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Showing 25 Results of 7399

First-Year Dance Intensive — DAN2107.01

Fall 2016
Instructor: Terry Creach
Days & Time:
Credits: 4
Primarily for first-years, but for any student who has a serious interest in dance, whether or not they have previous dance experience. We will consider many aspects of dance making, including an investigation of the physical sensations and impulses that inform our moving; the development of one’s own physical awareness and movement skills; improvisational structures that test
Dance

First-Year Dance Intensive — DAN2403.01

Fall 2020
Instructor: Elena Demyanenko
Days & Time:
Credits: 4
Primarily for first-years, but for any student who has a serious interest in dance, whether or not they have previous dance experience. We will consider many aspects of dance making, embodiment, and performance. We will work towards constantly evolving ways to be one’s own teacher, by recognizing the patterns, heightening awareness of observation and selecting easier, more
Dance

First-Year Dance Intensive — DAN2107.01

Fall 2013
Instructor: Terry Creach
Days & Time: TBA
Credits: 4
Primarily for first-years, but for any student who has a serious interest in dance, whether or not they have previous dance experience. We will consider many aspects of dance making, including an investigation of the physical sensations and impulses that inform our moving; the development of one's own physical awareness and movement skills; improvisational structures that test
Dance

First-Year Dance Intensive — DAN2107.01

Fall 2018
Instructor: Terry Creach
Days & Time:
Credits: 4
Primarily for first-years, but for any student who has a serious interest in dance, whether or not they have previous dance experience. We will consider many aspects of dance making, including an investigation of the physical sensations and impulses that inform our moving; the development of one’s own physical awareness and movement skills; improvisational structures that test
Dance

First-Year Dance Intensive — DAN2107.01

Fall 2017
Instructor: Terry Creach
Days & Time:
Credits: 4
Primarily for first-years, but for any student who has a serious interest in dance, whether or not they have previous dance experience. We will consider many aspects of dance making, including an investigation of the physical sensations and impulses that inform our moving; the development of one’s own physical awareness and movement skills; improvisational structures that test
Dance

First-Year Dance Intensive — DAN2107.01

Fall 2014
Instructor: terry creach
Days & Time: TBA
Credits: 4
Primarily for first-years, but for any student who has a serious interest in dance, whether or not they have previous dance experience. We will consider many aspects of dance making, including an investigation of the physical sensations and impulses that inform our moving; the development of one's own physical awareness and movement skills; improvisational structures that test
Dance

First-Year Dance Intensive — DAN2107.01

Fall 2015
Instructor: Terry Creach
Days & Time: TBA
Credits: 4
Primarily for first-years, but for any student who has a serious interest in dance, whether or not they have previous dance experience. We will consider many aspects of dance making, including an investigation of the physical sensations and impulses that inform our moving; the development of one’s own physical awareness and movement skills; improvisational structures that test
Dance

Fitzgerald and Hemingway — LIT2275.01

Fall 2014
Instructor: doug bauer
Days & Time: TBA
Credits: 4
F. Scott Fitzgerald and Ernest Hemingway were arguably the preeminent literary figures in America in the first quarter of the Twentieth century. Their work and their lives were both closely intertwined and dramatically contrasting. Each came from the conservative Midwest. Each enjoyed stunning early success. Each made his permanent mark in a very different fashion as a
Literature

Five Approaches to Acting — DRA4170.01

Spring 2015
Instructor: Kirk Jackson
Days & Time:
Credits: 4
Taking as our premise that acting is the study of the art of human relationships (actor to actor as well as actor to audience) this course is a comprehensive overview of the theories behind the practice of various ways an actor works from a script to create a character to tell a story. Using the text book "Five Approaches to Acting" by David Kaplan as a study guide, as well as
Drama

Five Approaches to Acting — DRA4170.01

Spring 2019
Instructor: Kirk Jackson
Days & Time:
Credits: 4
Taking as our premise that when we study acting we study the art of human relationships (actor to actor as well as actor to audience), this course is an overview of the theories behind the practice of various ways actors work from a script to create characters to tell a story. Analysis of film performances, written responses, and extended work on one scene will be the focus of
Drama

Five Obstructions — MCO4125.01

Spring 2026
Instructor: Nicholas Brooke
Days & Time: MO,TH 3:40pm-5:30pm
Credits: 4

A song feedback collective, focused on how musical restrictions can spur us to growth. Over the course of the term, students will write five songs (or revise a single song in radical ways) based on the critique and decisions of the group. We’ll discuss how to form supportive but insightful critique while challenging each other to go new places. What does it take to create a

Composition

Five Obstructions — MCO4125.01

Fall 2023
Instructor: Nicholas Brooke
Days & Time:
Credits: 4
A song feedback collective, focused on how musical restrictions can spur us to growth. Over the course of the term, students will write 5 songs (or revise a single song in radical ways) based on the critique and decisions of the group. We’ll discuss how to form supportive but insightful critique while challenging each other to go new places. What does it take to create a song
Music

FLEABAG: A Workshop about Structure — DRA2224.01

Spring 2020
Instructor: Sherry Kramer
Days & Time:
Credits: 1
Phoebe Waller-Bridge’s transcendent ode to longing creates some of the most inescapable structural gravities in recent memory.  Spend three Saturday afternoons talking about the precision and elegance of the way structure works in this remarkable piece of time bound art. We’re going to talk about direct address, structural reasons why season 2 is better than season 1,
Drama

Floor to Standing: How We Get Up, How We Go — DAN2370.01

Spring 2025
Instructor: Elena Demyanenko
Days & Time:
Credits: 2
This course will introduce students to physical fundamentals often utilized in Western contemporary dance techniques. This class will attend to the physical structure of the body—including its commonalities and idiosyncrasies—to build the strength and range required to move horizontally and vertically, with gravity and against it, with momentum and in stillness. We will work
Dance

Flourishing: Aristotle's Nicomachean Ethics — PHI2136.02

Fall 2024
Instructor: Catherine McKeen
Days & Time:
Credits: 2
Virtue is a habit. To be ethical is to choose the mean between extremes. Happiness is not a goal, but a state. In popular culture, Aristotle's ethical views are often represented in slogan form. In this seven-week course, we will interrogate and unpack the meanings of and ideas behind these slogans. We will carefully investigate the theory embodied in Aristotle's central
Society Culture and Thought

FOCUS FLOW: Developing a Generative Playwriting Practice — DRA2318.01

Spring 2023
Instructor: Dina Janis
Days & Time:
Credits: 4
There has been a war on our attention spans, and yet it is this attention span that must be cultivated and strengthened in order to create meaningful work. How can we become the artists and thinkers we wish to be if we can’t find clear, lucid focus within ourselves on a regular basis—and learn how to safeguard it? This course is offered in the spirit of rebuilding our attention
Drama

FOCUS FLOW: Developing a Generative Playwriting Practice — DRA2318.02, section 2

Spring 2023
Instructor: Carly Rudzinski
Days & Time:
Credits: 4
There has been a war on our attention spans, and yet it is this attention span that must be cultivated and strengthened in order to create meaningful work. How can we become the artists and thinkers we wish to be if we can’t find clear, lucid focus within ourselves on a regular basis—and learn how to safeguard it? This course is
Drama

Food and Politics: A Food Citizens Methodology Workshop — APA4160.02

Spring 2020
Instructor: Yoko Inoue
Days & Time:
Credits: 2
This class will put focus on investigating various approaches to food studies while examining academic institutions’ curriculums and non-institutional models developed by civic and creative practitioners. This intensive Methodology Workshop provides opportunities to explore food as a pedagogical tool to “do food justice” and to practice trans-disciplinary research methods,
CAPA

Food for Thought in Modern Japanese Literature — JPN4507.01

Spring 2015
Instructor: Katsuya Izumi
Days & Time:
Credits: 4
"Food" in the course title is used literally, yet quite broadly. In this course we will focus on how food, eating, drinking, and cooking are used in modern Japanese literary works. Observing Japanese people's relationships with food and these related actions in various genres of literature, we will examine the reflections of nationalism, cannibalism, globalism, ecocentrism, and
Languages

Food in Italy — ITA2114.01

Fall 2015
Instructor: Barbara Alfano
Days & Time: TBA
Credits: 4
In many ways, Italy is a country made of its food in and outside of its national borders. If, after more than one hundred and fifty years from the birth of the nation, Italians are still debating whether or not they can relate to one specific national identity, they have no doubt about this when it comes to the dining table. In this course, you will learn about Italian food,
Languages

Food in Italy — ITA2114.01

Fall 2014
Instructor: barbara alfano
Days & Time: TBA
Credits: 4
In many ways, Italy is a country made of its food in and outside of its national borders. If, after more than one hundred and fifty years from the birth of the nation, Italians are still debating whether or not they can relate to one specific national identity, they have no doubt about this when it comes to the dining table. In this course, you will learn about Italian food,
Languages

Food in Italy — ITA2114.01

Fall 2018
Instructor: Barbara Alfano
Days & Time:
Credits: 4
In many ways, Italy is a country made of its food in and outside of its national borders. If, after more than one hundred and fifty years from the birth of the nation, Italians are still debating whether or not they can relate to one specific national identity, they have no doubt about this when it comes to the dining table. In this course, you will learn about Italian food
Languages

Food in Italy — ITA2114.01

Fall 2017
Instructor: Barbara Alfano
Days & Time:
Credits: 4
In many ways, Italy is a country made of its food in and outside of its national borders. If, after more than one hundred and fifty years from the birth of the nation, Italians are still debating whether or not they can relate to one specific national identity, they have no doubt about this when it comes to the dining table. In this course, you will learn about Italian food
Languages

Food in Italy — ITA2114.01

Fall 2016
Instructor: Barbara Alfano
Days & Time:
Credits: 4
In many ways, Italy is a country made of its food in and outside of its national borders. If, after more than one hundred and fifty years from the birth of the nation, Italians are still debating whether or not they can relate to one specific national identity, they have no doubt about this when it comes to the dining table. In this course, you will learn about Italian food
Languages