The majors in Theatre, Design and Dance offered by the College of Fine Arts are described below. Check with the Advisor of the College of Fine Arts for further information and advisement. Additionally, to take full advantage of the areas of concentration, students must seek advisement from the Department of Theatre and Dance advisors their first semester. Students interested in teacher certification in theatre and dance are directed to information listed under the heading Teacher Licensure in Fine Arts: Theatre and Dance.
The programs of studies in Theatre, Design and Dance often include production work as an integral part of classroom instruction and students are expected to participate in all phases of such work that may occur in the required courses.
In the department, the progression of course levels from beginning to advanced is carefully structured. The faculty places each student at a level of instruction based on both the student’s ability and achievement.
In addition to the course requirements listed for the majors, you must satisfy general College and University requirements for graduation. A minimum of 128 hours is required in all curricula. Of these, at least 40 hours must be completed in courses numbered 300 or above. Effective Fall 1993, courses in the Theatre and Dance Major must be completed with a C- or better to count toward the degree. Furthermore, the faculty reserves the right to disqualify from further enrollment or participation in departmental programs:
Courses
DANC 105.
Dance Appreciation.
(3 to a maximum of 6 ?)
A lecture and discussion course introducing the study of dance as technique, spectacle and ritual for today’s audience. Course fee required.
Meets New Mexico Lower-Division General Education Common Core Curriculum Area V: Humanities and Fine Arts (NMCCN 1113).
{Fall, Spring}
DANC 110.
Modern Dance I.
(3 to a maximum of 9 ?)
Fundamental work for the adult beginner in Modern Dance techniques and styles. Course fee required.
{Fall, Spring}
DANC 113.
Introduction to Historical Dance Forms.
(3)
The course offers lectures and active participation in a broad perspective of historical dance styles, ranging from the Renaissance and Baroque periods to 19th and 20th Century Ballroom. Course fee required. {Offered upon demand.}
DANC 116.
Mexican Folk Dance I.
(3 to a maximum of 12 ?)
An introduction to the dynamic dances and styles of the different states of Mexico. Course fee required.
DANC 118.
Tap I.
(3 to a maximum of 9 ?)
Introduction to the techniques and styles of tap dancing. Course fee required. {Fall}
DANC 127.
African Dance I.
(3 to a maximum of 12 ?)
An introduction to the movement, polyrhythmic music and meanings of West and Central African dance. Course fee required.
DANC 132.
Jazz I.
(3 to a maximum of 9 ?)
Fundamental work for the adult beginner in technique and styles of jazz dance. Course fee required.
{Fall}
DANC 149.
Ballet I.
(3 to a maximum of 9 ?)
Fundamental work for the adult beginner in vocabulary, technique and styles of ballet. Course fee required.
{Fall, Spring}
DANC 169.
Flamenco I.
(3 to a maximum of 9 ?)
Fundamental work for the adult beginner in techniques and styles of Flamenco. Course fee required.
{Fall and Spring}
DANC 170.
Hip Hop I.
(3 to a maximum of 12 ?)
An introduction to Hip Hop, its movement, style and culture. Course fee required.
{Fall and Spring}
DANC 201.
Crew Practicum.
(0)
Participation in University theatre and dance season through assignment on a production crew. To be completed in one semester.
Offered on a CR/NC basis only.
{Summer, Fall, Spring}
DANC 204.
Stretching, Strengthening and Conditioning for the Performing Arts.
(3 to a maximum of 15 ?)
Specialized floor work training using principles of the Pilates Methodology and the basic movement concepts of Core Dynamics™. For preparing and maintaining a uniformly developed body for dance and movement. Course fee required.
{Fall, Spring, Summer}
DANC 210.
Modern Dance II.
(3 to a maximum of 12 ?)
Modern dance techniques and styles at the intermediate level. Permission of instructor required. Course fee required.
{Fall, Spring}
DANC 212.
Improvisation.
(3 to a maximum of 6 ?)
Discovering the authentic self in movement. First steps in use of structure and form in dance composition. Developing skills in group interaction. Course fee required.
{Fall}
DANC 218.
Tap II.
(3 to a maximum of 12 ?)
Tap dancing techniques and styles at the intermediate level. Course fee required.
Restriction: permission of instructor.
{Spring}
DANC 232.
Jazz II.
(3 to a maximum of 12 ?)
Jazz techniques and styles at the intermediate level. Permission of instructor required. Course fee required.
{Fall, Spring}
DANC 249.
Ballet II.
(3 to a maximum of 12 ?)
Ballet techniques and styles at the lower intermediate level.
Permission of instructor required. Course fee required.
{Spring}
DANC 250.
Movement Analysis I.
(3, no limit ?)
An introduction to Laban’s theoretical system for observing and describing movement events and their component parts. Guidance in the application of Laban theory to dance, therapy and awareness of the role of movement in the other arts through an understanding of dynamics, space and body function. Course fee required.
{Fall}
DANC 251.
Movement Analysis II.
(2)
This course will give the student several opportunities to apply the body, space, effort and shape theories learned in Movement Analysis I to the teaching, choreographing and performing of and the writing about dance. Course fee required.
Prerequisite: 250
DANC 269.
Flamenco II.
(3 to a maximum of 12 ?)
Flamenco techniques and styles at the intermediate level.
Permission of instructor required. Course fee required.
{Summer, Fall, Spring}
DANC 289.
Topics in Flamenco.
(1-3 to a maximum of 12 ?)
Various topics such as: Cante, Cuadro/Improvisation/ Structure, Spanish Form/Castanets, Palmas and Cajon, Brazeo/Marcaje, Footwork and Vueltas and Bata de Cola/Manton/Abanico. Course fee required.
DANC 295.
Special Topics in Dance.
(1-3 to a maximum of 12 ?)
Lecture courses and workshops on various topics in dance. Course fee required.
{Summer, Fall, Spring}
DANC 304 / 504.
Theories of Movement.
(3)
History, development and practical applications of major western theories of movement and movement therapy. Course fee required.
Restriction: permission of instructor.
DANC 305 / 505.
Stretch, Strength and Conditioning for Performance Arts II.
(3 to a maximum of 15 ?)
Continuation of specialized floor work training using principles of the Pilates methodology. For preparing and maintaining a uniformly developed body for the performing arts and also for the general population. Course fee required.
{Spring}
Prerequisite: 204.
DANC 308.
Studies in Dance Forms.
(1-3 to a maximum of 12 ?)
Study of techniques and styles of world dance forms. Course fee required.
{Summer, Fall, Spring}
DANC 310.
Modern Dance III.
(3 to a maximum of 12 ?)
Modern dance techniques and styles at the advanced level.
Restricted to students majoring or minoring in Dance. Others may petition the Dance faculty for permission to register for this course. Course fee required.
{Fall, Spring}
DANC 311.
Choreography I.
(3 to a maximum of 6 ?)
Selecting dance materials and sound accompaniment for solo composition.
Prerequisite: 212.
{Spring}
DANC 313.
Kinesiology.
(3, no limit ?)
Structural analysis of movement. Basic understanding of the skeletal and neuromuscular systems of the human body in movement. Course fee required.
{Fall}
DANC 327.
African Dance II.
(3 to a maximum of 12 ?)
Intermediate to advanced studies in the movement, polyrhythmic music and meanings of West and Central African Dance. Course fee required.
Prerequisite: 127
DANC 349.
Ballet III.
(3 to a maximum of 12 ?)
Ballet techniques and styles at the advanced level.
Permission of instructor required. Course fee required.
{Fall, Spring}
DANC 369.
Flamenco III.
(3 to a maximum of 12 ?)
Flamenco techniques and styles at the advanced level.
Restricted to students majoring or minoring in Dance. Others may petition the Dance faculty for permission to register for this course. Course fee required. {Fall, Spring}
Prerequisite: 379.
DANC 370.
Hip Hop II.
(3 to a maximum of 12 ?)
Intermediate to advanced study of Hip Hop, its movement, style and culture. Course fee required.
Prerequisite: 170 or permission of instructor.
DANC 379.
Flamenco Structure/Improvisation.
(3)
Study of various elements necessary in an improvisational setting in Flamenco. Using “tangos” and “Bulerias” as a format, students study the compass of each palo, then move to several traditional letras appropriate to these forms.
{Spring}
DANC 411 / 511.
Choreography II.
(3 to a maximum of 6 ?)
Further exploration in generating and organizing movement material for performance. Course fee required.
Prerequisite: 311.
{Fall}
DANC 412.
Senior Performance.
(2)
Guided independent work in choreography with a faculty artists, culminating in a formal or informal performance. Course fee required.
Restriction: permission of instructor.
DANC 416 / 516.
Dance Pedagogy.
(3)
Theories of teaching. Principles and techniques of curriculum development in elementary schools, secondary schools, higher education and in private schools. Course fee required.
{Spring of odd-numbered years}
DANC 431 [431 / 531].
Writing about Dance .
(3)
Observation and written analysis of dance events with an emphasis on contemporary theories and performances. Course fee required.
{Spring of even-numbered years}
DANC 450 / 550.
Movement Analysis III.
(3)
Specialized problems in the effort, space harmony and fundamentals of Laban Movement Theory. Students enrolled in 550 will submit a substantial final project, either written or choreographic. Course fee required.
Prerequisite: 250.
{Offered upon demand}
DANC 462 / 562.
Dance History I.
(3)
A study of the history of dance from tribal culture to 19th-century Romantic ballet. Course fee required.
DANC 463 / 563.
Dance History II.
(3)
A survey of the origins of modern ballet and modern dance from the late 19th century to the mid-20th century. Extensive readings culminating in a research paper will be required. Course fee required.
DANC 464 / 564.
Dance History III.
(3)
Study of contemporary choreography from Modernism to the present. Particular emphasis on feminism and post-modernism as these movements have influenced our understanding of dancing and dance-making.
DANC 466 / 566.
Flamenco History.
(3)
Introduction to Flamenco history, investigation of the controversial history of the art form through study of Gypsy history, Spanish history, and major figures and events that shaped the evolution of Flamenco.
{Spring, odd numbered years}
DANC 467 / 567.
Dance History IV: Contemporary Topics in Dance Studies.
(3 to a maximum of 6 ?)
This course explores a variety of issues in dance history, such as Dance, Society & Politics; African-American Dance; and Dance on Film.
Prerequisite: 105.
DANC 479 / 579.
Flamenco Choreography.
(3)
Designed for advanced students with knowledge of Flamenco structure and improvisation, cante, palmas, and three levels of Flamenco technique, investigation of choreography in Flamenco movement and rhythms.
Prerequisite: 379.
{Fall}
DANC *484.
Evaluating the Arts.
(3)
(Also offered as ARTH, MA, MUS, THEA 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
DANC 487 / 587.
Contemporary Interdisciplinary Topics.
(3 to a maximum of 6 ?)
(Also offered as ARTH, MA, MUS, THEA *487)
Analyzes major instances of interdisciplinary influence and collaboration in the present day. Course fee required.
Restriction: permission of instructor
{Spring}
DANC 495.
Special Studies in Dance.
(1-3 to a maximum of 12 ?)
Course fee required.
Permission of instructor required.
{Offered upon demand}
DANC 496 / 596.
Student Production Project.
(1-3 to a maximum of 12 ?)
Independent project culminating in a formal, informal or video performance. Students must submit a proposal to instructor and program head.
{Summer, Fall, Spring}
DANC 497 / 597.
Independent Study.
(1-3 to a maximum of 12 ?)
Independent project culminating in a formal paper. Students must submit a proposal to instructor and program head.
{Summer, Fall, Spring}
DANC 499.
Departmental Honors.
(3-6 to a maximum of 12 ?)
Students achieving an overall grade point of 3.50 will qualify for departmental honors, which requires a research or creative project with supporting written document. Permission of the department.
DANC 500.
Introduction to Graduate Study.
(3)
Research methods for performing arts including development of working bibliography, types of documentation, investigation of research materials in theatre and dance.
Required of all entering graduate students. Course fee required.
{Fall}
DANC 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}
DANC 504 / 304.
Theories of Movement.
(3 to a maximum of 6 ?)
A survey of major Western theoretical systems of movement re-education, dance and theatre performance and composition. Students will create and present a substantive written and/or choreographic project. Course fee required.
{Fall of even-numbered years}
Restriction: permission of instructor.
DANC 505 / 305.
Stretch, Strength and Conditioning for Performance Arts II.
(3 to a maximum of 15 ?)
Continuation of specialized floor work training using principles of the Pilates methodology. For preparing and maintaining a uniformly developed body for the performing arts and also for the general population. Course fee required.
Prerequisite: 204.
DANC 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. Course fee required.
{Spring of odd-numbered years.)
DANC 509.
Graduate Internship.
(3-6 to a maximum of 12 ?)
Individualized work with Department faculty or professional artists in Dance or Theatre. Internship to be conceived in advance and structured throughout by directed study. Culminates in critical paper.
{Summer, Fall, Spring}
Restriction: permission of instructor.
DANC 510.
Creative Investigations I.
(3 to a maximum of 6 ?)
An in depth study of the nature of creative investigation and art-making in dance with the prospect of finding alternative ways of constructing dance movement and composing new works. Course fee required.
{Fall}
Restriction: permission of instructor.
DANC 511 / 411.
Choreography II.
(3 to a maximum of 6 ?)
Further exploration in generating and organizing movement material for performance. A major piece of 20–30 minutes in duration or several smaller works of equivalent total length will be required. Course fee required.
Restriction: permission of instructor.
{Fall}
DANC 512.
Graduate Seminar.
(3 to a maximum of 12 ?)
Topical seminars in the areas of choreography, history and criticism and dance education. Course fee required.
DANC 515.
Creative Investigations II.
(3 to a maximum of 6 ?)
Further in-depth study of the nature of creative investigation and art-making specifically as it pertains to dance composition. Works-in-progress begun during the previous semester will be brought to completion. Course fee required.
{Fall}
Restriction: permission of instructor.
DANC 516 / 416.
Dance Pedagogy.
(3 to a maximum of 6 [3])
Theories and teaching. Principles and techniques of curriculum development in the elementary and secondary schools, higher education and in private studios. Course fee required.
{Spring, odd numbered years}
DANC 531 .
Dance Criticism [Writing About Dance] .
(3)
Observation and written analysis of dance events with an emphasis on contemporary theories and performances. Course fee required.
{Spring of even numbered years}
DANC 549.
Dance Technique for Graduate Student.
(1-4 ?)
Regularly-scheduled technique course. Students must enroll in the appropriate section by dance genre and level. Course fee required.
{Fall, Spring}
DANC 550 / 450.
Movement Analysis III.
(3)
Specialized problems in the effort, space harmony and fundamentals of Laban Movement Theory. Students enrolled in 550 will submit a substantial final project, either written or choreographic. Course fee required.
Prerequisite: 250.
{Offered upon demand}
DANC 551 / 552.
Problems.
(1-3 to a maximum of 12 ?)
DANC 562 / 462.
Dance History I.
(3 to a maximum of 6 [3])
A study of the history of dance from tribal culture to 19th-century Romantic ballet. Extensive readings culminating in a research paper will be required. Course fee required.
DANC 563.
Dance History II.
(3 to a maximum of 6 [3])
A survey of the origins of modern ballet and modern dance from the late 19th century to the beginning of Modernism. Extensive readings culminating in a formal research paper. Course fee required.
DANC 564 / 464.
Dance History III.
(3 to a maximum of 6 [3])
Study of contemporary choreography from Modernism to the present. Particular emphasis on feminism and post-modernism as these movements have influenced our understanding of dancing and dance-making. Course fee required.
DANC 566 / 466.
Flamenco History.
(3 to a maximum of 6 [3])
Introduction to Flamenco history, investigation of the controversial history of the art form through study of Gypsy history, Spanish history and major figures and events that shaped the evolution of Flamenco. Course fee required.
DANC 567 / 467.
Dance History IV: Contemporary Topics in Dance Studies.
(3 to a maximum of 6 ?)
This course explores a variety of issues in dance history, such as Dance, Society & Politics; African-American Dance; and Dance on Film.
Prerequisite: 105.
DANC 579 / 479.
Flamenco Choreography.
(3 to a maximum of 6 [3])
Designed for advanced students with knowledge of Flamenco structure and improvisation, cante, palmas, and three levels of Flamenco technique, investigation of choreography in Flamenco movement and rhythms.
{Fall}
Prerequisite: 379.
Restriction: permission of instructor.
DANC 587 / 487.
Contemporary Interdisciplinary Topics.
(3 to a maximum of 6 ?)
(Also offered as ARTH, MUS, THEA 587 and MA *487)
Analyzes major instances of interdisciplinary influence and collaboration in the present day. Course fee required.
DANC 596 / 496.
Student Production Project.
(1-3 to a maximum of 12 ?)
Independent project culminating in a formal, informal or video performance.
{Summer, Fall, Spring}
DANC 597 / 497.
Independent Study.
(1-3 to a maximum of 12 ?)
Independent project culminating in a final paper. Students must submit a proposal to instructor and Dance Program Head.
{Summer, Fall, Spring}
DANC 598.
Master?s Essay in Theatre and Dance.
(3)
Offered for students who have been advanced to candidacy and who have elected Plan II.
{Summer, Fall, Spring}
DANC 599.
Master?s Thesis.
(1-6, no limit ?)
Offered on a CR/NC basis only.
DANC 699.
Dissertation.
(3-6, no limit ?)
Offered on a CR/NC basis only.
THEA 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).
THEA 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.
THEA 131 [121].
Acting II .
(3)
Continued exploration of the actor's craft. Introductory work with text.
Prerequisite: 130.
THEA 192.
Stagecraft I.
(3)
Basic techniques, tools and materials for construction of stage scenery. Crew assignments on departmental production required.
{Fall, Spring}
THEA 194.
Introduction to Costuming.
(3)
Basic techniques, tools, materials of costume construction. Crew assignment on departmental production required.
{Fall, Spring}
THEA 196.
Introduction to Stage Lighting.
(3)
Basic techniques of stage lighting. Crew assignment on departmental production required.
{Fall, Spring}
THEA 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.
THEA 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.
THEA 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.
THEA 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}
THEA 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}
THEA 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}
THEA 267.
Acting Study for Non-Majors.
(3, no limit ?)
Introduction to the basic craft and experience of acting.
{Summer, Fall, Spring}
THEA 290.
Stagecraft II.
(3)
Advanced techniques of stage crafts. Crew assignment on departmental production required.
Prerequisite: 192.
{Spring}
THEA 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.
THEA 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.
THEA 295.
Studies in Theatre.
(1-3 to a maximum of 9 ?)
Lecture and studio study on various topics in Theatre.
{Fall, Spring}
THEA 296.
Lighting Methods and Equipment.
(3)
Theory and practice of lighting for the stage. Crew assignment on departmental production required.
Prerequisite: 196.
{Fall, Spring}
THEA 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.
THEA 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}
THEA 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.
THEA 330 [221].
Acting IV [Acting Skills II] .
(3)
Continuation of THEA 230.
Prerequisite: 230.
{Spring}
THEA 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.
THEA 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.
THEA 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.
THEA 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.
THEA 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.
THEA 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}
THEA 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}
THEA 366.
Stage Management.
(2 [3])
The role, functions and duties of the stage manager in production, rehearsal and performance.
Prerequisite: 367.
THEA 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.
THEA 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.
THEA 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.
THEA 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}
THEA 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.
THEA 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.
THEA 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.
THEA 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.
THEA 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.
THEA 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}
THEA 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.
THEA 398.
Costume Techniques.
(3)
Principles and practice of advanced costuming techniques like millinery, mask making, corsetry, wigs, jewelry and fabric dyeing.
Prerequisite: 194.
THEA 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}
THEA 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.
THEA 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}
THEA 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.
THEA 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.
THEA 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.
THEA 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.
THEA 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.
THEA 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.
THEA 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.
THEA 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.
THEA 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.
THEA 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.
THEA 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.
THEA 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}
THEA 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.
THEA 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}
THEA *455.
Seminar in Playwriting.
(3 to a maximum of 6 ?)
Emphasis upon analysis of student-written plays.
THEA *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.
THEA 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}
THEA 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.
THEA 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
THEA 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.
THEA *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
THEA 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.
THEA 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.
THEA 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.
THEA 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.
THEA 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}
THEA 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.
THEA 483.
Lighting Design II.
(3)
Emphasis on designing for various types of stages. Crew assignment on departmental production required.
Prerequisite: 396.
{Spring}
THEA *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
THEA 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}
THEA 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.
THEA 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}
THEA 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.
THEA 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.
THEA 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.
THEA 495.
Studies in Theatre.
(1-3 to a maximum of 9 ?)
Lecture and studio study on various topics in theatre.
THEA 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.
THEA 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.
THEA 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}
THEA 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.
THEA 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}
THEA 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}
THEA 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}
THEA 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.
THEA 512.
Graduate Seminar.
(3 to a maximum of 9 ?)
Topical seminars in the areas of Dramatic Writing, Directing and Theatre Education.
THEA 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.
THEA 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.
THEA 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.
THEA 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.
THEA 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.
THEA 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.
THEA 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.
THEA 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}
THEA 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.
THEA 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}
THEA 551.
Problems.
(1-3 to a maximum of 6 ?)
THEA 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.
THEA 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.
THEA 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
THEA 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.
THEA 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.
THEA 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.
THEA 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.
THEA 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.
THEA 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.
THEA 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.
THEA 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.
THEA 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}
THEA 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}
THEA 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}
THEA 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.
THEA 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.
THEA 597 / 497.
Independent Study.
(2-3 to a maximum of 6 ?)
{Fall, Spring}
THEA 598.
Master?s Essay in Theatre and Dance.
(3)
Offered for students who have been advanced to candidacy and who have elected Plan II.
THEA 599.
Master?s Thesis.
(1-6, no limit ?)
Offered on a CR/NC basis only.
THEA 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.
