Drama

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Term
Time & Day Offered
Level
Credits
Course Duration

Actors Instrument — DRA2170.01

Instructor: Dina Janis
Days & Time: TU,FR 4:10pm-6:00pm
Credits: 4

The craft of acting will be the main focus of this class. Through physical and vocal warm-up exercises, sensory exploration, improvisation, scene work, and craft readings students will be asked to develop an awareness of their own unique instruments and artistic voices while learning to trust their inner impulses as they develop basic acting technique. Extensive out of class

Actor’s Instrument — DRA2139.01

Instructor: Dina Janis
Credits: 4
The craft of acting will be the main focus of this class. Through physical and vocal warm-up exercises, sensory exploration, improvisation, scene work, and extensive reading students will be asked to develop an awareness of their own unique instrument as actors and learn to trust their inner impulses where this is concerned. Extensive out of class preparation of specific

Adaptation — DRA4153.01

Instructor: Sherry Kramer
Credits: 4
Adaptation: A writer is a reader moved to imitation. Appropriation, repurpose, pastiche, hybrid, sampling, remix, in conversation, mash up. Everyone knows that when you steal, steal from the best. When we write we may borrow the structure of a sonata, the plot from a story, the tang and tone of a novel, and characters from our own lives. Is everything we write adaptation? We

Adaptation — DRA2249.01

Instructor: Sherry Kramer
Credits: 4
Appropriation, repurpose, pastiche, hybrid, sampling, remix, in conversation, mash up. Everyone knows that when you steal, steal from the best. When we write we may borrow the structure of a sonata, the plot from a story, the tang and tone of a novel, and characters from our own lives. Is everything we write adaptation? We will read 3-5 works of literature, watch movie and

Adaptation — DRA2111.01

Instructor: Sherry Kramer
Credits: 4
Adaptation: A writer is a reader moved to imitation. Appropriation, repurpose, pastiche, hybrid, sampling, remix, in conversation, mash up. Everyone knows that when you steal, steal from the best. When we write we may borrow the structure of a sonata, the plot from a story, the tang and tone of a novel, and characters from our own lives. Is everything we write adaptation? We

Adaptation — DRA2249.01

Instructor: Sherry Kramer
Credits: 4
Adaptation: A writer is a reader moved to imitation. Appropriation, repurpose, pastiche, hybrid, sampling, remix, in conversation, mash up. Everyone knows that when you steal, steal from the best. When we write we may borrow the structure of a sonata, the plot from a story, the tang and tone of a novel, and characters from our own lives. Is everything we write adaptation? We

Adaptation — DRA2249.01

Instructor: Sherry Kramer
Credits: 4
Adaptation: A writer is a reader moved to imitation. Appropriation, repurpose, pastiche, hybrid, sampling, remix, in conversation, mash up. Everyone knows that when you steal, steal from the best. When we write we may borrow the structure of a sonata, the plot from a story, the tang and tone of a novel, and characters from our own lives. Is everything we write adaptation? We

Adaptation — DRA2249.01

Instructor: Sherry Kramer
Credits: 4
Appropriation, repurpose, pastiche, hybrid, sampling, remix, in conversation, mash up. Everyone knows that when you steal, steal from the best. When we write we may borrow the structure of a sonata, the plot from a story, the tang and tone of a novel, and characters from our own lives. Is everything we write adaptation? We will read 3-5 works of literature, watch movie and

Adaptation — DRA2249.01

Instructor: Sherry Kramer
Credits: 4
A writer is a reader moved to imitation. Appropriation, repurpose, pastiche, hybrid, sampling, remix, in conversation, mash up. Everyone knows that when you steal, steal from the best. When we write we may borrow the structure of a sonata, the plot from a story, the tang and tone of a novel, and characters from our own lives. Is everything we write adaptation? We will look at

Adaptation — DRA2249.01

Instructor: Sherry Kramer
Credits: 4
Adaptation: A writer is a reader moved to imitation. Appropriation, repurpose, pastiche, hybrid, sampling, remix, in conversation, mash up. Everyone knows that when you steal, steal from the best. When we write we may borrow the structure of a sonata, the plot from a story, the tang and tone of a novel, and characters from our own lives. Is everything we write adaptation? We

Advanced Design Collaboration — DRA4246.01

Instructor: Tilly Grimes
Credits: 4
When theater starts with a script, visuals tend to follow the narrative. But what happens when bold visuals lead the way? This course will offer students an accredited platform for design-centered, devised work focusing on collaboration and resulting in a student driven, designed production.  Three projects will be selected for the class. Students will need to join the

Advanced Dramaturgy — DRA4190.01

Instructor: Maya Cantu
Credits: 4
The dramaturg serves as a powerful medium in the theatre. They bridge the past and the present, the creative team and the audience, while providing critical generosity and historical and literary insight. Focusing upon the practical application of dramaturgy, this course will offer students a credited platform for dramaturgical work oriented toward production. Three groups of

Advanced Dramaturgy — DRA4190.01

Instructor: Maya Cantu
Days & Time: WE 2:10pm-5:50pm
Credits: 4

The dramaturg serves as a powerful medium in the theatre. They bridge the past and the present, the creative team and the audience, while providing critical generosity and historical and literary insight. Focusing upon the practical application of dramaturgy, this course will offer students a credited platform for dramaturgical work oriented toward production.

Three

Advanced Dramaturgy — DRA4190.01

Instructor: Maya Cantu
Credits: 4
The dramaturg serves as a powerful medium in the theatre. They bridge the past and the present, the creative team and the audience, while providing critical generosity and historical and literary insight. Focusing upon the practical application of dramaturgy, this course will offer students a credited platform for dramaturgical work oriented toward production. Three groups

Advanced Dramaturgy — DRA4190.01

Instructor: Maya Cantu
Days & Time: WE 2:10pm-5:50pm
Credits: 4

The dramaturg serves as a powerful medium in the theatre. They bridge the past and the present, the creative team and the audience, while providing critical generosity and historical and literary insight. Focusing upon the practical application of dramaturgy, this course will offer students a credited platform for dramaturgical work oriented toward production.

Three

Advanced Garment Construction — DRA4406.02

Instructor: Carly Rudzinski
Credits: 2
This course is for students who have experience sewing and patternmaking with a firm commitment to serious work in the costume studio. Students will work on a self-directed project in consultation with the instructor. The goal is to improve construction skills from patternmaking to finishing, and to deepen their overall sewing knowledge.

Advanced Improvisation: Game of the Scene — DRA4380.01

Instructor: Shawtane Bowen
Days & Time: TH 1:40pm-5:20pm
Credits: 4

This course is an in-depth exploration of improvised comedy scene work, with a central focus on finding and playing “Game.” Game is loosely defined as a pattern of unusual behavior that breaks from the pattern of your everyday life. In other words, Game is what's funny about your scene.

To play Game in a long-form scene, you’ll learn to answer three key questions:

Advanced Improvisation: Game of the Scene — DRA4380.01

Instructor: Shawtane Bowen
Days & Time: WE 8:30am-12:10pm
Credits: 4

This course is an in-depth exploration of improvised comedy scene work, with a central focus on finding and playing “Game.” Game is loosely defined as a pattern of unusual behavior that breaks from the pattern of your everyday life. In other words, Game is what's funny about your scene.

To play Game in a long-form scene, you’ll learn to answer three key questions:

Advanced Improvisation: Scene Work — DRA4386.01

Instructor: Shawtane Bowen
Days & Time: MO,TH 3:40pm-5:30pm
Credits: 2

In this 7-week course, we’ll explore a variety of approaches to improvised scene work, focusing on techniques beyond the Upright Citizens Brigade paradigm. Emphasizing Chicago-style improv, we’ll shift away from a strict ‘Game’ focus and instead prioritize relationship and character.

Get ready to jump in, take risks, and perform hundreds of scenes as you sharpen your

Advanced Improvisation: Scene Work — DRA4386.01

Instructor: Shawtane Bowen
Credits: 2
In this 7-week course, we will explore different approaches to improvised scene work with an emphasis on methods that exist outside the Upright Citizens Brigade paradigm. These include more Chicago-style improv exercises and techniques, with less emphasis on 'Game', and more of a focus on relationship and character. What time we do spend on 'Game' will be with respect to 'group

Advanced Improvisation: The Game of the Scene — DRA4380.01

Instructor: Shawtane Bowen
Credits: 4
Advanced Improvisation: GOTS is an in-depth study of improvised comedy scene work. The central theme of this course is finding and playing “Game.” In order to find a Game in a long form improvised scene, you typically need to be able to answer three questions: What is the situation? What is the first unusual thing? If this is true, then what else is true. We’ll

Advanced Improvisation: The Game of the Scene — DRA4380.01

Instructor: Shawtane Bowen
Credits: 4
Advanced Improvisation is an in-depth study of improvised comedy scene work. The central theme of this course is finding and playing “Game.” In order to find a Game in a long form improvised scene, you typically need to be able to answer three questions: What is the situation? What is the first unusual thing? If this is true, then what else is true. We’ll be

Advanced Improvisation: The Game of the Scene — DRA4380.01

Instructor: Shawtane Bowen
Credits: 4
Advanced Improvisation is an in-depth study of improvised comedy scene work. The central theme of this course is finding and playing "Game." In order to find a Game in a long form improvised scene, you typically need to be able to answer three questions: What is the situation? What is the first unusual thing? If this is true, then what else is true. We'll be