Areas
of Study:
The Theater and Performance Program offers courses in Context, Technique,
and Creative Practice and Research, and students are required to take
classes in all three areas of study. Context courses include the history
of theater and performance, contemporary practice, theories of theater and
performance, dramatic literature, world theater. Technique
courses include skills-based classes in playwriting, directing, acting, voice,
movement, dramatic structure, performance, and composition. Creative
Practice and Research comprises productions, performance laboratories,
master classes and specialized workshops.
Moderation
Requirements:
The following 5 courses are required for students wishing to moderate into
the Theater and Performance Program:
1. THTR 145 Introduction to Theater and
Performance: Revolutions in Time and Space
2. THTR 110 Introduction to Acting: The Actor
and the Moment
3. THTR 107 Introduction to Playwriting: the
Theatrical Voice
4.
THTR 244 Introduction to Theater Making (spring semester)
5. THTR 146
Introduction to Theater History
In
addition, students participate in the creation and performance of a
group-devised Moderation project.
Upper Level
Requirements: After
Moderation, students are required to take 2 courses in each of the 3 areas of
study – Context, Technique, Creative Practice and Research – for a total of 6
courses. In addition, students complete
a Senior Project; a group-devised production or performance together with a written
assignment, which carries the equivalent workload and credit of 2 courses.
All
courses carry 4 credits except where
otherwise indicated.
Technique:
11951 |
THTR 101 Acting for
Non-Majors |
Naomi
Thornton |
. . . Th . |
3:45 -5:45 pm |
FISHER PAC STUDIO NORTH |
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. Class
size: 12
11477 |
THTR 201 Intro to Acting: The Actor and the
Moment |
Lynn
Hawley |
M . W . . |
10:10 - 11:30 am |
FISHER PAC STUDIO NORTH |
PART |
In
this class we examine how an actor brings truth to the smallest unit of
performance. The richness of the moment is created by the imaginative,
physical, psychological, intellectual and emotional qualities that the actor
brings to it. We explore ways to gain access to richly layered authenticity
through games, improvisations, individual creations and exercises in given
circumstance. Students are given tools
to transcend accepted logic, embrace risk-taking, and live fully in the
present. Class size: 16
11483 |
THTR 207 A
Intro to Playwriting: The
Theatrical Voice |
Chiori
Miyagawa |
. . . . F |
10:10 -1:10 pm |
FISHER PAC STUDIO NORTH |
PART |
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. All students welcome, preference to Theater
majors. (No writing sample
required.) Class size: 12
11953 |
THTR 207 B
Intro to Playwriting: The
Theatrical Voice |
Chiori
Miyagawa |
. . . Th . |
1:30 -4:30 pm |
FISHER PAC CONF ROOM |
PART |
See
above. Class size: 12
11484 |
THTR 209 Scene Study |
Jean
Wagner |
. T . Th . |
1:30 -2:50 pm |
FISHER PAC RESNICK |
PART |
4
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. Class size: 16
11952 |
THTR 226 Masks:
Neutral, Character, and
Commedia |
Geoffrey
Sobelle |
. T . . . |
10:10 - 12:30 pm |
FISHER PAC STUDIO NORTH |
PART |
This
class covers the rudiments of mask work as taught by Jacques Lecoq. We will be focusing on three styles of mask
work in particular: neutral; character; and Commedia dell’Arte. The neutral mask is the root from which all
physical theatre grows. Students learn physical/compositional principles
such as balance, presence, breath, focus and rhythm through a rigorous study of
movement analysis. Character masks introduce an element of psychology,
which creates a new range of performance possibilities. Commedia dell’Arte adds appetite and desire, leading students to
archetype, extreme character, physical comedy and the creation of lazzi. Mask is a marriage of physical
precision with emotional/psychological abandon. Students will learn mask
technique on their feet and in their body, through structured improvisation in
class. They will apply the principles
that they have studies to create performances and character studies that will
be performed in class and critiqued. Class
size: 16
11481 |
THTR 250 Dramatic
Structure |
Gideon
Lester |
. T . Th . |
4:40 -6:00 pm |
OLIN 204 |
ELIT |
Cross-listed: Literature
In this seminar we will explore the dynamics, mechanics, and fundamental
building blocks of drama, and discover how analysis of a play's structure can
be indispensable and revelatory for theater artists and scholars. We will
investigate models of dramatic structure from Aristotle and the Greeks, through
Shakespeare, neoclassicism, and modernism, to contemporary experimental and
“post-dramatic” theatre. We will consider plays, dramatic theories, and
performances, as well as practical methods for putting structural discoveries
to use in rehearsal and production.
Students will become adept at several modes of structural analysis of
texts and performance events. Assigned
work includes substantial reading, a series of written exercises, and a
comprehensive structural map of at least one full-length play with an
accompanying written analysis and plan for production.
Class size: 16
11954 |
THTR 307 Advanced
Acting |
Jonathan
Rosenberg |
. T . Th . |
10:10 - 11:30 am |
FISHER PAC RESNICK |
PART |
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, or by permission of the
instructor. Class size: 15
11482 |
THTR 308 Advanced
Scene Study |
Naomi
Thornton |
. . . Th . |
1:30 -3:30 pm |
FISHER PAC STUDIO NORTH |
PART |
3 credits Scene Technique with work on specific
rehearsal tasks and practice of their application. Continued work on the acting
instrument, understanding the actor as artist and deepening the physical,
emotional, intellectual connection and availability of each actor. Advanced individual exercises, scenes, and monologues from all
dramatic literature. Intended for Upper College
students, others by permission. Prerequisite: Introduction to
Acting. Class size: 12
11778 |
DAN 350 Junior /
Senior Seminar |
Leah Cox |
. T . Th . |
10:10 - 11:30 am |
FISHER PAC CONF ROOM |
|
Cross-listed: Theater What is the current landscape
of the contemporary performance world? What are the most relevant
models for funding and producing independent work? Who are the
other professionals involved in getting a performance? What are the
options for continuing your learning after your undergraduate career
and when is graduate school the right next step, if at all? This
course will provide students with the knowledge and skills to begin a
professional practice. Among other skills, students will prepare a
portfolio of their work, delve into development,
and imagine future work. Students will explore the range
of jobs that allow for a continuing creative practice and understand
how to interact with professionals in all aspects of the performing
arts. A rotating roster of guest teachers will address
issues relevant to artists entering the field and discuss their own roles
within the professional dance/theater world. This course is
geared towards junior and senior dance and theater majors. Led by Leah Cox ([email protected]) Note: This course will demand 2-4 hours
of project-based homework each week. Class size: 15
Context:
11476 |
THTR 145 Intro to
Theater & Performance: Revolutions
in Time and Space |
Miriam
Felton-Dansky |
. T . Th . |
3:10 -4:30 pm |
FISHER PAC RESNICK |
AART |
This
course introduces a sequence of key concepts and ideas in world
theater, and should ideally be taken at the start of a student’s journey
through the Theater and Performance curriculum.
We will base our discussions on primary and secondary texts and modes of
performance from 2,500 years of world theater,
starting with Aristotle and the Greek tragic playwrights and approaching the
cutting edge of contemporary performance practice. We will ask questions about interpretation, ephemerality, and reenactment, investigate how great
artists from across the centuries have controlled our experience of theatrical
time and space, and examine such topics as the representation of reality on
stage, the relationship between performance and audience, and the constantly
evolving interplay of theater and democracy.
Class size: 25
11956 |
THTR 310I Minstrelsy,
Vaudeville, and
Melodrama |
Jean
Wagner |
. . W . . |
1:30 -3:50 pm |
FISHER PAC STUDIO NORTH |
AART/DIFF |
Cross-listed: Africana
Studies, American Studies Popular theater, a type of
entertainment that appeals to a broad range of audiences, played a large role
in the formation of American culture and identity in the 19th and
early 20th centuries. This
course will examine, from both a performance and historical perspective, three
specific forms that flourished in the United States during this seminal time
period: Minstrelsy, Melodrama, and Vaudeville.
We will investigate how these media altered and reflected emerging
American ideologies, such as nationalism, racism and capitalism. Readings will
include melodramas by Dion Boucicault, Harriet Beecher Stowe’s Uncle Tom’s Cabin, the African American musicals of Williams and Walker, a wide
variety of Vaudeville acts and sketches and theoretical and historical texts.
Screenings will include archival footage as well as films such as “The Jazz
Singer” and “Bamboozled.” Assignments will include scene-work, oral
presentation, essays and a final project to be determined in consultation with
the instructor. Class size: 15
11955 |
THTR 326 Brecht and his
Legacy |
Miriam
Felton-Dansky |
. . W . . |
10:10 - 12:30 pm |
FISHER PAC CONF ROOM |
AART |
Cross-listed: Literature, German, and Experimental
Humanities. Few modern theater
artists have been as path-breaking in their own time—or as influential for
future generations—as German playwright, poet, director, and theorist Bertolt Brecht. This seminar will explore Brecht’s writings
for the theater and his theatrical legacy: after grounding our study in a
survey of Brecht’s plays and theory, we will take stock of his influence on
dramatic literature from postwar Germany to Brazil, South Africa, and the New
York avant-garde. We will locate Brechtian aesthetics
in arenas such as feminist and queer performance texts, documentary and
political drama, postcolonial drama, and contemporary critiques of capitalism.
Other writers and artists under investigation will include Heiner
Müller, Peter Weiss, Caryl
Churchill, Augusto Boal, and more. Students will
prepare an analytical essay examining a Brecht play in relation to his theory,
poetry, or production history, and a research paper treating the relationship
between Brecht's aesthetics and those of one or more of his artistic heirs. As
a class, we will also create a digital scholarship project, mapping Brecht's
legacy across time and space.
Class size: 15
11491 |
THTR 335 Contemporary
Practice in Theater and Performance |
Gideon
Lester |
. . . Th . |
11:00 – 1:20 pm |
RKC 200 |
AART |
This
advanced seminar is intended for Juniors and Seniors
wishing to investigate contemporary theater & performance in greater
depth. We will study the work of
directors, writers, ensembles, performers, and designers, from this country and
abroad, whose practice is advancing the field.
The syllabus will be informed by the current season in New York City,
and our research will be augmented by several field trips to theaters, museums,
and festivals, as well as meetings with leading artists visiting Bard. Discussions and readings will stress the
cross-disciplinary nature of theater & performance, and will incorporate
perspectives from visual arts, architecture, dance, music, philosophy and new
technology. Students will make several written and oral presentations throughout
the semester. Open to Upper College students only. Class
size: 12
Creative Practice and
Research:
11478 |
THTR 208 Playwriting
II |
Jorge
Cortinas |
. . W . . |
1:30 -4:30 pm |
FISHER PAC CONF ROOM |
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, Writing Political Theater, or Theatrical Adaptations. Interested students should email Prof. Cortinas prior to registration.
([email protected]) Class size: 12
11486 |
THTR 244 A Introduction to Theater Making |
Geoffrey
Sobelle |
M . . . . . . W . . |
3:10 -4:30 pm 10:10 - 11:30 am |
FISHER PAC RESNICK |
PART |
This
course follows “Introduction to Theater and Performance” as the second class in
a sequence exploring the intellectual and creative methods of making theater.
During the course of the semester all students will take turns working
collaboratively as performers, directors, writers, dramaturgs
and designers. The work created in this class will be presented at the end of
the semester and will serve as the moderation project for students intending to
major in Theater and Performance. Class size: 16
11487 |
THTR 244 B Introduction to Theater Making |
Jonathan
Rosenberg |
. T . Th . |
11:50 -1:10 pm |
FISHER PAC RESNICK |
PART |
See
above. Class size: 16
11957 |
THTR 310 Survey of
Drama: Solo
Performance |
Nilaja
Sun |
M . . . . |
11:50 -2:50 pm |
FISHER PAC STUDIO NORTH |
AART |
This
course introduces solo performance through the review and discussion of several
solo pieces, their unique structures and the performers such as Spalding Gray,
Anna Devere Smith, John Leguizamo
and Mike Daisy who created them. Through writing, theatre, and improvised
exercises, students explore their own stories, those which have been woven into
the fabric of their lives and craft a personalized solo piece. Pre-requisite:
Intro to Acting: The Actor and the Moment.
Class size: 15
11958 |
THTR 331 Devised
Theater Lab |
Anne Gridley |
. . W . . |
11:50 -2:50 pm |
FISHER PAC RESNICK |
PART |
This
class will explore the innovative and adventurous process of devising
performance works for the stage. Through
practical exercises including improvisations, games and ensemble techniques,
students will learn how to generate ideas, research, shape,
organize and create new works for the stage.
Students will experiment with creating work based on a variety of source
materials including documentary narratives, fiction, mythology, visual and
aural imagery and gesture. Theories of narrative and dramatic structure will be
examined, and students will experiment with methods and techniques for applying
these creatively in practice. We will examine how several contemporary artists
and ensembles generate new works. Assignments will include experiential essays,
a research paper, and active participation in collaborative creations. Class size: 12
12034 |
THTR 345 Writing the
Fantastic |
Neil Gaiman |
TBD |
TBD |
|
PART |
2 credits This advanced intensive
reading and writing workshop explores the history of the fantastic, approaches
to fantasy fiction, and the meaning of fantasy today. We will read authors including Dunsany,
Margaret Yourcenar, Kipling, Shirley Jackson, Gene
Wolfe, and R. A. Lafferty, and write new fiction in response to our
readings. Students will complete a
longer work of fantasy fiction by the end of the semester. Note: The
course will meet over eight 4-hour evening sessions in
April 2014, to be determined. Interested
students should send a cover letter and 5 page writing sample to [email protected]
by midnight on December 1, 2013. The
list of accepted students will be announced by December 10, 2013. Only moderated students are eligible to
apply. Class size: 12