Drama

Course System Home All Areas of Study Drama

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Term
Time & Day Offered
Level
Credits
Course Duration

Directing I: The Director's Vision — DRA4332.01

Spring 2020
Instructor: Jean Randich
Credits: 4
What is action? What is character? What are gesture, timing, rhythm and stakes? How do actors, playwrights, and directors collaborate to create an experience in space and time? This seminar offers young theater artists the chance to examine the craft from the inside out. Throughout the course everyone participates in all exercises and assignments. Non-writers make up stories,
Drama

Directing I: The Director's Vision — DRA4332.01

Spring 2015
Instructor: Jean Randich
Credits: 4
What is action? What is character? What are gesture, timing, rhythm, and stakes? How do actors, playwrights, and directors collaborate to create an experience in space and time? This seminar offers theater artists the chance to examine their craft from the inside out. In the first half of this course, non-writers make up stories, non-actors act, and those who have never
Drama

Directing I: The Director's Vision — DRA4332.01

Spring 2022
Instructor: Jean Randich
Credits: 4
What is action? What is character? What is an “event”? What are gesture, timing, rhythm and stakes? How do actors, playwrights, and directors collaborate to create an experience/event in space and time? How do illusion and anti-illusion collude and compete to make the representation "real?" This workshop/seminar offers theater artists the chance to examine their craft from the
Drama

Directing I: The Director's Vision — DRA4332.01

Spring 2016
Instructor: Jean Randich
Credits: 4
What is action? What is character? What are gesture, timing, rhythm, and stakes? How do actors, playwrights, and directors collaborate to create an experience in space and time? This seminar offers theater artists the chance to examine their craft from the inside out. In the first half of this course, non-writers make up stories, non-actors act, and those who have never
Drama

Directing I: The Director's Vision — DRA4332.01

Spring 2014
Instructor: Jean Randich
Credits: 4
What is action? What is character? What are gesture, timing, rhythm, and stakes? How do actors, playwrights, and directors collaborate in the creation of a story that happens in time and space? This seminar offers theater artists the chance to examine their craft from the inside out. In the first half of this course, non-writers make up stories, non-actors act, and those who
Drama

Directing I: The Director's Vision — DRA4332.01

Spring 2023
Instructor: Jean Randich
Credits: 4
What is action? What is character? What is an “event”? What are gesture, timing, rhythm and stakes? How do actors, playwrights, and directors collaborate to create an experience/event in space and time? How do illusion and anti-illusion collude and compete to make the representation “real?” This workshop/seminar offers theater artists the chance to examine their craft from the
Drama

Directing I: The Director’s Vision — DRA4332.01

Spring 2018
Instructor: Jean Randich
Credits: 4
What is action? What is character? What are gesture, timing, rhythm and stakes? How do actors, playwrights, and directors collaborate to create an experience in space and time? This seminar offers theater artists the chance to examine their craft from the inside out. Throughout the course everyone participates in all exercises and assignments. Non-writers make up stories, non
Drama

Directing I: The Director’s Vision — DRA4332.01

Spring 2019
Instructor: Jean Randich
Credits: 4
What is action? What is character? What are gesture, timing, rhythm and stakes? How do actors, playwrights, and directors collaborate to create an experience in space and time? This seminar offers theater artists the chance to examine their craft from the inside out. Throughout the course everyone participates in all exercises and assignments. Non-writers make up stories, non
Drama

Directing II — DRA4376.01

Fall 2021
Instructor: Kirk Jackson
Credits: 4
We will address the process of discerning a text’s dramatic potential and realizing that potential in performance by developing and implementing a directorial approach through analysis and rehearsal techniques. The term is divided between exercises and rehearsal of individual projects. The work of the course will culminate in a director’s approach essay, a rehearsal log, and a
Drama

Directing II — DRA4376.01

Fall 2015
Instructor: Kirk Jackson
Days & Time: TBA
Credits: 4
We will address the process of discerning a text's dramatic potential and realizing that potential in performance by developing and implementing a director's approach through analysis and rehearsal techniques. The term is divided between exercises and rehearsal of individual projects. The work of the course will culminate in a director's approach essay, a rehearsal log, and an
Drama

Directing II — DRA4376.01

Fall 2013
Instructor: Kathleen Dimmick
Days & Time: TBA
Credits: 4
We will address the process of discerning a text's dramatic potential and realizing that potential in performance by developing and implementing a directorial approach through analysis and rehearsal techniques. The term is divided between exercises and rehearsal of individual projects. The work of the course will culminate in a director's approach essay, a rehearsal log, and an
Drama

Directing II — DRA4376.01

Fall 2017
Instructor: Kirk Jackson
Credits: 4
We will address the process of discerning a text's dramatic potential and realizing that potential in performance by developing and implementing a directorial approach through analysis and rehearsal techniques. The term is divided between exercises and rehearsal of individual projects. The work of the course will culminate in a director's approach essay, a rehearsal log, and an
Drama

Directing II — DRA4376.01

Fall 2018
Instructor: Kirk Jackson
Credits: 4
We will address the process of discerning a text’s dramatic potential and realizing that potential in performance by developing and implementing a directorial approach through analysis and rehearsal techniques. The term is divided between exercises and rehearsal of individual projects. The work of the course will culminate in a director’s approach essay, a rehearsal log, and a
Drama

Directing II — DRA4376.01

Fall 2019
Instructor: Kirk Jackson
Credits: 4
We will address the process of discerning a text’s dramatic potential and realizing that potential in performance by developing and implementing a directorial approach through analysis and rehearsal techniques. The term is divided between exercises and rehearsal of individual projects. The work of the course will culminate in a director’s approach essay, a rehearsal log, and a
Drama

Directing II — DRA4376.01

Fall 2024
Instructor: Kirk Jackson
Credits: 4
We will address the process of discerning a text’s dramatic potential and realizing that potential in performance by developing and implementing a directorial approach through analysis and rehearsal techniques. The term is divided between exercises and rehearsal of individual projects. The work of the course includes a midterm Director’s Approach Essay, a final Rehearsal Log,
Drama

Directing II — DRA4376.01

Fall 2016
Instructor: Kirk Jackson
Credits: 4
We will address the process of discerning a text’s dramatic potential and realizing that potential in performance by developing and implementing a director’s approach through analysis and rehearsal techniques. The term is divided between exercises and rehearsal of individual projects. The work of the course will culminate in a director’s approach essay, a rehearsal log, and an
Drama

Directing II — DRA4376.01

Fall 2014
Instructor: kathleen dimmick
Days & Time: TBA
Credits: 4
We will address the process of discerning a text's dramatic potential and realizing that potential in performance by developing and implementing a directorial approach through analysis and rehearsal techniques. The term is divided between exercises and rehearsal of individual projects. The work of the course will culminate in a director's approach essay, a rehearsal log, and an
Drama

Directing II — DRA4376.01

Fall 2023
Instructor: Kirk Jackson
Credits: 4
We will address the process of discerning a text’s dramatic potential and realizing that potential in performance by developing and implementing a directorial approach through analysis and rehearsal techniques. The term is divided between exercises and rehearsal of individual projects. The work of the course will culminate in a director’s approach essay, a rehearsal log, and a
Drama

Directing II — DRA4376.02

Fall 2020
Instructor: Kirk Jackson
Credits: 4
We will address the process of discerning a text’s dramatic potential and realizing that potential in performance by developing and implementing a directorial approach through analysis and rehearsal techniques. While technically a second 7 week intensive, there will be at least three class meetings (time TBD) in September, followed by individual consultations. These tutorial
Drama

Doll House, Diorama – Created Worlds — MA4207.01

Spring 2024
Instructor: Sue Rees
Credits: 4
For centuries, miniature models have been used as representations of larger things or as standalone objects of wonder. Working at ‘dollhouse scale’ (1:12 or 1:24) students in this course will create dollhouses or dioramas and turn them into sites, surfaces and containers for animated and projected worlds. Students will use a variety of digital modeling and animation software
Visual Arts Drama

Double Exposure: Acting for Singers, Singing for Actors — DRA4385.01

Spring 2024
Instructor: Kerry Ryer-Parke
Credits: 4
Actors and singers study remarkably similar skills: efficient use of the body and breath, research and development of character and context, staying present and emotionally connected. But even the most seasoned performer feels doubly exposed when asked to sing and act at the same time. In this class, using repertoire as varied as incidental music for Shakespeare, musical
Drama Music

Double Exposure: Acting for Singers/Singing for Actors — DRA4263.01

Spring 2019
Instructor: Kerry Ryer-Parke Jennifer Rohn
Credits: 4
Actors and singers study remarkably similar skills: efficient use of the body and breath, development of text, character and context, staying present and emotionally connected. But even the most seasoned performer feels doubly exposed when asked to sing and act at the same time. In this class, using repertoire as varied as incidental music for Shakespeare plays, musical theatre
Drama Music

Double Exposure: Acting for Singers/Singing for Actors — DRA4263.01

Fall 2016
Instructor: Kerry Ryer-Parke
Credits: 4
Actors and singers study remarkably similar skills: efficient use of the body and breath, development of text, character and context, staying present and emotionally connected. But even the most seasoned performer feels doubly exposed when asked to sing and act at the same time. In this class, using repertoire as varied as incidental music for Shakespeare plays, musical theatre
Drama Music

Doubleness — DRA2179.01

Fall 2023
Instructor: Carly Rudzinski
Credits: 4
Doubleness is one of the fundamental building blocks and one of the most elemental and profound aspects of art. It is the way a thing can be more than one thing at once that is both mysterious and precise. It is the heart and blood of metaphor: to say one thing and mean another in a way that saying it straight out could never mean. Dramatic doubleness is a form of rhyme that
Drama