Professors Boretz and Pruitt are willing to arrange tutorials either for credit or not for credit with students who would like guidance in the writing of critical pieces on the arts that are meant to be published to the Bard Community at large. If there are enough students who are interested, the tutorial may prove a catalyst for initiating a student-run arts review journal.
Professor: J. Churchill
CRN: 92646
Distribution: F
Time: Tu 10:30 am - 12:30 pm Brook House
Professor: B. Boretz
CRN: 92533
Distribution: F
Time: Tu 7:30 pm - 9:30 pm Blum Hall
Cross-listed: Music
Realization by realtime performance or by spatial construction of creative works composed by
members of the Integrated Arts Program and in the world's literature of relevant scores'.
Cybernetic structures and resourses are an integral component of this workshop. Active
participation in the Integrated Arts Commonspace is included in the work of this group.
Performance events, occasions, and other modes of presentation will be explored and periodically
offered to the community.
Professor: B. Boretz
CRN: 92647
Distribution: A
Time: Tu 1:30 pm - 4:30 pm Brook House
Cross-listed: Philosophy and the Arts This combined composition-group workshop/study-group seminar can be taken as a two course 8 credit unit. However, either section may be taken alone (for 4 credits); or both sections may be taken together as one course (for 4 credits). Enrollment limited to 12. At the convergence of physicality and expression, the languages of, within, about, bodies. Where the production of sexuality (sexual identity, not sexual behavior) is contextualized as artform. Where the interrelation of nature and expression produces 'reality'. The paradox and the possibility of 'ontological creativity'. Artmaking (the formal contextualization of expression) as genderformation. An inquiry conducted through composition (in any/all media) combined with study (reading, listening, looking, witnessing, discoursing). The materials to be examined and experienced are derived from three focal text-sources, as generative centers for an array of (other) 'infratexts' forming their subjects, their references, their sources. To wit: Judith Butler, Bodies That Matter (film: Jennie Livingston, Paris is Burning; writings by Willa Cather, Nella Larsen, Slavoj Zizek, Michel Foucault, Jacques Lacan, Plato, Sigmund Freud) Benjamin Boretz: music/consciousness/gender (writings by Gregory Bateson, Susan McClary, Gilbert Rouget, Suzanne Cusick, Gilles Deleuze and Felix Guattari; films: Luchino Visconti, Death in Venice; (and others); music by John Coltrane, Jimi Hendrix, Gustav Mahler, J.K. Randall, Richard Wagner. Gustav Mahler: late symphonic/vocal music; Ludwig van Beethoven: late string quartets (music and literature in Berlin and Paris before World War II, films: Jean-Luc Godard's Prenom: Carmen, Weekend, King Lear (and others); writings by Antonin Artaud and Franz Kafka; post-1945 American music [high-art, rock, jazz], painting, theater, dance). Composed original works, produced continuously and frequently, individually and collaboratively, throughout the semester, designed for performance in the workshop, in Commonspace, or in public event-form, are the principal output of the participant group.
Professor: B. Boretz
CRN: 92648
Distribution: n/a
Time: W 4:00 pm - 6:00 pm Brook House
2 CREDITS The Integrated Arts community meets weekly to dialogue, share work, offer presentations and performances, and encounter visiting colleagues offering talks and presentations. Everyone signing up for work in Integrated Arts should leave this time free and participate.
Professor: B. Boretz
CRN: 92649
Distribution: F
Time: Tu 10:30 am - 12:30 pm BLM
A music-study-and-practice group addressing creative music-making by way of, first, verbal language; second, documented sounds; third, sound and language materials indigenous to music. Composing by way of real-time interaction (improvisation) and through the use of electronic media (including computer sound and video technology), as well as any mode of encoding (score-making), documenting, or performing are the practical means employed in this course. Presentation of output at communal events in the music department and elsewhere is part of the work of the group; possibilities to design events for public exchange are available up to the limit of ideas and energy in the group. Open to artists in all media, including but not limited to those having prior musicmaking experience.
Professor: J. Pruitt
CRN: 92650
Distribution: C
Time: Tu (lecture) 1:20 pm - 3:20 pm
PRE
M (screening) 7:00 pm - 10:00 pm PRE
The seminar will focus on historical and theoretical issues (with a creative workshop component) that are crucial to an understanding of much narrative cinema but are often either overlooked or elude precise analysis: namely, the notion of film performance per se; and by extension, the "direction" of film performance. Inevitably we will commence our study at the intersection of two major art forms -- film and theater, an intersection which generates a meaningful aesthetic friction. For example, in the early days of film, the evolution of cinematic language was interpreted by influential theorists as defining the film medium's necessary break with theatrical values. At the time, theater, in all its various manifestations (cabaret, drama, circus, etc.), quite significantly held the number one position among the popular arts, a position which film then quickly usurped. Yet ironically, a number of the major, seminal practitioners of film, towards the end of their long careers, produced mature cinematic meditations on the nature of theater and performance. We will take a serious look at these films: Sergei Eisenstein's Ivan the Terrible; Jean Renoir's The Golden Coach; Charles Chaplin's Limelight; Carl Dreyer's Ordet. Besides studying additional films by other "cross-over" artists like Georges Melies, Buster Keaton, Ernst Lubitsch, Orson Welles, Luchino Visconti, and Ingmar Bergman, we will briefly touch upon at least one non-western theatrical tradition; and, in so doing, we will look at two classic Japanese films, both direct studies of theatrical life: Yasujiro Ozu's A Story of Floating Weeds and Kenji Mizoguchi's The Story of the Last Chrysanthemum. Readings will be primarily short theoretical works ranging from a 14th century treatise on Noh drama to essays by twentieth century film theorists and critics like Hugo Munsterberg, Andre Bazin and Susan Sontag. Juniors and seniors only; primarily designed for integrated arts, film, and drama majors, but open to non-majors who have some appropriate experience; requirements will include a long critical essay and several performance and video workshop assignments of a didactic nature.