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Showing 25 Results of 7399

Dostoevsky's Major Novels — LIT2332.01

Spring 2023
Instructor: Michael Dumanis
Days & Time:
Credits: 4
In their encounters with the fiction of Fyodor Dostoevsky (1821-1881), readers find themselves entering into a world that is vividly three-dimensional .Dostoevsky’s novels are abundant with sharply etched inner struggles of individuals and groups who are drawn from a wide range of human experience, striking a balance between keen psychological insight and attentive social
Literature

Dostoevsky’s Major Novels — LIT2332.01

Spring 2019
Instructor: Alexandar Mihailovic
Days & Time:
Credits: 4
In their encounters with Dostoevsky’s fiction, readers enter into a world that is rich with the inner struggles of a wide range of individual identities. In this course, we will read Memoirs from the House of the Dead, Crime and Punishment, and The Brothers Karamazov, three novels that represent different stages in the evolution of Dostoevsky’s portrayal of power, social
Literature

Double Exposure: Acting for Singers, Singing for Actors — DRA4385.01

Spring 2024
Instructor: Kerry Ryer-Parke
Days & Time:
Credits: 4
Actors and singers study remarkably similar skills: efficient use of the body and breath, research and development of character and context, staying present and emotionally connected. But even the most seasoned performer feels doubly exposed when asked to sing and act at the same time. In this class, using repertoire as varied as incidental music for Shakespeare, musical
Drama Music

Double Exposure: Acting for Singers/Singing for Actors — DRA4263.01

Spring 2019
Instructor: Kerry Ryer-Parke Jennifer Rohn
Days & Time:
Credits: 4
Actors and singers study remarkably similar skills: efficient use of the body and breath, development of text, character and context, staying present and emotionally connected. But even the most seasoned performer feels doubly exposed when asked to sing and act at the same time. In this class, using repertoire as varied as incidental music for Shakespeare plays, musical theatre
Drama Music

Double Exposure: Acting for Singers/Singing for Actors — DRA4263.01

Fall 2016
Instructor: Kerry Ryer-Parke
Days & Time:
Credits: 4
Actors and singers study remarkably similar skills: efficient use of the body and breath, development of text, character and context, staying present and emotionally connected. But even the most seasoned performer feels doubly exposed when asked to sing and act at the same time. In this class, using repertoire as varied as incidental music for Shakespeare plays, musical theatre
Drama Music

Double Portrait: Of a Lady and Her Novel — LIT2223.01

Fall 2013
Instructor: Doug Bauer
Days & Time: TBA
Credits: 2
We will be examining Henry James’s The Portrait of a Lady from several perspectives, starting with a close reading of the novel itself. As well, we’ll be reading Michael Gorra’s recently published Portrait of a Novel, which uniquely blends criticism, biography, historical context and earned authorial speculation as a guide to James’s life during the time he was writing his book
Literature

Doubleness — DRA2179.01

Fall 2023
Instructor: Carly Rudzinski
Days & Time:
Credits: 4
Doubleness is one of the fundamental building blocks and one of the most elemental and profound aspects of art. It is the way a thing can be more than one thing at once that is both mysterious and precise. It is the heart and blood of metaphor: to say one thing and mean another in a way that saying it straight out could never mean. Dramatic doubleness is a form of rhyme that
Drama

Drama Faculty Production: Backstage — DRA4179.01

Spring 2014
Instructor: Michael Giannitti
Days & Time:
Credits: 1
Working back stage on the Drama Faculty production provides an opportunity to learn what is involved in putting on a performance, and to observe the creative process of the director, designers and actors first hand. Students will fill a role through the week of technical rehearsals and performances, either as general run crew, light or sound board operator, or wardrobe crew,
Drama

Dramatic Underscore Sound Design — MSR4102.01

Spring 2016
Instructor: David Baron
Days & Time:
Credits: 2
This is a hands-on course on making dramatic soundtracks for media and/or live performances.  We will learn to create soundtracks by careful analysis of scenes from dramas, science fiction, and horror. We will explore the materials used: acoustic, electronic, found sounds, and field-captured sounds. Pacing, tempo, and density.  How silence is used.  What makes
Music

Dramaturgies of Care — APA4169.02

Fall 2024
Instructor: Susan Sgorbati
Days & Time:
Credits: 1
We all need more care. That much is clear. As it pertains to modern social justice and public action projects, the imperative to incorporate systems of care and healing into the greater conversation has increased dynamically. With the onset of the COVID-19 pandemic and increased environmental issues due to climate change, it has become even more vital to consider holistic care
CAPA Dance Drama

Draw/Read/Write Sound I — MSR2213.01

Fall 2025
Instructor: Cristian Amigo
Days & Time: MO 3:40pm-5:30pm
Credits: 2

In this course, we will draw/write/read ways to consider and make music and sound. This is a class for all artists (music, theater, visual arts, film & video, dance, animation, critical studies) who are interested in making and notating their own sounds, but might not have experience (or limited experience) with formal music studies or

Sound Design and Recording

Drawing As A Verb: Exploring Uncertainty — DRW2120.01

Spring 2017
Instructor: J Blackwell
Days & Time:
Credits: 4
Shying away from the static, resolved, or finished image, this course will explore drawing as a process of ongoing inquiry. It is intended to foster an experimental and experiential approach to making art, generally eschewing representation. Students will engage with various techniques and processes to make drawings that document experience as well as create an image. Topics to
Visual Arts

Drawing As A Verb: Exploring Uncertainty — DRW2120.01

Spring 2018
Instructor: Josh Blackwell
Days & Time:
Credits: 4
Shying away from the static, resolved, or finished image, this course will explore drawing as a process of ongoing inquiry. It is intended to foster an experimental and experiential approach to making art, generally eschewing representation. Students will engage with various techniques and processes to make drawings that document experience as well as create an image. Topics to
Visual Arts

Drawing As A Verb: Exploring Uncertainty — DRW2120.01

Spring 2025
Instructor: J Blackwell
Days & Time:
Credits: 4
Conceptual artists are mystics rather than rationalists. They leap to conclusions that logic cannot reach. Rational judgements repeat rational judgements. Irrational judgements lead to new experience. Formal art is essentially rational. Irrational thoughts should be followed absolutely and logically. -Sol LeWitt, “Sentences on Conceptual Art” 1969 Shying away from the
Visual Arts

Drawing As A Verb: Exploring Uncertainty — DRW2120.01

Spring 2023
Instructor: J Blackwell
Days & Time:
Credits: 4
Conceptual artists are mystics rather than rationalists. They leap to conclusions that logic cannot reach. Rational judgements repeat rational judgements. Irrational judgements lead to new experience. Formal art is essentially rational. Irrational thoughts should be followed absolutely and logically. -Sol LeWitt, “Sentences on Conceptual Art” 1969 Shying away from
Visual Arts

Drawing As A Verb: Exploring Uncertainty — DRW2120.01

Spring 2024
Instructor: J Blackwell
Days & Time:
Credits: 4
Conceptual artists are mystics rather than rationalists. They leap to conclusions that logic cannot reach. Rational judgements repeat rational judgements. Irrational judgements lead to new experience. Formal art is essentially rational. Irrational thoughts should be followed absolutely and logically. -Sol LeWitt, “Sentences on Conceptual Art” 1969 Shying away from
Visual Arts

Drawing As A Verb: Exploring Uncertainty — DRW2120.01

Spring 2020
Instructor: J Blackwell
Days & Time:
Credits: 4
1. Conceptual artists are mystics rather than rationalists. They leap to conclusions that logic cannot reach. 2. Rational judgements repeat rational judgements. 3. Irrational judgements lead to new experience. 4. Formal art is essentially rational. 5. Irrational thoughts should be followed absolutely and logically. -Sol LeWitt, “Sentences on Conceptual Art” 1969 Shying away
Visual Arts

Drawing As Record — DRW2121.01

Spring 2023
Instructor: Annette Lawrence
Days & Time:
Credits: 4
The fundamentals of drawing are the basic tools for this investigation into seeing and translation. Using simple methods and means, the practice of drawing is approached from both traditional and experimental directions. The focus of this inquiry is on drawing from observation, broadly defined. In class drawing sessions and discussions are complemented by independent, outside
Visual Arts

Drawing As Record — DRW2121.01

Fall 2021
Instructor: Colin Brant
Days & Time:
Credits: 4
The fundamentals of drawing are the basic tools for this investigation into seeing and translation. Using simple methods and means, the practice of drawing is approached from both traditional and experimental directions. The focus of this inquiry is on drawing from observation, broadly defined. In class drawing sessions and discussions are complemented by independent, outside
Visual Arts

Drawing as Record — DRW2121.01

Fall 2024
Instructor: J Blackwell
Days & Time:
Credits: 4
The fundamentals of drawing are the basic tools for this investigation into seeing and translation. Using simple methods and means, the practice of drawing is approached from both traditional and experimental directions. The focus of this inquiry is on drawing from observation, broadly defined. In class drawing sessions and discussions are complemented by independent, outside
Visual Arts

Drawing as Record — DRW2121.02

Spring 2022
Instructor: Carly Rudzinski
Days & Time:
Credits: 4
The fundamentals of drawing are the basic tools for this investigation into seeing and translation. Using simple methods and means, the practice of drawing is approached from both traditional and experimental directions. The focus of this inquiry is on drawing from observation, broadly defined. In class drawing sessions and discussions are complemented by independent, outside
Visual Arts