| |
Studio Work in Design, Drawing, Painting, Sculpture, and Architectural Design: II. Intermediate |
| |
-
ART 205 - Sculpture I Semester Offered: Spring
1 unit(s)
Introduction to the language of three-dimensional form through a sequence of specific problems which involve the use of various materials. Mr. Roseman.
Two 2-hour periods.
Yearlong course ART 204 -205.
|
| |
-
ART 206 - Drawing II Semester Offered: Fall
1 unit(s)
The course explores contemporary drawing strategies. Students take an interpretative approach to assignments, and work from a variety of subjects including the human figure, found objects, landscape, and images. Mr. Roseman.
Prerequisite(s): ART 102 or other studio course.
Two 2-hour periods.
|
| |
-
ART 207 - Drawing II
1 unit(s)
The course explores contemporary drawing strategies. Students take an interpretative approach to assignments, and work from a variety of subjects including the human figure, found objects, landscape, and images. Mr. Charlap, Ms. Ruggeri.
Prerequisite(s): ART 102 or other studio course.
Two 2-hour periods.
Not offered in 2013/14.
|
| |
-
ART 208 - Printmaking: Introduction Semester Offered: Fall
1 unit(s)
This course is designed to explore the fundamentals of printmaking focusing primarily on relief printing techniques including linocut, woodcut, wood engraving, monotype, and collagraph. Mr. William.
Corequisite(s): ART 102 .
Two 2-hour periods.
|
| |
-
ART 209 - Printmaking: Intaglio Semester Offered: Spring
1 unit(s)
This course is designed to explore the fundamentals of printmaking focusing on primarily on Intaglio techniques including, drypoint, etching, aquatint, mezzotint, engraving, embossing, and stippling. Mr. William.
Prerequisite(s): ART 102 .
Two 2-hour periods.
Alternate years.
|
| |
-
ART 212 - Photography Semester Offered: Fall
1 unit(s)
An investigation of the visual language of black and white photography. The technical and expressive aspects of exposing film, developing negatives, and printing in the darkroom are explored. No previous photographic experience is necessary. Students are required to provide their own camera, film and photographic paper. Ms Linn.
Prerequisite(s): ART 102 -ART 103 .
One 4-hour period.
|
| |
-
ART 213 - Photography II Semester Offered: Spring
1 unit(s)
This course explores the development of an individual photographic language. Technical aspects of exposure, developing and printing are taught as integral to the formation of a personal visual esthetic. All students are required to supply their own camera, film, and photographic paper. Ms Linn.
Prerequisite(s): ART 102 -ART 103 and/or permission of the instructor.
One 4-hour period.
|
| |
-
ART 214 - Color Digital Photography Semester Offered: Fall
1 unit(s)
This course examines how color in light delineates space and form. The goal of this class is to record this phenomenon as accurately as possible. Scanning traditional silver gelatin film and digital capture systems are utilized. Digital color prints are produced using Photoshop and inkjet printing. Some of the topics covered are the documentary value of color information, the ability of the computer program to idealize our experience of reality, and the demise of the latent image. Ms. Linn.
Prerequisite(s): ART 212 or ART 213 and/or permission of the instructor.
Two 2-hour periods.
|
| |
-
ART 217 - Video Art Semester Offered: Spring
1 unit(s)
(Same as FILM 217 ) Video Art has for some time been an important medium for visual artists. It has taken its place along with and often in tandem with all of the major categories of art production. The students are expected to learn how to “speak” using Video technology. This course is an exploration of the scope and possibilities of this important medium. The students learn the technical expertise necessary to be able to produce work in this medium. Student work is periodically screened and discussed by the class and the teacher, so that relationships between video and how it is implemented to best serve the visual, conceptual and narrative aspects of the work is better understood. Regular screenings of videos and films provide students with a context of historical and contemporary practices in which to consider their own production. TBA.
Prerequisite(s): ART 102 -ART 103 and/or permission of the instructor.
Two 2-hour periods.
|
| |
-
ART 276 - Architectural Design II Semester Offered: Spring
1 unit(s)
A studio-based course aimed at further developing architectural drawing and design skills. Employing a variety of digital and non-digital techniques students record, analyze and create architectural space and form in a series of design exercises. Mr. Armborst.
Prerequisite(s): permission of the instructor.
Two 2-hour periods.
|
Studio Work in Design, Drawing, Painting, Sculpture, and Architectural Design: III. Advanced |
| |
-
ART 302 - Painting II Semester Offered: Fall
1 unit(s)
This course investigates painting through a series of assigned open-ended projects. Because it is intended to help students develop a context in which to make independent choices, it explores a wide range of conceptual and formal approaches to painting. The first semester of the course explores various models through which painting can be considered, such as painting as a window, a map, or an object. Ms. Newman.
Prerequisite(s): ART 202 -ART 203 , two units in 200-level printmaking, or two units in 200-level drawing.
Two 2-hour periods.
|
| |
-
ART 303 - Painting II Semester Offered: Spring
1 unit(s)
This course investigates painting through a series of assigned open-ended projects. Because it is intended to help students develop a context in which to make independent choices, it explores a wide range of conceptual and formal approaches to painting. The second semester of the class examines the idea of painting as an ongoing development of thought; its projects are organized around the question, “How do you make the next painting?” Mr. Charlap.
Prerequisite(s): ART 202 -ART 203 , two units in 200-level printmaking, or two units in 200-level drawing.
Two 2-hour periods.
|
| |
-
ART 304 - Sculpture II
1 unit(s)
Art 304 is devoted to the study of perception and depiction. This is done through an intensive study of the human figure, still life, landscape, and interior space. Meaning is explored through a dialectic setup between subject and the means by which it is visually explored and presented. Within this discussion relationships between three-dimensional space and varying degrees of compressed space are also explored. In ART 305 we concentrate on the realization of conceptual constructs as a way to approach sculpture. The discussions and assignments in both semesters revolve around ways in which sculpture holds ideas and symbolic meanings in the uses of visual language. Mr. Roseman.
Prerequisite(s): ART 204 -ART 205 or permission of the instructor.
Two 2-hour periods.
Not offered in 2013/14.
|
| |
-
ART 305 - Sculpture II Semester Offered: Spring
1 unit(s)
Art 305 is devoted to the study of perception and depiction. This is done through an intensive study of the human figure, still life, landscape, and interior space. Meaning is explored through a dialectic setup between subject and the means by which it is visually explored and presented. Within this discussion relationships between three-dimensional space and varying degrees of compressed space are also explored. In Art 305 we concentrate on the realization of conceptual constructs as a way to approach sculpture. The discussions and assignments in both semesters revolve around ways in which sculpture holds ideas and symbolic meanings in the uses of visual language. Mr. Roseman.
Prerequisite(s): ART 204 -ART 205 or permission of the instructor.
Two 2-hour periods.
|
| |
-
ART 375 - Architectural Design III
1 unit(s)
Visual Constructs. An examination of a number of visual constructs, analyzing the ways architects and urbanists have employed maps, models and projections to construct particular, partial views of the physical world. Using a series of mapping, drawing and diagramming exercises, students analyze these constructs and then appropriate, expand upon, or hybridize established visualization techniques. Mr. Armborst.
Prerequisite(s): permission of the instructor.
Two 2-hour periods.
Not offered in 2013/14.
|
| |
-
ART 379 - Computer Animation: Art, Science and Criticism
1 unit(s)
(Same as CMPU 379 , FILM 379 , and MEDS 379 ) An interdisciplinary course in Computer Animation aimed at students with previous experience in Computer Science, Studio Art, or Media Studies. The course introduces students to mathematical and computational principles and techniques for describing the shape, motion and shading of three-dimensional figures in Computer Animation. It introduces students to artistic principles and techniques used in drawing, painting and sculpture, as they are translated into the context of Computer Animation. It also encourages students to critically examine Computer Animation as a medium of communication. Finally, the course exposes students to issues that arise when people from different scholarly cultures attempt to collaborate on a project of mutual interest. The course is structured as a series of animation projects interleaved with screenings and classroom discussions. Mr. Ellman, Mr. Roseman.
Prerequisite(s): permission of the instructor.
Two 2-hour periods.
Offered alternate years. Not offered in 2013/14.
|
Dance: I. Introductory |
| |
-
DANC 155 - Dance Improvisation
1/2 unit(s)
This is a non-performance oriented approach to discovering one’s movement potential and physical and thought patterns through improvisation. Utilizing contact improvisation, music visualization, and personal expression, this course is designed to develop freedom of thought and movement. The improvisation techniques range from aerobic to meditative. Creative games, spatial awareness, and problem solving are investigated in order to discover the innovative language of the body. Disability is not a limitation. Ms. Wildberger.
Not offered in 2013/14.
|
| |
-
DANC 160 - Introduction to Ballet Semester Offered: Fall and Spring
1/2 unit(s)
Introduction to the fundamentals of the ballet class; includes the basic exercises for the barre and centre. Ms. Mahdaviani-Goldstone.
|
| |
-
DANC 165 - Upper Level Beginner Ballet Semester Offered: Fall and Spring
1/2 unit(s)
This course is for the student who has had some basic training in ballet; includes the entire barre and centre work. Ms. Mahdaviani-Goldstone.
|
| |
-
DANC 166 - Low Intermediate Ballet I Semester Offered: Fall and Spring
1/2 unit(s)
This is a course for the student who has good beginner training (complete barre and some centre work). The emphasis is on the development of steps for centre work, i.e. adagio, petit allegro, etc. Ms. Mahdaviani-Goldstone and Mr. Meehan.
Prerequisite(s): DANC 160 and DANC 165 or equivalent.
|
| |
-
DANC 167 - Low Intermediate Ballet II Semester Offered: Fall and Spring
1/2 unit(s)
This course is continuation of the development of steps for centre work. Ms. Mahdaviani-Goldstone and Mr. Meehan.
Prerequisite(s): DANC 165 and DANC 166 or equivalent.
|
| |
-
DANC 170 - Movement Analysis Semester Offered: Spring
1/2 unit(s)
This course focuses on a study of movement designed to increase body awareness in students of all movement disciplines. Through observation, analysis and exploration, students are introduced to functional anatomy, Laban Movement principles, identification of personal movement habits and the understanding of movement efficiency. Students participate in an eclectic mix of movement experiences that include games, improvisations and exercises. This work is beneficial to the dancer, musician, actor and athlete in us all. Ms. Wildberger.
One 2-hour period.
|
| |
-
DANC 174 - Beginning Jazz Dance Semester Offered: Fall
1/2 unit(s)
Jazz dance, which can be defined as “popular dance of the times”, incorporates many different styles and eras of dance including cakewalk, Charleston, lindy-hop and swing, blues, tap, ballroom, rock and roll and hip-hop as well as use of modern and ballet vocabulary. There is an emphasis on body isolations, pulsing movements, rhythm patterns, weightedness and momentum. The class includes warm-up, traveling sequences and a final combination. Ms. Saxon.
|
| |
-
DANC 175 - Advanced Beginning Jazz Semester Offered: Spring
1/2 unit(s)
Continued work on the fundamentals taught in DANC 174 . More demanding combinations are presented. Ms. Saxon.
|
| |
-
DANC 194 - Beginning Modern Dance Semester Offered: Fall and Spring
1/2 unit(s)
This course is an introduction to the basic principles and history of American modern dance. Class work introduces students to technical concepts involved in training the body to be an articulate, expressive instrument. The course includes some outside written work, performance attendance, and video viewing all aimed at giving a background necessary to the appreciation of dance as a creative art form. No prior dance experience is necessary. Modern dance faculty.
|
| |
-
DANC 195 - Advanced Beginning Modern Semester Offered: Fall and Spring
1/2 unit(s)
This class continues to develop on the movement principles introduced in Beginning Modern Dance. Modern dance faculty.
|
| |
-
DANC 196 - Low Intermediate Modern Semester Offered: Fall
1/2 unit(s)
Continued work in the fundamentals of American modern dance movement from advanced beginning. Combinations become more demanding and students are introduced to etudes in various modern styles and techniques. Modern dance faculty.
Prerequisite(s): DANC 195 or equivalent.
|
Dance: II. Intermediate |
| |
-
DANC 215 - Dance Composition and the Craft of Choreography Semester Offered: Fall
1/2 unit(s)
An introduction to the basic elements of dance composition. Body space, stage space, time, form, props, and music are incorporated in the creative process resulting in the student’s own dynamic studies. Modern dance faculty.
|
| |
-
DANC 264 - Intermediate Ballet I Semester Offered: Fall and Spring
1 unit(s)
Development of the classical ballet syllabus at the intermediate level. This course includes three 11/2-hour sessions per week with an added arranged hour to be used for work in one of the following areas: pointe, variations, terminology, theory, men’s class or adagio/partnering. Ms.Mahdaviani-Goldstone and Mr. Meehan.
Prerequisite(s): permission of the instructor.
Three 75-minute periods plus an arranged hour.
|
| |
-
DANC 265 - Intermediate Ballet II Semester Offered: Fall and Spring
1 unit(s)
Includes further development of the classical ballet syllabus at the intermediate level. Ms.Mahdaviani-Goldstone and Mr. Meehan.
Prerequisite(s): permission of the instructor.
Three 75-minute periods plus an arranged hour.
|
| |
-
DANC 266 - Intermediate Ballet III Semester Offered: Fall and Spring
1 unit(s)
Includes further development of the classical ballet syllabus at the intermediate level. Ms.Mahdaviani-Goldstone and Mr. Meehan.
Prerequisite(s): permission of the instructor.
Three 75-minute periods plus an arranged hour.
|
| |
-
DANC 267 - Intermediate Ballet IV Semester Offered: Fall and Spring
1 unit(s)
Includes further development of the classical ballet syllabus at the intermediate level. Ms.Mahdaviani-Goldstone and Mr. Meehan.
Prerequisite(s): permission of the instructor.
Three 75-minute periods plus an arranged hour.
|
| |
-
DANC 274 - Intermediate Jazz I Semester Offered: Fall
1/2 unit(s)
Continued work in the different styles and eras of jazz dance. Traveling sequences and techniques become more demanding as does the final dance combination. Ms. Saxon.
Prerequisite(s): DANC 174 and DANC 175 or equivalent.
|
| |
-
DANC 275 - Intermediate Jazz II
1/2 unit(s)
Continued work at the intermediate level of jazz technique including traditional styles such as Luigi and Fosse as well as moving on to more contemporary styles of the later twentieth century. Ms. Saxon.
Prerequisite(s): DANC 274 or equivalent.
Not offered in 2013/14.
|
| |
-
DANC 278 - Graham Technique and Repertory Semester Offered: Spring
1 unit(s)
This course is designed for Intermediate/Advanced level dancers who want to explore, in-depth, the codified technique of Martha Graham, a pioneer of American Modern Dance. Students learn excerpts from selected classic works of the Graham Repertory. Supplementary video viewing and a lecture during an arranged lab time are required. Mr. Rooks.
Three 75-minute periods.
|
| |
-
DANC 290 - Field Work Semester Offered: Fall and Spring
1/2 or 1 unit(s)
To be elected in consultation with the adviser and field work office.
|
| |
-
DANC 294 - Intermediate Modern Dance I Semester Offered: Fall and Spring
1/2 unit(s)
Exercises and phrases continue from DANC 196 . Material builds in complexity and technical demand. Modern dance faculty.
Prerequisite(s): DANC 196 or equivalent.
|
| |
-
DANC 295 - Intermediate Modern Dance II Semester Offered: Fall and Spring
1/2 unit(s)
This class continues to develop on the movement concepts and investigations introduced in Low Intermediate Modern Dance. Modern dance faculty.
Prerequisite(s): DANC 294 or equivalent.
|
| |
-
DANC 297 - History of the Dance Semester Offered: Fall and Spring
1/2 unit(s)
Independent reading.
|
| |
-
DANC 298 - Independent Work Semester Offered: Fall and Spring
1/2 or 1 unit(s)
Permission of the dance faculty sponsor. Study of a topic in depth at the Intermediate level.
|
Dance: III. Advanced |
| |
-
DANC 364 - Repertory Dance Theatre I Semester Offered: Fall and Spring
1/2 unit(s)
Performance in repertory of master choreographers. Works by students and faculty are also offered. In addition, several workshops in new student choreography are given throughout the year. Auditions for intermediate and advanced students are held the first week in September. Mr. Meehan and the dance faculty.
Prerequisite(s): permission of the instructor.
Two 2-hour periods plus arranged rehearsals.
|
| |
-
DANC 365 - Repertory Dance Theatre II Semester Offered: Fall and Spring
1/2 unit(s)
Mr. Meehan and dance faculty.
Prerequisite(s): permission of the instructor.
Two 2-hour periods plus arranged rehearsals.
|
| |
-
DANC 366 - Repertory Dance Theatre III Semester Offered: Fall and Spring
1/2 unit(s)
Mr. Meehan and dance faculty.
Prerequisite(s): permission of instructor.
Two 2-hour periods plus arranged rehearsals.
|
| |
-
DANC 367 - Repertory Dance Theatre IV Semester Offered: Fall and Spring
1/2 unit(s)
Mr. Meehan and dance faculty.
Prerequisite(s): permission of the instructor.
Two 2-hour periods plus arranged rehearsals.
|
| |
-
DANC 394 - Advanced Modern Dance I Semester Offered: Fall and Spring
1/2 unit(s)
Continuation and enlargement of all previously taught material. In addition, advanced work in phrasing and musicality is combined with the development of a personal ‘voice’ or style in one’s dancing. Modern dance faculty.
Prerequisite(s): DANC 294 and DANC 295 or equivalent.
|
| |
-
DANC 395 - Advanced Modern Dance II Semester Offered: Fall and Spring
1/2 unit(s)
Modern dance faculty.
Prerequisite(s): DANC 294 and DANC 295 or equivalent
|
| |
-
DANC 396 - Advanced Modern Dance III Semester Offered: Fall and Spring
1/2 unit(s)
Modern dance faculty.
Prerequisite(s): DANC 294 and DANC 295 or equivalent.
|
| |
-
DANC 397 - Advanced Modern Dance IV Semester Offered: Fall and Spring
1/2 unit(s)
Modern dance faculty.
Prerequisite(s): DANC 294 and DANC 295 or equivalent.
|
| |
-
DANC 399 - Senior Independent Work Semester Offered: Fall and Spring
1/2 or 1 unit(s)
Permission of the dance faculty sponsor. Study of a topic in depth at the Advanced level.
|
Drama: I. Introductory |
| |
-
DRAM 102 - Introduction to Theater-Making: Theory and Practice Semester Offered: Fall and Spring
1 unit(s)
An exploration of the strategies theatre artists use to approach the realization of dramatic texts on the stage. Through weekly practical projects, the class examines the challenges posed by a variety of dramatic genres.
Two 75-minute periods, plus one 75-minute laboratory.
|
| |
-
DRAM 103 - Introduction to Stagecraft Semester Offered: Fall and Spring
1/2 unit(s)
An introduction to the fundamentals of stagecraft, including the processes of flat and platform construction, scene painting, rigging, and theatrical safety.
Two 75-minute periods, one 2 hour lab, and 16 hours of crew time are required.
Six-week course.
|
Drama: II. Intermediate |
| |
-
DRAM 200 - The Experimental Theater Semester Offered: Fall and Spring
1/2 unit(s)
This course focuses on putting theory and technique into practice through participation in the performance, design, or technical aspects of department productions in the Experimental Theater of Vassar College. Recent productions included Homebody kabul by Tony Kushner, Metamorphoses by Mary Zimmerman Quills by Doug Wright, Hamlet by Shakespeare, a new translation of Oedipus at Colonus, Skryker by Caryl Churchill, Miss Julie by August Strindberg, and Rent by Jonathan Larson. May be repeated up to four times.
Prerequisite(s): DRAM 102 , DRAM 103 , and permission of the department.
One 3-hour period, plus rehearsal and crew calls.
|
| |
-
DRAM 202 - The Art of Theater Making Semester Offered: Spring
1 unit(s)
This course is a sequel to DRAM 102 . Students explore more deeply the complexities of interpretation and realization of texts on the stage. The source material includes poems, plays, and short stories, and culminates in the conceiving and staging of a non-dramatic text. Ms.Cody.
Prerequisite(s): DRAM 102 or special permission of the instructors.
One 2-hour period, plus one 2-hour lab.
|
| |
-
DRAM 203 - The Actor’s Craft: The Study of Acting Semester Offered: Fall and Spring
1 unit(s)
The Actor’s Craft is a studio course designed to look at the initial psycho-physical, kin-esthetic process involved in developing the actor’s instrument. Because there is no “one way” of approaching acting, which is the definitive line on acting, we “sample” techniques of several theater masters during the course of the semester, i.e., Hagen, Bogart, Michael Checkov. Ms. Tucker.
Prerequisite(s): DRAM 102 , DRAM 103 and permission of the department.
Two 2-hour periods.
|
| |
-
DRAM 205 - The Actor’s Voice Semester Offered: Fall
1 unit(s)
The Actor’s Voice is a practical introduction to the language, tools, and VOICE techniques used by actors. Through the use of diverse voice, breath, and body exercises, text analysis, and monolog work; we explore, develop, and strengthen your analytical skills, confidence, stage presence, general storytelling abilities, and of course…your natural voice. Mr. James.
Prerequisite(s): DRAM 102 and permission of the instructor.
One 3-hour period.
|
| |
-
DRAM 206 - Movement for Actors Semester Offered: Fall
1 unit(s)
This course offers a rigorous training in stage movement for actors, which includes elements of yoga, butoh ,and movement improvisation. Students learn to understand neutral posture, alignment, and to explore dynamic and expressive qualities of movement, as well as the methods of developing a richly physical development of character. Concepts from the Laban Movement Analysis, experimental theatre, and post-modern dance are used. Ms. Wildberger.
Prerequisite(s): DRAM 102 , and permission of the instructor.
One 3-hour period.
|
| |
-
DRAM 209 - Topics in Production Semester Offered: Fall
1 unit(s)
In-depth study of one or more of the specialized skills used in the creation of the technical aspects of theatrical production. Past topics have included Drafting and Draping. Graphic Communication for Designers, Scene Painting, and Stage Management. May be repeated, but students may study each skill area only once.
Prerequisite(s): DRAM 102 and permission of the instructor.
Two 2-hour periods; additional lab time required.
|
| |
-
DRAM 210 - Introduction to Playwriting Semester Offered: Fall
1 unit(s)
Introduction to playwriting explores the process and possibilities of dramatic writing. Course work includes analysis of several plays over the semester, including work by Friel, Shepard, Kennedy, Murphy, and Chekhov, among others. The bulk of the work, however, is work-shopping of student writing. By the end of the semester, students turn in a portfolio that includes a monologue, a short play, and a one-act play, all of which are expected to be revised. Ms. Egloff.
Prerequisite(s): DRAM 102 .
One 3-hour period.
|
| |
-
DRAM 221 - Sources of World Drama Semester Offered: Fall
1 unit(s)
Drama 221/DRAM 222 is a yearlong course that provides an introduction to dramatic literature and performance practice from around the world. In 221 students read an array of dramatic texts from the works of the ancient Greeks to English comedies of the seventeenth century, along with works from Japan, China, and India. The course balances an exploration of dramatic literature and staging with an investigation of the theories that have affected both the literature and practice of theater, such as Aristotle’s The Poetics, neoclassicism, and Bharata’s The Natyasastra. The course focuses on a series of critical periods and explores the relationship between the theater and the culture responsible for its creation. Instructor to be announced.
Prerequisite(s): DRAM 102 .
Two 75-minute periods.
Yearlong course 221/DRAM 222 .
|
| |
-
DRAM 222 - Sources of World Drama Semester Offered: Spring
1 unit(s)
Drama 222 is the second half of the yearlong DRAM 221 /222. This course provides an introduction to dramatic literature and performance practice from around the world. In 222 students read an array of dramatic texts from the eighteenth century through contemporary dramas such as August: Osage County and works by Sarah Ruhl and Martin McDonagh, along with works from Africa, the Carribean, and the Middle East. The course balances an exploration of dramatic literature and staging with an investigation of the theories that have affected both the literature and practice of theater, such as Realism, Epic Theater, Absurdism, and Theater of Cruelty. The course focuses on a series of critical periods and explores the relationship between the theater and the culture responsible for its creation. Instructor to be announced.
Prerequisite(s): DRAM 102 and DRAM 221 .
Two 75-minute periods.
Yearlong course DRAM 221 /222.
|
| |
-
DRAM 231 - History of Fashion for the Stage Semester Offered: Fall
1 unit(s)
This historical survey focuses on the transformation of dress from the ancient world to contemporary fashion. The course investigates how clothing influenced the cultural, economic, and political developments of Western Europe over time. Ms. Kelly.
Prerequisite(s): permission of the instructor.
Two 75-minute periods.
|
| |
-
DRAM 232 - Dramaturgy Semester Offered: Fall and Spring
1 unit(s)
This course is designed to introduce students to the art of dramatic structure, and the pleasures and challenges of production dramaturgy. Through serious historical and cultural research into how plays from various periods and genres were originally produced, we consider the dramaturg’s role in shaping how they might be realized today. In addition to weekly readings and writing assignments, the seminar will include student-led research projects and presentations, and will culminate with the adaptation of a prose text into a short play. These adaptations will be read in class during our final class meetings. Ms. Cody.
Prerequisite(s): DRAM 102
One 2-hour period.
|
| |
-
DRAM 233 - Looking at Dance Theater Semester Offered: Spring
1 unit(s)
This course examines the roots of Dance Theater in the United States and Europe, and further examines its development and impact on both American Theater and Dance. Dance Theater embraces the worlds of the avant-garde, post modern, and modern expressionist genres and is responsible for the miasmic mixture and pure invention that we see in the 21st century. Through movement and dance we will study economy of action, elements of butoh, dynamics, and physicality to create story and expression. Ms. Wildberger.
Prerequisite(s): DRAM 102 and permission of the instructor.
Two 2-hour periods.
|
| |
-
DRAM 234 - Women in American Musical Theater
1 unit(s)
(Same as WMST 234 ) This course focuses on the role of female characters in the American Musical Theater. The musical is both a populist and nonconventional form of drama, as such it both reflects contemporary assumptions of gendered behavior and has the potential to challenge conventional notions of normative behavior. Through an examination of librettos, music, and secondary sources covering shows from Show Boat to Spring Awakening the class will examine the way American Musicals have constructed and represented gendered identities. The class is organized thematically and will also consider issues of race, class, and sexuality as they intersect with issues of gender. Ms. Walen.
Prerequisite(s): DRAM 221 /DRAM 222 or WMST 130 .
Two 75-minute periods.
Not offered in 2013/14.
|
| |
|
| |
|
| |
-
DRAM 290 - Field Work Semester Offered: Fall or Spring
1/2 or 2 unit(s)
To be elected in consultation with the adviser and the Office of Field Work.
|
| |
-
DRAM 297 - Reading Course
1/2 unit(s)
|
| |
-
DRAM 298 - Independent Work Semester Offered: Fall or Spring
1/2 or 1 unit(s)
Independent work is the study of a topic in depth of a subject that is not already offered by the Drama Department. This means that credit cannot be given to proposed productions as this opportunity already exists in the Experimental Theatre within the department. Examples of possible independent works are: investigations in advanced technical theatre, dramaturgical research projects, and dialect work. If you are interested in electing to pursue an independent project, please consult the appropriate faculty member within the department.
|
Drama: III. Advanced |
| |
-
DRAM 302 - Theatrical Design Semester Offered: Spring
1 unit(s)
Study of set, costume, lighting or sound design. May be repeated in another area of design.
Prerequisite(s): DRAM 102 and permission of the instructor.
Two 2-hour periods.
|
| |
-
DRAM 304 - The Art of Acting Semester Offered: Spring
1 unit(s)
Advanced study of classical acting including Shakespeare, Chekhov, and Ibsen in which students examine the challenges of creating an entire acting role. Techniques explored include John Barton, Michael Chekhov, Viola Spolin, Anne Bogart, and Kristin Linklater. Ms. Tucker.
Prerequisite(s): DRAM 203 , DRAM 205 , 1 unit in dance or movement analysis, and permission of the instructor.
Two 2-hour periods and one 4-hour laboratory.
Offered alternate years.
|
| |
-
DRAM 305 - The Director’s Art Semester Offered: Spring
1 unit(s)
An exploration of the director’s work through the study of different genres of dramatic texts. Students work on several projects during in-class exercises, and a final project is developed outside of class. Ms. Cody.
Prerequisite(s): DRAM 202 or DRAM 203 , DRAM 302 or DRAM 304 , and permission of the instructor.
One 3-hour period. One 75-minute laboratory.
|
| |
-
DRAM 306 - The Art of Acting: Comedy Semester Offered: Fall or Spring
1 unit(s)
Advanced study of comic acting styles including clowning, Commedia Dell’arte, Restoration, High Comedy and Absurdism. The work of Lecoq, Suzuki, Wilde, Coward, Ionesco, Beckett and Callow are explored.
Prerequisite(s): DRAM 203 , DRAM 205 , one unit in dance or movement analysis, and permission of the instructor.
Two 2-hour periods and one 4-hour laboratory.
|
| |
-
DRAM 317 - Introduction to Screenwriting Semester Offered: Fall
1 unit(s)
(Same as FILM 317 ) Study of dramatic construction as it applies to film, plus analysis of and practice writing short short screenplays. Mr. Fligelman.
Prerequisite(s): DRAM 102 or FILM 210 and permission of the instructor.
One 2-hour period plus outside screenings.
Writing sample required two weeks before preregistration. Open only to juniors and seniors.
|
| |
-
DRAM 320 - Scenography Semester Offered: Spring
1 unit(s)
This ia an advanced course in theatrical production design. Through the study of the design theories and script analysis, students will explore the areas of lighting, scenic, and sound design in the story telling process.
Prerequisite(s): DRAM 102 and permission of the instructor.
One 3-hour period plus lab time.
|
| |
-
DRAM 324 - European and American Drama: Comedy Semester Offered: Fall
1 unit(s)
Samuel Johnson observed that comedy “has been particularly unpropitious to definers,” although Renaissance thinkers confidently identified it. Renaissance theories of comedy determined that the form presented the humorous events that befall ordinary people. Comedies concerned the small misfortunes–without painful consequences–of plebian characters written in colloquial prose. Modern drama has seen the line between comedy and tragedy diminish almost completely as distinctions between the serious and the ludicrous, pain and its absence, have been obliterated. Ionesco wrote that “comic and tragic are merely two aspects of the same situation, and I have now reached the stage when I find it hard to distinguish one from the other.” European and American Drama: Comedy explores the comic vision expressed in dramatic literature from antiquity to the present day. The class also investigates theories of comedy with special emphasis on what makes people laugh. Theoretical work includes writings by Henri Bergson, Sigmund Freud, Susanne Langer, Northrup Frye, Umberto Eco and others. Plays may include work by Aristophanes, Plautus, Machiavelli, Shakespeare, Moliere, Sheridan, Wilde, Chekhov, Shaw, Brecht, Coward, Ionesco, Fo, Mamet, Albee, Frayn, Simon, Ludlum, MacDonal, etc. Ms. Walen.
Prerequisite(s): DRAM 221 /DRAM 222 .
One 2-hour period.
|
| |
-
DRAM 335 - Seminar in Western Theater and Drama: “Serious Play: Female Authorship as Drama”
1 unit(s)
The course focuses on the study of works by Adrienne Kennedy, Irene Fornes, Dacia Maraini, Caryl Churchill, Marguerite Duras, Karen Finley, and Sarah Kane. We explore the performativity of female authorship through the study of plays, critical essays, letters and biographies. Weekly assignments include performative writing, and performance labs. Ms. Cody.
Prerequisite(s): DRAM 102 , DRAM 221 , DRAM 222 . and permission of the instructor.
One 2-hour period.
Offered alternate years. Not offered in 2013/14.
|
| |
-
DRAM 336 - Seminar in Performance Studies Semester Offered: Fall
1 unit(s)
Selected topics in Western and non-Western performance traditions and literatures. Weekly assignments include performative writing, and performance labs.
Topic for 2012/13a: The Question of the Animal. This course focuses on the complicated human-animal relationships at the very root of myth and theater (Greek tragedy originates in the “goat song”) and more generally in cultural performance and popular representation. Both classical and modernist theater are ripe with powerful animal metaphors, the circus is the ubiquitous metaphor for humanity and its discontents, and many brands of Performance Art and Extreme Performance have incorporated animals as sacrificial bodies. In brief, the animal has been - and continues to be - an important and fraught signifier on the stage of our cultural imagination. Why? And what are some of the ethical questions surrounding our appropriation of “nature” and the “natural” for aesthetic purposes? Whose interests does the human/animal binary serve? Why does the animal speak for us, and we for her? Through weekly readings culled from drama, popular culture, the social sciences, and a series of in-class workshops, we interrogate the most basic assumptions of humanist philosophy, and study the use and implications of performance ecologies in which the animal is central. The course culminates in the presentation of short theatrical responses to this material. Ms. Cody.
Prerequisite(s): permission of the instructor.
One 2-hour period.
|
| |
-
DRAM 337 - Seminar in Para-theater Semester Offered: Fall
1 unit(s)
This course explores the theory of performance through an examination of para-theatrical genres and their relation to performance. What is a performance and who constitutes the performance event? Course readings cover street theatre, demonstrations, stand-up comedy, tourism, dance, performance art, terrorism, mediatized and virtual performance, and theories of liveness as well as the performativity of race, class, gender, and sexuality. Students participate in fieldwork investigations and empirical exercises. Ms. Walen.
Prerequisite(s): DRAM 221 -DRAM 222 and permission of the instructor.
One 2-hour period.
|
| |
-
DRAM 338 - Contemporary Drama and Theater in the U.S. Semester Offered: Fall
1 unit(s)
The United States has a strong and vibrant history of regional theater production. Across the country theater companies are producing exciting work and reimagining classic plays for new audiences. This course will take a careful look at the regional theater scene in order to understand what plays and production methods have captured the imagination of the country. Together the class will read plays that have been popular at a number of regional theaters and the reviews of those productions. Students will also study individual regional theaters in depth by researching the plays produced over the last five years and the design concepts used in production. (Possible choices include but are not limited to Steppenwolf, The Arena Stage, The Studio Theater, The Goodman, The Guthrie, Milwaukee Repertory, Actors Theater of Louisville, Seattle Repertory, The Mark Taper Forum, La Jolla Playhouse, Oregon Shakespeare Festival, Hartford Stage, the McCarter Theater, Manhattan Theater Club, Playwrights Horizons, American Repertory Theater.) Students will also examine audience demographics and ticket sales, the organizational structure of the theater and its staff, policies for guest artists, the theater’s mission statement, board of directors and financial operations, development practices, community and educational outreach methods, marketing strategy, facilities, resources, and history. Besides a comprehensive knowledge of contemporary theater in the United States, each student will also gain exhaustive knowledge of at least one regional theater. Ms. Walen.
Prerequisite(s): DRAM 221 /DRAM 222 .
One 2-hour period
Enrollment limited to Juniors and Seniors.
|
| |
-
DRAM 339 - Shakespeare in Production
1 unit(s)
(Same as ENGL 339 and MRST 339 ) Students in the course study the physical circumstances of Elizabethan public and private theaters at the beginning of the semester. The remainder of the semester is spent in critical examination of the plays of Shakespeare and several of his contemporaries using original staging practices of the early modern theater. The course emphasizes the conditions under which the plays were written and performed and uses practice as an experiential tool to critically analyze the texts as performance scripts. Ms. Walen.
One 3-hour period.
Not offered in 2013/14.
Enrollment limited to Juniors and Seniors
|
| |
-
DRAM 340 - Seminar in Performance Studies: Artaud and His Legacy
1 unit(s)
This course is designed to introduce students to one of the most influential thinkers about the theater through the lens of Performance Studies. We explore Artaud’s essays, poems, plays, films, radio texts, drawings and letters, and the ways in which his radical proposals have helped to form many of the great performance traditions of the late Twentieth and early Twenty-First Centuries. Some of the artists examined as part of Artaud’s legacy are Tadeusz Kantor, Tatsumi Hijikata, John Cage, Robert Kaprow, Augusto Boal, Robert Wilson, Carolee Schneeman, Meredith Monk, Yvonne Rainer, Richard Schechner, Linda Montano, and Ann Hamilton and Suzanne Lacy. Ms. Cody.
Prerequisite(s): permission of the instructor.
One 2-hour period.
Not offered in 2013/14.
|
| |
-
DRAM 361 - Chinese and Japanese Drama and Theatre
1 unit(s)
(Same as CHJA 361 ) A study of Chinese and Japanese culture and society through well-known dramatic genres - zaju, chuanqi, kunqu, Beijing Opera, modern Spoken Drama, noh, kyogen, bunraku, kabuki, and New Drama; a close reading of selected plays in English translation. Scheduled films of performances convey Chinese and Japanese theatrical conventions and aesthetics. Discussions focus on major themes based on research presentations. All readings and discussions are in English. Mr. Du.
Prerequisite(s): one 200-level course in language, literature, culture, drama or Asian Studies, or permission of the instructor.
Not offered in 2013/14.
|
| |
-
DRAM 386 - Shakespeare Today
1 unit(s)
Not offered in 2012/13.
|
| |
-
DRAM 390 - Senior Project in Drama Semester Offered: Fall and Spring
1 unit(s)
Students may propose to undertake a project in one of the following areas: research in dramatic literature, theater history, performance studies, acting, directing, design, or playwriting. Proposals can range from collaborative ensemble projects to solo work, to more conventional endeavors in specific areas such as research, acting, directing, or designing. The nature of this project is to be determined in consultation with the department. The department.
Prerequisite(s): senior standing, and permission of the department. In the case of directing and design projects, students must also have completed DRAM 209 .
Unscheduled.
Enrollment limited to senior drama majors.
|
| |
-
DRAM 391 - Senior Production Laboratory Semester Offered: Fall and Spring
1 unit(s)
Participation in the performance, design, or technical aspects of department productions. Students undertake a major assignment with significant responsibility focusing on theory, craft and collaboration. The department.
Prerequisite(s): senior standing, 1one unit at the 300-level in Drama, and permission of the department.
Unscheduled.
May not be taken concurrently with DRAM 390 . Enrollment limited to seniors.
|
| |
-
DRAM 399 - Senior Independent Work Semester Offered: Fall or Spring
1/2 or 1 unit(s)
To be elected in consultation with the adviser
|
Chinese: I. Introductory |
| |
-
CHIN 105 - Elementary Chinese Semester Offered: Fall
1.5 unit(s)
An introduction to Mandarin Chinese (putong hua or guo yu). While the approach is aural-lingual, reading and writing skills are introduced early in the program. The two semesters cover about 700 characters. Grammatical analysis, pattern drills, and conversational practices are stressed throughout. Mr. Liu.
Five 50-minute periods.
Yearlong course 105-CHIN 106 .
Open to all students.
|
| |
-
CHIN 106 - Elementary Chinese Semester Offered: Spring
1.5 unit(s)
An introduction to Mandarin Chinese (putong hua or guo yu). While the approach is aural-lingual, reading and writing skills are introduced early in the program. The two semesters cover about 700 characters. Grammatical analysis, pattern drills, and conversational practices are stressed throughout. Mr. Du.
Five 50-minute periods.
Yearlong course CHIN 105 -106.
Open to all students.
|
| |
-
CHIN 107 - Advanced Elementary Chinese Semester Offered: Fall
1.5 unit(s)
An elementary Chinese language course designed for students who have acquired some oral Mandarin Chinese from home or other sources but did not reach the level of CHIN 205 . It capitalizes on students’ already acquired knowledge to further develop the skills of listening comprehension, speaking, reading and writing in Mandarin Chinese. Mr. Liu.
Prerequisite(s): open to students who have previous exposure to Chinese.
Five 50-minute periods.
|
| |
-
CHIN 108 - Advanced Elementary Chinese Semester Offered: Spring
1.5 unit(s)
An elementary Chinese language course designed for students who have acquired some oral Mandarin Chinese from home or other sources but did not reach the level of CHIN 205 . It capitalizes on students’ already acquired knowledge to further develop the skills of listening comprehension, speaking, reading, and writing in Mandarin Chinese. Mr. Du.
Prerequisite(s): open to students who have completed CHIN 107 or permission of the instructor.
Five 50-minute periods.
|
| |
-
CHIN 160 - Introduction to Classical Chinese
1 unit(s)
This course is an introduction to Classical Chinese (the Chinese equivalent of Latin) for students with no previous training or background in Chinese. Classical Chinese is the literary language in which almost all of Chinese literature was written prior to the twentieth century. This course introduces students to the rudiments of reading Classical Chinese, with an emphasis on early Chinese philosophical texts. No previous background in Chinese language, history, or culture is required. Among the texts to be studied are passages from the sayings of Confucius and Taoist works. Mr. Van Norden.
Not offered in 2013/14.
Open to all students. Does not satisfy the foreign language proficiency requirement.
|
Chinese: II. Intermediate |
| |
-
CHIN 205 - Intermediate Chinese Semester Offered: Fall
1.5 unit(s)
Further practice in conversation and learned patterns; acquisition of new grammatical structures, vocabulary, and about 700 additional characters. Emphasis on communicative skills in listening, speaking, reading, and writing. TBA.
Prerequisite(s): CHIN 105 -CHIN 106 or permission of the instructor.
Five 50-minute periods.
Yearlong course 205-CHIN 206 .
|
| |
-
CHIN 206 - Intermediate Chinese Semester Offered: Spring
1.5 unit(s)
Further practice in conversation and learned patterns; acquisition of new grammatical structures, vocabulary, and about 700 additional characters. Emphasis on communicative skills in listening, speaking, reading, and writing. TBA.
Prerequisite(s): CHIN 105 -CHIN 106 or permission of the instructor.
Five 50-minute periods.
Yearlong course CHIN 205 -206.
|
| |
-
CHIN 207 - Advanced Intermediate Chinese Semester Offered: Fall
1.5 unit(s)
A one-year sequential Intermediate Chinese language course designed for students who have completed CHIN 108 or acquired an equivalent level of oral and written proficiencies in Chinese from home or other sources but did not reach the level of CHIN 305 . It capitalizes on students’ already acquired knowledge to further develop the skills of listening comprehension, speaking, reading and writing in Mandarin Chinese. Mr. Du.
Open to students who have completed CHIN 108 and its equivalent.
|
| |
-
CHIN 208 - Advanced Intermediate Chinese Semester Offered: Spring
1.5 unit(s)
A one-year sequential Intermediate Chinese language course designed for students who have completed CHIN 207 or acquired an equivalent level of oral and written proficiencies in Chinese from home or other sources but did not reach the level of CHIN 305 . It capitalizes on students’ already acquired knowledge to further develop the skills of listening comprehension, speaking, reading and writing in Mandarin Chinese. Mr. Liu.
Five 50-minute periods.
Open to students who have completed CHIN 207 and its equivalent.
|
| |
-
CHIN 214 - The Tumultuous Century: Twentieth-Century Chinese Literature
1 unit(s)
(Same as ASIA 214 ) This is a survey/introduction to the literature of China from the late Qing Dynasty through the present day. Texts are arranged according to trends and schools as well as to their chronological order. Authors include Wu Jianren, Lu Xun, Zhang Ailing, Ding Ling, Mo Yan and Gao Xingjian. All major genres are covered but the focus is on fiction. A few feature films are also included in association with some of the literary works and movements. No knowledge of the Chinese language, Chinese history, or culture is required for taking the course. All readings and class discussions are in English. Mr. Liu.
Prerequisite(s): one course in language, literature, culture or Asian Studies, or permission of the instructor.
Not offered in 2013/14.
|
| |
-
CHIN 218 - Chinese Popular Culture
1 unit(s)
(Same as MEDS 218 ) The course analyzes contemporary Chinese entertainment and popular culture. It provides both historical coverage and grounding in various theoretical and methodological problems. Topics focus on thematic contents and forms of entertainment through television, radio, newspaper, cinema, theatre, music, print and material culture. The course also examines the relations between the heritage of traditional Chinese entertainment and the influences of Western culture. All readings and class discussions are in English. Mr. Du.
Prerequisite(s): one course in language, literature, culture, film, drama, or Asian Studies, or permission of the instructor.
Not offered in 2013/14.
|
| |
-
CHIN 220 - Chinese Film and Contemporary Fiction Semester Offered: Spring
1 unit(s)
(Same as FILM 220 ) An introduction to Chinese film through its adaptations of contemporary stories. Focus is on internationally well-known films by the fifth and sixth generation of directors since the late 1980s. Early Chinese films from the 1930s to the 1970s are also included in the screenings. The format of the course is to read a series of stories in English translations and to view their respective cinematic versions. The discussions concentrate on cultural and social aspects as well as on comparison of themes and viewpoints in the two genres. The interrelations between texts and visual images are also explored. Mr. Du.
Prerequisite(s): one course in language, literature, culture, film, drama, or Asian Studies, or permission of the instructor.
|
| |
-
CHIN 276 - Experiencing the Other: Representation of China and the West Semester Offered: Spring
1 unit(s)
(Same as ASIA 276 ) This course examines representation of China in Western Literature and the West in Chinese Literature from the end of the 17th Century. Through such an examination, issues such as identity, perceptions of the other, self-consciousness, exoticism, and aesthetic diversity are discussed. Readings include Defoe, Goldsmith, Voltaire, Twain, Kafka, Malraux, Sax Rohmer, Pearl Buck, Brecht, and Duras on the Western side as well as Cao Xueqin, Shen Fu, Lao She, and Wang Shuo on the Chinese side. Some feature films are also included. All readings are in English or English translation, foreign films are subtitled. Mr. Liu.
Prerequisite(s): one course on Asia or one literature course.
Two 75-minute periods.
Not offered in 2013/14.
|
| |
Page: 1 <- 3
| 4
| 5
| 6
| 7
| 8
| 9
| 10
| 11
| 12
| 13
… Forward 10 -> 20 |
Print this Page