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Term
Time & Day Offered
Level
Credits
Course Duration

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

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

Instructor: Jennifer Rohn
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: Jennifer Rohn
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, and thorough rehearsal process. All casting and scene selection decisions will be discussed with each individual

An Actors 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

An Actors 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

An Actors 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 technique 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 exploration, text

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

An Actor’s Technique: Nuts and Bolts — DRA4127.01

Instructor: Shawtane Bowen
Days & Time: MO 8:30am-12:10pm
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,

An Actor’s Technique: Nuts and Bolts — DRA4127.01

Instructor: Shawtane Bowen
Days & Time: WE 2:10pm-5:50pm
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,

An Intro to Acting: Suzuki and Viewpoints — DRA2174.01

Instructor: Gian-Murray Gianino
Credits: 4
An introduction to the Suzuki Method of Actor Training and the Viewpoints practice. This class offers the beginning actor/artist a way of entering into a dialogue with technique. It will require rigorous physical exploration and puts a value and emphasis on the body as the bedrock of the artist. These trainings seek to heighten the actor's emotional and physical power, one's

Animation 1 — MA2105.01

Instructor: sue rees
Days & Time: TBA
Credits: 4
The class will be concerned with animating inanimate objects by stop motion, drawings, and cut out collages. A variety of filmmakers and techniques will be looked at during the course of the semester. Students will be expected to produce a variety of short projects followed by a longer more sustained project based on current events and environmental issues. Students will be

Animation One – Animating Inanimate Objects — MA2109.01

Instructor: Sue Rees
Credits: 4
The class will be concerned with animating inanimate objects by primarily stop motion. Locations will be constructed, objects to animated formed, and lighting explored in order to create the imaginary world. A variety of filmmakers and techniques will be looked at during the course of the semester. Students will be expected to produce a variety of short projects over the first

Animation Projects — MA4201.01

Instructor: Sue Rees
Credits: 4
The course will be for sustained work on an animation. 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. Student will work with sound effects and sound scores to complete their final animation. A public showing will be required.

Animation Projects — MA4202.01

Instructor: Sue Rees
Credits: 4
The course will be for sustained work on an animation or design project, and should be a space for both experimentation, ambition and a consistent endeavor. Students will be expected to create a complete animation, a series of experiments or interactive project. The expectation is that students will be fully engaged in all aspects of the class from critiques, to experimenting

Animation Projects – Pre-Production Class — MA4026.02

Instructor: Sue Rees
Credits: 2
This class is a pre-production for a future project whether for a projection, an animation or installation. Research will be undertaken, with this research presented. A catalogue of images, materials objects, and storyboarding along with creating a short tests for a longer project will be completed by the end of the term. Various situations, and presentation formats and

Animation/Projection of Inanimate objects — MA2110.01

Instructor: Sue Rees
Days & Time: TH 8:30am-12:10pm
Credits: 4

The class will be concerned with animating inanimate objects by primarily stop motion.  Locations will be constructed, objects animated, and lighting explored in order to create the imaginary world. The worlds will be captured via Dragonframe® to create short animations, as well as creating stories by projections of

Approved Student Project Presentation Lab — DRA4349.01

Instructor: Dina Janis
Days & Time: TBA
Credits: 4

In this course- students with approved projects and/or acting/design/directing collaborators for projects that have been approved for presentation in Spring 27- will meet regularly with Faculty Sponsor as they rehearse, design and present these student projects.  Students may be assigned credits based upon their involvement in the project.

Art Deco Style — DRA4320.01

Instructor: Charles Schoonmaker
Credits: 4
This advanced design class focuses primarily on costume design while also exploring elements of scenery, architecture, and the decorative arts. The class is project-based and involves designing for both scripted and unscripted forms (such as plays and dance) within the context of the Art Deco style. Students should possess an interest in period clothing and fashion, strong

Art of Auditioning — DRA2178.01

Instructor: Jennifer Rohn
Credits: 2
Auditions are an opportunity to develop your artistic voice and your confidence in that voice through self-critique. In this class we will work to demystify the process of auditioning and understand how to prepare and present work under challenging circumstances. We will cover cold readings, monologues and prepared scenes, with an in-depth look at each step of the process, from

Art of Stage Design — DRA2250.01

Instructor: Michael Giannitti
Credits: 4
A scenic design communicates lots of information to an audience, and provides the physical world in which a performance takes place. In his book The Dramatic Imagination, the great set designer Robert Edmond Jones wrote: “…we may fairly speak of the art of stage designing as poetic, in that it seeks to give expression to the essential quality of a play rather than to its

Art of Stage Design — DRA2250.01

Instructor: Michael Giannitti
Days & Time: TU 8:30am-12:10pm
Credits: 4

A set design communicates lots of information to an audience, and provides the physical world in which a performance takes place. In his book The Dramatic Imagination, the great set designer Robert Edmond Jones wrote: “…we may fairly speak of the art of stage designing as poetic, in that it seeks to give expression to the essential quality of a play rather than to

Art of Stage Design — DRA2250.01

Instructor: Michael Giannitti
Days & Time: TBA
Credits: 4
A set design communicates lots of information to an audience, and provides the physical world in which a performance takes place. In his book The Dramatic Imagination, the great set designer Robert Edmond Jones wrote: “…we may fairly speak of the art of stage designing as poetic, in that it seeks to give expression to the essential quality of a play rather than to its outward

Artist's Portfolio — DAN4366.01

Instructor: Dana Reitz
Credits: 2
Explaining artwork often goes against the grain, yet artists are regularly called upon to articulate their processes, tools, and dynamics of collaboration. To help secure any of the myriad forms of institutional support including funding, venues, and engagements, artists must develop–creatively and flexibly–essential skills. Finding a public language for what is the private

Artist's Portfolio — DAN4366.01

Instructor: Dana Reitz
Days & Time: TBA
Credits: 2
Explaining artwork often goes against the grain, yet artists are regularly called upon to articulate their processes, tools, and dynamics of collaboration. To help secure any of the myriad forms of institutional support including funding, venues, and engagements, artists must develop--creatively and flexibly--essential skills. Finding a public language for what is the private