Graduate Course Listing

General Topics (THEA)

5101, 5201, 5301. Directed Studies in Theatre.

5381, 5382, 5383, 5384. Studies in Theatre, Drama and Performance. An examination of selected topics in theatre, drama, and performance. Texts, topics and critical approaches vary.

5398, 5399. Production Research and Development. Script analysis, background research, and performance design for actors, designers and directors.

6101, 6201, 6301. Directed Studies in Theatre.

6216. Theories of Modern Theatre Practice. The course will examine the role theory has played in the development of modern and postmodern theatre practice. Significant attention will be devoted to theorist/practitioners working prior to 1960: Wagner, Appia, Craig, Stanislavski, Brecht, Artaud, the Prague School and Grotowski. After 1960, readings and viewings will foreground myriad issues, among them the formative impact of theories of textuality, semiotics, colonialism, race and gender on contemporary theatre constructs.

6217. Text Analysis II. Development of analytical skills in verse drama from Aeschylus to Derrick Walcott. Focus will rest on the text as a blueprint for action.

6315. Text Analysis I. Offers acting, design and directing students an interdisciplinary and integrated approach to the analysis of modern and postmodern dramatic literature. Students will acquire the skills necessary to use texts as the blueprints for interpretation and/or departure. Reading, discussion and written analyses of selected texts will form the basis of class interaction, but secondary critical literature will be used selectively to foreground key issues. Texts will range from Dumas fils (c. 1850) to contemporary dramatists.

6338. Shakespeare in Contemporary Performance. Making the Shakespearean text accessible to the contemporary actor, student and audience through performance. Political, social and humanistic aspects of Shakespearean drama are examined as they relate to contemporary society. Intense scene study workshops culminate in public performance.

Acting (THEA)

5114. Stage Makeup. Instruction in basic stage makeup, wig and hair styling, and beard building.

5205, 5206. Movement I-II. Exploration of the actor's self through immersion in physical skills for the theatre, including T'ai Chi Ch'uan, corporal mime, improvisation, juggling, hatha yoga, unarmed stage combat, animal-style wu-shu and foil fencing.

5207, 5208. Voice for the Stage I-II. A series of progressive exercises/experiences designed to introduce basic principles of physical, vocal, and imaginative freedom, encouraging the removal of psychophysical barriers to sound production, and developing the voice's sensitivity to impulse, power, flexibility and range. Organic exploration of sounds of speech, using IPA pillows and Sound and Movement improvisations. Text work includes development of self-scripted solo pieces, exploration of poetry and song, and the application of voice work to modern dramatic texts.

5209. Applied Movement I. Body work as it pertains to economy of movement, alignment, proper use, kinesthetic awareness, strength, flexibility and freeing the physical instrument. This course includes acrobatics, the Lecoq 20 movements, and Neutral Mask, as well as physicalization of text, improvisation, and ensemble projects employing the physical work investigated throughout the term.

5210. Applied Movement II. Continuation of body work as it pertains to economy of movement, alignment, proper use, kinesthetic awareness, strength, flexibility, and freeing the physical instrument. This course includes acrobatics, the Lecoq twenty movements, and Neutral Mask, as well as physicalization of text, improvisation, and ensemble projects employing the physical work investigated throughout the term.

5298, 5299. Production Research and Development. Script analysis, background research, and performance design for the actors and designers.

5303. Acting I. Studio focuses on defining a fundamental acting process. Stress is placed on the identification of behavioral blocks, channeling impulses into uncluttered and organic psychophysical connections, and using the text as a blueprint for action. Courses combine a mix of exercise, improvisation and scene study with materials drawn from modern American Realism as well as the early Modernist plays of Ibsen, Strindberg and Chekov.

5304. Acting II. Studio focuses on defining a fundamental acting process. Stress is placed on the identification of behavioral blocks, channeling impulses into uncluttered and organic psychophysical connections, and using the text as a blueprint for action. Courses combine a mix of exercise, improvisation, and scene study with materials drawn from modern American Realism as well as the early Modernist plays of Ibsen, Strindberg and Chekhov.

6107. Voice for the Stage V. A continuation of the voice and speech curriculum to further enhance the actor's technique, reinforce good vocal usage, and address any outstanding habits or issues in the actor's process.

6108. Voice for the Stage VI. A culmination of the voice training with forays into other media. Cold readings and the use of a microphone for commercial and radio work will be addressed to prepare the actor for entry into the profession.

6111. Applied Voice I. The application and acquisition of speech sounds and the International Phonetic Alphabet to expand the actors' technique, flexibility and range. Ideas of standardization and the identification of habits and regionalisms are addressed.

6114. Improvisation. Graduate-level exercise of actor spontaneity and intuition through theatre games and improvisation.

6205. Movement III. Teaches extension of energy and physical listening skills. Skills taught include quarterstaff, rapier and dagger, court sword and broad sword.

6206. Movement IV. Allows the student to process personal experience into the movement and sound of a character. Skills taught include clowning, LeCoq figures and neutral mask.

6207. Voice for the Stage III. Continued exploration and reinforcement of basic physical, vocal, and imaginative freeing processes through the classic Linklater voice progression. Introduction to structural analysis of Shakespearean text. Application of voice work to speaking of Shakespeare and other Period texts: scenes, monologues and sonnets.

6208. Voice for the Stage IV. Further deepening of the voice foundation work set out in previous terms, expanding the breath connection, range, and resonance using a variety of challenging texts. Shakespeare, Shaw and Milton are examples of texts used to enlarge the actor's palette as well as explore how to use the voice in different venues, spaces and media.

6209. Applied Movement III. Continuation of body work, improvisation and ensemble projects as they apply to acting. This course uses additional Lecoq-based work using character mask; physical inquiry into the young, old and animals; and their relationship to creation of a physical characterization and connectedness (word to action).

6210. Applied Movement IV. Continuation of body work as it pertains to economy of movement, alignment, proper use, kinesthetic awareness, strength and flexibility. This course uses character mask, physicalization of text, and the Lecoq work with the elements to connect the work to the acting process.

6212. Applied Voice II. An extension from speech sounds and IPA into the research and application of dialects and accents.

6214. Acting for the Camera. An intensive approach to acting for film and television. Students will work with actual scripts and copy.

6303, 6304. Acting III-IV. Focus placed on the actor in the classics. Scene study work begins with the Greeks, moves to Shakespeare, and culminates with work in Molière, Restoration drama and Shaw.

6313. Business Aspects of the Professional Theatre. An introduction to business skills and self-marketing for the professional, including audition preparation: compiling resumes, photographs, cold readings, monologues, and scene work for repertory, summer theatre, and professional theatre casting.

6503, 6604. Acting V-VI. Course stresses expansion of the actor's technique through extensive exposure to contemporary dramatic texts and performance demands.

Directing (THEA)

5211. Design for Directors I. An introduction to the world of collaboration with designers and an exploration of the work of scenic, lighting and costume designers. Students will learn how better to communicate with designers, as well as the history of design in the theatre.

5213. Design for Directors II. A continuing exploration of the collaborative process between designers and directors, including studying collaborations throughout theatre history.

5310. Directing I. An introductory graduate course for directors, focusing on analysis of text, articulation of concept, and communication of textual demands to actors.

5311. Directing II. An intermediate graduate course for directors, with emphasis on the director-designer relationship and the production process.

5341. Collaboration: Directors and Designers. Team-taught by directing and design faculty, this course emphasizes the building of a collaborative process among theatre artists. Students research historical collaborative relationships, create and conceptualize approaches to various texts, and familiarize themselves with the approaches of artists currently working in the theatre.

5361, 5362. Director's Studio I-II. The daily workshop for professional graduate directing students, emphasizing work with actors in rehearsal and performance of studio projects.

6341, 6342. The Director and His Theatre I-II. Students pursuing graduate programs in directing brought together with directors experienced in various forms of modern dramatic production. The specific theatre situation viewed as a medium for the director.

6343. Directing III. An advanced course for directors, focusing on directing styles and dealing with period plays.

6344. Directing IV. An advanced course for directors, examining special problems; the musical and arena staging.

Stage Design (THEA)

5221, 5222. Scene Design I-II. An introductory course for designers focusing on the communication skills (visual and verbal) necessary for collaborating with the director and the other artists in the theatre. Included is a Design Seminar that explores the text relative to its literary, musical, social and historical influences.

5223, 5224. Costume Design I-II. An introductory course for designers with emphasis on the application of design principles and the use of research materials.

5225, 5226. Lighting Design I-II. Fundamentals of learning how to see, exploring the mind's eye, and painting with light. How to translate theatrical moments and music into lighting sketches, story boards and atmospheres. Developing points of view and approaches. Fundamentals of the tools of the lighting designer and assistant skills and techniques are studied.

5351, 5352. Scene Design III-IV. A continuation of the study of scene design incorporating individual class projects with the intensive study of style and genre.

5353, 5354. Costume Design III-IV. An intermediate course with emphasis on play analysis, character relationships and techniques of presentation.

5355, 5356. Lighting Design III-IV. Continued study in the art of lighting design. Advanced atmosphere creation, professional techniques, and specialized approaches are explored. Professional assistantships are assigned to selected students.

5357. Designing with Computers. An exploration of the tools for computer image creation and their applications. Software used includes, but is not limited to, AutoCad, MiniCad and Adobe Photoshop.

5358. Advanced Designing with Computers. A continuation of the exploration of the tools for computer image creation and their applications. Software used includes, but is not limited to, AutoCad, MiniCad and Adobe Photoshop.

6119, 6120, 6121, 6122. Drawing for Designers I-IV. Drawing and painting from life with emphasis on developing designers for the stage. Emphasis is on the exploration of various media, development of the individual artist and collaborative projects. Each student advances at her/his own pace.

6351, 6352. Scene Design V-VI. Master's class in scene design. Practical study of the integration, collaboration, and exploration of the design process with other theatre artists.

6353, 6354. Costume Design V-VI. Master's class in costume design. An advanced course with emphasis on the design and execution of both theoretical and practical costume projects for the various theatrical media.

6355, 6356. Lighting Design V-VI. Master's class in lighting design. Practical study of the integration, collaboration, and exploration of the design process with other theatre artists. Professional assistantships and internships are assigned to select students.

6362. Advanced Skills in Painting. The study of specific technical skills for the practical application of painting on scenery and costumes.