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Showing 25 Results of 7304

The Line of Clothing: Rendering for Costume Design — DRA2311.01

Spring 2021
Instructor: Charles Schoonmaker
Days & Time:
Credits: 2
Rendering is one of the fundamental techniques designers use to visualize their ideas. This class will explore various methods used to communicate visual ideas to directors, performers, producers, and other members of a creative team. While we will primarily work using traditional materials such as paper, pencil, and paint, we may also have occasion to work in digital media.
Dance Drama

The Line of Clothing: Rendering for Costume Design — DRA2267.01

Fall 2018
Instructor: Charles Schoonmaker
Days & Time:
Credits: 4
The rendering of one’s design ideas is a basic tool of the designer. This class will explore various methods of communicating oneʹs design ideas to directors, performers, producers, and other members of a creative team. We will primarily use traditional materials such as paper, pencil, and paint. We may also work in digital media, such as ʹBrushesʹ on tablets, or Photoshop. It
Dance Drama

The Line of Clothing: Rendering for Costume Design — DRA2267.01

Fall 2016
Instructor: Charles Schoonmaker
Days & Time:
Credits: 4
The rendering of one's design ideas is a basic tool of the designer. This class will explore various methods of communicating oneʹs design ideas to directors, performers, producers, and other members of a creative team. We will primarily use traditional materials such as paper, pencil, and paint. We will also work in new media, such as ʹBrushesʹ on tablets, or Photoshop. It is
Drama

The Literature of Artistic Obsession — LIT2250.01

Fall 2015
Instructor: Marguerite Feitlowitz
Days & Time: TBA
Credits: 4
Creativity itself--elixir and torment, liberation and bondage, enchantment, exhilaration and irresistible adventure--has from time immemorial inspired great works of literature. Our readings will embrace a spectrum: protagonists caught in the throes of creative fixation; the artist who tries madly to impose himself, according to his own "impossible" terms, on society; the
Literature

The Literature of Black Insurgency — LIT4390.01) (day/time updated as of 10/9/2023

Spring 2024
Instructor: An Duplan
Days & Time:
Credits: 4
Looting, shooting, and gangs. We have many words for Black violence, a violence frowned upon not just by the racist and reactionary, but also by the ‘reasonable’ neoliberal. Stokely Carmichael’s “The Pitfalls of Liberalism” describes liberals’ tendency to “try to convince the oppressed that violence is an incorrect tactic, that violence will not work, that violence never
Black Studies Literature Society Culture and Thought

The Literature of Matriarchy — LIT2346.01

Spring 2019
Instructor: Elisa Albert
Days & Time:
Credits: 4
As 21st century feminism awakens to human rights issues within childbearing and child-rearing, Mary Wollstonecraft’s early feminist writing can serve as an illuminating jumping-off point. From the dawn of the 19th century to the middle of the 20th, this seminar will help guide us toward an understanding of the essential historical movement toward a politically, spiritually, and
Literature

The Lives of Wives — LIT4600.01

Spring 2025
Instructor: Zoe Tuck
Days & Time:
Credits: 4
This literature survey is designed to engage with the figure of the wife. We’ll read 20th century writing by authors whose fame was at the time eclipsed by their husbands and partners. We will approach them as writers, thinkers, and activists in their own right, before turning to where their creative and intellectual work meets their conscription in a system of gendered labor.
Literature

The Living Play — DRA2387.01

Spring 2026
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

Drama

The Long Poem — LIT4607.01

Fall 2025
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

Literature

The Magic of Adolescence — PSY4380.01

Spring 2025
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,
Society Culture and Thought

The Magic of Adolescence — PSY4380.01

Spring 2022
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,
Society Culture and Thought

The Magic of Adolescence — PSY4380.02

Fall 2020
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
Society Culture and Thought

The Magical Object — DRA2116.01

Fall 2017
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,
Drama

The Magical Object — DRA2116.01

Fall 2021
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,
Drama Visual Arts

The Magical Object - Visual Metaphor — DRA2116.01

Spring 2014
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
Drama Visual Arts

The Magical Object - Visual Metaphor — DRA2116.01

Fall 2018
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,
Drama Visual Arts

The Magical Object - Visual Metaphor — DRA2116.01

Fall 2015
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,
Drama Visual Arts

The Magical Object - Visual Metaphor — DRA2116.01

Spring 2020
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,
Drama Visual Arts

The Magical Object – Visual Metaphor — DRA2116.01

Spring 2016
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,
Drama Visual Arts

The Magical Object: Visual Metaphor — DRA2116.01

Fall 2023
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
Drama

The Making of a Poem — LIT4117.01

Fall 2013
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
Literature

The Manner of Moving — DAN2242.01

Spring 2022
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
Dance

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

Spring 2024
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
Dance

The Manner of Moving — DAN2242.01

Spring 2021
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
Dance

The Manner of Moving — DAN2242.01

Spring 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
Dance