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In this course, students will work on a extended piece (9+ minutes), as well as a suite of miniatures ( 30 seconds). By playing with scale and continuity, students will be challenged to find their own way to extend their ideas while enriching their own musical language. Students can propose a piece in any style or forces, and we will work together to recruit instrumentalists or

In this course, students will work on an extended piece (10+ minutes), as well as a suite of miniatures (< 30 seconds). By playing with scale and continuity, students will be challenged to find their own way to extend their ideas while enriching their own musical language. Students can propose a piece in any style or forces, and we will work together to

This course will examine the relationship between cultural forms (architecture, garden design, art, music, opera, ballet, literature, etc.) and power at the court of Louis XIV.  We will focus our attentions on primary texts and cultural artifacts from the period while examining modern perspectives (including film) on the Golden Age of French Classicism at Versailles. We

This course will examine the relationship between cultural forms (architecture, garden design, art, music, opera, ballet, literature, etc.) and power at the court of Louis XIV. We will focus our attentions on primary texts and cultural artifacts from the period while examining modern perspectives (including film) on the Golden Age of French Classicism at Versailles. We will

This course will be organized around two main themes. One will be the analysis of symmetries, in particular the symmetries of tiling patterns and crystals. The other will be classical polynomial algebra, in particular the analysis of the extent to which polynomial equations may be solved explicitly (and what that means). The relevant mathematical topics are what are known as

Abstract algebra begins with the algebra of polynomial equations. We all learn (and mostly forget) the solution of quadratic polynomial equations in school, and the "quadratic formula". A corresponding method, and a formula, was discovered in the 1500s for both cubic and quartic equations (involving x to the third or fourth power), but people searched for a method for quintic

The goal of this class is to introduce the standard topics and theorems of a first abstract algebra course (groups, rings, modules, and fields), in a historically motivated context, primarily through number theory. Number theory asks questions about whole numbers: for example, are there infinitely many fundamentally different "Pythagorean triples", where two whole number

Accessibility describes the practice of freeing a space or an event so it might be visited by more people in more ways than one could ever presume at the outset. In this course, we will explore the litany of practices that allow more people (and in particular, disabled, mad, and chronically ill people) into all spheres of public life with a particular focus on performance

This is a practice for participants of any discipline to activate the desired body, in their chosen form or medium. Trusting the intrinsic intelligence of the body, as well as discovering the glitches that contribute to the making process, we will source multiple systems (muscular, skeletal, fluid, organ) and other ways of reading the body (energy, emotion, history, trauma).

In this course students will compose a substantial work for either solo, duo, or trio configurations, integrating acoustic and electronic elements together to create an electroacoustic piece.  This class will be co-taught by Allen Shawn and Senem Pirler. Students will learn and analyze electroacoustic pieces in the history of composition, and how to integrate electronics

The Polish theater director Jerzy Grotowski defined his theory of “poor theatre” as the theatre that values the body of the actor and its relation with the spectator. Poor Theatre used the simplest of sets, costumes,lighting and props requiring the actors to employ all of their skills to transform a space into other imaginative worlds. In this course, we will

The Polish theater director Jerzy Grotowski defined his theory of "poor theatre" as the theatre that values the body of the actor and its relation with the spectator. Poor Theatre used the simplest of sets, costumes,lighting and props requiring the actors to employ all of their skills to transform a space into other imaginative worlds. In this course, we will rehearse and

"I will make it a mixture. Since there are kings and slaves in it, I will make it a tragicomedia." Plautus on "Amphitryon" People cry at weddings and laugh at funerals. Beckett spoke of "wild laughter amidst severest woe." The pathos of the human condition, its complex and often contradictory nature, has been a fertile subject for many dramatists. In this class, we will explore

This course is an investigation of the principles and techniques of acting Shakespearean verse and prose. We will explore: scansion, phrasing, image clusters, operative words, rhetorical devices, imagery, textual analysis, physicalizing the text, textual clues and the challenges of weaving these concepts with the Stanislavski base of action and objective to help students

Action research is a methodology for learning while doing and food sovereignty is the practice of self-determination in food systems. Food sovereignty projects solve food insecurity by empowering communities and individuals to produce their own culturally appropriate food and medicine. The class will split into affinity groups, each working on different food sovereignty related

Action research is a methodology for learning while doing and food sovereignty is the practice of self-determination in food systems. Food sovereignty projects solve food insecurity by empowering communities and individuals to produce their own culturally appropriate food and medicine. The class will split into 4 groups, each working on a different food sovereignty related

Actions in Practice employs Sidra Bell's CONTEMPORARY SYSTEMS, an interior and material approach to movement that encourages provocative thought and an immersive approach to the subject matter of the body. The work demands a high degree of physicality and input from the dancers, encouraging them to execute movement with intention, curiosity, and empathy.

Actions In Process: Junior Choreography Workshop positions creative research as a multifaceted practice that includes dancing, reading, writing, drawing, sound-making and theatrical design. The course weaves choreographic practice and group study in a variety of collaborative, experimental and performative configurations. Time in class will be devoted to combinations of

Historians may one day refer to the year 2018, as the year Americans returned to activism. Whether it was the election of Trump, his policies, schools shootings, or a built up disagreement with Congress more and more Americans are organizing and working to push the agendas important to them. This course looks at the workings of government at all levels and examines how to

An actor honors and bears witness to humanity by embodying and giving voice to the human element in the landscape of theatrical collaboration. Investigating the impulses and intuitions that make us unique as individuals can also identify that which constitutes our shared humanity. Through exploration of the fundamentals of performance, students address the actor’s body, voice,

The craft of acting will be the main focus of this beginning class. Through physical and vocal warm-up exercises, sensory exploration, improvisation, scene work, and extensive reading students will be asked to develop an awareness of their own unique instrument as actors. Students will develop an understanding of the fundamentals of performance; using their body, voice, and

"An actor is a vessel to be filled so that she can then be poured into the audience's ear." Cicely Berry (Vocal Coach) As actors, our bodies and our imagination are our tools. We use voice, body, and spirit to breathe life into a story before an audience in order to transform them. For an audience to experience the full range and music of the text, we must be fine-tuned. In

An actor honors and bears witness to humanity by embodying and giving voice to the human element in the landscape of theatrical collaboration. Investigating the impulses and intuitions that make us unique as individuals can also identify that which constitutes our shared humanity. Through exploration of the fundamentals of performance, students address the actor’s body, voice,

An actor honors and bears witness to humanity by embodying and giving voice to the human element in the landscape of theatrical collaboration. Investigating the impulses and intuitions that make us unique as individuals can also identify that which constitutes our shared humanity. Through exploration of the fundamentals of performance, students address the actor’s body, voice,

The craft of acting will be the main focus of this class. Through physical and vocal warm-up exercises, sensory exploration, improvisation, scene work, and extensive reading students will be asked to develop an awareness of their own unique instrument as actors and learn to trust their inner impulses where this is concerned. Extensive out of class preparation of specific