (1.5-3-1.5) (DAN 272) (HIS 272Y) (GEN. ED. #3)
The course encompasses a pre-program course; an international field experience; and a postprogram course on arts, culture, and history inWest Africa. The pre-program will examine the social, economic, political, and cultural issues of Ghana, Togo, and Benin—three African countries with rich cultural heritage and successful, vibrant contemporary societies. The international field experience in these countries will include workshops, lectures, stays with host families, and field trips. Upon return, the students will use skills and experiences acquired inWest Africa to complete a research paper and service-learning component in the form of a lecture-demonstration for area elementary schools, presented during Black History Month. This is a yearlong course.
THE 290. INTERNSHIP IN THEATRE (3-4)
Full- or part-time internships with professional production companies. Prerequisite: at least one course in theatre. Preliminary application and interview required. May be taken for a letter grade or pass/no pass.
THE 297. DRAMATURGICAL PRACTICUM (3)
Students gain hands-on experience developing dramaturgical work in departmental productions. Coursework includes readings, rehearsals, and written work as arranged with the instructor. Prerequisite: THE 103 and permission of the instructor.
THE 297.001. (SEMESTER)
THE 297.002. (SECOND SEVEN WEEKS)
THE 298. PERFORMANCE PRACTICUM (2)
Students may elect to receive two credits for participating in a theatre department mainstage production or special projects production. Coursework includes readings, rehearsals, and written work as arranged with the instructor. Performance practicum may be taken once for a mainstage production and once for a special project production, but neither may be repeated. Second seven-week sections require permission of the instructor. Prerequisite: THE 103 permission of the instructor or THE 120 and permission of the instructor.
- THE 298.001. Performance Practicum I: Mainstage (Semester)
- THE 298.002. Performance Practicum II: Special Projects (Semester)
- THE 298.003. Performance Practicum I: Mainstage (Second SevenWeeks)
- THE 298.004. Performance Practicum II: Special Projects (Second Seven Weeks)
THE 299. STAGECRAFT PRACTICUM (2)
Students gain hands-on experience working in the chosen area for a mainstage or special projects production. Coursework includes readings, rehearsals, and written work as arranged with the instructor. Students may take as many of the segments as they wish, but each segment may be taken only once for credit. Prerequisite: THE 140 and permission of instructor.
- THE 299.001. Stage Management
- THE 299.002. Sound Design
- THE 299.003. Stage Design
- THE 299.004. Lighting Design
- THE 299.005. Costume Design
- THE 299.006. Multimedia Design
THE 300. SEMINAR IN WORLD THEATRE AND DRAMA (3)
Intensive study of topics related to the vast canon of world theatre and drama. Topics may include theatre and education, Shakespeare on film, gender and theatre, comedy of manners, and dramaturgy and world drama. Prerequisite: one 200-level history, criticism, or literature course in theatre or permission of the instructor.
THE 321/322/323. ACTING STUDIOS (1.5)
Advanced scene and technical studies, with topics such as stage violence or stage dialects. Two hours studio session, lecture, and critique. Prerequisite: THE 220, 222, or 228 or permission of the instructor.
THE 332. ADVANCED PLAYWRITING (3)
Building on the fundamental skills developed in THE 232, this course offers playwriting students the opportunity to continue their exploration of script analysis, play construction, and the development of the elements of drama at an advanced level. Course includes studio staging of practice scenes and the development of a full-length play for public performance. Course meets concurrently with THE 232, but students registered at the 300 level will have more advanced requirements. Prerequisite: THE 232.
THE 350. IMAGINATIVE THINKING: DESIGN FOR PERFORMANCE (3)
This class is designed to challenge and expand the designer’s understanding of visual possibilities while reinforcing graphic design skills. Training and experimentation will be supported by theoretical reading and an examination of theatre artists around the world. Students will also gain awareness through open critique and written responses to work. Prerequisites: THE 140; 140L; and one of THE 240, 241, or 242.
THE 390/391. SENIOR PROJECT WORKSHOP/SENIOR PROJECT PRODUCTION (3/3)(4/4)
Each student majoring in theatre completes an intensive, integrated, collaborative senior project consisting of two parts. During the workshop held fall semester, senior theatre majors meet in a seminar to study and analyze a play for production and develop the production concept. In the spring semester, seniors produce that play for the mainstage, each student acting in one role and filling a production position. THE 390 is required to complete writing proficiency in the major. Prerequisite: Senior theatre majors only or permission of the instructor. At least 1.5 prior semester hours of THE 299 are recommended. Ordinarily, THE 390 and 391 are taken in sequence.
THE 400. INDEPENDENT WORK (1.5-4)