Theater Arts
2017-18 General Catalog
J106 Theater Arts Center
(831) 459-2974
theater@ucsc.edu
http://theater.ucsc.edu/
Lower-Division Courses
10. Introduction to Theater Design and Technology. F,SAddresses imagination and creativity. Using the framework of theater production, students explore the process of translating a script into a performance. Topics include visual literacy, creative problem solving, establishing effective working teams, tear sheets, storyboarding, drawing, sound and color theory. This course is a prerequisite for all upper-division design courses. (General Education Code(s): IM.) B. Baron, D. Cuthbert
12. Stage Management. *
Designed to acquaint students with the complexities of staging productions from the audition process to final performance. Directing, lighting, scenic production, sound, cueing, and personnel management are aspects that will be touched upon in class. Students are billed a materials fee. (Formerly Production Management.) The Staff
14. Drawing. *
A fundamental course in drawing from still life, the figure, and in the landscape. The approach is from the tonal and volumetric aspects of the object. Color is introduced as the course progresses. Instruction fashioned to the individual needs of the student. The inexperienced are welcomed as well as the experienced. Students are billed a materials fee. (General Education Code(s): PR-C.) K. Edmunds
15. Special Topics in Textiles. *
Introduces varied techniques in textile manipulation to create scenic and costume-design properties including drapery, upholstery, masks, bags, and millinery. Students learn basic sewing and surface-design methods, such as knitting, screen-printing, painting/dyeing, and distressing. Enrollment limited to 20. (General Education Code(s): PR-C.) B. Baron, The Staff
17. Costume Construction. *
The process of interpreting a costume designer's sketch into a finished theatrical costume. Some techniques included are dyeing, fabric selection, draping, flat pattern drafting, pattern manipulation, adaptation, fitting, and alteration. Using various techniques, students make basic pattern pieces and learn to modify them to create costumes. Students are billed a materials fee. Enrollment limited to 20. (General Education Code(s): PR-C.) The Staff
18. Drafting for Theatrical Production. *
An examination of the fundamentals of drafting scale drawings for production, including floor plans, elevations, sections, working drawings, dimensions, layout, and lettering. Students learn isometric drawing, perspective, and rendering techniques. Students are billed a materials fee. Enrollment limited to 20. K. Edmunds, The Staff
18C. Drafting-Computer Aided. *
In-depth exploration of computer-aided drafting, specifically the programs Vectorworks, Spotlight, and Renderworks. Topics include: the user interface, ground plan, section and detail views, paper space vs. working space, tool palettes, USITT drafting standards, layers, line weights, objects, classes, library annotations, importing rasters, and 3D modeling. Students required to do weekly projects such as ground plans, lighting plots, perspectives, and detail drawings, as well as turn in a major final project, and complete a mid-term, final, and quizzes. Students are billed for a materials fee. Enrollment restricted to theater arts majors. Enrollment limited to 10. D. Cuthbert, The Staff
19. Design Studio: Lighting Studio A. S
An introduction to the theory and practice of lighting design with attention to the practical skills and creative approaches to lighting performance pieces; the technical side of lighting design via demonstrations, lectures, and labs. Students complete projects evolving and executing concepts for lighting chosen pieces. Students are billed a materials fee. Prerequisite(s): course 10. D. Cuthbert
20. Introductory Studies in Acting. F,W,S
Introduction to basic acting skills and the problems of performance. Concentrates on expanding the students' range of expression and ability to respond to and analyze dramatic text. Students with little or no experience are encouraged to attend. (General Education Code(s): IM.) D. Scheie, A. Ginther, P. Gallagher
21A. Acting Studio 1A: Psychological Realism. *
Explores the fundamentals of the work of Konstantin Stanislavski as developed at the Moscow Art Theater to the works of his and our contemporary playwrights. Specifically, students apply those techniques of action, physical score, given circumstances, subtext, interior monologue, goals, and objectives, throughline, superobjective, and emotional recall to works of Henrik Ibsen, Anton Chekov, and appropriate American realists, such as Sam Shepard, August Wilson, etc. Enrollment by interview only: audition at first class meeting. Enrollment limited to 31. D. Scheie
21B. Acting Studio 1B, Actors' Physicality. *
Uses a rigorous physical approach to acting (rather than the text-based approach of course 21A). Provides an "outside-in" starting point for theatrical creation and study, balancing and countering the "inside-out" approach of Stanislavski-based actor training. Emphasis on physical characterization, ensemble theater, mask work, and object performance. May involve practices, theories, and readings of Jerzy Grotowski, Eugenio Barba, Jacques Lecoq, and/or Tadashi Suzuki. Enrollment by interview only. Enrollment limited to 30. P. Gallagher
22. Indonesian Dance and Drama. S
Students learn the basic movement repertoire of the specific characters of the Indonesian dance-drama/puppetry tradition over the quarter with explication of how these types operate in their own cultural context. Course culminates in an open showing of scene work. May be repeated for credit. (General Education Code(s): CC.) M. Foley
23. Voice for the Actor. F
Students work on developing resonance, range and expressivity for stage performance via physical exercises and text explorations undertaken in small groups. Prerequisite(s): course 20. Audition required for acceptance into class. Enrollment limited to 20. A. Ginther
30. Introduction to Dance Theory and Technique. F,W
Intensive instruction in developing the dancer's mind/body, with introduction to movement theory and practice. Students are billed a materials fee. (Formerly Introduction to Modern Dance Theory and Technique.) May be repeated for credit. (General Education Code(s): PR-C.) The Staff
31P. Postmodern Dance I. *
Introduction to postmodern dance theory and technique. Focus on performance practices of historically significant postmodern dance choreographers in the U.S. and worldwide. Enrollment limited to 30. May be repeated for credit. (General Education Code(s): IM.) E. Warburton
33C. Dance Studio I. *
Intensive instruction in developing the dancer's physical instrument. Intended for students who have a previous fundamental knowledge of the basics of classic dance, combined with movement theory. Students are billed a materials fee. Formerly Theater Arts 33, Advanced Introduction to Modern Dance. Prerequisite(s): course 30. Enrollment limited to 30. May be repeated for credit. The Staff
36. Introduction to Dance Composition. S
Composing solo dances using a variety of approaches for developing movement combinations. Observation and recognition of personal movement patterns and discovering new sources for creative material. Students are billed a materials fee. May be repeated for credit. (General Education Code(s): PR-C.) The Staff
37. African Dance. *
A griot (musician-entertainer from western Africa) from Burkina Faso teaches "The African Journey," which emphasizes dance as combined in Africa, including singing, history, oral tradition, and storytelling. Students are billed a materials fee. Enrollment limited to 30. (General Education Code(s): PR-C.) The Staff
40. Introduction to Directing. F
An overview of the analytical and creative processes that inform the director's work. Close examination of texts, concepts, and selected directors and directorial choices. (General Education Code(s): IM.) The Staff
45. Student-Directed Production. F,W,S
Participation in a student-directed play or student-choreographed dance concert under faculty supervision. (See course 192). Rehearsals culminate in public performances. Prerequisite(s): admission by audition; see department office for more information. The Staff
50. Fundamentals of Theater Production (2 credits). F,W,S
Work is on various aspects of theatrical production, including scenery, lighting, costumes, sound, stage management, and video documentation. Satisfies the department's technical experience requirement. May be repeated for credit. The Staff
52. Basic Stagecraft. S
Provides introduction to technical theater and basic stagecraft. Course examines two-dimensional and three-dimensional scenery, scenic engineering, the physical theater, stage and scene shop equipment, project organization and process, technical theater graphics, materials, and theatrical construction techniques. Prerequisite(s): course 10. Enrollment limited to 30. The Staff
55A. Workshop in Performance: Barnstorm. F,W,S
Process-oriented investigation of practical theater production by working in and on productions in the Barnstorm season. Requires a total of 150 hours working backstage or onstage. Admission by audition at first class meeting; see department office for more information. May be repeated for credit. K. Edmunds, D. Cuthbert
55B. Workshop in Performance: Barnstorm Lab (2 credits). F,W
Process-oriented investigation of practical theater production by working in and on productions in the Barnstorm season. Requires a total of 50 hours working backstage or onstage. Admission by audition at first class meeting; see department office for more information. May be repeated for credit. K. Edmunds, D. Cuthbert
61A. Ancient and Medieval Drama. F
Ancient enmities; horrific acts of parricide; monumental errors; suffering and contrition. This course examines the enormous appeal of the ancient Greek tragic and comic visions from their inception through their enthusiastic adaptation by the Romans and on into the Middle Ages. For comparison purposes, Greek and Roman dramas are studied back-to-back with the contemporary non-Western dramatic forms of Noh and ancient Sanskrit drama. (General Education Code(s): TA.) M. Chemers
61B. Drama from the Renaissance to the Modern Age. W
Examines major trends in European drama from the rediscovery of ancient Greek and Roman drama in the early 17th century to the late 19th century. Examines major trends in European drama from the discovery of ancient Greek and Roman drama in the early 17th century to the late 19th century. These trends include neo-classical drama, the rise of middle-class drama, social realism, romanticism, early naturalism, and the well-made play. These trends are compared with the parallel developments of the non-Western forms of Japanese Kabuki and Javanese Wayang. (Formerly Tragedy.) (General Education Code(s): TA.) M. Foley
61C. The Birth of the Modern: Drama and Performance After the Renaissance. S
Examines dramatic and theatrical works that sprang into being in the wake of the European Renaissance. Follows the ways modern artists have dramatized their questions, struggles, beliefs, and despair in the face of world wars, cultural fragmentation, unprecedented prosperity, and new technologies. (General Education Code(s): TA.) K. Jannarone
80A. Introduction to African American Theater. S
Surveys African American theater from late 19th century to contemporary 21st-century playwrights and examines dramatic narratives to trace creation, evolution, and development of African American cultural identity formation in American theater. Enrollment limited to 50. (General Education Code(s): ER.) The Staff
80B. Rock 'n' Roll Design. *
Examination of the genesis, history, and development of technical theater practices used in large arena rock shows. Topics will include the development of rigging practices used in arenas, touring logistics, lighting instrumentation and aesthetics of rock shows, and the nature, practice, and approach of sound in these venues. The Staff
80C. Monsters. W
Examines the operation of monsters in plays from Ancient Greece to today, inquiring as to why these powerful cultural tools for the expression of social tension show no sign of diminishing despite our ostensible advance into scientific rationalism. (General Education Code(s): PE-H.) M. Chemers
80D. Commercial Design 1900 to Present. *
History of 20th-century commercial design for the theater through the eyes of the Western consumer. (Formerly course 161W, Critical Survey of Commercial Design, 1900 to Present.) (General Education Code(s): IM.) B. Baron
80H. Hamlet Conundrums. *
Offered online, the course explores major issues of interpretation of Shakespeare's classic play, which has occupied the minds of audiences, directors, designers, performers, and critics during its 400-year history. In doing this, it offers a sense of history of people's preoccupations with and thoughts about the play. Students taking this class are expected to complete the course during the quarter for which they are enrolled. All students enrolled in this course should visit elsinore.ucsc.edu and write to elsinore@ucsc.edu. J. Bierman
80K. Shakespeare 4every1. *
Introduces all students, regardless of experience, to the plays and theater of Shakespeare, and directly addresses linked relevance to contemporary 21st century American culture. (General Education Code(s): TA.) D. Scheie
80L. Muppet Magic: Jim Henson's Art. F
The artistic and social impact of the Muppets on American puppetry, children's television, and Hollywood film is explored through viewings, guest lectures, and analysis. Henson's legacy in artistic innovation, mainstreaming of puppet theater for adult audiences, and establishment of puppetry in media and marketing are also explored. (General Education Code(s): IM.) The Staff
80M. Chicano/a Teatro. *
Introduction to Teatro Chicano/a with examination of how cultural diversity plays a role in theater. Through lectures, films, and workshop exercises, reflect upon the process of Teatro Chicano. Students write their own acts, improvise, and perform in class. (General Education Code(s): ER.) The Staff
80N. Walt Disney. S
An examination of Walt Disney's creation of the American vision of "family entertainment." Particular attention will be paid to the classic animated feature films of Walt Disney and to the way this Disney invention has been preserved and developed since his death. We will also look at the live action films, theme parks, and other Disney creations. (General Education Code(s): IM.) The Staff
80P. The Pixar Feature. *
Combines examination of the canon of Western dramatic literature and theater history through viewings of Pixar Animation Studios' full-length animated features, representing the most popular form of digital art and new media in the world today, and lectures focusing on digital art and new media viewed through established rules and traditions of dramatic art in literature, plays, and the theater. (General Education Code(s): IM.) D. Scheie
80Q. Introduction to Queer Theater. *
Examines the history of the queer perspective in dramatic literature, from the Greeks to Marlowe and Shakespeare through the calcification of homosexuality in the era of Freud, then traces theater stewardship by gay and lesbian artists from within the closet and without. (General Education Code(s): IM.) The Staff
80S. Theater Arts Education and the Community. *
This course is designed to develop ways in which we can direct our interest in the arts into concrete and successful community projects. Although the emphasis will be on developing skills to work within K-12 classrooms, other community projects will be discussed and designed. The Staff
80T. Flashmob! Mass Performance in the Information Age. *
Flashmobs represent a new social configuration using information technology. Course covers the history of experiments in art and technology and the role of mass performance in society. Students consider the socio-cultural ramifications of flashmobs and participate in them. (General Education Code(s): PE-T.) E. Warburton
80U. Everybody Dance Now!. F
Examines dance as a primary mode of human communication and expression. Through readings and the viewing of recorded and live performances, students compare and contrast dance traditions of the world. May be repeated for credit. G. Casel, C. Pearlman
80V. The Circus in American Culture. *
Circus arts from their shamanic roots to contemporary practice will be analyzed in a historical, aesthetic, and creative dimension. Lecture, discussion, and demonstrations will explore the theory and practice of American circus arts. In section, students will explore basic circus skills from clowning to tumbling to exhibition of freaks. The Staff
80X. The Performance of Story in Theater and Film. *
An examination of the theory and practice of theater and film, comparing and contrasting works that have been adapted from one genre to another. Lecture, film and video viewing and discussion of materialist, psychoanalytic, and feminist approaches will be shared. (General Education Code(s): TA.) The Staff
80Y. American Musical Theater. *
The history of American musical theater, from its roots to today, is studied through scripts, scores, and film. Major composers and lyricists' work is shown, discussed, and analyzed. K. Edmunds
80Z. Indian Dance. *
Classical Indian dance will be studied as a performance practice. Understanding of drum syllables and associated steps, religious and sociological context, and mimesis (abinaya) as well as introduction to epic stories (Ramayana, Mahbharata, Bhagavata Purana) and classical song. (General Education Code(s): CC.) The Staff
99. Tutorial. F,W,S
Students must file their petitions for this course with the department office by the end of the fifth day of instruction in the quarter in which they would like to take the tutorial. Prerequisite(s): petition required, approved by instructor and department. May be repeated for credit. The Staff
Upper-Division Courses
100A. Asian Theater/Dance and Global Impacts. *
Overview of selected theater/dance performance genres of India, Indonesia, China, Korea, and Japan with attention to how cultural, political, and social flows have impacted contemporary performance in Asia and beyond. Lectures supplemented by workshops. M. Foley
100B. Black Theater USA. *
Spanning slavery, emancipation, reconstruction, the great depression, civil rights, and the black power/black arts movements, course explores African American drama from literary, historical, and biographical perspectives in lecture/discussions, film excerpts, dramatizations, and visits from award-winning guests. The Staff
100C. Courts, Courtesans, Shamans, and Clowns: Asian Drama. *
Asian court and popular performance are traced. Sanskrit drama is contrasted with Indian epic recitation, medium, and courtesan dance. Gender specialization is noted in Indonesian courts using Indian and local legends in dance, mask/puppetry, and clowning. Buddhist and Confucian impulses in Chinese theater and early Korean and Japanese mask and puppetry are introduced. Students are evaluated on participation, tests, writing, and a performance project. P. Gallagher, M. Foley
100W. Black/African Diasporic World Theater. *
Examines major black African diasporic playwrights and theater. Focuses on the historical, cultural, and literary contexts that gave rise to the works of dramatists such as Ama Ata Aidoo, Derek Walcott, Wole Soyinke, Aime Cesaire, Debbie Green Tucker, and Paul Boakye. Prerequisite(s): course 61 or 60A or 60B or 60C. The Staff
103. Design Concept Development. *
Students develop an advanced design project related to theatrical production, apparel or housewares, marketing collateral, packaging or product development, or any related fields. Students address research and development, materials sourcing, budgeting, fabrication, and portfolio-quality presentation materials. Prerequisite(s): Theater Arts 10; or two courses from ART 10D, 10E, and 10F. Enrollment is by permission of the instructor. Theater Arts 106 is recommended as preparation. (Also offered as Art 143T. Students cannot receive credit for both courses.) B. Baron
104. Multimedia Authoring. *
Introduces students to basic tools for the creation of multimedia digital projects. Special attention is given to the integration of video, sound, graphics, text and virtual reality and to the creation and execution of strategies for interaction between users and the projects themselves. With this in mind, students design and create computer puzzles and games. Enrollment limited to 25. J. Bierman
106. Digital Illustration. *
Introduces digital rendering techniques using the Adobe Creative Suite. Using Adobe Creative Suite, students solve design problems. Enrollment by permission of the instructor. Application form available from baron@ucsc.edu. (Also offered as Art 146T. Students cannot receive credit for both courses.) Enrollment limited to 30. B. Baron
108. Theater and Interaction Design. *
Investigates interactive media including computer games, virtual reality, and participatory theater to inform design practice. Examines Aristotle's "Poetics" with some modernist excursions. Also examines the various values embedded in works--artistic, civic, spiritual, and political. Enrollment is restricted to juniors and seniors. Enrollment limited to 60. (General Education Code(s): IM.) The Staff
113. The History of Design for Theater. *
The development of scenic design from the Greek period to the present. Concentration is on the changing styles of set design in relation to the changing attitudes toward dramatic literature, art, and theater architecture. (General Education Code(s): IM.) K. Edmunds
114. Sound Design and Engineering for the Theater. *
Mixing theory with practice, this course covers everything from script analysis and sound-design paperwork to how to use the software and hardware needed to bring a sound design to reality. (Formerly Design Studio: Sound.) Prerequisite(s): course 10. (General Education Code(s): PR-C.) The Staff
115A. Design Studio: Scenic Design. W
Advanced work in principles and theory of scenic design. Students are billed a materials fee. Prerequisite(s): course 10. (General Education Code(s): PR-C.) K. Edmunds
115B. Design Studio: Scenic Design B. *
Advanced theory and practice of theatrical set design. Prerequisite(s): course 115. (General Education Code(s): PR-C.) K. Edmunds
116A. History of Clothing and Costume. *
Survey of clothing and theatrical costumes; emphasis on dress of the audience and actor in historical periods of theatrical activity. Students are billed a materials fee. (General Education Code(s): IM.) B. Baron
117. Design Studio: Costume. W
Students learn advanced principles and theory of costume design, and apply these toward a large project for theatrical/film production or for character design for animation and gaming. Students are billed a materials fee. (Also offered as Art 147T. Students cannot receive credit for both courses.) Enrollment limited to 30. May be repeated for credit. (General Education Code(s): IM.) B. Baron
117A. Advanced Costume Construction. *
Advanced principles in costume construction, including tailoring, advanced pattern drafting, and draping techniques. Focuses on translating modern techniques into historical garment construction. Teaches how to study artifacts and do primary research to unlock the past. Prerequisite(s): course 17. Enrollment limited to 25. The Staff
118. Design Studio: Scene Painting. *
Emphasis on techniques used in painting scenery for the theater. Students are billed a materials fee. Prerequisite(s): course 10. The Staff
119. Design Studio: Lighting Studio B. *
The theory and practice of lighting design with emphasis on practical application. Light plots, electricity, optics, design, and manipulation of lighting for the theater and related performance events are investigated. The student explores mechanics and aesthetics with hands-on experience. Students are billed a materials fee. Prerequisite(s): course 19. (General Education Code(s): PR-C.) D. Cuthbert
121. Acting Studio II. W
This acting studio centers around Shakespeare and specific techniques used in performing his plays. Continues concentrated work on basic acting skills and textual analysis through scene study. May be repeated for credit. A. Ginther
122. Indian Performance: Rama, Siva, Krishna. *
Study of the classical theater and dance of India, with attention to performance practice, aesthetic theory, relationship to religious practice devoted to Rama, Siva, and Krishna, political implications and intercultural experimentation. (General Education Code(s): CC.) The Staff
124. Movement for Performers. S
Awareness and extension of personal movement repertoire, through observation, movement experience, and exploration. P. Gallagher
126. Acting Studio III. F,S
Individual work on acting skills and problems, with emphasis on individual interpretation and scene work with other students. Prerequisite(s): course 121; permission of instructor; audition at first class meeting—contact department office for more information. Enrollment limited to 18. May be repeated for credit. The Staff, A. Ginther, P. Gallagher
128. Choreographic Workshop (2 credits). W
Intensive upper-division choreographic workshop that begins from the key motifs of historical dance to develop original work. Dancers made available to the student choreographers. Concurrent enrollment in course 139 is required. Enrollment limited to 15. May be repeated for credit. (General Education Code(s): PR-C.) G. Casel
130. Intermediate Dance Theory and Technique. *
A progression from the simple phrasing and articulation of beginning technique class to more complex material requiring more acute perceptive skills and richer dynamic range. Emphasis is on both alignment and maintaining the kinetic integrity of the body while moving through space. Students are billed a materials fee. (Formerly Intermediate Modern Dance Theory and Technique.) Prerequisite(s): course 30 or 31 or permission of instructor. May be repeated for credit. (General Education Code(s): IM.) G. Casel
131. Advanced Dance Theory and Technique. *
Advanced instruction in developing the dancer's mind/body, combined with contemporary movement theory and practice. Students are billed a materials fee. (Formerly Advanced Modern Dance Theory and Technique.) Prerequisite(s): course 30 or 31 or permission of instructor. May be repeated for credit. E. Warburton
131C. Dance Studio II. F
Continued study of contemporary dance theory and practice. Focus on intermediate dance technique, individual and group movement invention, choreographic voice, and theatrical applications. Students are billed a materials fee. Enrollment limited to 30. G. Casel
131P. Postmodern Dance II. *
Continued study of postmodern dance theory and technique. Focus on advanced compositional practice, theatrical applications, and critical analysis of contemporary postmodern dance choreographers in the U.S. and worldwide. Audition at first class meeting. Enrollment limited to 30. May be repeated for credit. (General Education Code(s): IM.) E. Warburton
135. Dance Improvisation and Theory. *
Students explore sources for movement; gain expressivity in a wide range of movement elements; work in ensemble and solos; explore the use of scores to develop collaborative skills; and explore contact improvisation. Students are billed a materials fee. G. Casel
136. Choreography. *
Advanced study, exploration and analysis of choreographic form and content. Solo, duet, and group work are created with a focus on developing the creative process, interpreting styles and trends, and knowledge of compositional devices and generative movement practices. (Formerly course136C, Dance Studio III.) Enrollment limited to 30. May be repeated for credit. (General Education Code(s): PR-C.) G. Casel
137. Studies in Performance (Dance). S
Studies in dance, taken in connection with performance in a major dance concert. Students are required to work on all aspects of the production. Students work with guest and faculty choreographers. May be repeated for credit with consent of instructor. Students are billed a materials fee. Admission by audition held late winter quarter; see department office for more information. May be repeated for credit. C. Lee
139. Random: With a Purpose. W
Participation in a student-choreographed and directed dance concert under faculty supervision. Rehearsals culminate in public performances. Students are billed a materials fee. Auditions to be held on the first day of class. May be repeated for credit. (General Education Code(s): PR-E.) G. Casel
141. Play Direction Studio I. W
Basic studio exploration through scene problems and exercises of the development of directing principles. Intensive work on the director's pre-rehearsal work from text selection, analysis, and casting. Audition at first class. Enrollment limited to 20. M. Weems
142. Play Direction Studio II. *
Intensive studio exploration of the art and craft of directing. Primary focus on text analysis, collaboration with designers, developing a point of view and visual/auditory language for the play, staging techniques, and communication techniques with actors. Prerequisite(s): course 40, 141, or permission of instructor. Enrollment limited to 15. May be repeated for credit. The Staff
151. Studies in Performance (Drama). F,W
Studies in theater, taken in connection with participation in a Theater Arts Department sponsored production. Enrollment is limited to those persons chosen to take part in a particular production. Admission by audition; audition schedule to be announced at first class meeting. May be repeated for credit. The Staff, M. Foley, K. Jannarone, D. Scheie
151A. Studies in Performance: African American Theater Arts Troupe. W
Studies in drama; emphasis on African American theater taken in connection with participation in a theater arts sponsored production. Enrollment by audition only, and limited to those persons chosen to take part in a particular production. May be repeated for credit. (General Education Code(s): ER.) D. Williams
151I. Studies in Performance: Indonesian Dance and Drama. *
Studies in drama; emphasis on Indonesian theater taken in connection with participation in a theater arts sponsored production. Enrollment by audition only, and limited to those persons chosen to take part in a particular production. May be repeated for credit. (General Education Code(s): CC.) P. Gallagher, M. Foley
152. Advanced Stagecraft. *
Exploration of stage technology from the scene shop's perspective. Conversion of scenic designs to construction drawings. Pursuit of scenic-engineering and construction techniques using steel, wood, and other materials. Training on use of stage machinery: rigging, flying, wagons, tracking, and propulsion. Prerequisite(s): course 52. Enrollment limited to 25. The Staff
153. Taking It to the Street: Performance and Politics/Politics of Performance. *
Covers the theory, history, and practice of performance and new media as sociopolitical intervention. Includes performance in an urban context; site-specific and street theater; puppetry; environmental theater; culture jamming, including radio, television, billboards, and records; and digital interventions. Students are billed a materials fee. (Formerly Art 175.) May be repeated for credit. (General Education Code(s): PR-C.) The Staff
155. Workshop Experiments in Performance. W
A process-oriented investigation of specific playwrights or theatrical styles consisting of work which may culminate in a final production. Admission by audition at first class meeting; see department office for more information. May be repeated for credit. P. Gallagher
157. Playwriting. F
Students are given the opportunity to write their own scripts and refine them as the result of class discussion and scenework with actors. Work is on specific problems involving such elements as the structuring of a plot or the development of character. Prerequisite(s): satisfaction of the Entry Level Writing and Composition requirements. May be repeated for credit. J. Bierman
158. Chautauqua Workshop. *
Advanced course that provides directors, writers, and performers with an opportunity to develop new works in performance. Students enrolling in this course as playwrights are selected on basis of submissions turned in the previous quarter. Students are billed a materials fee. Students taking the course as directors are required to obtain consent of the instructor. Other students may enroll as usual. May be repeated for credit. The Staff
159. Advanced Playwriting. W
A study, through practice, of the constituent elements in the construction of a drama. Students concentrate, in particular, on the organization of complex plots, the expression of character through conflict, and maximizing the emotional impact of dramatic situations. Prerequisite(s): course 157 or equivalent, satisfaction of the Entry Level Writing and Composition requirements. Enrollment limited to 25. May be repeated for credit. J. Bierman
160. Dramatic Theories. S
An examination of the theories of acting and directing from the 19th century to our own time, starting with the classic theater and concentrating on the 20th-century debate centered in Stanislavski and Brecht, Grotowski, and Robert Wilson. This course must be taken prior to student's senior year; required for course 185. Prerequisite(s): satisfaction of the Entry Level Writing and Composition requirements. M. Weems
161. Theater, Literature, and History.
161A. Irish Theater. *
Examines the idea of a "National Theater" in Ireland from its beginnings in the founding of the National Literary Society in 1892 to the current vitality of the contemporary Irish Theater. Enrollment limited to 45. P. Whitworth
161C. Theater and Drama of the Renaissance. *
Examines selected plays from the Renaissance (1580-1680, Italy, Spain, England, and France) from a theatrical viewpoint. Covers Renaissance theater buildings and related critical materials. (Formerly The Theater and Drama of Renaissance Europe.) K. Jannarone
161D. Asian Theater: An Anthropological Approach. S
Art serves simultaneously to educate its audience to the group's traditional values and to test new ideas. Indian, Indonesian, and Japanese forms are studied in relation to their cultural context. Through videotapes, lecture demonstrations, performances, and scenework, students explore the forms. Offered in alternate academic years. (General Education Code(s): CC.) M. Foley
161M. Sexuality, Gender, Drama, and Performance. *
Exploration and analysis of the interrelationships between gender, sexuality, and performance on stage and on the page. Topics include gender and homosexuality in the history of performance and dramatic literature, drag, queer Shakespeare, closet drama, same-sex performance conditions (e.g., Greece) vs. dual-gendered (e.g., Restoration England). Combines study of theoretical texts and script with analysis and practice. (Formerly Gender and Performance.) D. Scheie
161P. Theater in the "Chicano Power" Movement. *
Covers the rise of Teatro Chicano as a cultural-political force within the 1960's "Chicano Power" Movement starting with founding playwriter Luis Valdez and El Teatro Campesino and covering Chicana/o playwrights inspired by the movement, e.g. Cherrie Moraga, Luis Alfaro, and Josefina Lopez. (Also offered as Latin American&Latino Studies 161P. Students cannot receive credit for both courses.) (General Education Code(s): ER.) The Staff
161Q. Queer Theatricks: Representations and Sensibilities. *
An examination of the idea, form, and significance of queer/gay sensibility and representation in the English-speaking theater from the Renaissance to the present. The Staff
161R. Theater of American Cultures. F
Interrelationship of ethnicity and the rise of significant American theater groups including the black theater movement, Chicano Teatro, and Asian American theater will be shared via lecture, viewing, and discussion. M. Chemers
161S. American Drama: Politics and Theater. *
The dream of group theater, a long-term partnership of actors, directors, and playwrights, has fueled extraordinary and exciting change in the 20th-century American theater theory and practice. We examine ten exemplary manifestations of this dream. J. Bierman
161T. Women in Theater. W
Explores female playwrights from textual, historical, and multicultural perspectives. Progresses from Trifles (1916) through the Harlem Renaissance, Broadway's Lillian Hellman, and today's post-feminist theatrical explosion in lectures, films, dramatizations, and award-winning playwrights' visits. M. Weems
161U. Performance of Story in Theater and Film. *
Examination of theory and practice of theater and film comparing and contrasting works having been adapted from one genre to another. Lecture, film, and video viewing. Discussions of materialist, psychoanalytic, and feminist approaches shared. Students cannot receive credit for this course and course 80X. The Staff
161Y. Modern Ancient Drama. *
Studies 20th- and 21st-century productions and adaptations of ancient Greek and Roman drama in theater, dance, music, and film, including Stravinsky, Graham, Pasolini, and Taymor. Discusses artists' goals, the sociopolitical context, ideas of authenticity and audience response. (Also offered as Cowell College 161Y. Students cannot receive credit for both courses.) Enrollment limited to 30. The Staff
163. Special Studies in Individual Playwrights.
163A. Shakespeare. *
Focuses on selected plays of Shakespeare. Explores the range and variety of interpretations of the plays, both in critical writings and in performance. Also studies other writings and graphic art created on the subjects and themes of the plays. Offered in alternate academic years. The Staff
163E. Chekhov and His Impact. *
Delves into the work of Chekhov and the Moscow Art Theater. Stanislavski's acting techniques are related to the scripts through scene work. The impact on later Russian innovators, especially Meyerhold, and on the American theater is considered. The Staff
163G. Special Studies in Playwrights: Artaud. *
Antonin Artaud through three critical lenses: influence on modern and contemporary theater, subject and site of psychoanalytic and social criticism, and theater practitioner. Exercises cultural, historical, and analytic approaches to his work. Prerequisite: course 160 recommended. Enrollment limited to 40. K. Jannarone
163H. Henrik Ibsen and His Impact: Ghosts of the Future. *
Examines representative texts of Ibsen's work: early plays, realistic middle plays, and late plays. The cultural/historical context of Ibsen's oeuvre is considered as well as its impact, through contemporary translations and productions, on subsequent theater theory and practice. (General Education Code(s): TA.) The Staff
163K. Special Studies in Playwrights: Euripides. F
Examines the works of the classical Athenian tragedian Euripides. The class undertakes a thorough consideration of the playwright's plays in cultural, historical, theatrical, and literary context. Prerequisite(s): course 61A or permission of the instructor. Enrollment limited to 40. (General Education Code(s): TA.) J. Bierman
164. Issues in Dance History and Theory. F
A research seminar. Topics range from critical dance cultures, cognitive dance studies, problems in dance aesthetics, criticism, or theory to particular movements, periods, or the work of a choreographer. Enrollment limited to 20. May be repeated for credit. E. Warburton, C. Lee, G. Casel
165. Dance Modernism. W
An overview of 20th-century dance within the perspective of modernism. Topics may include romanticism, "natural" dance, Orientalism, Ausdruckstanz, American modern dance and neo-classicism, chance procedure, postmodernism, the avant-garde commodity marketplace, and critical dance cultures. (General Education Code(s): IM.) E. Warburton, C. Lee, G. Casel
166. Ballet: A History. *
Chronological critical and historical overview of ballet as a form of ethnic dance from its European origins to the present. Focus is on development of form in Americas and Asia as it crossed with other socio-culturally constructed categories such as race, gender, class, sexual orientation. (General Education Code(s): ER.) E. Warburton
167. Africanist Aesthetics: Live Dialogues in the Americas and Africa. *
Examines the transnational currents in expressive culture and the performing arts among the peoples of Africa and Latin America, and Latinos and African Americans in the United States. Enrollment limited to 30. (General Education Code(s): CC.) The Staff
185. Senior Seminar. F
A required seminar for majors involving readings and discussions of important texts in dance, design, and drama. Prerequisite(s): satisfaction of the Entry Level Writing and Composition requirements; course 160. K. Edmunds
190. Group Projects. F,W,S
Prerequisite(s): petition required, approved by instructor and department. May be repeated for credit. The Staff
192. Directed Student Teaching. F,W,S
Teaching a lower-division seminar under faculty supervision. (See courses 42 and 45). Petition required, approved by instructor and department. The Staff
193. Proseminar. *
Exposes students to an aspect of the theory or practice of theater arts. Visiting scholars share their area of expertise in lectures to a small group of students. Enrollment limited to 25. May be repeated for credit. The Staff
193F. Proseminar (2 credits). *
Exposes students to an aspect of the theory or practice of theater arts. Visiting lecturers share their area of expertise in lectures to a small group of students. Enrollment limited to 25. May be repeated for credit. The Staff
198. Independent Field Study. F,W,S
Provides for department-sponsored individual study programs off campus for which faculty supervision is not in person (e.g., supervision is by correspondence). Students engaging in field study must complete application procedures for such study by the fifth week of the previous quarter. Petition required, approved by instructor and department. The Staff
198F. Independent Field Study (2 credits). F,W,S
Provides for department-sponsored individual study programs off campus for which faculty supervision is not in person (e.g., supervision is by correspondence). Students engaging in field study must complete application procedures for such study by the fifth week of the previous quarter. Petition required, approved by instructor and department. May be repeated for credit. The Staff
199. Tutorial. F,W,S
Individual study in areas approved by sponsoring instructors. Students submit petition to sponsoring agency. May be repeated for credit. The Staff
199F. Tutorial (2 credits). F,W,S
Individual study in areas approved by sponsoring instructors. Students submit petition to sponsoring agency. May be repeated for credit. The Staff
Graduate Courses
290A. Text Analysis. F
Presents a range of performance blueprints (texts, scores, libretti, etc.), and introduces key methodologies for translating text into performance. A final paper required. Enrollment restricted to graduate students in theater arts. May be repeated for credit. M. Weems
290B. Performance Histories. W
Contextualizes major movement in performance. Students are exposed to a wide range of historical and visual material pertinent to the creation of theater and dance. A final paper is required. Enrollment restricted to graduate students in theater arts. May be repeated for credit. J. Bierman
290C. Performance Analysis. S
Examines the production approaches of a range of performance practitioners, production companies, and performance traditions. Includes exercises in analysis and reconstruction of performance. A final reconstruction project is required. Enrollment restricted to graduate students in theater arts. May be repeated for credit. K. Edmunds
291. Field Study. F,W,S
Student-designed and conducted research carried out in field settings. A brief prospectus must be filed with the department office before undertaking the research, and a brief final report of activities must be filed upon return. Course intended for students with graduate standing in theater arts. Petition required, approved by instructor and department. The Staff
292. Teaching-Related Independent Study. F,W,S
Directed graduate research and writing coordinated with the teaching of undergraduates. Course intended for graduate students in theater arts. Petition required, approved by instructor and department. The Staff
293. Performance Research Project (10 credits). F,W,S
Internship with a professional theater company in the student's area of emphasis. This work will have a significant academic component supervised and assessed by a theater arts faculty member during the quarter it is taken. Enrollment restricted to graduate students. The Staff
295. Group Critique. W
Peer review and constructive assessment of works in progress. Students are required to give individual presentations to the group at least once a quarter. Educational objectives are to develop the ability to articulate themes and ideas in student's body of work; to strengthen critical skills in making, evaluating, and discussing theater art; to explore the role of the audience in context and criticism; and to investigate the ways artists construct, use, and maintain support communities. Enrollment restricted to graduate students. B. Baron
297. Independent Study. F,W,S
Independent study or research for graduate students in theater arts. Petition required, approved by instructor and department. May be repeated for credit. The Staff
297F. Independent Study/Graduate (2 credits). F,W,S
Independent study or research for graduate students in theater arts. Petition required, approved by instructor and department. Enrollment restricted to graduate students in theater arts. May be repeated for credit. The Staff
299. Capstone Thesis. S
Involves participation in a major collaborative performance project (either faculty-directed or graduate student-directed with faculty supervision) or a research project group. Includes a written thesis, though the length will vary depending upon the student's particular emphasis. Enrollment restricted to graduate students. The Staff
Revised: 09/01/17
