98312

98312

THTR 101 Introduction to Acting

Lynn Hawley

M . W . .

10:30 - 11:50 am

Fisher PAC

PART

98316

THTR 101 Introduction to Acting

Jonathan Rosenberg

. T . Th .

10:30 - 11:50 am

Fisher PAC

PART

3 credits This course, intended for prospective theater majors, focuses on accessing the beginning actor’s imagination and creative energy. Using theater games, movement work, and improvisational techniques, the intent is to expand the boundaries of accepted logic and to encourage risk-taking in the actor. Course work includes intensive classroom sessions, individual projects designed to promote self-discovery, and group projects focused on the process of collaborative work.

98323

THTR 101 NT Introduction to Acting

Naomi Thornton

. . . Th .

3:20 -5:20 pm

FISH

PART

2 credits Scene preparation and beginning scene technique. Emphasis on relaxation, breathing, and concentration. Teaching the actor to make choices and implement them using sense memory and to integrate this work with the text. Group and individual exercises and improvisations. Continuous work on the acting instrument stressing freedom, spontaneity, and individual attention. Materials: poems, monologues, stories, and scenes. Reading of American plays, 1930 to present.

98318

THTR 103 Acting Company

Jonathan Rosenberg

. T . Th .

1:30 -2:50 pm

Fisher PAC

PART

3 credits Corresponding with Directing Seminar, actors work with student directors on scene work for in-class presentation. Open to first year students.

98325

THTR 122 Movement for Actors

Jean Churchill

. . . . F

12:00 -1:20 pm

Fisher PAC

PART

1 credit Basic training in movement, rhythm, development of technique and confidence in space.

98319

THTR 131 Voice for Majors

Elizabeth Smith

. T . . F

1:30 -2:50 pm

Fisher PAC

PART

2 credits This course is designed to develop an awareness of the importance of physical relaxation, breath capacity and control, resonance and placement. There will also be an emphasis on clarity of articulation and the use of vocal range and inflection. This course is intended for moderated and prospective theater majors.

98310

THTR 141 A Alexander Technique I

Judith Muir

M . . . .

9:00 - 10:20 am

Fisher PAC

PART

1 credit. A world-respected technique developed over 100 years ago; the Alexander Technique is a valuable tool for performers, writers, scholars, and artists. It is a simple and practical approach to improving balance, coordination and movement. During this course we will learn about habits of thinking and moving that cause stress and fatigue. This awareness will enable different choices to be made in ourselves and how we respond to the environment.

98311

THTR 141 B Alexander Technique I

Judith Muir

M . . . .

10:30 - 11:50 am

FISH STUD

PART

See above.

98326

THTR 206 History of Theater

Jean Wagner

. T . Th .

1:00 -2:20 pm

PRE 110

AART

4 credits This course looks at the major periods and forms of Western dramatic literature from its primal roots, through Greek and Roman Tragedy and Comedy, Medieval Theater, Tudor Comedy, Renaissance Drama, Commedia dell-arte, Elizabethan Theater, and the Spanish Golden Age. We will read plays from each of these periods as well as theoretical and critical writings which will elucidate the social and aesthetic conditions of the day. This course will provide the student with an understanding of the development of theater as an art form, and explore how theater relates to and reflects the intellectual, social, political and spiritual climate of the broader culture. This course is open to all students, and is a requirement for moderation in Theater.

98327

THTR 207 Playwrighting I

Caridad Svich

. . . Th .

1:30 -3:50 pm

Fisher PAC

PART

4 credits An introductory course that focuses on discovering the writer’s voice. Through writing exercises based on dreams, visual images, poetry, social issues, found text, and music, each writer is encouraged to find his or her unique language, style, and vision. A group project will explore the nature of collaborative works. Students learn elements of playwriting through writing a one-act play, reading assignments, and class discussions. This course is for sophomores and upper-college students only.

98328

THTR 208 Playwrighting II

Zakiyyah Alexander

. T . . .

1:30 -3:50 pm

Fisher PAC

PART

4 credits This course will function as a writer’s workshop. Students focus on developing a full-length play, with sections of the work-in-progress presented in class for discussions. Students grow as playwrights by developing characters and themes that are sustained through a full-length play. The students will also read a wide range of dramatic literature and be exposed to diverse styles of playwriting. Prerequisite: Playwriting I or Theatrical Adaptations.

98314

THTR 209 Scene Study

Jean Wagner

. T . Th .

10:30 - 11:50 am

Fisher PAC

PART

3 credits A course intended for students who have taken one semester of Intro to Acting and would like to continue their study. The course deals with movement from a games oriented curriculum into work with theatrical texts and discovery of the processes of scene study.

98321

THTR 227 Neutral Masks

Shelley Wyant

. . W . .

9:30 - 12:30 pm

Fisher PAC

PART

2 credits The roots of this work with the mask come from a diverse system of traditions including the Balinese, the great teachers and theorists Pierre LeFevre, Michel St. Denis, Jaques LeCoq and Francis Delsarte. Neutral Mask is an exploration of the world of the mask and all the freedom inherent to performers within that world. We discover the essence of transformation by using the tools of breath and focus. Students learn to identify the elements that contribute to physical freedom through the four stages of man and a study of mythological stories.

98315

THTR 303 Directing Seminar

Jonathan Rosenberg

. T . . .

1:30 -4:30 pm

Fisher PAC

PART

4 credits This is a studio course that covers the practice of directing from text analysis, ‘table work’, imagining the world of the play, design, casting, space, rehearsal and blocking in different configurations. The work will proceed from scenes to a full-length work. By permission of the instructor.

98317

THTR 307 Advanced Acting

Lynn Hawley

M . . . .

1:00 -4:00 pm

Fisher PAC

PART

3 credits This is a studio acting class where students will explore scenes from challenging plays of varied styles. Extensive rehearsal time outside of class is required. Pre-requisites: Intro to Acting and Scene Study. Maximum enrollment: 12 students.

98324

THTR 307 NT Advanced Acting

Naomi Thornton

. . . Th .

1:00 -3:00 pm

Fisher PAC

PART

3 credits This is a studio acting class where students will explore scenes from challenging plays of varied styles. Extensive rehearsal time outside of class is required. Pre-requisites: for acting majors, Intro to Acting and Scene Study. For all others, Intro to Acting. Maximum enrollment: 12 students.

98322

THTR 310A Survey of Theater:

Theater In and About the World

JoAnne Akalaitis

. . W . .

1:30 -3:50 pm

Fisher PAC

AART

We are living in a perilous time. The front page of The New York Times is both electrifying and terrifying. The photographs, often depicting horrifying events, can be uncannily beautiful, evoking the paintings of Goya or Caravaggio. The Metro section, with the latest political and child abuse scandals, is equally chilling. An April headline in the Sunday Styles section reads “Duck and Cover: It’s the New Survivalism.” There is the war in Iraq, turmoil in Tibet, genocide in Africa, torture, the growth of religious fundamentalism (both domestic and abroad), the economy, the environment, a nasty political campaign, racism, sexism, urban (and rural) loneliness, corporate greed, and careerism. Yet theater often seems oblivious to this world. For generations it has used an outdated vocabulary and aesthetic, ignoring both the real world and the explosion of ideas in the art world and in contemporary music. This course is aimed at addressing these issues, mainly through the creation of short site-specific pieces, using the campus and it surroundings as an environment for creative theatrical “events" with performance, text, music, and media. Works will stem from student-written texts; from "found" text, especially from The New York Times and other media; from existing texts, e.g. Euripides, Shakespeare, and Franz Xavier Kroetz; and from philosophical writings such as Foucault. The creation of the work will be heavily impacted by what is happening in the world at the moment. The intention is to question, expand and enlarge the practice of theater-making without denying or ignoring the canon. Every week there will be a brief weekly report about a prominent cultural figure, e.g., Walter Benjamin, Jean-Luc Godard, Gore Vidal, and Tony Kushner. There will be gallery and museum visits and film screenings. Students are required to write, read and perform. Open to those interested in the culture of theater and the arts, and ways in which they can be touched by and touch the world.

98510

THTR 310B Survey of Theater:

Black Comedy

Zakiyyah Alexander

. . W . .

1:30 -3:50 pm

Fisher PAC

AART

Black Comedy: Race and class have always played a part in the American comedy. But, how does the modern satire deal with these issues? In this survey course we will explore the role and effects of race in the modern satire. The course material will include several controversial and dynamic works by modern playwrights (including Young Jean Lee, Douglas Turner Ward, George Wolfe, etc.). Through in depth analysis, excerpts from film and video, and various readings students will cultivate their own views on the power of the satirical play. At the end of the course each student will write a satirical play and present it in a staged reading.

98313

THTR 340 Voice in Performance

Elizabeth Smith

M . . . .

3:00 -5:00 pm

Fisher PAC

PART

2 credits This course is designed for those students who have already had some training in voice and will concentrate on addressing demands which occur in performance such as speaking over underscoring, sustaining dialogue in fights or dances, and developing power and range. Technical exercises will be used to promote coordination of speech and movement.