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Theater

Chair: Lenore A. Grenoble

Vice-Chair: Margaret E. Spicer

Professors L. A. Crickard, T. P. Hackett, M. E. Spicer; Associate Professors D. Kotlowitz, M. B. Sabinson; Assistant Professor S-Y. Kim; Senior Lecturer J. G. Rice; Lecturer C. Dunne, A. S. Holzapfel; Visiting Professors G. Alexi-Meskhishvili, A. Winograd; Visiting Associate Professors R. Stewart-Laughton, J. D. Sutton; Adjunct Associate Professor T. F. Evans; Adjunct Assistant Professor S. L. Silver.

REQUIREMENTS FOR THE MAJOR

The Theater program at Dartmouth College combines courses in the history, theory, and criticism of theater as a performing art with courses in theater practice. Because of the wide range of interests encompassed in the study of theater, students’ programs for the major include a core of foundation courses in the history, literature and criticism of theater plus a combination of courses individually selected to provide training in several aspects of theater practice with special emphasis in one such area. Proposed programs must be supported by a written rationale to be submitted and approved by the student’s Theater advisor. This rationale and the major cards are then submitted to the Department Vice-Chair. Students may concentrate their studies in such areas as Acting and Directing; Theatrical Design and Technical Production; Playwriting; Dramaturgy; History, Theory, and Criticism of Theater.

Prerequisites:

Theater 15: History of Theater and Drama I: Classical Sources

Theater 40: Technical Production

Prerequisite courses should normally be completed by the end of the sophomore year. Students who become majors after the sophomore year should enroll for the prerequisite courses during the first terms in which they are available after the major has been declared.

Requirements:

Ten major courses, exclusive of the prerequisites, as enumerated within the following categories:

A. Five courses in dramatic literature, theater history, theory and criticism, no more than two of which can be taken outside of the Theater Department.

(1) and (2) Two of the following courses:

Theater 18: Modern Drama I

Theater 63: Dramatic Theory and Criticism

English 24: Shakespeare I

(3) One of the following courses:

Theater 16: Topics in Early Modern Theater

Theater 17: History of British Theater and Drama (FSP)

Theater 19: Modern Drama II

Theater 20: Topics in Modern and Contemporary Western Theater

English 26: English Drama to 1642

English 54: Modern British Drama

(4) One of the following courses:

Theater 21: Topics in American Theater

Theater 22: Black Theater, U.S.A.

Theatre 23: African Theater: From Colonialism to the Present

Theater 24: Performance in Asia

English 47: American Drama

(5) One of the following courses:

Theater 10: Special Topics in Theater (with the approval of the Vice-Chair)

Theater 62: Plays in Performance: Perception and Analysis (FSP)

Theater 65: Drama in Performance (May be applied towards courses in theater practice.)

Or any additional course listed above in categories 1-4.

With prior approval of the Vice-Chair, a course in theater studies from another department (in dramatic literature, theater history, or theater theory and criticism) may be used to fulfill this category (e.g. Classical Studies 2: The Tragedy and Comedy of Greece and Rome).

B. Five courses in theater practice:

(6), (7), (8), (9), (10) An organized, coherent program of five courses supported by the major, written rationale, and approved by the Vice-Chair of the Department. Majors are required to take at least one of the performance courses (27, 28, 29, 30, 36, 38, 54, or 10 upon approval) and one of the design courses (41, 42, 44, 45, 48, and 10 upon approval). Theater 92: The Senior Colloquium may be used in partial fulfillment of this requirement.

C. Production requirement:

Every Theater major is expected to demonstrate competence in the area of theater production by active and sustained participation in theater offerings at the Hopkins Center (or elsewhere as approved by the Department), especially during the period of his or her declared major. Active and sustained participation shall consist of at least five active involvements in productions sponsored (or with approval, cosponsored) by the Department over a minimum of three terms. Each production credit must include a minimum of 25 hours of work. Production credits must reflect a variety of theater activity, only two of which may be in acting. With Department approval work-study hours may, in some cases, count toward the fulfillment of the requirement. Participation may include any form of activity with the exception of work associated with the prerequisite course Theater 40: Technical Production.

a. courses that include a production component

b. acting in productions

c. participation in a production crew

d. stage management

e. directing

f. designing

g.playwriting when the script is produced under the sponsorship of the Department

h. dramaturgy under faculty supervision.

D. The Culminating Experience. See explanation below.

MODIFIED MAJOR IN THEATER

A student who wishes to combine the study of theater with a related field may apply to the Department for a modified major. Such a program shall contain six courses from the theater major beyond the prerequisites (Theater 15 and Theater 40) and four courses that count toward the major(s) in the related department(s) or program(s). Theater 17 may be substituted for Theater 15. Majors are required to take at least one of the performance courses (27, 28, 29, 30, 36, 38, 54, or 10 upon approval) and one of the design courses (41, 42, 44, 45, 48, or 10 upon approval). Students taking a modified major must fulfill a production requirement of participation in three productions, at least one of which must be in an area other than acting (please see “Production requirement” for specifics). The Culminating Experience in Theater must also be completed. In recent years modified majors in Theater have been formed with Art History, Classics, English, Film Studies, French, Music, and Spanish. The program must receive the prior approval of the Vice-Chair of the Theater Department.

MINOR IN THEATER

The requirements for a Theater minor are six courses that include either prerequisite to the major (Theater 15, Theater 40). These six courses shall include no more than one Theater 80 and no more than two courses outside of the Department that would normally be accepted for the major. There will be two production requirements, at least one of which must be in an area other than acting (please see “Production requirement” for specifics). A written rationale must be submitted by the student and approved by the Vice-Chair.

THE CULMINATING EXPERIENCE

All Theater majors and modified Theater majors must complete a Culminating Experience in Theater. (Theater minors, and other majors modifying with Theater will complete their Culminating Experience in their primary departments. Double majors must complete Culminating Experiences in both majors.) Normally the Culminating Experience is undertaken during the senior year.

In Theater, the Culminating Experience has two components:

1) Participation in Theater 92: The Senior Colloquium. All seniors are required to attend the Senior Colloquium. The Vice-Chair will determine whether a student enrolls in either Theater 92: The Senior Colloquium, Theater 91: Honors Thesis, Theater 80: Independent Study or Theater 90: Major Project in fulfillment of the colloquium /culminating experience requirement.

The Senior Colloquium will meet once a week, and will consist of visits by guest artists and critics, presentations and discussions of student projects, critiques of student work, and, where practical, trips to theaters and other locations of interest to the Colloquium.

2) A Culminating Activity. This will consist of a major piece of work in the area of the student’s concentration or primary interest, such as acting, directing, design, technical production, costume production, stage management, playwriting, theater history, dramatic criticism, etc. This activity may take many forms, such as writing an original play (full-length) or collection of shorter plays; a thesis (research and writing in theater history, dramatic literature, or theory); research, rehearsal and presentation of an individual project in acting; a “paper project” in design, which will include research and preparation of an individual project in design or theater technology, culminating in an oral presentation and submission of appropriate design materials such as sketches, renderings, models, and examples of drafting; a collaborative production project involving several seniors (e.g. playwright, director, one or more designers); a Major Project; or the Honors Program (as currently described in the ORC). Students will apply for approval of their Culminating Activities to the Theater faculty via the Vice-Chair.

Majors are urged to plan ahead, and to discuss their plans with the Department Vice-Chair and potential faculty advisors in advance. All culminating experience projects that include a production must be proposed and approved by the end of the spring term of the junior year.

TRANSFER CREDIT

Every course taken for transfer credit in Theater must be approved prior to enrollment by the Vice-Chair of the Department, upon review of a detailed course description. Three courses taken at other institutions may be substituted in fulfillment of the major requirements, provided that the program as a whole is consistent with the intent of the major. Of the three transferred courses, no more than two may be in dramatic literature, history, and criticism (A, above); no more than two may be in theater practice (B, above). An exception to the two-course limit for courses in theater practice is allowed in the transfer of credits from the National Theater Institute: students applying for credit from N.T.I. may use Directing, Playwriting and Movement and Voice as department credit towards the major. Design or Acting are non-equivalent courses and may be transferred for college course count only and not for department credit.

HONORS PROGRAM

Students who have completed at least five major courses and who have an average in the major of 3.4 or higher (and a college average of 3.0 or higher) are eligible to apply for the Honors Program. Honors Programs that include a production project (e.g. in directing, design) must be proposed to the Department and approved during or before the last term of the junior year. Proposals for programs that do not include a production component must be filed and approved during or before the fall term of the senior year. Students with modified as well as standard majors may apply. Honors proposals must include the signature of the faculty advisor(s) before submission to the department for consideration. The member(s) of the Theater Department who will supervise the program will be chosen or confirmed at the time that the proposal is approved. An Honors project, which normally extends through two terms and receives two major credits, must include a thesis or a substantial piece of writing for performance (e.g., a full-length play). Students who prepare for an Honors project by pursuing approved courses of advanced independent study may, with approval of the Department, be allowed to complete the project (thesis) in one term. Students in the Honors Program must complete the twelve courses required for the standard or modified major; the honors credits are in addition to the twelve-course major. Students may complete the twelve-course major simultaneously with the honors thesis: the twelve-course major does not necessarily have to be completed before the honors work has begun. For additional information, students should consult the Department Vice- Chair.

FOREIGN STUDY PROGRAM

 England: London. Fall (alternate years: 2004, 2006)

The Theater Foreign Study Program offers students the opportunity to combine historical study and practice in theater with the intensive experience of drama in performance in a city whose great theatrical tradition dates from before Shakespeare. The course in British Theater History (Theater 17) explores the development of playhouses, stage design, acting companies, and major plays. Emphasis is on the 17th to 20th centuries. Theater 62: Plays in Performance—Perception and Analysis, co-taught by the Dartmouth instructor and a London specialist in contemporary theater practice, involves attending an average of two to three productions per week and a weekly seminar. For the third course, students select — according to interests and preparation — one of the following: (1) Theater 33: Acting IV, an advanced course emphasizing Shakespeare, taught by performer-teachers active in major London acting companies; (2) Theater 52: Playwriting III, under the supervision of a playwright-instructor resident in London; (3) Theater 80: Independent Study in Theater Research or Criticism (supervised by a Dartmouth instructor), or Directing/Design (provided that an appropriate resident artist-teacher is available).

In addition to the many London theaters, including the Royal Shakespeare Company and National Theatre, students will have full access to London’s cultural resources in music, dance, film, and museums. As practical, field trips to historical sites of theatrical interest and backstage tours of theater facilities will be scheduled.

For additional information regarding enrollment and prerequisites, please consult the Off-Campus Academic Programs booklet.

COURSES

1. Stages: How Performance Happens

Not offered in the period from 04F through 05S

Plays are written to be performed. Reading and analyzing them is different from reading novels or poems. Watching them performed is different from watching films or dance. Other performances may be non-scripted, grounded in improvisation, ritual, or the display of specific skills. Using demonstrations, lectures, videos, workshops, scene presentations, attendance at performances, and discussions, this course offers students a variety of strategies and perspectives through which to read the complex theater event, exploring the collaborative process through the eyes of actors, directors, designers, dramaturgs, critics, and audiences. Questions the course will consider critically include: how are plays put together? how do plays become performances? how does performance participate in culture? what is theatricality? Readings will include culturally diverse plays from both the contemporary and classic repertoires, dramatic theory, and theater criticism. Dist: ART. The staff.

7. First-Year Seminars in Theater

 Consult special listings

10. Special Topics in Theater

04F: Arrange 05W: 3A05S: Arrange

In 04F at Arrange, Production Dramaturgy. This course will give students practical experience working as production dramaturgs. Students will research all aspects of the main-stage theater department production, work with designers, actors and the director to arrive at an interpretive approach to the work, attend rehearsals, prepare a study guide and notes for the program. Please be prepared to spend many evening hours in rehearsals. Assignments include a daily journal and a final paper.

Open to sophomores, juniors, seniors with permission of the instructor. Dist: ART. Holzapfel.

In 05W at 3A, Acting Comedy. This course will explore comedic acting techniques for the stage with a practical emphasis on their origins and execution. Readings and scene work will be drawn from Greek and Roman theater, Commedia Dell’Arte scenarios, Elizabethan plays, Restoration comedies, Vaudeville routines, etc. Attention will also be given to silent forms and the physical dimensions of all comedic acting.

Permission of the instructor is required. Sabinson.

In 05S at Arrange, Shakespeare in the Schools. In this course students will have an opportunity to explore the challenges and pleasures of teaching and play direction. The progression will be an intensive training in team instruction of Shakespeare’s drama and rehearsal techniques.Students will assume responsibility for direction of an abridged Shakespeare play in an Upper Valley fifth or sixth grade classroom. Regular meetings with the instructor will serve as preparation for an onsite, weekly residency in the elementary school. Student mentoring teams will be instructed in an approach to introducing Shakespeare’s world and guiding children through a process of rehearsal, and ultimately, performance.

Open to all classes with instructor’s permission. Dist: ART. Rice.

15. History of Theater and Drama I: Classical Sources

04F, 05F: 2A

A historical and critical survey of stage practice and dramatic literature as performed on Greek, Roman, and Classical Indian, and Japanese stages, with some emphasis on why and how theater develops differently on eastern and western stages. Topics considered will include theater architecture, acting, theater criticism and theory, and the cultural politics of each period we examine. This course assumes that theater is both an art form and a social institution. As such, we will examine representative texts as both aesthetic and cultural documents, exploring how these plays were produced, for whom, and why. Assignments include extensive readings, in-class scene presentations, a research project, and a final presentation.

Open to all classes. Dist: ART. Class of 2007 and earlier: WCult: EU. Class of 2008 and later: WCult: W. Holzapfel.

16. Topics in Early Modern Theater

05S: 2A

This course will present varying topics in theater practice and dramatic literature from the Early Modern (14th–18th centuries) Theater.

In 05S, History of Early Modern Theater and Drama. A survey of the dynamic developments in world theater during the early modern period, from the fourteenth through the eighteenth centuries. This rich period includes English Elizabethan, Jacobean and Restoration Drama; Japanese Noh, Bunraku and Kabuki; the Spanish Golden Age; French neoclassical drama; the transformation of Italian comedy from commedia dell’arte to bourgeois realism. German romanticism and early American drama will also be explored. The course will include historical material on theater spaces, conventions and performers, as well as the relation between theater and society; but its primary goal is to give the student a basic grounding in the texts of early modern drama.

Open to all classes. Dist: ART. Class of 2007 and earlier: WCult: EU. Class of 2008 and later: WCult: W. Holzapfel.

17. History of British Theater and Drama

04F: D.F.S.P.

A study of the cultural and physical forms of British theater, accompanied by the reading and discussion of major plays from the periods considered. Offered only as a part of the Theater Foreign Study Program in London. Emphasis will be given to the drama and theaters of the mid-17th to early 20th centuries. However, some attention will also be given to Shakespeare, and the chronological boundaries of the course will be adjusted to include historically significant plays that can be seen in production during the term in which the course is offered. Representative continental influences will be considered on occasion (for example, plays by Corneille, Racine and Moliere). Some knowledge of English Renaissance theater and drama is expected.

Prerequisite: at least one of Theater 15 or English 24. Dist: ART. Class of 2007 and earlier: WCult: EU. Class of 2008 and later: WCult: W. The staff.

18. Modern Drama I (Identical to Comparative Literature 33)

05W, 05F: 10A

Major international plays of classic modernism will be set in the context of the art movement of the early 20th century. We will study the theatrical qualities of the modern theater text and the nature of the characters which govern its action in the works of Ibsen, Strindberg and Chekhov, Buchner and Brecht, O’Neill, Williams and Miller. The impulsive, irrational texts of Futurism, Expressionism, Dada and Surrealism will also be considered. Videotapes will accompany class lectures and discussion.

Open to all classes. Dist: ART or INT. Class of 2007 and earlier: WCult: EU. Class of 2008 and later: WCult: W. Winograd.

19. Modern Drama II

06W: 10A

This course will investigate the nature of performance at the end of the 20th century. It will focus on the processes of making performance, the negotiation between traditional theatre text/practice and the avant-garde, the shared concerns of performance and visual artists (happenings, performance art), and the social and/or political purposes of performance. Readings will include key critical and theoretical texts in theatre and such fields as post modernism, gender studies, and feminist criticism. Performance work will be viewed live and/or on video.

Open to all classes. Dist: ART or INT. Class of 2007 and earlier: WCult: EU or NA. Class of 2008 and later: WCult: W. The staff.

20. Topics in Modern and Contemporary Western Theater

05W: 3A

This course will examine the sources, purposes, theories, and techniques of modern and contemporary (19th-21st centuries) theater practice in the Western World. Resources will include play texts, critical writings, and visual materials.

In 05W, Almost Paradise: Theaters of Utopia. This course will explore constructions of utopia in 20th and 21st century theater, film, and visual art—from the gardens of Paradise to the skyscrapers of Metropolis. How have definitions of utopia been shaped by modern warfare? What is dystopia? How are utopias more or less reflections of our own societies? Areas of consideration may include: European avant-garde movements, the American musical, 1960s collective theater, 1990s rave culture, video games, and Japanese anime.

Open to all classes. Dist: ART. Holzapfel.

21. Topics in American Theater

Not offered in the period from 04F through 05S

This course will focus on a single figure, a group of related figures, a period, genre, or theme from the history of the American theater. A detailed exploration of relevant plays, notable performers and productions, stage designs, theater companies and the performance spaces in which they evolved, and their social context. Resources will include play texts, contemporary reviews and descriptions, critical responses, and visual materials.

Open to all classes. Dist: ART. Class of 2007 and earlier: WCult: NA. Class of 2008 and later: WCult: W.

22. Black Theater, U.S.A. (Identical to African and African American Studies 31)

Not offered in the period from 04F through 05S

This course will examine African American playwrights, drama, and theater from the 1960s to the 21st century. Further exploration will focus on the impact of civil rights, the Black Arts movement, and cultural aesthetics on the form, style, and content of African American plays. Critical works in the theories of Black theatrical praxis and textual analysis will be read to facilitate class discussions concerning theme, plot, ritual, polemics, etc. The course will also explore artists, individuals, and institutions that helped spawn the growth of African American theater and drama over the last four decades. Readings will include plays of Lorraine Hansberry, Amiri Baraka (LeRoi Jones), Adrienne Kennedy, Douglas Turner Ward, Alice Childress, Charles Fuller, Ntozake Shange, George Wolfe, Elaine Jackson, August Wilson, Anna Deavere Smith and others.

Open to all classes. Dist: ART. Class of 2007 and earlier: WCult: NA. Class of 2008 and later: WCult: W.

24. Performance in Asia

05S: 2A

This course will survey the major classical theatre of Asia. We will explore the development of such different traditions as the Japanese Noh and Kabuki, Classical Chinese drama and opera, Sanskrit drama, and the puppet theatres of Southeast Asia. Some attention will be paid to the performance traditions within which these works evolved, and to the way they are received today.

Open to all classes. Dist: ART; WCult: NW. Kim.

27. Dance Studies I

04F: 2A

An introduction to dance as a performing art through study of modern dance history, technique, improvisation and the elements of dance composition. This course will animate the intersection of dance history, movement theory and practice through the creative process. Movement will be a catalyst to explore individual expression while studying traditional and contemporary dance techniques, i.e., modern dance, ballet and improvisation. Readings, written work, dance concert attendance and video showings will be required as specified in the syllabus.

Enrollment limited to twenty students. Dist: ART. Evans.

28. Dance Studies II

05W: 2A

An in-depth study of the principles of dance composition leading to choreographic projects. Students will receive training in both dance composition and criticism, developing the fundamental tools for choreography while acquiring the vocabulary for sophisticated choreographic analysis. Reading and writing assignments on contemporary issues in dance will be the departure for student’s theoretical and creative exploration. To this end the class will concentrate on individual student work and the development of movement style and choreographic expression. Class work will culminate in an informal showing at the conclusion of the term.

Prerequisites: Dance Studies I and/or permission of the instructor. Dist: ART. Evans.

29. Dance Studies in Performance

04F: 2A

Emphasis will be placed on advanced technical training in dance studies, development of mature rehearsal skills and achievement of individual performance goals, culminating in an annual dance concert. This course consists of two dance technique classes per week and daily rehearsals Monday through Friday. In addition, students will have the opportunity to study and work with innovative and cutting-edge guest choreographers during their residencies on campus.

One course credit is offered for three consecutive and combined terms of participation in Theater 29 and will be granted only after successful completion of all three terms of study. The course is included as part of a student’s official course load only in the first term (fall); a grade is given upon completion of the final term (spring). A student who does not complete the course will receive a non-credit grade. Up to three course credits for Theater 29 may be counted toward the Dartmouth degree.

Open to all classes, with instructor’s permission. Dist: ART. Evans.

30. Acting I

04F:10A, 2A 05W, 05S:10A

Basic introduction to acting technique for the stage. Designed to develop ability to play dramatic action honestly and believably, using realistic/naturalistic material as well as self- scripted autobiographical writing. Course work includes exercises and improvisations exploring awareness, relaxation, observation, the senses, voice, and physical and emotional life. Work in preparation of the monologue will be introduced. Scene work, in the second half of the term, will focus on breaking down the play, analysis, identity, motivation and action. Out-of-class assignments include required readings from acting texts and plays. Attendance at, as well as responses to, a number of stage productions scheduled during the term are required. A commitment to regular journal writing in the form of an Observation Notebook will be expected.

Open to all classes, with instructor’s permission. Do not pre-register for this course: registration is invalid without permission and a signed card from the instructor. To enroll in this course you must first interview with the instructor. A sign-up sheet for interviews will be posted in Shakespeare Alley the day before classes begin. Interviews are conducted on the first day of classes. If selected for the course, permission cards will be issued at the first class meeting. Dist: ART. Sabinson, Rice, Dunne.

31. Acting II

05W, 06W: 2A

Further study of acting technique for the stage. Course work includes continued exercises, improvisations, and naturalistic/realistic scene study. Out-of-class assignments include the reading of plays and theoretical works on acting technique; required attendance at area stage productions; analytic and critical writing assignments; scene preparation, investigations, and rehearsal; and an extensive acting journal of work done in and out of class.

Prerequisite: Theater 30 and permission of the instructor. Dist: ART. Sabinson.

32. Acting III

05S, 06S: 2A

Beyond the material covered in the previous term, considerations of style and work on period plays are introduced. Scene study is done in greater depth, and improvisational work focuses on real-world events from newspapers and/or other relevant sources. Out-of-class assignments include the reading of plays and theoretical works on acting technique; required attendance at area stage productions; analytic, critical, and creative writing assignments; scene preparation, investigations, and rehearsal; and an in-depth journal of work done in and out of class.

Prerequisites: Theater 30, 31 and permission of the instructor. The department recommends that Acting III should be taken in the term following Acting II. Dist: ART. Hackett.

33. Acting IV

04F: D.F.S.P.

For advanced students of acting, this course will provide training and exercises in the performance of classical British drama. Study will include comprehension and interpretation of texts, voice, movement, characterization, stylistic approaches, and work with monologues and scenes. The course will emphasize historical texts: Shakespeare and Renaissance drama. However, study may also, at times, include work with “mannered” or “high” comedy of later periods (for example, plays by Wilde, Shaw, Pinter). Instruction by performers experienced in classical acting. Normally offered only as part of the Theater Foreign Study Program in London.

Prerequisites: Theater 30, 31, and 32, or the equivalent. Dist: ART. The staff.

34. Acting for the Camera

06W: 3A

Introduction to acting technique for the camera. Designed to develop ability to play dramatic action honestly and believably, taking into consideration the presence and role of the camera. Using naturalistic contemporary film scripts, course work includes exercises and improvisations, both on and off camera, focused on relaxation, concentration, and imagination, as well as scene work focused on text analysis, motivation, action, and character development. Out-of-class assignments include readings from texts, scripts, and articles; required attendance at area film showings; analytic and critical writing assignments; scene preparation, rehearsals and location shooting. Several class exercises and assignments will be done in conjunction with film studies students enrolled in Film Studies 37: Directing for the Camera.

Open to all classes, with instructor’s permission. Permission to enroll will be given based on an interview with the instructor. Dist: ART. Sabinson.

36. The Speaking Voice for the Stage

05W, 06W: 2A

This course is an examination of the principles and practice of freeing the natural voice. It proceeds from the notion that “voice” and “acting” are inseparable. Although it is an introduction to the use of voice in the theater, it is in no way limited to the actor. A specific progression of exercises will be presented to facilitate freeing the body of tensions, discovering the natural breath, releasing vibrations of sound from the body, and opening the channel for sound (throat, jaw, tongue). Resonance, vocal freedom, and articulation will also be explored. Techniques for accessing emotional and psychological truth will be practiced as fundamental to the actor’s creative process. A groundwork will be laid for physical and vocal presence. Each student will be responsible for the development and practice of a vocal warmup. A variety of speaking assignments will be made to develop confidence, presence and emotional expressivity. Text materials utilized will emerge from self-scripted autobiographical storytelling. A strong commitment to the work is necessary to explore what it means to find one’s voice.

Do not pre-register for this course: registration is invalid without permission and a signed card from the instructor. To enroll in this course you must first interview with the instructor. A sign-up sheet for interviews will be posted in Shakespeare Alley the day before classes begin. Interviews are conducted on the first day of classes. If selected for the course, permission cards will be issued at the first class meeting

Open to all classes, with instructor’s permission. Dist: ART. Rice.

38. Movement for Actors I

05W, 06W: 10A

An introduction to dramatic movement for the stage. Using physical language we will explore technique, improvisations, repertoire, and composition. Students will work on solos, duets and in groups with text, objects, and music. Assignments will include classroom presentations, readings, and papers. Videotapes will be reviewed and discussed.

Open to all classes. Dist: ART. Stewart-Laughton.

39. Movement for Actors II

05S, 06S: 3A

A more advanced exploration of both creative and technical movement for the actor. Alignment, body conditioning, contact improvisation, movement composition, and the analysis of significant recorded movement based theater works are covered. There will be specific written assignments, critiques, and a final paper. Individual exploration in movement concepts is encouraged. No previous training is required.

Prerequisite: Theater 38. Dist: ART. Stewart-Laughton.

40. Technical Production

04F, 05S, 05F, 06S: 10

An introduction to the technical aspects of scenic and property production, exploring traditional and modern approaches. Topics include drafting, materials and construction, stage equipment, rigging, and health and safety. Lectures and production projects.

Open to all classes, with instructor’s permission. Dist: ART. Silver.

41. Stage Management

05F: Arrange

An introductory course in the theories, techniques, and practices of stage managing a production from its initial stages to the conclusion of the run. Plays, musicals, opera, dance, and touring productions will be examined from the perspective of the stage manager. Working with directors, choreographers, and other members of the production team will be discussed as well as calling shows. Students will acquire practical experience through assignments on Department of Theater productions. As practical, field trips to such places as Yale Repertory Theatre, Long Wharf Theatre, or American Repertory Theatre will be arranged and will include discussions by their production stage managers.

Open to all classes, with instructor’s permission. Dist: ART. The staff.

42. Scene Design I

05W, 06W: 10A

An introduction to the basics of scenic design through weekly projects in scale models, drawings, research, lighting and storyboard. Students will also study the collaborative process between scene designers, directors, costume and lighting designers. Suitable for students interested in theater, visual and video art, installation, film, architecture, and sculpture. Students will have the opportunity to assist student and faculty scene designers on Department of Theater productions.

Open to all classes. Dist: ART. Alexi-Meskhishvili.

43. Scene Design II

05S, 06S: 10A

Further study of the design process and the creation of visual expressions of dramatic text. Emphasis will be placed on the difference between theater, opera and ballet. Students will work with scale color models and have opportunities to design student directed department productions.

Prerequisite: Theater 42, or permission of the instructor. Dist: ART. Alexi-Meskhishvili.

44. Lighting Design I

05W, 06W: 11

An introduction to the practical and artistic elements of theatrical lighting design. The course will include topics in color theory, form, movement, composition, and the creative process. Through analyzing the script and studying light in nature, film, and art, students will prepare projects that explore the possibilities of light in the theater. Students will have the opportunity to work on Theater Department productions with faculty and student lighting designers. Lectures, discussions, design projects, and critiques.

Open to all classes. Dist: ART. Kotlowitz.

45. Composition and Design

04F: 10A

Composition and Design is a study of visual composition and how it can be used to communicate ideas in the theater. This class is designed for anyone who is interested in visual composition—as a designer, director, actor, artist or audience member. It will cover the process of taking a concept, a thought, a story, a mood, or an emotion and transforming it into a visual idea. Students will create compositions using collages and all the elements of the theater- actors, scenery, costumes, lights, and sound. Projects will explore artistic expression, communication and collaboration while examining how we perceive the visual world and how, as theater artists, we can manipulate that perception. Investigations may incorporate painting, sculpture, music, poetry, photography, film, dance and theatre. Emphasis will be placed on student projects and critiques.

Open to all classes. Dist: ART. Kotlowitz.

46. Costume Production

Not offered in the period from 04F through 06S

A study of the technical aspects of costume production, including construction, draping, drafting, and the use of fabrics and materials. The course will consider the historical and modern solutions to the problems of costume construction and production.

Open to all classes, with instructor’s permission. Dist: ART. Spicer.

48. Costume Design I

04F, 05F, 06W: 11

An introductory course in the appreciation of the costume design process as part of the dramatic production. Through weekly projects students will study the principles of line, texture, and color as well as the history of costume from the Renaissance through the Eighteenth century. Lectures, design projects, and critiques.

Open to all classes, with instructor’s permission. Dist: ART. Class of 2007 and earlier: WCult: EU. Class of 2008 and later: WCult: W. Spicer.

50. Playwriting I

04F, 05S, 05F, 06S: 3A

The aim of the course is for each student to write the best one-act play he or she is capable of writing. This undertaking will involve a number of preliminary exercises, the preparation of a scenario, the development of the material through individual conferences, and finally the reading and discussion of the student’s work in seminar sessions.

Open to all classes. The course is limited in size and requires the permission of the instructor. Students will not be enrolled until after an interview with the instructor. Preregistration is not permitted. Dist: ART. Sutton.

51. Playwriting II

04F, 06S: Arrange

Permission of the instructor is required. Dist. ART. Sutton.

52. Playwriting III

04F: D.F.S.P.

Students will have the opportunity to work one-on-one with a professional playwright in London to develop a full-length script, normally a project already in progress. Students will also participate in critical evaluation of new plays produced in London. If possible, students’ work will receive a reading as part of the final project.

Prerequisites: Theater 50 and 51, or permission of the instructor. Dist: ART. The staff.

54. Directing

04F, 05F: 2A

An introductory course in directing for the stage. Topics include the role and function of the director in the contemporary theater; the basic tools of proscenium blocking and staging, such as composition, picturization, movement, and gesture; structural script analysis; and basic actor coaching techniques.

Open to sophomores, juniors, and seniors. Prerequisites: Theater 30 and permission of the instructor. Dist: ART. Hackett.

62. Plays in Performance — Perception and Analysis

04F: D.F.S.P.

Offered only as a part of the Theater Foreign Study Program in London, this seminar will integrate the study of theater with the experience of plays in performance. By providing intense, comparative experience of playgoing, the course intends to broaden students’ knowledge of the dramatic repertoire, to heighten their awareness of production approaches and values, and to encourage them to develop considered critical response to theater. Students will attend a number of required performances and in addition attend performances of their own choosing — normally a total of three plays per week. Productions will represent a variety of periods and styles of playwriting, and a similarly diverse range of production companies and approaches to performance. Weekly seminar meetings will focus on critical responses to plays and productions, with background provided by guests from the professional theater (directors, writers, performers, designers, critics). Students will maintain journals and provide brief written critiques.

Dist: ART. Class of 2007 and earlier: WCult: EU. Class of 2008 and later: WCult: W. Winograd.

63. Dramatic Theory and Criticism

Not offered in the period from 04F through 05S

This course will examine a broad range of philosophical/aesthetic ideas related to the nature of drama and performance, both scripted and non-scripted. We will explore such topics as storytelling, oral tradition, ritual, comedy, and tragedy, with critical readings drawn from the Classical period; Renaissance; 18th and 19th centuries; and post-structuralist, postmodern, feminist, post-colonial, and queer criticisms. Critical readings will be supplemented with plays whenever possible.

Open to sophomores, juniors, and seniors. Dist: ART. The staff.

65. Drama in Performance

Not offered in the period from 04F through 05S

An intensive study of a selected playwright or playwrights, genre, period or topic, and development of one text through the rehearsal process into performance on the stage.

Open to sophomores, juniors, and seniors. Dist: ART. The staff.

80. Independent Study

04F, 05W, 05S, 05X: Arrange

This course is designed to enable qualified upperclass students to engage in independent study in theater under the direction of a member of the Department. A student should consult with the faculty member with whom he or she wishes to work as far in advance as possible, and not later than the term immediately preceding the term in which the independent study is to be pursued.

A written proposal and the approval of the faculty member and of the Vice-Chair is required.

90. Major Project

04F, 05W, 05S: Arrange

This course, limited to Theater majors or those who include Theater as part of a modified major, involves an individual project in some aspect of dramatic literature, theory, or practice. The subject of the project, the term, and the hours are to be arranged. Each project must be directed by a faculty member of the Department. The approval of the faculty member and of the Vice-Chair must be secured in advance, and not later than the term immediately preceding the term in which the project is to be undertaken.

91. The Honors Thesis

04F, 05W, 05S: Arrange

An Honors project, which normally extends through two terms and receives two major credits, must include a thesis or a substantial piece of writing for performance (e.g., a full- length play). This course must be elected by all honors candidates.

For acceptance into this course see section on Theater Honors Program.

92. The Senior Colloquium

05W: Arrange

A weekly colloquium, conducted as part of the Culminating Experience. Visits by guest artists and critics, presentation and discussion of student projects, critiques of student work, and, where practical, trips to theaters and other locations of interest to the Colloquium. Participation required of all senior Theater majors (standard or modified). Attendance is required of all theater majors; enrollment is required of all those majors not conducting their culminating activity under another course number, such as Theater 80: Independent Study; Theater 90: Major Project; or Theater 91: Honors Thesis. Such substitution must be approved by the Vice-Chair. May be counted as one of the five courses in theater practice. All culminating experience projects that include a production must be proposed and approved by the end of the spring of the junior year.

Permission of the instructor is required. Dist: ART. Stewart-Laughton.