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This course introduces students to a selection of global dance and music practices via scholarship and video that, while not exhaustive, will serve to expand students’ understanding of the meaningful roles these art forms can play in different cultural contexts. We will frame this exploration through a critical analysis of the Western
One secret to great playwriting is that what you put offstage is just as important as what you put on. In this class, we will explore a variety of offstage worlds: from realistic to fantastical, from richly detailed to deliciously sparse. We will think about how playwrights bring offstage environments to life through language—how a single
Three-Card Monte. Blind Man's Bluff. Poker. Charades. Chicken. What do onstage games reveal about our characters? Are onstage games always dangerous? How can the play itself become a game played with the audience? In this course, we will read plays in which characters play games onstage (The Birthday Party by Harold Pinter, Topdog/Underdog by
Join a public dialogue about global contemporary art and ideas! Each year the New York nonprofit apexart holds an open call for curatorial proposals. Out of hundreds of submissions from around the world, three are chosen to become apexart exhibitions through an online jury process. Students in this class will be part of the jury. Initial readings and
In this class, we’ll play open-ended and comprov pieces, sourced from the last half-century as well as ones of our own making. Based on early ensembles such as the Fluxus and Scratch Orchestras, we’ll plumb piece from the open-form proto minimalism of Julius Eastman to the deep listening scores of Pauline Oliveros. Some relationship to an instrument,
