Drama

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Term
Time & Day Offered
Level
Credits
Course Duration

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 Harold — DRA4392.01

Instructor: Shawtane Bowen
Credits: 4
In this course, we will learn how to perform 'The Harold'. The Harold is a long-form improvised form developed by Del Close. It is a collage of scenes inspired by a single suggestion which are interwoven and connected. Students, now with a solid understanding of scene work and 'Game', will come to learn the Harold structure and perform full Harolds both in class and in their

Advanced Lighting Technology — DRA4437.01

Instructor: Davison Scandrett
Days & Time: WE 2:10pm-4:00pm
Credits: 2

As the tools for lighting design become increasingly complex and advanced, so must the understanding of the artists using them.  This course will explore some of the most important technologies used in contemporary professional lighting design. This includes not only the moving lights, LEDs, and control consoles used to create our

Advanced Portfolio Projects in Costume Design — DRA4157.01

Instructor: Charles Schoonmaker
Days & Time: TBA
Credits: 2
This class is intended for students who have previous experience in costume design, garment construction, or other demonstrated background in similar areas. The format will be an intense immersion for 1/2 of the semester in projects and scripts with the goal of producing work which is portfolio worthy. This course will be offered the first seven weeks of term.

Advanced Projects in Drama — DRA4370.02, section 2

Instructor: Jennifer Rohn
Days & Time: Tu 7:00PM-10:00PM
Credits: 2

This course will support the rehearsal and performance process of the student-directed productions. Students who are cast in the productions through the Drama Auditions will enroll in this 2-credit section.

 

Advanced Projects in Drama — DRA4370.01, section 1

Instructor: Jennifer Rohn
Days & Time: Tu 8:30AM-10:20AM, Tu 7:00PM-10:00PM
Credits: 4

This course will support student directors in the rehearsal and production process of their faculty-approved projects. It will provide a structured framework for students to conceive, rehearse, and present their theatrical productions under the guidance of faculty. Students will develop a collaborative process as they direct and manage productions from inception through

Advanced Projects in Theater Design and Animation — MA4796.01

Instructor: sue rees
Days & Time: TBA
Credits: 4
The course will be for sustained work on an animation or set design. Students will be expected to create a complete animation, or project. The expectation is that students will be fully engaged in their project, and with critiques. Locations will be explored for showing of work including investigating digital projections on different surfaces and forms. Animation students

Advanced Scene Study — DRA4150.01

Instructor: Jennifer Rohn
Credits: 4
The goal of this course is to develop an in-depth understanding and practice of the actor’s craft. Specific emphasis will be placed on text analysis, choice making, character development--vocal and physical--and full emotional preparation. We will use cold readings, contemporary and classical scene work and monologues. Students will address any weaknesses in preparation and

Advanced Scene Study: Paula Vogel — DRA4348.01

Instructor: Dina Janis
Days & Time: WE 8:30am-12:10pm
Credits: 4

This is an advanced scene study class which will explore the canon of work by Paula Vogel. Students will be assigned scenes and monologues from this canon, and the class as a whole will read all of the plays being worked on during the term. Rehearsal techniques, character development and sensory exploration of these plays will be a large part of the focus for the actors in

Advanced Scene Study: Tom Stoppard — DRA4191.01

Instructor: Dina Janis
Days & Time: TH 8:30am-12:10pm
Credits: 4

This is an advanced scene study class which will explore the canon of work by Tom Stoppard. Students will be assigned scenes and monologues from this canon, and the class as a whole will read all of the plays being worked on during the term. Rehearsal techniques, character development and sensory exploration of these plays will be a large part of the focus for the actors in

Advanced Shakespeare Lab — DRA4396.01

Instructor: Dina Janis
Credits: 2
An advanced acting class where we will go beyond scansion and take much deeper dives into the more challenging and perhaps lesser known of Shakespeare's speeches and scenes along with some of our favorites. Previous work with actor's instrument will be required as basic knowledge of character analysis and truthful expression will be essential to apply to the work of powerful

Alexander Technique — DAN2151.01

Instructor: Dana Reitz
Credits: 2
The Alexander Technique begins with the premise that the human organism is perfectly designed for an expansive range of activities. It is our own misuse that gets in the way of this potential. The Alexander Technique maps a neuromuscular process by which we use our thinking to undo habitual layers of use, and make conscious choices that create more freedom and range, resulting

Alexander Technique — DRA2265.01

Instructor: Rebecca Brooks
Credits: 4
The Alexander Technique begins with the premise that the human organism is perfectly designed for an expansive range of activities. It is our own misuse that gets in the way of this potential. The Alexander Technique maps a neuromuscular process by which we use our thinking to undo habitual layers of use, and make conscious choices that create more freedom and range, resulting

Alexander Technique — DAN2151.02; section 2

Instructor: Rebecca Brooks, MFA Teaching Fellow (supervised by Terry Creach)
Credits: 2
The Alexander Technique begins with the premise that the human organism is perfectly designed for an expansive range of activities. It is our own misuse that gets in the way of this potential. The Alexander Technique maps a neuromuscular process by which we use our thinking to undo habitual layers of use, and make conscious choices that create more freedom and range, resulting

Alexander Technique — DAN2151.01; section 1

Instructor: Rebecca Brooks, MFA Teaching Fellow (supervised by Terry Creach)
Credits: 2
The Alexander Technique begins with the premise that the human organism is perfectly designed for an expansive range of activities. It is our own misuse that gets in the way of this potential. The Alexander Technique maps a neuromuscular process by which we use our thinking to undo habitual layers of use, and make conscious choices that create more freedom and range, resulting

Alexander Technique & The Art of Performance — DAN2420.01

Instructor: Ros Warby
Days & Time: WE 8:30am-12:10pm
Credits: 4

The Alexander Technique invites students to engage with how they move through the world. Students will learn to notice what it is they are doing in their everyday movement, dance practice, performance, & an overall deeper engagement with the body. 

This course supports a students ability to notice how they allow a letting go of unnecessary tensions,

American Theater NEXT — DRA4422.01

Instructor: Jennifer Rohn
Credits: 4
American theaters and theater-makers are at an extraordinary crossroads - struggling to respond to the pandemic which has shut their doors, and to the 29-page list of demands written after George Floyd's murder entitled We See You White American Theater. Broadway theaters aren't planning on opening until the summer of 2021, and theater companies across the country are seeking

American Theater Now — DRA2151.01

Instructor: Jenny Rohn
Credits: 4
This non-performance based course will focus on a detailed, coast-to-coast examination of the state of the American Theater in 2013-2014. Who are the playwrights, directors, designers, actors, and producers that are shaping the landscape? Who is making theater? How and why are they making it? We will explore the history of theater in America, specifically the regional theater

American Theater Now — DRA2151.01

Instructor: Jennifer Rohn
Credits: 4
This non-performance based course will focus on a detailed, coast-to-coast examination of the state of the American Theater in 2016-2017. Who are the playwrights, directors, designers, actors, and producers that are shaping the landscape? Who is making theater? How and why are they making it? We will explore the history of theater in America, specifically the regional theater

American Theater Now — DRA2151.01

Instructor: Jennifer Rohn
Credits: 4
This non-performance based course will focus on a detailed, coast-to-coast examination of the state of the American Theater in 2018-2019 with a specific emphasis on issues of equity, diversity and inclusion. Who are the playwrights, directors, designers, actors, and producers that are shaping the landscape? Who is making theater? How and why are they making it? We will explore

American Theater Now — DRA2151.01

Instructor: Jennifer Rohn
Credits: 4
This non-performance based course will focus on a detailed, coast-to-coast examination of the state of the American Theater in 2020-2021 with a specific emphasis on the pressing issues of equity, diversity, and inclusion and on the national theater community’s response to the pandemic. Who are the playwrights, directors, designers, actors, and producers that are shaping the

An Actor's Technique - Nuts and Bolts — DRA4127.01

Instructor: dina janis
Days & Time: TBA
Credits: 4
How do actors bridge the gap between themselves and the role they are playing? How do actors rehearse with other actors in order to explore the world of the play? This non-performance based class is designed to help individual actors discover their own organic, thorough rehearsal process. Step by step we will clarify the actor's process: character research, character

An Actor's Technique - Nuts and Bolts — DRA4127.01

Instructor: Jenny Rohn
Days & Time: TBA
Credits: 4
How do actors bridge the gap between themselves and the role they are playing? How do actors rehearse with other actors in order to explore the world of the play? This non-performance based class is designed to help individual actors discover their own organic, thorough rehearsal process. Step by step we will clarify the actor's process: character research, character

An Actor's Technique – Nuts and Bolts — DRA4127.01

Instructor: Dina Janis
Days & Time: TBA
Credits: 4
How do actors bridge the gap between themselves and the role they are playing? How do actors rehearse with other actors in order to explore the world of the play? This non-performance based class is designed to help individual actors discover their own organic, thorough rehearsal process. Step by step we will clarify the actor’s process: character research, character

An Actor's Technique-Nuts and Bolts — DRA4127.01

Instructor: Dina Janis
Credits: 4
How do actors bridge the gap between themselves and the role they are playing? How do actors rehearse with other actors in order to explore the world of the play? This non-performance based class is designed to help individual actors discover their own organic, thorough rehearsal process. Step by step we will clarify the actor’s process: character research, character