Drama
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Drama Faculty Production: Backstage — DRA4179.01
Working back stage on the Drama Faculty production provides an opportunity to learn what is involved in putting on a performance, and to observe the creative process of the director, designers and actors first hand. Students will fill a role through the week of technical rehearsals and performances, either as general run crew, light or sound board operator, or wardrobe crew,
Drama/Music Faculty Performance Production: Sarah Gancher’s “Eugene Onegin” — DRA4395.01
From Novel to Opera to Bluegrass Musical
Set in 1940’s Arkansas and then 1960’s Nashville at the Grand Ole Opry, Gancher's bluegrass musical Eugene Onegin retells the story of Eugene and Tanya—one of history’s greatest tales of The One Who Got Away.
Dramaturgies of Care — APA4169.02
We all need more care. That much is clear. As it pertains to modern social justice and public action projects, the imperative to incorporate systems of care and healing into the greater conversation has increased dynamically. With the onset of the COVID-19 pandemic and increased environmental issues due to climate change, it has become even more vital to consider holistic care
Elizabethan and Jacobean Drama — DRA4361.01
This course investigates the great flourishing of drama in late 16th and early 17th century England, a period of little more than fifty years that produced the most robust theater in the English-speaking world. We read plays by several of the major writers of the period, with the exception of Shakespeare: Kyd, Marlowe, Green, Jonson, Dekker, Heywood, Webster, Middleton, and
Embodying Shakespeare's Language — DRA4403.01
We will engage in an investigation of textual analysis for performance of Shakespeare: scansion, rhythm, sense stress, image work, phonetic phraseology, etc. We will study the structure of the verse and the elements of rhetoric as the primary source for an actor’s investigation and performance of a role. We will explore techniques for enlivening that analysis in the performer’s
Embodying Structure: Construction of the Corset — DRA2213.01
In order to construct a historical costume accurately one often needs to start with the foundation garments of that period. This course will examine how corsets and their construction play a role in recreating period silhouettes. Students will learn how to reproduce period corset patterns as well as construct the corsets with all their structural elements. Particular attention
Embodying Structure: Construction of the Corset — DRA2213.01
In order to construct a historical costume accurately one often needs to start with the foundation garments of that period. This course will examine how corsets and their construction play a role in re-creating period silhouettes. Students will learn how to reproduce period corset patterns as well as construct the corsets with all their structural elements. Particular attention
Embodying Structure: Construction of the Corset — DRA2213.01
In order to construct a historical costume accurately one often needs to start with the foundation garments of that period. This course will examine how corsets and their construction play a role in re-creating period silhouettes. Students will learn how to reproduce period corset patterns as well as construct the corsets with all their structural elements. Particular attention
Embodying Text — DRA4162.01
We will engage in an investigation of textual analysis for performance of Shakespeare: scansion, rhythm, sense stress, image work, phonetic phraseology, etc. We will study the structure of the verse and the elements of rhetoric as the primary source for an actor’s investigation and performance of a role. We will explore techniques for enlivening that analysis in the performer’s
Embodying Text — DRA4162.01
We will engage in an investigation of textual analysis for performance of Shakespeare: scansion, rhythm, sense stress, image work, phonetic phraseology, etc. We will study the structure of the verse and the elements of rhetoric as the primary source for an actor’s investigation and performance of a role. We will explore techniques for enlivening that analysis in the performer’s
Embodying Text: Shakespeare and Beyond — DRA2264.01
We will engage in deep investigation of text analysis for performance of Shakespeare: scansion, rhythm, sense stress, image work, phonetic phraseology, etc. Additionally, we will explore techniques for enlivening that analysis with a performing body. We will study the structure of the verse and the elements of rhetoric as the primary source for an actor's investigation of a
English Restoration and 18th Century Drama — LIT4240.01
This class will explore English drama of the Restoration and 18th century, with a focus on the structure and conventions of the comedy of manners. During the Restoration, the cavaliers of Charles II’s court promoted an ethos of sophisticated debauchery, fueled by the Hobbesian social currency of wit and power. Within this world of masks, mirrors, and modes, playwrights
Ethnographic Playwriting — APA4120.01
This course takes an ethnographic approach to making new theater works within community collaborations. This course is about engaging your most adventurous artist self in the context of delicate, politically loaded, dialogic processes. We will read, watch and discuss the work of subculture theorists, architects, theater-makers and other artists, all of whom use staged
Eugene Onegin-Singers — MVO4254.01
This is a 2 credit course to support the Faculty Drama Production of Eugene Onegin. Voice and style instruction will be provided for the singers in the musical, and some research on American singing styles.
Experiential Anatomy/Somatic Practices — DAN2149.01
This is a studio class for any discipline intended to deepen the understanding of your own moving body. We will be studying kinesthetic anatomy by approaching the material through visual, cognitive, kinesthetic, and sensory modes. Class time will be divided between discussion of anatomy and kinesthetic concepts, and engagement with the material experientially through movement,
Exploring the Work and Legacy of Jerzy Grotowski — DRA2219.01
"No one else in the world, to my knowledge, no one since Stanislavski, has investigated the nature of acting, its phenomenon, its meaning, the nature and science of its mental, physical, emotional process as deeply and completely as Grotowski"-Peter Brook
Jerzy Grotowski is considered one of the most influential theater practitioners of the 20th century. In this course we will
Faculty Performance Production — DRA4143.01
A faculty directed production is to be determined. Mostly likely it will be a contemporary playwright and include live music either centrally or peripherally; music direction by Kerry Ryer-Parke and stage direction by Kirk Jackson, with a target performance date of early November.
This course is for students cast or otherwise assigned production responsibilities and represents
Faculty Performance Production: Airline Highway by Lisa D’Amour — DRA4381.02, section 2
Airline Highway examines a tight knit community of “outsiders” over the course of a single, legendary day. The Hummingbird Hotel is the figurative or literal home for a group of strippers, French Quarter service workers, hustlers, and poets who are bound together by their bad luck, bad decisions, and complete lack of pretense. Presiding over them is Miss Ruby,
Faculty Performance Production: Airline Highway by Lisa D’Amour — DRA4381.01, section 1) (days/times updated 5/5/2023
Airline Highway examines a tight knit community of “outsiders” over the course of a single, legendary day. The Hummingbird Hotel is the figurative or literal home for a group of strippers, French Quarter service workers, hustlers, and poets who are bound together by their bad luck, bad decisions, and complete lack of pretense. Presiding over them is Miss Ruby, a
Faculty Performance Production: Anton Chekhov’s The Seagull — DRA4141.01
Chekhov declared he was “flagrantly disregarding the basic tenets of the stage” in writing this comedy with “a view of a lake…little action, and five tons of love.” In the play’s openness, and its shunning of melodramatic plot in favor of the messiness of life, The Seagull feels as unconventional today as when it debuted. Our production of this ensemble-based play will also
Faculty Performance Production: August: Osage County — DRA4264.01
Chronicling the dissolution of three generations of an American family, August: Osage County (2008 winner of the Pulitzer Prize, Tony and Drama Desk Awards for Best Play) has been called “a fusion of epic tragedy and black comedy”. Actor/playwright Tracy Letts sourced the darkly comedic and viciously nihilistic drama from his own family and tailored the characters for a
Faculty Performance Production: Everybody — DRA4152.01
Everybody by Branden Jacobs-Jenkins is a modern interpretation of the 15thC Morality play, Everyman, in which the character of Everyman is summoned by God to make account of his life before passing into the unknown afterlife. Everyman solicits entities such as Friendship, Kinship, and Love to accompany him, only to discover that few of these can be taken from this life into the
Faculty Performance Production: Everything That Never Happened by Sarah Mantell — DRA4152.01
"Jessica and Lorenzo are in love, but in order to be together they must plan an escape from her father’s house, the Venetian ghetto, and her entire culture. Taking place in the gaps between "The Merchant of Venice" and the realities of Jewish history, "Everything That Never Happened" is a play about a father, a daughter, disguise, assimilation, pomegranates, and everything
Faculty Performance Production: Gloria by Branden Jacobs-Jenkins — DRA4308.01
This funny, trenchant, and powerful play follows an ambitious group of editorial assistants at a notorious Manhattan magazine, each of whom hopes for a starry life of letters and a book deal before they turn thirty. But when an ordinary humdrum workday becomes anything but, the stakes for who will get to tell their own story become higher than ever.
"These are people you can