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Showing 25 Results of 7815

Platform: Projects in Drama — DRA4311.02

Instructor: Dina Janis
Days & Time:
Credits: 2
The purpose of this course is to create a platform for students to express themselves through theatrical performance. We are interested in projects that are inclusive and allow for, and celebrate diversity. All applicants must be interested in developing their project while investigating what it means to create a supportive, inclusive community that regularly engages in group

Platform: Projects in Drama — DRA4311.01

Instructor: Dina Janis
Days & Time:
Credits: 4
The purpose of this course is to create a platform for students to express themselves through theatrical performance. We are interested in projects that are inclusive and allow for, and celebrate diversity. All applicants must be interested in developing their project while investigating what it means to create a supportive, inclusive community that regularly engages in group

Platform: Projects in Drama — DRA4311.01

Instructor: Dina Janis
Days & Time:
Credits: 4
The purpose of this course is to create a platform for students to express themselves through theatrical performance. We are interested in projects that are inclusive and allow for, and celebrate diversity. All applicants must be interested in developing their project while investigating what it means to create a supportive, inclusive community that regularly engages in group

Platform: Projects in Drama — DRA4311.03

Instructor: Carly Rudzinski
Days & Time:
Credits: 1
The purpose of this course is to create a platform for students to express themselves through theatrical performance. We are interested in projects that are inclusive and allow for, and celebrate diversity. All applicants must be interested in developing their project while investigating what it means to create a supportive, inclusive community that regularly engages

Platform: Projects in Drama — DRA4311.01

Instructor: Dina Janis
Days & Time:
Credits: 4
The purpose of this course is to create a platform for students to express themselves through theatrical performance. We are interested in projects that are inclusive and allow for and celebrate diversity. All applicants must be interested in developing their project while investigating what it means to create a supportive, inclusive community that regularly engages in group

Plato: Middle and Late Dialogues — PHI4257.01

Instructor: Catherine McKeen
Days & Time: TH 1:40pm-5:20pm
Credits: 4

Aristocles (known to us as "Plato") lived and wrote in Athens in the 5th c. BCE. More than 2400 years later, Alfred North Whitehead’s famous remark still resonates: “The safest general characterization of the European philosophical tradition is that it consists of a series of footnotes to Plato…the wealth of general ideas scattered through them…have

Plato: Symposium — PHI2163.02

Instructor: Catherine McKeen
Days & Time: TU,FR 10:30am-12:20pm
Credits: 2

It is 416 BCE. A group of Athenian men are gathered together for a party, a celebration, a symposium. Among the company are the tragic playwright Agathon, Agathon’s lover Pausanias, the beautiful but doomed Phaedrus, the comic playwright Aristophanes, the doctor Eryximachus, and the (also perhaps doomed) philosopher Socrates. Diotima, a priestess from Mantinea, puts in a

PLAY LAB: Advanced Studio Course for collaborators where we make new work — DRA4350.01

Instructor: Jean Randich
Days & Time: M 7:00PM-10:00PM, W 2:10PM-5:50PM
Credits: 4

"May what I do flow from me like a river, no forcing and no holding back, the way it is with children."

-- Rainer Maria Rilke

This course is open to 1st, 2nd, 3rd, and 4th year students who may join as directors, writers, actors, designers, or in more than one capacity. Think of this as a studio where you may hone many aspects of the craft of theatermaking

PLAY! — APA2100.01

Instructor: Carly Rudzinski
Days & Time:
Credits: 2
Students will research their favorite games and use its framework to create reimagined experiences inspired by the nature of the games. For example, a classic game of hide-and-seek could be upcycled into an academic treasure hunt or a clue-based quest. Can you imagine what school would be like if the campus turned into a giant version of your favorite video game or board game?

PLAY! — APA2100.02

Instructor: Carly Rudzinski
Days & Time:
Credits: 2
Students will research their favorite games and use its framework to create reimagined experiences inspired by the nature of the games. For example, a classic game of hide-and-seek could be upcycled into an academic treasure hunt or a clue-based quest. Can you imagine what school would be like if the campus turned into a giant version of your favorite video game or board game?

Playing and reality: The work of D.W. Winnicott — PSY4117.01

Instructor: David Anderegg
Days & Time:
Credits: 4
This seminar will delve deeply into the life and work of D. W. Winnicott, the British psychoanalyst famous for his work on playing, internal creative life, and the interplay between creative and psychotic elements in fantasy. We will read about the British psychoanalytic world in which Winnicott developed; his biography; some of his popular work, including transcripts of his

Plays About Plays — DRA4435.01

Instructor: Abe Koogler
Days & Time: WE 2:10pm-5:50pm
Credits: 4

In this advanced class, we will read and write plays about plays (or in which a play or performance is essential to the plot). Readings will likely include Hamlet, A Midsummer Night’s Dream, The Seagull, Jackie Sibblies Drury's We Are Proud to Present, Anne Washburn's 10 out of 12 and Mr. Burns, Alice

Plays From Plays From Plays — DRA2155.01; first seven weeks

Instructor: Kathleen Dimmick
Days & Time: TBA
Credits: 2
Where do plays come from? In this course we’ll look at the bloodline of plays: origination myths, tales, folklore, and, of course, other plays. We’ll read and discuss plays by Aeschylus, Euripides, Shakespeare, Buchner, Zola and their followers – Racine, Alfred Jarry, Sarah Kane, Neal Bell, Elizabeth Egloff, and others.

Playwriting — DRA2260.01

Instructor: Sarah Hammond
Days & Time:
Credits: 4
"A human being is the best plot there is. " --John Galsworthy A beginning workshop in the fundamentals of playwriting, with exercises in such craft elements as structure, plot, dialogue, setting, gesture, and a special focus on inventing characters the audience can't forget. Assignments will include both written responses to readings and creative writing exercises that explore

Playwriting - Storytelling Across Media — DRA2184.01

Instructor: Michael Giannitti
Days & Time:
Credits: 4
What makes Phoebe Waller-Bridge’s Fleabag a singularly perfect work of art that we can’t stop watching? How exactly does Beyonce’s cinematic album Lemonade capture and sustain our emotional attention, outside of her inherent god-like energy? How can I write a play that “feels” like that? In this introductory course, we will take a “study what you love” approach to playwriting.

Playwriting as Civic Inquiry - The Supreme Court and the Corporate Person — DRA4408.01

Instructor: Carly Rudzinski
Days & Time:
Credits: 4
Over the past two centuries U.S. business corporations have gained civil rights originally intended for flesh-and-blood people. In this course we will work as a team of artist-investigators to (1) understand how this happened; (2) what some of the downstream consequences have been; (3) review ways artists and activists have tried to intervene with this development through

PLAYWRITING AS CIVIC INQUIRY: Chevron vs. Steven Donziger — DRA4026.01) (cancelled 12/1/2022

Instructor: Dina Janis
Days & Time:
Credits: 4
... the [Living Newspaper] seeks to dramatize a new struggle – the search of the average American today for knowledge about his country and his world; to dramatize his struggle to turn the great natural and economic forces of our time toward a better life for more people.” — Hallie Flanagan, National Director of the Federal Theatre Project. This spring we will resurrect the

Playwriting Sprints — DRA2391.01

Instructor: Abe Koogler
Days & Time: FR 10:30am-12:20pm
Credits: 2

If you want to learn playwriting, you should write a lot, write quickly, and write inspired by great plays. Think of this class as your weekly playwriting workout. 

Each week, students will be assigned 1-2 contemporary plays to read, drawing from work recently seen or soon-to-be-seen Off-Broadway and Off-Off-Broadway. We will spend the first

Playwriting Workshop: Politics and Poetry — DRA4113.01

Instructor: Jackie Sibblies Drury
Days & Time:
Credits: 4
For our workshop, I’d like us to think about plays as being a combination of things. Of poetry and plot, in form (or structure). Of the personal and the political, in content. I’d so appreciate us thinking about this together because I’ve been thinking about this alone for quite some time. As I’ve thought about it, I haven’t been considering “poetry” and “prose” and “personal”

Playwriting Workshop: Sense Memory — DRA2140.01

Instructor: Jackie Sibblies Drury
Days & Time:
Credits: 4
In this course, we will explore methods for using our senses both to inspire our writing and to create plays that engage an audience's faculties and imagination. Through writing exercises tailored to creating text that is meant to be spoken and lived in, participants will create writing that is inspired by images, objects, music, and food that they share with the class. In this

Podcasts and Ethnography — ANT2214.01

Instructor: Marios Falaris
Days & Time: TU,FR 10:30am-12:20pm
Credits: 4

How can anthropology help us listen more critically and carefully? Each class session will consider one ethnographic approach, which students will apply to their listening. Following in the anthropological tradition, where concepts both reveal social processes and are themselves modified by the material at hand, students will consider how podcast episodes they listen to can

Poems into Print — LIT4424.01

Instructor: Franny Choi
Days & Time: WE 2:10pm-5:50pm
Credits: 4

Poetry is as much a visual medium as it is a sonic one. What do we learn about the process of composing poems by experimenting closely with their visual aspects? How does working simultaneously with both text and image impact the creative process? What happens when writers break out of the Google doc and engage with the physical process of

Poesis: Calling Psychology Into Existence: Study of Expressive Arts’ influences on Psychology — PSY4413.01

Instructor: Carly Rudzinski
Days & Time:
Credits: 4
Poesis is used as a way of forming meaning and knowledge that incorporates elements of creativity, self-reflection, and subjective experiences. This can lead to the development of new ways of understanding psychological constructs and ways of examining those constructs. Poesis has the potential to promote greater social justice and equity. Women's ways of knowing and other

Poetry Performance — LIT2533.01

Instructor: Franny Choi
Days & Time:
Credits: 4
Though poetry was an oral art form before it was anything else, its contemporary relationship to performance is varied and complex. What does it mean to write a poem that comes alive in the air? What happens to poems when they become embodied? And how have questions of race, class, gender, and sexuality historically shaped (and been shaped by) the work at the intersection of

Poetry and Technology — LIT4393.01

Instructor: Franny Choi
Days & Time:
Credits: 2
Since Open AI’s release of ChatGPT, many have wondered—even panicked—about how this new technology would impact literature, including the field of poetry. But literature has always been shaped by the technology of its time. In this 2-credit class, we will look beyond the common assumption of poems as ideally “timeless” to examine how poetry has developed alongside (not against)