Theatre
105 .
Theatre Appreciation.
(3)
For majors and non-majors. Study of the various elements of the practice of theatre: acting, directing, design, production, playwriting. Issues of spectatorship and criticism also addressed. Required attendance at a number of performances.
Meets New Mexico Lower-Division General Education Common Core Curriculum Area V: Humanities and Fine Arts. (NMCCN 1113).
130 [120].
Acting I .
(3)
Exploration of the basic fundamentals of acting through exercises, games and improvisation. Development of the imaginative, physical and emotional skills of the actor.
131 [121].
Acting II .
(3)
Continued exploration of the actor's craft. Introductory work with text.
Prerequisite: 130.
192.
Stagecraft I.
(3)
Basic techniques, tools and materials for construction of stage scenery. Crew assignments on departmental production required.
{Fall, Spring}
194.
Introduction to Costuming.
(3)
Basic techniques, tools, materials of costume construction. Crew assignment on departmental production required.
{Fall, Spring}
196.
Introduction to Stage Lighting.
(3)
Basic techniques of stage lighting. Crew assignment on departmental production required.
{Fall, Spring}
199.
Production Lab.
(1 to a maximum of 3 ?)
The purpose of this course is to provide a laboratory for students in which they can acquire practical artistic skills, which culminates in a public presentation.
Prerequisite: 192 and 194 and 196.
200.
Theatre Practicum.
(1 to a maximum of 4 ?)
Participation in University theatre season in production capacity. May not duplicate other course assignments.
Offered on a CR/NC basis only.
230 [220].
Acting III .
(3)
Continued exploration of acting technique. Emphasis on methods of study and preparation for presentation of scenework drawn from contemporary drama. Integration of voice and movement skills with acting technique.
Prerequisite: 131. Pre- or Corequisite: 231.
{Fall}
330 [221].
Acting IV [Acting Skills II] .
(3)
Continuation of THEA 230.
Prerequisite: 230.
{Spring}
223.
Introduction to Script Analysis.
(3)
The nature of the staged dramatic work: analysis of plays with representative readings from the history of dramatic literature.
231 [224].
Voice and Movement I .
(3)
Basic vocal and physical skills with emphasis on relaxation, breath, and freeing the voice. Consideration of placement, articulation and support. Voice work is combined with movement to connect the expressive impulse to the entire body.
Prerequisite: 130.
{Fall}
331 [225].
Voice and Movement II [Movement and Voice for Actors] .
(3)
Solidification and expansion of the skills learned in 231. Development of the actor's vocal and physical options. Applications to character and text.
Prerequisite: 231.
226.
Ensemble Improvisation.
(3 to a maximum of 6 ?)
Emphasis on the development of original dramatic material out of the process of individual and group improvisation.
{Offered upon demand}
267.
Acting Study for Non-Majors.
(3, no limit ?)
Introduction to the basic craft and experience of acting.
{Summer, Fall, Spring}
290.
Stagecraft II.
(3)
Advanced techniques of stage crafts. Crew assignment on departmental production required.
Prerequisite: 192.
{Spring}
292.
Rendering for Stage, Screen, and New Media .
(3)
Introduction to basic drawing skills used in the presentation of theatrical designs for stage, film, and digital media. Emphasis is given to accurate representation of the human figure, perspective, and lighting using different mediums.
293.
Fundamentals of Design Theory for Performance and New Media .
(3)
Introduction to and exploration of elements and principles of design, color theory, and design aesthetics through design projects. This course is for theatrical designers, art directors, artists, architects, and electronic media creators.
295.
Studies in Theatre.
(1-3 to a maximum of 9 ?)
Lecture and studio study on various topics in Theatre.
{Fall, Spring}
296.
Lighting Methods and Equipment.
(3)
Theory and practice of lighting for the stage. Crew assignment on departmental production required.
Prerequisite: 196.
{Fall, Spring}
430 [425].
Acting Characterization.
(3)
Methods for developing a wide range of characters with an emphasis on developing physical, vocal and emotional skills that allow the actor to stretch away from type.
{Fall alternate years}
Prerequisite: 330.
333 [322].
Topics in Physical Theatre .
(3 to a maximum of 12 ? )
This course explores advanced movement techniques through text, scenes, monologues and in-class exercises. We will work in-depth with imagination, and the concepts of psychological gesture and invisible body.
Prerequisite: 130 and 231.
332 [324].
Speech and Dialects for the Stage [Speech and Diction for the Stage].
(3)
Principles of stage speech and dialect acquisition techniques. Introduction to the use of the International Phonetic Alphabet, application of acquired dialects to performance.
Prerequisite: 231.
328.
Musical Theatre.
(3 to a maximum of 6 ?)
Training in the singing and acting styles required for performance in musical theatre.
Pre- or Corequisite: 120.
334.
The Decorated Body.
(3)
Historical and regional study and analysis of the cultural and sociological importance of what people wear and how they decorate and distort their bodies.
345 [335].
Theatre History I.
(3)
History and theory of theatre and performance, with emphasis on pre-modern and non-western drama. Instruction in the development of critical reading and writing strategies for analysis of theatre.
346 [336].
Theatre History II.
(3)
History and theory of theatre and performance, with emphasis on 19th and 20th century European and American drama. Instruction in issues and methods of theatre history research.
{Fall of even numbered years}
355.
Fundamentals of Playwriting.
(3 to a maximum of 6 ?)
Introduction to writing for the stage. Practice and study of the elements of dramatic form: dialogue, character, plot. Submission of an original one-act play.
{Fall, Spring}
366.
Stage Management.
(2 [3])
The role, functions and duties of the stage manager in production, rehearsal and performance.
Prerequisite: 367.
370.
2-D CAD and 3-D Viz .
(3)
Covers CAD and computer modeling, including the basic types of drawings and formats. Techniques and conventions unique to entertainment/theatre/television/film are also covered. Of special interest for architects, theatrical designers, art directors, etc.
371.
Digital Imagery and Production.
(3)
For students wishing to create conceptual/multi-media imagery for gallery, performance and similar installations. Covers planning, techniques and equipment, plus teaches software such as PhotoShop, Painter, Illustrator. Students complete a series of conceptual projects.
386.
Light Aesthetics.
(3)
A survey of lighting practice, including theatre, dance, opera, concerts, media, light as art and architecture; with an emphasis on aesthetics and the psychological, social and spiritual impact of light on human culture.
{Fall}
387.
Design History and Styles.
(3)
A multimedia introduction to the craft, history and styles of costume, lighting, scenery and theatre space design for performance. A study of the influence of seminal figures in design from the renaissance to the present.
390.
Scenic Painting for Stage and Screen.
(3)
Principles and practice of scenic painting techniques, including: color mixing, textures, faux finishes, and large scale backdrop painting.
Prerequisite: 192 and 292.
391.
Advanced Scenic Techniques.
(3 to a maximum of 12 ? )
Principles and practice of advanced scenic techniques including rigging, structural analysis, OSHA safety, scene painting and technical direction.
392.
Introduction to Scenic Design for Performance and New Media.
(3)
Course covers the techniques, goals and concepts of scenic design for theatre, television, film, and new media. Theoretical, conceptual, and practical issues are addressed. Students complete a series of conceptual design projects.
Prerequisite: 105 and 292.
394.
Costume Design I.
(3)
Exploration of costume design for stage, film and television concentrating on design theory, visual communication, rendering techniques and portfolio presentation. Drawing skills required.
Prerequisite: 105 and 194.
396.
Lighting Design I.
(3)
Basics of lighting design, emphasis on play analysis, light plots and plugging charts. Crew assignment on departmental production required.
Prerequisite: 105 and 196.
{Fall}
398.
Costume Techniques.
(3)
Principles and practice of advanced costuming techniques like millinery, mask making, corsetry, wigs, jewelry and fabric dyeing.
Prerequisite: 194.
399.
Special Problems in Theatre and Production.
(1-3 ?)
Intensive study and practice of special techniques and materials in theatre and production.
Restriction: permission of instructor.
{Offered upon demand}
403.
Directing I .
(3)
Methods and techniques for the director in script-analysis and director-actor communication through visual and oral skills.
Prerequisite: 105 and 120.
404 / 504.
Topics in Directing.
(3 to a maximum of 6 ?)
Advanced study of the special problems in directing required by specific styles and stagings. Directing of a one-act script is required. Topics vary.
Prerequisite: 403.
{Spring}
415 / 515.
Theatre for Educational and Social Change.
(3)
Methods for using interactive theatre techniques (e.g. Boal’s forum theatre) and collaborative creation of plays for conflict resolution, community building and examining social issues in schools, theatre outreach programs and social service organizations.
418 / 518.
Creative Drama.
(3)
Techniques for using informal, improvisational drama as a developmental tool with children, youth and special populations in educational and recreational settings. Exploration of methods to teach drama and to use drama to teach other subjects in the school curriculum.
419 / 519.
Children?s Theatre.
(3)
An overview of theatre for children and youth in the U.S. and Europe. Examination of age-appropriate scripts and production approaches. Possible participation in workshop production.
431 [420].
Advanced Acting: Classical Styles [Acting-Topics in Classical Styles].
(3)
Focus on textual and physical approaches to Classical texts. Topics vary. May include Greek, Jacobean, Restoration, Moliere, etc.
Prerequisite: 330.
437/537 [421 / 521].
Acting-Entering the Profession.
(3)
Preparation for a career as a performer, with focus on theatrical and film auditions, callbacks and interviews. Includes practical information on professional etiquette, marketing and creating a strong career plan.
Prerequisite: 330 and 331.
432 / 532 [422 / 522].
Advanced Acting- Beyond Realism [Acting-Topics in Modern Styles].
(3 to a maximum of 9 ? [3])
Development of acting skills necessary to perform plays written in a variety of styles that depart from realism. Authors may include: Beckett, Ionesco, Genet, Brecht, Fornes, Parks, Wellman, etc.
Prerequisite: 330 or 434.
433 / 533 [424 / 524].
Advanced Acting: Shakespeare [Mastering Classical Language].
(3 to a maximum of 9 ? [3])
Exploration of the textual demands of Shakespearean verse and prose through sonnets, monologues and scenes. Integration of voice, movement, and acting technique to bring these works to life onstage.
Prerequisite: 231 and 330.
434 [*426].
Performance Art .
(3)
Students create and perform original acts of live art combining various performance disciplines. Studio work will be supplemented by lectures examining performance art and artist. The role of performance in our lives will be probed.
Prerequisite: 131.
428.
Topics in Musical Theatre.
(3 to a maximum of 9 ?)
Course material varies, including: training in audition preparation, ensemble performance, repertoire, musical theatre movement and cabaret performance.
Prerequisite: 328. Pre- or Corequisite: 121.
Restriction: permission of instructor.
445/545 [438/538].
Topics in Theatre History and Criticism.
(3 to a maximum of 9 ?)
Subject differs by semester. May include eras, genres, movements, individuals or theories, e.g., melodrama, feminism and theatre, non-western traditions, Brecht and Artaud, popular entertainments, postcolonial theatre. Advanced lecture/ discussion.
446/546 [439/539].
Theories of Theatre.
(3 to a maximum of 6 ?)
An interdisciplinary, historical, multinational survey of theatrical and non-aesthetic performance theories. Focus on the intersection of theatre practice and assumptions about everyday life. Lecture/discussion.
Prerequisite: 345 or 346.
{Spring}
444 / 544.
Outreach Company.
(1-3 to a maximum of 4 ?)
Participation in Theatre and/or Dance productions or projects which tour into the community.
{Fall, Spring}
*455.
Seminar in Playwriting.
(3 to a maximum of 6 ?)
Emphasis upon analysis of student-written plays.
*456L.
Playwriting Laboratory.
(3 to a maximum of 6 ?)
Offered to provide playwriting students opportunities to work in response to the staging of their developing playscripts.
457.
Advanced Dramatic Writing Workshop.
(3 to a maximum of 6 ?)
For advanced writers to develop applications of dramatic structure through creation of an original longer form play and to study examples from the history of dramatic literature.
{Fall}
458 / 558.
Screenwriting.
(3 to a maximum of 6 ?)
Investigation of the art of writing the feature-length film. Study is performed in tandem with the development of a treatment and a script with revisions.
460 / 560.
Comedy Writing I.
(3)
Short skits, sketches, monologues and musical satires have become a living reminder of the old adage, “Brevity is the sole of wit.” This course teaches how to write comedy in the short form
461 / 561.
Comedy Writing II.
(3)
Can comedy co-exist with tragedy? Writers of full-length comedies such as “Life is Beautiful” and “M*A*S*H” believe it not only can, but must. This course focuses on writing this combination of opposites.
*467.
Performance Study [Performance Study (Acting Skills Tutorial)].
(1-3, may be repeated 3 times ?)
Emphasis on acting skills in the preparation of dramatic materials.
Prerequisite: 221
470 / 570.
Architectural Modeling, Visualization, and Presentation for Designers.
(3)
For students wishing to use computers to explore the aesthetics of space/time/volume. Covers techniques in high-end modeling/animation of spaces/environments, sophisticated visualization software, and advanced presentation via image, sound and video.
471 / 571.
Video Content Production .
(3)
Course explores technological and artistic potential of computers for creating and presenting productions utilizing moving images, sound and text. Includes computer image manipulation, video/sound editing, programming presentations. For theatrical designers, media producers, artists, journalists.
472 / 572.
3-D Modeling and Animation for Designers.
(3)
This course explores the technology and techniques of computer based 3-D illustration, 3-D modeling and 2-D/3-D animation. Students will learn a variety of techniques and computer programs and create a series of conceptual projects.
473.
Interactive Design and Technology.
(3)
Course explores the technology and techniques for planning, creating and presenting interactive events, whether for live performance, installations, the web, or other applications. Students will incorporate video, sound, imagery, and interactive technology in a series of projects.
475 / 575.
Special Topics in Computers for Design.
(1-3 to a maximum of 6 ?)
Intensive study and practice in computers and technology for design and performance. Topics vary.
{Offered on demand}
482.
Scene Design Project.
(1-3 to a maximum of 3 ?)
Advanced production work in set design for an actual performance under the supervision of the design faculty. Presentation of portfolio on finished project to design committee necessary for final grade. Admission by portfolio.
Prerequisite: 392.
483.
Lighting Design II.
(3)
Emphasis on designing for various types of stages. Crew assignment on departmental production required.
Prerequisite: 396.
{Spring}
*484.
Evaluating the Arts.
(3)
(Also offered as ARTH, DANC, MA, MUS 484)
Examines the practice of criticism, with emphasis on critical processes that penetrate a variety of art forms. Also explores aesthetic theories and cultural outlooks that underpin practical criticism.
Restriction: permission of instructor
488 [486].
Lighting Design Project.
(1-3 to a maximum of 3 ?)
Advanced production work in lighting design for an actual performance under the supervision of the design faculty. Presentation of portfolio on finished project to design committee necessary for final grade. Admission by portfolio.
Restriction: permission of instructor.
487 / 587.
Contemporary Interdisciplinary Topics.
(3 to a maximum of 6 ?)
(Also offered as ARTH, DANC, MA, MUS 487)
Analyzes major instances of interdisciplinary influence and collaboration in the present day.
Restriction: Permission of instructor
{Spring}
491.
Professional Apprenticeship.
(1-6, no limit ?)
Qualified students accepted by a professional company (e.g., The Santa Fe Opera, New Mexico Repertory Theatre, Ringling Bros. Barnum and Bailey Circus) may register for technical production or acting credit.
Restriction: permission of instructor.
{Summer, Fall, Spring}
492.
Advanced Scenic Design for Stage, Screen, and New Media .
(3)
Study of the practice and techniques of scenic design for theatre, opera and dance. Emphasis on developing personal artistic vision in a collaborative art form. Students complete conceptual design projects.
Prerequisite: 392.
493.
Art Direction for TV/Film.
(3)
Overview of the role, task and techniques of the Art Director/Production Designer for television, film and electronic media. Covered are graphics, set design, location scouting, special effects, research, storyboarding, model making and computer pre-visualization.
494.
Costume Design II.
(3)
Advanced work in costume design, concentrating on student projects for dance, stage, film and television. Portfolio presentation required.
Prerequisite: 394.
495.
Studies in Theatre.
(1-3 to a maximum of 9 ?)
Lecture and studio study on various topics in theatre.
496 / 596.
Student Production Project.
(1-3 to a maximum of 9 ?)
Advanced studies in Theatre under the supervision of an individual faculty member. This study must conclude in a project. This study may not be substitute for any course offered by the Theatre Program.
Restriction: permission of instructor.
497 / 597.
Independent Study.
(2-3 to a maximum of 9 ?)
Advanced studies and research in Theatre under the supervision of an individual faculty member. This study must conclude in a written project. This study may not substitute for any course offered by the Theatre Program. All projects must be approved by the Department.
498.
Design Seminar.
(3)
Explores current topics and trends in contemporary design aesthetics, portfolio and resume preparation, and discussions on the business of theatrical design and related industries. Capstone course intended for students preparing for graduation.
{Fall}
499.
Departmental Honors.
(3-6 to a maximum of 6 ?)
Students achieving an overall grade point of 3.50 will qualify to apply for departmental honors which requires a research or creative project with supporting written document.
Restriction: permission of instructor.
500.
Introduction to Graduate Studies.
(3)
Research methods for performing arts including development of working bibliography, types of documentation, investigation of research materials and resources in theatre and dance. Includes a survey of main types of studies undertaken in theatre arts and dance. Required of all entering graduate students.
{Fall}
503.
Performance Theory.
(3)
The development of methods of interpretation and formation of theories suitable for both traditional and non-traditional theatre and dance performance.
{Spring of even numbered years}
504 / 404.
Topics in Directing.
(3, no limit ?)
Advanced study of the special problems in directing required by specific styles and stagings. Directing of a one-act script is required. Topics vary.
Prerequisite: 403.
{Spring}
506.
Critical Issues in the Performing Arts.
(3)
Examination of major problems and questions arising from interaction between the performing arts and the political, economic and social conditions in which they live. Survey of major figures in contemporary performing arts.
512.
Graduate Seminar.
(3 to a maximum of 9 ?)
Topical seminars in the areas of Dramatic Writing, Directing and Theatre Education.
515 / 415.
Theatre for Educational and Social Change.
(3)
Methods for using interactive theatre techniques (e.g. Boal’s Forum Theatre) and collaborative creation of plays for conflict resolution, community building and examining social issues in schools, theatre outreach programs and social service organizations.
518 / 418.
Creative Drama.
(3)
Techniques for using informal, improvisational drama as a developmental tool with children, youth and special populations in educational and recreational settings. Exploration of methods to teach drama and to use drama to teach other subjects in the school curriculum.
519 / 419.
Children?s Theatre.
(3)
An overview of theatre for children and youth in the U.S. and Europe. Examination of age-appropriate scripts and production approaches. Possible participation in workshop production.
537/437 [521 / 421].
Acting-Entering the Profession.
(3)
Preparation for a career as a performer, with focus on theatrical and film auditions, callbacks and interviews. Includes practical information on professional etiquette, marketing and creating a strong career plan.
538 / 438.
Topics in Theatre History and Criticism.
(3 to a maximum of 9 ?)
Subject differs by semester. May include eras, genres, movements, individuals or theories, e.g., melodrama, feminism and theatre, non-western traditions, Brecht and Artaud, popular entertainments, postcolonial theatre. Advanced lecture/ discussion.
546/446 [539/439].
Theories of Theatre.
(3 to a maximum of 9 ?)
An interdisciplinary, historical, multinational survey of theatrical and non-aesthetic performance theories. Focus on the intersection of theatre practice and assumptions about everyday life. Lecture/discussion.
Prerequisite: 345 or 346.
{Spring}
544 / 444.
Outreach Company.
(1-3 to a maximum of 6 ?)
Participation in Theatre and/or Dance productions or projects which tour into the community.
{Fall, Spring}
551.
Problems.
(1-3 to a maximum of 6 ?)
555.
Problems.
(4 to a maximum of 12 ?)
Phase #1 of an integrated experience in playwriting in which original concepts are explored and analyzed for dramatic viability, clarity of the central conflict and developed into plays to be read and revised.
556.
Dramatic Writing II.
(4 to a maximum of 12 ?)
Phase #2 of an integrated experience in playwriting in which experimental playwriting is explored, with an emphasis on modern and post-modern examples. Original concepts are developed into plays to be read and revised.
557.
The Writer?s Stage III.
(4 to a maximum of 12 ?)
Phase #3 of an integrated experience in playwriting. New works are cast, rehearsed and presented to the public in the form of concert readings or in special cases, more elaborate settings
558 / 458.
Screenwriting.
(3 to a maximum of 12 ?)
Investigation of the art of writing the feature-length film. The analysis of concept, premise and social arena to develop the student’s own original screenplay to include at least one major set of revisions.
559.
Topics in Dramatic Writing.
(3 to a maximum of 12 ?)
Selected topics for the professional dramatic writer. Includes: screenwriting, writing for the stage (including musical theatre), film, television and other media. Topics will be offered in response to student demand and guest artist availability.
560 / 460.
Comedy Writing I.
(3)
Short skits, sketches, monologues and musical satires have become a living reminder of the old adage, “Brevity is the sole of wit.” This course teaches how to write comedy in the short form.
561 / 461.
Comedy Writing II.
(3)
Can comedy co-exist with tragedy? Writers of full-length comedies such as “Life is Beautiful” and “M*A*S*H” believe it not only can, but must. This courses focuses on writing this combination of opposites.
570 / 470.
Architectural Modeling, Visualization, and Presentation for Designers.
(3)
For students wishing to use computers to explore the aesthetics of space/time/volume. Covers techniques in high-end modeling/animation of spaces/environments, sophisticated visualization software, and advanced presentation via image, sound and video.
571 / 471.
Video Content Production .
(3)
Course explores technological and artistic potential of computers for creating and presenting productions utilizing moving images, sound and text. Includes computer image manipulation, video/sound editing, programming presentations. For theatrical designers, media producers, artists, journalists.
572 / 472.
3-D Modeling and Animation for Designers.
(3)
This course explores the technology and techniques of computer based 3-D illustration, 3-D modeling and 2-D/3-D animation. Students will learn a variety of techniques and computer programs and create a series of conceptual projects.
573.
Interactive Design and Technology.
(3)
Course explores computer technology and techniques for planning, creating, and presenting interactive events, whether for live performance, installations, the web, or other applications. Students will incorporate video, sound, imagery, and interactive technology in a series of projects.
575 / 475.
Special Topics in Computers for Design.
(1-3 to a maximum of 6 ?)
Intensive study and practice in computers and technology for design and performance. Topics vary.
{Offered on demand}
584.
Problems in Interdisciplinary Studies.
(3 to a maximum of 6 ?)
(Also offered as ARTH, MUS 584 and MA *485)
An independent study in either critical studies or studio, beyond the scope of the Fine Arts interdisciplinary courses, which may occur within or outside the College of Fine Arts.
Restriction: permission of instructor
{Fall, Spring}
587 / 487.
Contemporary Interdisciplinary Topics.
(3 to a maximum of 6 ?)
(Also offered as ARTH, DANC, MUS 587 and MA 487)
Analyzes major instances of interdisciplinary influence and collaboration in the present day.
{Spring}
593.
Art Direction for TV/Film.
(3)
Overview of the role, task, and techniques of the Art Director/Production Designer for television, film, and electronic media. Covered are graphics, set design, location scouting, special effects, research, storyboarding, model making, and computer pre-visualization.
596 / 496.
Student Production Project.
(1-3 to a maximum of 6 ?)
Advanced studies in Theatre under the supervision of an individual faculty member. This study must conclude in a project. This study may not substitute for any course offered by the Theatre Program.
Restriction: permission of instructor.
597 / 497.
Independent Study.
(2-3 to a maximum of 6 ?)
{Fall, Spring}
598.
Master?s Essay in Theatre and Dance.
(3)
Offered for students who have been advanced to candidacy and who have elected Plan II.
599.
Master?s Thesis.
(1-6, no limit ?)
Offered on a CR/NC basis only.
699.
Dissertation.
(3-12, no limit ?)
Submission of a major work, full length play or screen play that is shown in a public presentation as a staged concert reading or if approved, in a more comprehensive presentation.
Offered on a CR/NC basis only.
435 [326].
Acting for the Camera.
(3)
Introduction to performance before the camera, including: terminology, acting technique, audition skills and technical experience for television, film, video and beyond.
Prerequisite: 230.
304 [294].
Make Up Design for Stage, Film and Television.
(3)
Basic techniques of make up design for stage, film and television through the use of a variety of materials.
397 [297].
Sound for Performance.
(3)
Introduction to the equipment and techniques of sound for performance. Hands on experience with microphones, mixers, processors, digital recordings, CDs and computer programs for sound production.
314 [298].
Pattern Development.
(3)
An introduction to pattern development using a combination of techniques: flat patterning, slash and spread, and draping.
Prerequisite: 194.
{Fall odd numbered years}
532 / 432 [522 / 422].
Advanced Acting- Beyond Realism [Acting-Topics in Modern Styles].
(3 to a maximum of 9 ? [3])
Development of acting skills necessary to perform plays written in a variety of styles that depart from realism. Authors may include: Beckett, Ionesco, Genet, Brecht, Fornes, Parks, Wellman, etc.
Prerequisite: 330 or 434.
533 / 433 [524 / 424].
Advanced Acting: Shakespeare [Mastering Classical Language].
(3 to a maximum of 9 ? [3])
Exploration of the textual demands of Shakespearean verse and prose through sonnets, monologues and scenes. Integration of voice, movement, and acting technique to bring these works to life onstage.
367.
Stage Management Production Laboratory.
(1 to a maximum of 3 ?)
The purpose of this course is to provide a laboratory for student Stage Managers in which they can acquire and experiment with practical stage management skills.
Corequisite: 366.
445/545 [438/538].
Topics in Theatre History and Criticism.
(3 to a maximum of 9 ?)
Subject differs by semester. May include eras, genres, movements, individuals or theories, e.g., melodrama, feminism and theatre, non-western traditions, Brecht and Artaud, popular entertainments, postcolonial theatre. Advanced lecture/ discussion.
