All work toward an M.A. or M.F.A. degree in the department (including course work transferred from another institution) must be completed within a five-year period. This time is calculated by counting back from the planned semester of graduation.
To receive an early response, applicants are encouraged to submit a complete application as early as possible.
International applicants require additional materials and are processed through The University of New Mexico’s International Admissions Office. Call (505) 277-5829 or e-mail: goglobal@unm.edu for more information.
Programs in the Theatre and Dance department are accredited by the National Association of Schools of Theatre (NAST) and the National Association of Schools of Dance (NASD).
To enter the program, the student should have completed an undergraduate major in theatre or dance or have taken a minimum of 24 credit hours in Theatre and/or Dance, including History, Criticism, Dramatic Literature, Directing, Playwriting, Choreography, Technical Theatre and Performance. However, students with undergraduate degrees in other disciplines are eligible for admittance. Contact the department for information.
The student applying for admission should obtain a Self-Managed Application from the Office of Admissions:
Call: (505) 277-4332
Online application form
The department of Theatre and Dance offers the Master of Arts in Theatre and Dance (M.A.) for the student preparing for teaching, practice, or further graduate study. In general, the focus of the program is the creation of new works of theatre and dance for stage and classroom, and development of research skills.
The M.A. in Theatre and Dance with a concentration in Dance History and Criticism is a two-year degree that allows students to explore the range of dance studies. From historic reconstruction to contemporary performance theory, students are involved in intensive discussion and rigorous training in the practice of research and writing about dance. The program serves as a preparation for doctoral studies. Students in the Dance History and Criticism concentration have continued to Ph.D. programs at UC Riverside, University of Arizona, University of Surrey and other national and international institutions. Students in the concentration undertake their studies in a vibrant dance program that also emphasizes performance and choreography in contemporary dance and flamenco. All of these factors make for a unique graduate experience.
The purpose of the required courses for the Master of Arts degree is to provide a common conceptual framework for all graduate students in the program. The required courses aim to strengthen critical and practical skills that support and guide students' direction and concentration in the remainder of the program and beyond.
This is the traditional M.A. program, and culminates in the writing of a formal Thesis, a work of original research and writing (typically, 60-85 pages) that explores in depth a particular, carefully delimited subject related to the student’s area of study. Plan I is especially recommended for students who intend to eventually pursue a Ph.D. The thesis must be written in the UNM Graduate Studies format.
Plan II does not require a Thesis, but does require both a substantial Creative Project (usually, this means directing a full-length performance or project in the department, the schools or community, as well as a Master’s Essay. The Master’s Essay is intended to conform to the standards of a major seminar paper or journal article, including careful organization, clarity of argument, original research with full citation, bibliography, typically 30-50 pages in length. The Master’s Essay may address a topic related to the Creative Project, but this is not absolutely necessary. Plan II also includes a written exam, taken during the student’s final semester in the program.
The Master’s Exam is conducted by a faculty committee of three. The supervisor of the student’s Master’s Essay normally serves as chairperson of the committee and the other two members are chosen in consultation with the student. The subject matter of the examination questions is taken from the particular program of studies followed by the student. The subject matter of the Master’s Essay must be included in the examination questions. Usually the exam is written; the committee may elect, however, to conduct some portion of the exam orally. The length of the exam is three credit hours. Each member of the committee conducting the exam submits at least one question.
For the student preparing to enter the profession of writing for the stage and media the department offers the Master of Fine Arts in Dramatic Writing (M.F.A.). The focus of the program is the creation of new work for the stage, the media and the classroom.
After completing 20 credit hours of graduate credit the student submits all writing completed since entering the program. A committee of review with three to five members is appointed by the department’s graduate committee. This committee is composed of individuals with expertise in writing both in and outside the department. To continue in the second year of the M.F.A. program, all students must receive a pass on the promise of their writing. Students are notified before the start of the Fall semester. The review is the occasion for a comprehensive review of the student’s work to that point and a frank evaluation of his or her promise in the profession. Three options are open to the M.F.A. Graduate Committee at this point: 1) continuation in the M.F.A. program; 2) dismissal from the graduate program; or 3) the committee may request the work be resubmitted after addressing a specific set of concerns. Resubmissions must be completed and reconsidered before the beginning of the Fall semester. Students may have a maximum of two attempts to pass this review.
After successfully completing 30 credit hours of graduate work, including completion of one full cycle of the writing core: 555, 556 and 557, all students take a comprehensive examination at the end of their fourth semester of study. This examination covers the areas of knowledge explored in the required core courses. Once the Comprehensive Examination is passed the student submits the Application for Candidacy to Graduate Studies. If approved, the Dean of Graduate Studies formally advances the student to Candidacy.
The Master of Fine Arts degree requires a minimum of 60 credit hours of work, no more than 24 of which can be transferred from other programs–either from within the University of New Mexico or elsewhere. In addition, the candidate must have:
The M.F.A. Dissertation is the major work, full length play or screenplay written in the final year of the candidate’s program. It is written in the course of the final year’s work in 555 and 556. The Dissertation work must be presented in 557 Writer’s Stage in the final semester in a public presentation which can take the form of a staged concert reading or, given questions of merit and availability of facilities, a more comprehensive presentation.
The play or screenplay must be accompanied by an essay that addresses such topics as the creative process which lies behind the work’s development, the research done for the Dissertation work, and presents an analysis of the issues and meaning embodied in the Dissertation work.
In addition to the Dissertation work the successful M.F.A. candidate must complete the following works to graduate: four scripts (two full length plays, one full length screenplay, one short screen or stage piece).
Courses
DANC 105. Dance Appreciation. (3 to a maximum of 6 Δ)
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 Δ)
Fundamental work for the adult beginner in Modern Dance techniques and styles. Course fee required.
{Fall, Spring}
DANC 127. African Dance I. (3 to a maximum of 12 Δ)
Introduces the student to aesthetics of African dance technique and to develop knowledge and appreciation of fundamental movements, music, and culture. Students acquire facility in a movement language that reaches across linguistic and geographic boundaries. Course fee required.
DANC 132. Jazz I. (3 to a maximum of 9 Δ)
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 Δ)
Beginning level Ballet. Basic fundamentals and performance skills of ballet technique; enhancement of flexibility, strength, body alignment, coordination, personal range of motion, and musicality; ballet terminology including steps, head, body and arm positions. Course fee required.
{Fall, Spring}
DANC 169. Flamenco I. (3 to a maximum of 9 Δ)
Fundamental work for the adult beginner in techniques and styles of Flamenco. Course fee required.
{Fall, Spring}
DANC 170. Hip Hop I. (3 to a maximum of 12 Δ)
An introduction to Hip Hop, its movement, style and culture. Course fee required.
{Fall, 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 Δ)
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 Δ)
Modern dance techniques and styles at the intermediate level. Course fee required.
Restriction: permission of instructor.
{Fall, Spring}
DANC 212. Improvisation. (3 to a maximum of 6 Δ)
Introduction to improvisational skills in movement and the principles of choreography as applied to dance/theater composition. Investigation of structured improvisation within the fundamental elements of dance: energy, space, and time.
{Fall}
DANC 232. Jazz II. (3 to a maximum of 12 Δ)
Jazz techniques and styles at the intermediate level. Course fee required.
Restriction: permission of instructor.
{Fall, Spring}
DANC 240. Music Essentials for Contemporary Dance. (3)
Overview of fundamental elements of music and historically significant collaborations between choreographers and composers in contemporary dance.
DANC 242. Music Essentials for Flamenco. (3)
Overview of Flamenco music and history fundamentals, introduction to basic music notation. Primary focus on developing listening skills through a variety of Flamenco song forms. Basic rhythmic notation specifically applied to palmas and footwork patterns.
DANC 249. Ballet II. (3 to a maximum of 12 Δ)
Intermediate level Ballet. Introduction of more advanced Ballet vocabulary at barre/center work; increase flexibility, strength, body alignment, and coordination for practice of steps/combinations with variations in timing and changes of facing. Course fee required.
Restriction: permission of instructor.
{Spring}
DANC 269. Flamenco II. (3 to a maximum of 12 Δ)
Flamenco techniques and styles at the intermediate level. Course fee required.
Restriction: permission of instructor.
{Summer, Fall, Spring}
DANC 289. Topics in Flamenco. (1-3 to a maximum of 12 Δ)
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. (3 to a maximum of 15 Δ)
Lecture courses and workshops on various topics in dance. Course fee required.
{Summer, Fall, Spring}
DANC 310. Modern Dance III. (3 to a maximum of 24 Δ)
Modern dance techniques and styles at the advanced level. Course fee required.
Restriction: permission of instructor.
{Fall, Spring}
DANC 311. Choreography I. (3 to a maximum of 6 Δ)
Creating and exploring movement vocabulary and forms generating choreography; development of ideas and inspirations into short works; space and its importance; giving and receiving critical feedback; exposure to choreography supported by video and reading.
Prerequisite: 212.
Restriction: permission of instructor.
{Spring}
DANC 313. Kinesiology for Dancers. (3, no limit Δ)
Structural analysis of movement. This lecture class provides a basic understanding of the skeletal and neuromuscular systems of the human body in movement. Course fee required.
{Fall}
DANC 349. Ballet III. (3 to a maximum of 24 Δ)
Advanced level Ballet. Improvement of physical and mental skills necessary for professional level Ballet technique, growth in physical stamina, coordination and phrasing, movement efficiency, faster and more accurate assimilation of new movement and spatial awareness. Course fee required.
Restriction: permission of instructor.
{Fall, Spring}
DANC 369. Flamenco III. (3 to a maximum of 24 Δ)
Advanced technique in Flamenco with resident and visiting professors, offering a wide variety of exercises to hone abilities to learn choreography effectively while examining student strengths and weaknesses in personal exploration of the art form. Course fee required.
Prerequisite: 379.
Restriction: permission of instructor.
{Fall, Spring}
DANC 370. Hip Hop II. (3 to a maximum of 12 Δ)
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 Δ)
Further exploration in generating and organizing movement material for performance. Course fee required.
Prerequisite: 311.
{Fall}
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, odd numbered years}
DANC 431. Writing About Dance. (3)
Observation and written analysis of dance events with an emphasis on contemporary theories and performances. Course fee required.
{Spring, even numbered years}
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 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 487 / 587. Contemporary Interdisciplinary Topics. (3 to a maximum of 6 Δ)
(Also offered as ARTH, MUS, THEA 487 / 587; MA *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. (3 to a maximum 15 Δ)
Course fee required.
Restriction: permission of instructor.
{Offered upon demand}
DANC 496 / 596. Student Production Project. (1-3 to a maximum of 12 Δ)
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 Δ)
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 Δ)
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.
Restriction: permission of 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. Course fee required.
Required of all entering graduate students.
{Fall}
DANC 503. Performance Theory. (3)
(Also offered as THEA 503)
An introduction to the theories undergirding the dynamic fields of theatre and performance studies its methodologies, genealogies, and current trends. This seminar investigates performance as a site and method of study.
{Spring, even-numbered years}
DANC 506. Critical Issues in the Performing Arts. (3)
(Also offered as THEA 506)
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.
DANC 509. Graduate Internship. (3-6 to a maximum of 12 Δ)
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.
Restriction: permission of instructor.
{Summer, Fall, Spring}
DANC 510. Creative Investigations I. (3 to a maximum of 6 Δ)
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.
Restriction: permission of instructor.
{Fall}
DANC 511 / 411. Choreography II. (3 to a maximum of 6 Δ)
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 Δ)
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 Δ)
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.
Restriction: permission of instructor.
{Fall}
DANC 516 / 416. Dance Pedagogy. (3 to a maximum of 6)
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. (3)
Observation and written analysis of dance events with an emphasis on contemporary theories and performances. Course fee required.
{Spring, even numbered years}
DANC 549. Dance Technique for Graduate Students. (1-4, no limit Δ)
Regularly-scheduled technique course. Students must enroll in the appropriate section by dance genre and level. Course fee required.
{Fall, Spring}
DANC 551 / 552. Problems. (1-3 to a maximum of 12 Δ)
DANC 562 / 462. Dance History I. (3 to a maximum of 6)
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 / 463. Dance History II. (3 to a maximum of 6)
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)
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)
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 579 / 479. Flamenco Choreography. (3 to a maximum of 6)
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.
Restriction: permission of instructor.
{Fall}
DANC 587 / 487. Contemporary Interdisciplinary Topics. (3 to a maximum of 6 Δ)
(Also offered as ARTH, MUS, THEA 587 / 487; 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 Δ)
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 Δ)
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 Δ)
Offered on a CR/NC basis only.
DANC 699. Dissertation. (3-6, no limit Δ)
Offered on a CR/NC basis only.
THEA 105. Introduction to Theatre. (3)
This course provides an introduction to the study of theatre. Students will examine various components that comprise theatre, such as acting, directing, playwriting, dramaturgy, scenic and costume design, stagecraft, spectatorship, history, theory, and criticism.
Meets New Mexico Lower-Division General Education Common Core Curriculum Area V: Humanities and Fine Arts (NMCCN 1113).
THEA 130. 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.
Meets New Mexico Lower-Division General Education Common Core Curriculum Area V: Humanities and Fine Arts.
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 for Performance and New Media. (3)
Basic techniques, tools, materials of costume construction. Crew assignment on departmental production required.
Meets New Mexico Lower-Division General Education Common Core Curriculum Area V: Humanities and Fine Arts.
{Fall, Spring}
THEA 196. Introduction to Stage Lighting. (3)
Basic techniques of stage lighting. Crew assignment on departmental production required.
{Fall, Spring}
THEA 200. Theatre Practicum. (1 to a maximum of 4 Δ)
Participation in University theatre season in production capacity. May not duplicate other course assignments.
Offered on a CR/NC basis only.
THEA 230. Acting II. (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: 130.
THEA 231. Voice for the Actor 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.
Pre- or corequisite: 130.
THEA 232. Movement for the Stage I. (3 to a maximum of 6 Δ)
An exploration of the art of acting primarily through the focus on body awareness, dynamic movement techniques, and physical characterization.
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 296. Lighting Methods and Equipment. (3)
Theory and practice of lighting for the stage. Crew assignment on departmental production required.
Prerequisite: 196.
THEA 300. Studies in Theatre. (1-3 to a maximum of 9 Δ)
Lecture and studio study on various topics in Theatre.
THEA 304. Make-Up Design for Performance and New Media. (3)
Basic techniques of make up design for stage, film and television through the use of a variety of materials.
THEA 314. 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 Δ)
Training in the singing and acting styles required for performance in musical theatre.
Pre- or corequisite: 130.
THEA 330. Acting III. (3)
Continued exploration of advanced acting technique. Intensive scenework focusing on works of modern dramatists.
Prerequisite: 230.
THEA 331. Voice for the Actor II. (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. Speech and Dialects 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. Topics in Physical Theatre. (3 to a maximum of 12 Δ)
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.
THEA 334. History of Fashion and Costumes. (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. Theatre History I. (3)
Serves as an introduction to the literatures, histories, theories, and practices of world theatre, drama, and performance from antiquity to through the early modern period.
THEA 346. Theatre History II. (3)
Serves as an introduction to the literatures, histories, theories, and practices of world theatre, drama, and performance from the early modern period to the present.
THEA 350. Script Analysis. (3)
The nature of the staged dramatic work: analysis of plays with representative readings from the history of dramatic literature.
THEA 355. Playwriting I. (3)
A workshop for students who have little or no previous experience in writing plays. Students will be introduced to a variety of technical, structural, and imaginative considerations through exercises, readings, and discussions.
THEA 366. Stage Management. (2)
The role, functions and duties of the stage manager in production, rehearsal and performance.
Corequisite: 367.
THEA 367. Stage Management Production Laboratory. (1 to a maximum of 3 Δ)
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. 2D Computer-Aided Drafting for Design. (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 387. Design History and Styles for Performance and New Media. (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 Δ)
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 for Performance and New Media. (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. 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 to a maximum of 9 Δ)
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)
Introduces students to theories and practices of directing for the theatre. Through extensive reading and practical directing experience, students develop skills such as conducting research; scene and structural analysis; and working with actors, among others.
Prerequisite: 105 and 130.
THEA 404 / 504. Directing II. (3 to a maximum of 6 Δ)
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.
THEA 428. Topics in Musical Theatre. (3 to a maximum of 9 Δ)
Course material varies, including: training in audition preparation, ensemble performance, repertoire, musical theatre movement and cabaret performance.
Prerequisite: 328.
Pre- or corequisite: 230.
Restriction: permission of instructor.
THEA 431. Advanced Acting: Tools for Acting the Classical Repertory [Advanced Acting: Classical Styles]. (3 to a maximum of 6 Δ)
In this course, students acquire the dramaturgical, linguistic, and physical skills needed to bring the classical repertory to life on the stage.
Prerequisite: 330.
THEA 432. Advanced Acting- Beyond Realism. (3 to a maximum of 9 Δ)
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.
THEA 434. Performance Art. (3 to a maximum of 9 Δ)
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.
THEA 437. 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.
Pre- or corequisite: 330.
THEA 445 / 545. Topics in Performance [Topics in Theatre History and Criticism]. (3 to a maximum of 9 Δ)
This interdisciplinary seminar integrates practice and theory to conduct in-depth explorations of themes, issues, and methods in performance. Topics vary by semester.
THEA 446 [446 / 546]. Theories of Performance [Theories of Theatre]. (3 to a maximum of 6 Δ)
An introduction to the theories undergirding the dynamic fields of theatre and performance studies its methodologies, genealogies, and current trends. This seminar investigates performance as a site and method of study.
THEA *455. Playwriting II. (3 to a maximum of 6 Δ)
An advanced workshop in playwriting. Students examine the traditional elements of dramatic structure, and explore contemporary tactics for the composition and revision of new plays. Open to students across disciplines.
Prerequisite: 355.
THEA *456L. Playwriting Laboratory. (3 to a maximum of 6 Δ)
A playwriting workshop for advanced undergraduate playwrights, focused on a specific theme, style, or dramaturgical question.
THEA 457. Advanced Dramatic Writing Workshop. (3 to a maximum of 6 Δ)
An advanced playwriting workshop focused on the composition and revision of evening-length performances and plays, with an emphasis on public presentation.
{Fall}
THEA 458 / 558. Screenwriting. (3 to a maximum of 6 Δ)
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 465 / 565. Live Performance: International Theatre Festival Immersion. (3-4, may be repeated three times Δ)
This study-abroad course takes theatre festivals as its classroom, and immerses students in the most cutting-edge contemporary performances. Students are exposed to a wide variety of performances from a broad global context.
THEA 466. Stage Management II. (3)
The study of the different practice and techniques of stage management for theatre, music theatre, opera, and dance. Emphasis on developing advanced skills needed for this collaborative art form.
Prerequisite: 366 and 367.
THEA 468 / 568. Navajo Expressive Culture. (3)
(Also offered as AMST 468, ANTH 468/568, MUS 468/568)
Examination of contemporary Diné (Navajo) politics and art (music, Navajo language, photography, dance, radio, filmmaking, comedy, weaving, poetry). Weekly guest speakers, readings from ethnomusicology, anthropology, critical indigenous studies. Includes overnight field trip to Navajo Nation.
THEA 470. 3D Modeling and Visualization for Design. (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.
Prerequisite: 370.
THEA 472. Prop Design and Construction. (3)
Provides practical and special techniques for theatre production through play analysis, budgeting, design, and construction in props. Will encourage creative and critical thinking skills, and stimulate the development of a personal aesthetic.
Prerequisite: 292 and 370.
THEA 474. Production Performance. (0, may be repeated 7 times)
A project-based course in which students participate in realized productions within the department and under the direction of various faculty members. Students work hands-on learning and refining the professional skills needed in the entertainment industry.
THEA 475 / 575. Special Topics in Computers for Design. (1-3 to a maximum of 6 Δ)
Intensive study and practice in computers and technology for design and performance. Topics vary.
{Offered on demand}
THEA 481. Costume Design and Technology Project. (1-3 to a maximum of 9 Δ)
A project-based course in which students participate in realized productions within the department and under the direction of various faculty members. Students work hands-on learning and refining the professional skills needed in the entertainment industry.
Prerequisite: 394 and 494.
Restriction: permission of instructor.
THEA 482. Scene Design and Technology Project. (1-3 to a maximum of 3 Δ)
Advanced production work in set design and technology 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 486. Lighting Design II. (3 to a maximum of 6 Δ)
Emphasis on designing for various types of stages. Crew assignment on departmental production required.
Prerequisite: 396.
{Spring}
THEA 487 / 587. Contemporary Interdisciplinary Topics. (3 to a maximum of 6 Δ)
(Also offered as ARTH, DANC, MUS 487 / 587; MA *487)
Analyzes major instances of interdisciplinary influence and collaboration in the present day.
Restriction: permission of instructor.
{Spring}
THEA 488. Lighting Design and Technology Project. (1-3 to a maximum of 3 Δ)
Advanced production work in lighting design and technology 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 492. Advanced Scene Design for Performance 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 494. Advanced Costume Design for Performance and New Media. (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 Δ)
Lecture and studio study on various topics in theatre.
THEA 496 / 596. Student Production Project. (1-3 to a maximum of 9 Δ)
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 Δ)
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.
Restriction: permission of instructor.
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 Δ)
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)
(Also offered as DANC 503)
An introduction to the theories undergirding the dynamic fields of theatre and performance studies its methodologies, genealogies, and current trends. This seminar investigates performance as a site and method of study.
{Spring, even-numbered years}
THEA 504 / 404. Directing II. (3, no limit Δ)
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)
(Also offered as DANC 506)
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 Δ)
Topical seminars in the areas of Dramatic Writing, Directing and Theatre Education.
THEA 529. Advanced Topics in Theatre and Dance. (1-3 to a maximum of 9 Δ)
THEA 545 / 445. Topics in Performance [Topics in Theatre History and Criticism]. (3 to a maximum of 9 Δ)
This interdisciplinary seminar integrates practice and theory to conduct in-depth explorations of themes, issues, and methods in performance. Topics vary by semester.
THEA 551. Problems. (1-3 to a maximum of 6 Δ)
THEA 555. Dramatic Writing I. (4 to a maximum of 12 Δ)
A graduate workshop in dramatic writing. Students explore traditional theories of dramaturgy as well as generate and revise original plays and texts for performance. Phase One of an integrated experience in graduate dramatic writing.
THEA 556. Dramatic Writing II. (4 to a maximum of 12 Δ)
A graduate workshop in dramatic writing. Students examine experimental and anti-realistic theories of dramaturgy and generate and revise original plays and texts for performance. Second phase of an integrated experience in graduate dramatic writing.
Prerequisite: 555.
THEA 557. The Writer's Stage III. (4 to a maximum of 12 Δ)
A graduate workshop in dramatic writing, focused on the revision and improvement of existing scripts.
THEA 558 / 458. Screenwriting. (3 to a maximum of 12 Δ)
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 Δ)
Selected topics in writing for performance.
THEA 565 / 465. Live Performance: International Theatre Festival Immersion. (3-4, may be repeated three times Δ)
This study-abroad course takes theatre festivals as its classroom, and immerses students in the most cutting-edge contemporary performances. Students are exposed to a wide variety of performances from a broad global context.
THEA 568 / 468. Navajo Expressive Culture. (3)
(Also offered as AMST 468, ANTH 568/468, MUS 568/468)
Examination of contemporary Diné (Navajo) politics and art (music, Navajo language, photography, dance, radio, filmmaking, comedy, weaving, poetry). Weekly guest speakers, readings from ethnomusicology, anthropology, critical indigenous studies. Includes overnight field trip to Navajo Nation.
THEA 575 / 475. Special Topics in Computers for Design. (1-3 to a maximum of 6 Δ)
Intensive study and practice in computers and technology for design and performance. Topics vary.
{Offered on demand}
THEA 587 / 487. Contemporary Interdisciplinary Topics. (3 to a maximum of 6 Δ)
(Also offered as ARTH, DANC, MUS 587 / 487; MA *487)
Analyzes major instances of interdisciplinary influence and collaboration in the present day.
{Spring}
THEA 596 / 496. Student Production Project. (1-3 to a maximum of 6 Δ)
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 Δ)
Restriction: permission of instructor.
{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 Δ)
Offered on a CR/NC basis only.
THEA 699. Dissertation. (3-12, no limit Δ)
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.
