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Showing 25 Results of 7245

The Living Play — DRA2387.01

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

This course is designed for new (or new-ish) playwrights, although more experienced playwrights who want to dig into the fundamentals are also welcome. We will focus on eight essential elements of playwriting craft: character, language, subtext, power, place, theatricality, surprise, and an elusive element called the gap. We will experiment with a variety of ways to start a

The Long Poem — LIT4607.01

Instructor: Michael Dumanis
Days & Time: TH 1:40pm-5:20pm
Credits: 4

This course will track the development of the long poem and extended poetic sequence as a poetic form in 20th and 21st century poetry. While the long poem does not have a narrow, succinct definition and can refer to many types (and lengths) of writing from sonnet cycle to verse novel, long poems are often associated with the ambition to write an iconic, all-encompassing, be

The Magic of Adolescence — PSY4380.01

Instructor: Emily Waterman
Days & Time:
Credits: 4
Adolescence sometimes has a bad reputation—teens are often seen as impulsive, hormonal, irresponsible beings who talk back, do drugs, have risky sex, and drive too fast. In this class, we will flip this belief. Backed by the science of adolescent brain development, we will discuss adolescence as a time of malleability, social engagement, resilience, identity development,

The Magic of Adolescence — PSY4380.02

Instructor:
Days & Time:
Credits: 4
Adolescence sometimes has a bad reputation—teens are often seen as impulsive, hormonal, irresponsible beings who talk back, do drugs, have risky sex, and drive too fast. In this class, we will flip this belief. Backed by the science of adolescent brain development, we will discuss adolescence as a time of malleability, resilience, identity development, and power. We will

The Magic of Adolescence — PSY4380.01

Instructor: Carly Rudzinski
Days & Time:
Credits: 4
Adolescence sometimes has a bad reputation—teens are often seen as impulsive, hormonal, irresponsible beings who talk back, do drugs, have risky sex, and drive too fast. In this class, we will flip this belief. Backed by the science of adolescent brain development, we will discuss adolescence as a time of malleability, social engagement, resilience, identity development,

The Magical Object — DRA2116.01

Instructor: Sherry Kramer
Days & Time:
Credits: 4
There is a great difference between a prop and an object on stage that is built or filled with the dramatic forces of a play. Such objects become metaphors, they become fresh comprehensions of the world. In the theater, we believe in magic. Our gaze is focused on ordinary objects…a glass figurine, a pair of shoes, a wedding dress…and then our attention is shaped, and charged,

The Magical Object — DRA2116.01

Instructor: Sherry Kramer
Days & Time:
Credits: 4
There is a great difference between a prop and an object that is built or filled with the dramatic forces of a play or film. These objects fill with meaning and power and the hopes of the characters, and ours. But how do we generate a magical object that can organize an entire work of timebound art? We will pursue our investigation in the timebound arts of theatre and film,

The Magical Object - Visual Metaphor — DRA2116.01

Instructor: Sherry Kramer
Days & Time: TBA
Credits: 4
There is a great difference between a prop and an object on stage that is built or filled with the dramatic forces of a play. Such objects become metaphors, they become fresh comprehensions of the world. In the theater, we believe in magic. Our gaze is focused on ordinary objects…a glass figurine, a pair of shoes, a wedding dress…and then our attention is shaped, and charged,

The Magical Object - Visual Metaphor — DRA2116.01

Instructor: Sherry Kramer
Days & Time:
Credits: 4
There is a great difference between a prop and an object on stage that is built or filled with the dramatic forces of a play. Such objects become metaphors, they become fresh comprehensions of the world. In the theater, we believe in magic. Our gaze is focused on ordinary objects…a glass figurine, a pair of shoes, a wedding dress…and then our attention is shaped, and charged,

The Magical Object - Visual Metaphor — DRA2116.01

Instructor: Sherry Kramer
Days & Time:
Credits: 4
There is a great difference between a prop and an object on stage that is built or filled with the dramatic forces of a play. Such objects become metaphors, they become fresh comprehensions of the world. In the theater, we believe in magic. Our gaze is focused on ordinary objects...a glass figurine, a pair of shoes, a wedding dress...and then our attention is shaped, and

The Magical Object - Visual Metaphor — DRA2116.01

Instructor: Sherry Kramer
Days & Time:
Credits: 4
There is a great difference between a prop and an object on stage that is built or filled with the dramatic forces of a play. Such objects become metaphors, they become fresh comprehensions of the world. In the theater, we believe in magic. Our gaze is focused on ordinary objects…a glass figurine, a pair of shoes, a wedding dress…and then our attention is shaped, and charged,

The Magical Object – Visual Metaphor — DRA2116.01

Instructor: Sherry Kramer
Days & Time:
Credits: 4
There is a great difference between a prop and an object on stage that is built or filled with the dramatic forces of a play. Such objects become metaphors, they become fresh comprehensions of the world. In the theater, we believe in magic. Our gaze is focused on ordinary objects…a glass figurine, a pair of shoes, a wedding dress…and then our attention is shaped, and charged,

The Magical Object: Visual Metaphor — DRA2116.01

Instructor: Carly Rudzinski
Days & Time:
Credits: 4
There is a great difference between a prop and an object that is built or filled with the dramatic forces of a play or film. These objects fill with meaning and power and the hopes of the characters, and ours. But how do we generate a magical object that can organize an entire work of timebound art? We will pursue our investigation in the timebound arts of

The Making of a Poem — LIT4117.01

Instructor: Mark Wunderlich
Days & Time: TBA
Credits: 2
How are poems made? What do we mean when we say something is 'lyrical' or 'poetic?' How do poets reward readers for the gift of their attention? In this course we will read the work of the poets who will come to campus as part of Poetry at Bennington and look at the strategies they use to shape poems that are distinctive, satisfying and rigorous. We will also examine their

The Manner of Moving — DAN2242.01

Instructor: Dana Reitz
Days & Time:
Credits: 2
This is designed for those who are interested in excavating and investigating their own ways of moving. By becoming more grounded, more aware and more observant, students will be able to experience presence in motion. We will be thoroughly exploring, modifying, rearranging, expanding and ultimately reconsidering how we move. While creating small movement scenarios, students

The Manner of Moving — DAN2242.01) (cancelled 9/26/2023

Instructor: Dana Reitz
Days & Time:
Credits: 2
This is designed for those who are interested in excavating and investigating their own ways of moving. By becoming more grounded, more aware and more observant, students will be able to experience presence in motion. We will be thoroughly exploring, modifying, rearranging, expanding and ultimately reconsidering how we move. While creating small movement scenarios, students

The Manner of Moving — DAN2242.01

Instructor: Dana Reitz
Days & Time:
Credits: 2
This is designed for those who are interested in excavating and investigating their own ways of moving. By becoming more grounded, more aware and more observant, students will be able to experience presence in motion. We will be thoroughly exploring, modifying, rearranging, expanding and ultimately reconsidering how we move. While creating small movement scenarios, students

The Manner of Moving — DAN2242.01

Instructor: Dana Reitz
Days & Time:
Credits: 2
This is designed for those who are interested in excavating and investigating their own ways of moving. By becoming more grounded, more aware and more observant, students will be able to experience presence in motion. We will be thoroughly exploring, modifying, rearranging, expanding and ultimately reconsidering how we move. While creating small movement scenarios, students

The Materiality of Color: Drawing with Pigments — DRW4204.01

Instructor: Beverly Acha
Days & Time: MO 1:40pm-5:20pm
Credits: 2

This course is a hands-on color laboratory where students will explore the tactile, material, and physical characteristics of pigments. Working with both earth and synthetic colors, we’ll grind, mix, and transform pure pigments into drawing materials including watercolor paints and chalk pastels. If time allows, we will also make inks. Outside of class, students

The Mathematics of Optimal Strategies: Introduction to Game Theory — MAT2250.01

Instructor: Katie Montovan
Days & Time:
Credits: 4
We typically think of games (like football, scrabble, and bridge) as entertaining competitions where each player or team tries to outsmart, outrun, or generally be better than their opponent. In this course, we will broaden this definition of a game to be any interaction between individuals where there are well-defined rewards that depend on what the opponent decides to do. In

The Meaning of Life — PHI2134.01

Instructor: Doug Kremm
Days & Time:
Credits: 4
This course examines some of philosophy’s deepest and most central questions. What is the meaning of life? Is there a point to pursuing the things we pursue in life? How can we bring more meaning and happiness into our lives? Should we fear death? We will explore these and other questions from a variety of perspectives, engaging with historical and contemporary works by

The Migrant Worker issue in Chinese Film — CHI4602.01

Instructor: Ginger Lin
Days & Time:
Credits: 4
While movies such as Crouching Tiger, Hidden Dragon have helped Chinese cinema broadened its appeal and consolidate its position as a significant force in international cinema, such historical fantasies may not do much to help us understand modern Chinese culture. Fortunately, there is much more to contemporary Chinese cinema, and many fine Chinese language films are available

The Modal Concept — MUS2150.01

Instructor: Nicholas Brooke
Days & Time:
Credits: 2
In this class, we’ll listen to the classical musical systems of the Middle East, South Asia, and Southeast Asia, while looking at the basic scales of dastgah, maqam, raga, and pathet. We’ll unpack the concept of mode in cross-cultural perspective, looking at how a simple series of notes can have myriad meanings. Through examining performances, improvisations, venues, historical

The Modern Chinese Family — CHI2113.01

Instructor: Ginger Lin
Days & Time: TBA
Credits: 4
All the children of one’s parent’s siblings are all just called cousin in English. However in Chinese there is a different word for each particular relationship. This stems from how in traditional Chinese Confucian culture each individual’s duties and obligations towards others are dictated by their relationships, with family relationships being the most important. But then in

The Music of Beethoven — MHI2241.01

Instructor: Allen Shawn
Days & Time:
Credits: 4
This course will be a group exploration of the extraordinary music of Ludwig Van Beethoven (1770-1827). Approaching his music chronologically, we will attempt to become acquainted with some of his major works, including his String Quartets, Piano Sonatas, Symphonies, his opera Fidelio, the Missa Solemnis, and others less well known, while also becoming familiar with his life