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Haverford College

2011-12 Course Catalog

At Bryn Mawr College: Arts Program, 2011-12

DescriptionFacultyArts Program Courses Arts in EducationCreative Writing CoursesDanceTheater

Description

Students may complete a minor in Creative Writing, Dance or Theater and may submit an application to major in Creative Writing, Dance or Theater through the independent major program. Students may complete a major in Fine Arts or a major or minor in Music at Haverford College. English majors may complete a concentration in Creative Writing.

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Faculty

Instructor in Theater Rose Bochansky
Senior Lecturer and Associate Director of Dance Madeline R. Cantor
Alice Carter Dickerman Chair of the Arts and Director of Dance Linda Caruso-Haviland
Instructor in Creative Writing Nancy Doyne
Lecturer in Creative Writing Thomas Jerome Ferrick Jr.
Professor of Creative Writing Karl Kirchwey
Professor of Theater on the and Director on the Theresa Helburn Chair of Drama Mark Evans Lord
Visiting Assistant Professor in Theater Maiko Matsushima
Lecturer in Creative Writing Elizabeth A. Mosier
Distinguished Visiting Writer in Creative Writing Karen Russell
Instructor in Theater Catharine Slusar
Instructor in Creative Writing Daniel Smith
Lecturer in Creative Writing J. C. Todd
Visiting Assistant Professor and Director of Creative Writing Daniel P. Torday

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Arts Program Courses

Courses in the arts are designed to prepare students who might wish to pursue advanced training in their fields and are also for those who want to broaden their academic studies with work in the arts that is conducted at a serious and disciplined level. Courses are offered at introductory as well as advanced levels.

Arts in Education

ARTA B251 Arts Teaching in Educational and Community Settings (Cross-listed as EDUC B251)

M.Cantor
This is a Praxis II course intended for students who have substantial experience in an art form and are interested in extending that experience into teaching and learning at educational and community sites. Following an overview of the history of the arts in education, the course will investigate underlying theories. The Praxis component will allow students to create a fluid relationship between theory and practice through observing, teaching and reflecting on arts practices in education contexts. School or community placement four to six hours a week. Prerequisite: at least an intermediate level of experience in an art form. This course counts toward the minor in Dance or in Theater.

Creative Writing

Courses in Creative Writing within the Arts Program are designed for students who wish to develop their skills and appreciation of creative writing in a variety of genres (poetry, prose fiction and nonfiction, playwriting, screenwriting, etc.) and for those intending to pursue studies in creative writing at the graduate level. Any English major may include one Creative Writing course in the major plan. Students may pursue a minor as described below. While there is no existing major in Creative Writing, exceptionally well-qualified students with a GPA of 3.7 or higher in Creative Writing courses completed in the Tri-College curriculum may consider submitting an application to major in Creative Writing through the Independent Major Program after meeting with the Creative Writing Program director. When approved, the independent major in Creative Writing may also be pursued as a double major with another academic major subject.

Creative Writing Minor Requirements

Requirements for the minor in Creative Writing are six units of course work, generally including three beginning/intermediate courses in at least three different genres of creative writing (chosen from ARTW 159, 231, 236, 240, 251, 260, 261, 262, 263, 264, 265, 266, 268, 269) and three electives, including at least one course at the 300 level (ARTW 360, 361, 362, 364, 366, 367, 371, 373, 382), allowing for advanced work in one or more genres of creative writing that are of particular interest to the student. The objective of the minor in Creative Writing is to provide both depth and range, through exposure to several genres of creative writing. Students should consult with the Creative Writing Program director by the end of their sophomore year to submit a plan for the minor in order to ensure admission to the appropriate range of courses.

Concentration in Creative Writing

English majors may elect a three-course concentration in Creative Writing as part of the English major program. Students interested in the concentration must meet with the Creative Writing Program director by the end of their sophomore year to submit a plan for the concentration and must also confirm the concentration with the chair of the English Department.

Creative Writing Courses

ARTW B125 Writing Science (Cross-listed as CHEM-B125)

M. Francl
How does scientific research make its way out of the lab? Science translates from research experience to journals written for the expert and is often translated again for more general audiences—appearing in venues such as newspapers, essays and memoirs. What is gained and what is lost when science is translated? This is a half-semester, half-credit course. Not offered in 2011-12.

ARTW B159 Introduction to Creative Writing

J. Todd
This course is for students who wish to experiment with three genres of creative writing: short fiction, poetry and drama. Priority will be given to interested first-year students; additional spaces will be made available to upper-year students with little or no experience in creative writing. Students will write or revise work every week; roughly four weeks each will be devoted to short fiction, poetry and drama. There will be individual conferences with the instructor to discuss their progress and interests. Half of class time will be spent discussing student work and half will be spent discussing syllabus readings.

ARTW B240 Literary Translation Workshop (Cross-listed as COML-B240)

K. Kirchwey
Open to creative writing students and students of literature, the syllabus includes some theoretical readings, but the emphasis is practical and analytical, considering parallel translations of certain enduring literary texts as well as books and essays about the art of translation. Literary translation will be considered as a spectrum ranging from Dryden’s “metaphrase” (word-for-word translation) all the way through imitation and adaptation. The course will include class visits by working literary translators. The Italian verbs for “to translate” and “to betray” are neighbors; throughout, the course concerns the impossibility and importance of literary translation. Not offered in 2011-12.

ARTW B260 Writing Short Fiction I

D. Torday
An introduction to fiction writing, focusing on the short story. Students will consider fundamental elements of fiction and the relationship of narrative structure, style and content, exploring these elements in their own work and in the assigned readings in order to develop an understanding of the range of possibilities open to the fiction writer. Weekly readings and writing exercises are designed to encourage students to explore the material and styles that most interest them, and to push their fiction to a new level of craft, so that over the semester their writing becomes clearer, more controlled and more absorbing.

ARTW B261 Writing Poetry I

D. Fried
This course will provide a survey of craft resources available to students wishing to write print-based poems in English: figure, line, measure, meter, rhyme and rhythm. In concert with close reading of model poems, students will gain experience in writing in a variety of verse forms, including haiku, sonnet, free verse and prose poem. The course is writing-intensive; students write or revise poems most weeks. The course objective is to provide students with the skills to explore poetic form, both received and invented, and to develop a voice with which to express themselves on the printed page.

ARTW B262 Playwriting I (Cross-listed as ARTT-B262)

A. Herzog
An introduction to playwriting through a combination of reading assignments, writing exercises, discussions about craft and ultimately the creation of a complete one-act play. Students will work to discover and develop their own unique voices as they learn the technical aspects of the craft of playwriting. Readings will include work by Edward Albee, Maria Irene Fornes, John Guare, Tony Kushner, Suzan-Lori Parks, Paula Vogel and others. Short writing assignments will complement each reading assignment. The final assignment will be to write an original one-act play. Not offered in 2011-12.

ARTW B263 Writing Memoir I

The purpose of this course is to provide students with practical experience in writing about the events, places and people of their own lives in the form of memoir. Initial class discussions attempt to distinguish memoir from related literary genres such as confession and autobiography. Writing assignments and in-class discussion of syllabus readings explore the range of memoirs available for use as models (excerpts by writers including James Baldwin, Lorene Cary, Annie Dillard, Arthur Koestler, Rick Moody, Lorrie Moore and Tim O’Brien) and elements such as voice and perspective, tone, plot, characterization, and symbolic and figurative language.

ARTW B264 News and Feature Writing

T. Ferrick
Students in this class will learn how to develop, report, write, edit and revise a variety of news stories, beginning with the basics of reporting and writing the news and advancing to longer-form stories, including personality profiles, news features and trend stories, and concluding with point-of-view journalism (columns, criticism, reported essays). The course will focus heavily on work published in The Philadelphia Inquirer and The New York Times. Several working journalists will participate as guest speakers to explain their craft. Students will write stories that will be posted on the class blog, the English House Gazette.

ARTW B265 Creative Nonfiction

D. Torday
This course will explore the literary expressions of nonfiction writing by focusing on the skills, process and craft techniques necessary to the generation and revision of literary nonfiction. Using the information-gathering tools of a journalist, the analytical tools of an essayist and the technical tools of a fiction writer, students will produce pieces that will incorporate both factual information and first person experience. Readings will include a broad group of writers ranging from E.B. White to Anne Carson, George Orwell to David Foster Wallace, Joan Didion to James Baldwin, among many others.

ARTW B266 Screenwriting

N. Doyne
An introduction to screenwriting. Issues basic to the art of storytelling in film will be addressed and analyzed: character, dramatic structure, theme, setting, image, sound. The course focuses on the film adaptation; readings include novels, screenplays and short stories. Films adapted from the readings will be screened. In the course of the semester, students will be expected to outline and complete the first act of an adapted screenplay of their own. Counts toward Film Studies minor.

ARTW B269 Writing for Children

In this course, students have the opportunity to write imaginatively for children and young adults. Through reading and in-class discussion, we will examine the specific requirements of the picture book, the chapter book and the young adult novel. This analytical study of classic and contemporary literature will inspire and inform students’ creative work through the discoveries they make about style and structure, creating compelling characters, the roles of illustration and page composition in story narration, and the ever-evolving fairy tale. Students will receive guidance for their creative work through in-class exercises, peer review and private conferences with the instructor.

ARTW B360 Writing Short Fiction II

K. Russell
An exploration of approaches to writing short fiction designed to strengthen skills of experienced student writers as practitioners and critics. Requires writing at least five pages each week, workshopping student pieces, and reading texts ranging from realist stories to metafictional experiments and one-page stories to the short novella, to explore how writers can work within tight confines. Prerequisite: ARTW 260 or work demonstrating equivalent expertise in writing short fiction. A writing sample of 5-10 pages in length (prose fiction) must be submitted to the Creative Writing Program during the preregistration period to be considered for this course.

ARTW B361 Writing Poetry II

J. Todd
While writing a poem a week, according to assignments both formal and strategic, students will read at least six volumes of contemporary poetry, immersing themselves in the pleasurable estrangements and rearrangements of a variety of voices, with the goal of forcing positive changes in their own poems. Students in this course are expected to become not only better writers, but also better critics of their own and each other’s work, and the term grade is determined partly by written work and partly by in-class participation during discussions of syllabus reading and student poems.

ARTW B362 Playwriting II (Cross-listed as ARTT-B362)

A. Herzog
This course challenges students of playwriting to further develop their unique voices and improve their technical skills in writing for the stage. We will examine how great playwrights captivate a live audience through their mastery of character, story and structure. Students will complete bi-weekly playwriting assignments of 10-12 pages and, ultimately, a one-act play of 30-40 pages. Readings include plays by Beckett, Chekhov, Lorraine Hansberry, Ibsen, Arthur Miller, Tennessee Williams, August Wilson and others. Prerequisite: ARTW 262; or suitable experience in directing, acting or playwriting; or submission of a work sample of 10 pages of dialogue. Not offered in 2011-12.

ARTW B364 Longer Fictional Forms

D. Torday
An advanced workshop for students with a strong background in fiction writing who want to write longer works: the long short story, novella and novel. Students will write intensively, and complete a long story, novel or novella (or combination thereof) totaling up to 20,000 words. Students will examine the craft of their work and of published prose. Prerequisite: ARTW 260 or proof of interest and ability.

ARTW B382 Poetry Master Class

K. Kirchwey
Four leading contemporary poets who are also accomplished teachers will each conduct a three-week-long unit in this course. Students will have their poems reviewed by each of the visiting poets, who will also present a public reading of their work. Poet-teachers will include Cornelius Eady, Marilyn Hacker, Mary Jo Salter and Gerald Stern. A writing sample of 5-7 poems must be submitted to the English Department by the end of the Fall 2008 semester to be considered for this course. Prerequisite: ARTW B231 or ART W B261 ( ARTW B361 is also strongly recommended) or equivalent proficiency in writing text-based verse. Not offered in 2011-12.

ARTW B403 Supervised Work

D. Torday, K. Kirchwey
Students who have had a Creative Writing Major approved through the Independent Major Program will work with a member of the Creative Writing Program faculty on a semester-long 403 (Independent Study) as a final project their senior year. Highly qualified Creative Writing minors and concentrators may petition the program to complete an independent study, subject to the availability of faculty to supervise such projects.

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Dance Program

Dance is not only an art and an area of creative impulse and action, it is also a significant and enduring human behavior that can serve as a core of creative and scholarly inquiry within the liberal arts. The Program offers full semester courses in progressive levels of ballet and modern and jazz as well as a full range of technique courses in diverse genres and various traditions. Several performance opportunities are available to students ranging from our Dance Outreach Project, which travels to schools throughout the Philadelphia region, to our Spring Concert for which students work with professional choreographers or reconstructors and perform in our newly renovated theater. We also offer lecture/seminar courses designed to introduce students to dance as a vital area of academic inquiry that examine dance within Western traditions as well as courses that extend or locate themselves beyond those social or theatrical traditions.

Students can take single courses in dance, can minor in dance or submit an application to major through the independent major program. The core academic curriculum that serves as the basis for our minor or our independent major includes intermediate or advanced technique courses, performance ensembles, dance composition, independent work and courses in dance research or analysis.

Dance Major & Minor Requirements

Requirements for the dance minor are six units of coursework: three required (ARTD 140, 142 and one credit which may be distributed among the following: 230, 231, 232, 330, 331 or 345); three approved electives; and requisite attendance at a prescribed number of performances/events. The major requires 11 courses, drawn primarily from our core academic curriculum and including: ARTD 140 and one additional dance lecture/seminar course; ARTD 142; one 0.5 technique course each semester after declaring the major distributed among ARTD 230, 231, 232, 330 and 331). The major also requires attendance at a prescribed number of performances/events, demonstration of basic writing competency in dance and a senior capstone experience. With the advisor's approval, one elective in the minor and two electives in the major may be selected from allied Tri-College departments. In both the minor and the major, students may choose to emphasize one aspect of the field, but must first consult with the dance faculty regarding their course of study.

Dance Performance And Technique

The Dance Program offers a full range of dance instruction including courses in ballet, modern, jazz and African as well as techniques developed from other cultural art and social forms such as flamenco, Classical Indian, hip-hop, Latin social dance and tap dance, among others. Performance ensembles, choreographed or re-staged by professional artists, are by audition only and are given full concert support. Dance Outreach ensemble tours regional schools. All technique courses and ensemble courses may be taken for Physical Education credit (see listing below). Technique courses ARTD 138, 139, 230, 231, 232, 330, 331, as well as ARTD B345, Dance Ensembles, may be taken instead for academic credit.

Dance Performance and Technique Courses

ARTD B138 Introduction to Dance Techniques I

Staff
Students enrolling must take one full semester of elementary modern (section 001) or ballet (section 002) and, concurrently, another full semester of technique selected from approved Dance Program courses. This may be either a course running across the full semester, for example Jazz I, or two half semester courses, for example, Movement Improvisation and Salsa. Before enrolling in this class, students must get approval of dance class selection from the Dance Program. Additional requirements include attendance at two mandatory lectures as well as one live dance performance and some short writing assignments. Course offered on a Pass/Fail basis only.

ARTD B139 Introduction to Dance Techniques II

Staff
Students enrolling must take one full semester of elementary modern (section 001) or ballet (section 002) and, concurrently, another full semester of technique selected from approved Dance Program courses. This may be either a course running across the full semester, for example Jazz I, or two half semester courses, for example, Movement Improvisation and Salsa. Before enrolling in this class, students must get approval of dance class selection from the Dance Program. Additional requirements include attendance at two mandatory lectures as well as one live dance performance and some short writing assignments. Course offered on a Pass/Fail basis only.

ARTD B140 Approaches to Dance: Themes and Perspectives

L. Caruso Haviland
This course introduces students to dance as a multi-layered, significant and enduring human behavior that ranges from art to play to ritual to politics and beyond. It engages students in the creative, critical and conceptual processes that emerge in response to the study of dance. It also explores the research potential that arises when other areas of academic inquiry, including criticism, ethnology, history and philosophy, interact with dance and dance scholarship. Lectures, discussion, film, video and guest speakers are included. Not offered in 2011-12.

ARTD B142 Dance Composition I

L. Vriend
In this introduction to the art of making dances, an array of compositional tools and approaches is used to evolve and refine choreographic ideas. Basic concepts such as space, phrasing, timing, image, energy, density and partnering are introduced and explored alongside attention to the roles of inspiration and synthesis in the creative process. Improvisation is used to explore choreographic ideas and students learn to help and direct others in generating movement. Discussion of and feedback on weekly choreographic assignments and readings contributes to analyzing and refining choreography. Concurrent attendance in any level technique course is required.

ARTD B223 Anthropology of Dance (Cross-listed as ANTH-B223)

T. Shapiro-Phim
This course surveys ethnographic approaches to the study of dance in a variety of contemporary and historical contexts. Recognizing dance as a kind of shared cultural knowledge and drawing on theories and literature in anthropology, dance and related fields, students will examine the relationship of dance to social structure, ethnicity, gender, spirituality and politics. Some of the ethical and practical issues related to field research of expressive culture will also be introduced. Lectures, discussion, media and guest speakers are included. Prerequisite: an anthropology course, or a dance lecture/seminar course, or permission of the instructor.

ARTD B230 Intermediate Technique: Modern

M. Stortz, M. Cantor
Intermediate level dance technique courses focus on expanding the movement vocabulary, on introducing movement phrases that are increasingly complex and demanding, and on further attention to motional dynamics and spatial contexts. Students at this level are also expected to begin demonstrating an intellectual and kinesthetic understanding of these technical challenges and their actual performance. Students will be evaluated on their openness and commitment to the learning process, increased understanding of the technique, and demonstration in class of their technical skills and stylistic progress as articulated within the field.

ARTD B231 Intermediate Technique: Ballet

L. Mintzer
Intermediate level dance technique courses focus on expanding the ballet vocabulary, on introducing movement phrases that are increasingly complex and demanding, and on further attention to motional dynamics and spatial contexts. Students at this level are also expected to begin demonstrating an intellectual and kinesthetic understanding of these technical challenges and their actual performance. Students will be evaluated on their openness and commitment to the learning process, increased understanding of the technique, and demonstration in class of their technical skills and stylistic progress as articulated within the field.

ARTD B232 Intermediate Technique: Jazz

Y. Goodman
Intermediate level dance technique courses focus on expanding the jazz vocabulary, on introducing movement phrases that are increasingly complex and demanding, and on further attention to motional dynamics and spatial contexts. Students at this level are also expected to begin demonstrating an intellectual and kinesthetic understanding of these technical challenges and their actual performance. Students will be evaluated on their openness and commitment to the learning process, increased understanding of the technique, and demonstration in class of their technical skills and stylistic progress as articulated within the field.

ARTD B240 Dance History I: Roots of Western Theater Dance

L. Caruso Haviland
This course investigates historical and cultural forces affecting the development and functions of pre-20th-century dance, with particular emphasis given to Western Theater dance. The development of dance forms and practices will be introduced chronologically, but they will also be considered theoretically as social, aesthetic and personal phenomena and as arising, in part, from the impact of global interchanges. Students will be introduced to both traditional and more contemporary models of historiography with particular reference to the changing modes of documenting, researching and analyzing dance. In addition to lectures and discussion, the course will include film, video, slides and some movement experiences. Counts toward Gender and Sexuality Studies concentration. Not offered in 2011-12.

ARTD B241 Dance History II: A History of Contemporary Western Theater Dance

L. Caruso
This course investigates the history of dance with particular emphasis on its development in the 20th and 21st centuries as a Western Theatre Art form within a broader context of global art and culture. The course investigates the historical and cultural forces that shape both the form and function of dance as well as the reciprocal relationship of dance to or impact on those same forces. Dance will be considered both chronologically and theoretically as cultural, social, aesthetic and personal phenomena. In addition to lectures and discussion, the course will include film, video, slides and some movement experiences.

ARTD B242 Dance Composition II

M. Cantor
This course builds on work accomplished in Composition I and develops an understanding of and skill in the theory and craft of choreography. This includes deepening movement invention skills; exploring form and structure; investigating sources for sound, music, text and language; developing group design; and broadening critical understanding. Students will work on a selected number of projects and will have some opportunity to revise and expand work. Readings and viewings will be assigned and related production problems will be considered. Concurrent attendance in any level technique course is required.

ARTD B250 Performing the Political Body

L. Caruso Haviland
Artists, activists, intellectuals and ordinary people have used dance and performance to support political goals and ideologies or to perform social or cultural interventions in the private and public spheres. We will focus on how dance is a useful medium for both embodying and analyzing ideologies and practices of power particularly with reference to gender, class, and ethnicity. In addition to literary, anthropological and political texts, the course includes introductory group improvisation and performance exercises and an in-class mini-performance project. A prior course in dance or the social sciences is useful but not required. Not offered in 2011-12.

ARTD B265 Dance, Migration and Exile (Cross-listed as ANTH-B265)

T. Shapiro-Phim
Highlighting aesthetic, political, social and spiritual powers of dance as it travels, transforms, and is accorded meaning both domestically and transnationally, especially in situations of war and social and political upheaval, this course investigates the re-creation of heritage and the production of new traditions in refugee camps and in diaspora. Prerequisite: a dance lecture/seminar course or a course in a relevant discipline such as anthropology, sociology, or Peace and Conflict Studies, or permission of the instructor. Not offered in 2011-12.

ARTD B330 Advanced Technique: Modern

R. Malcolm-Naib, L. Caruso Haviland, Staff
Advanced level technique courses continue to expand movement vocabulary and to introduce increasingly challenging movement phrases and repertory. Students are expected to begin incorporating gestural and dynamic markers of styles and genres, with an eye to developing their facility for working with various choreographic models and for marking out their individual movement preferences. There is continuing emphasis on cultivating the relationship between an intellectual and kinesthetic understanding and command of technical challenges and performance. Students will be evaluated on their openness and commitment to the learning process, increased understanding of the technique, and demonstration of their technical skills and stylistic progress.

ARTD B331 Advanced Technique: Ballet

L. Mintzer, Staff
Advanced level technique courses continue to expand movement vocabulary and to introduce increasingly challenging movement phrases and repertory. Students are expected to begin incorporating gestural and dynamic markers of styles and genres, with an eye to developing their facility for working with various choreographic models and for marking out their individual movement preferences. There is continuing emphasis on cultivating the relationship between an intellectual and kinesthetic understanding and command of technical challenges and performance. Students will be evaluated on their openness and commitment to the learning process, increased understanding of the technique, and demonstration of their technical skills and stylistic progress.

ARTD B342 Advanced Choreography

L. Caruso Haviland, M. Cantor
Independent study in choreography under the guidance of the instructor. Students are expected to produce one major choreographic work and are responsible for all production considerations. Concurrent attendance in any level technique course is required.

ARTD B345 Dance Ensemble

M. Cantor, H. Cruz,, L. Caruso Haviland,, Staff
Dance ensembles are offered in Ballet, Modern, Jazz, African and Dance Outreach and are designed to offer students significant opportunities to develop dance technique, particularly in relationship to dance as a performance art. Students audition for entrance into individual ensembles. Original works choreographed by faculty or guest choreographers or works reconstructed/restaged from classic or contemporary repertories are rehearsed and performed in concert. The Dance Outreach ensemble tours Philadelphia schools with a choreographed lecture-demonstration and performance. This course is suitable for intermediate and advanced level dancers. These and additional ensembles, such as Hip-hop, may be taken, instead, for Physical Education credit.

ARTD B390 Senior Project/Thesis

L. Caruso Haviland, M. Cantor
Majors develop, in conjunction with a faculty advisor, a senior capstone experience that is complementary to and will expand and deepen their work and interest thus far. This can range from a significant research or expository paper to a substantial choreographic work that will be supported in a full studio performance. Work begins in the Fall semester and should be completed by the middle of the Spring semester. One outside evaluator may be invited to offer additional comment.

ARTD B403 Supervised Work

L. Caruso Haviland, M. Cantor, R. Malcolm-Naib
Research in a particular topic of dance under the guidance of an instructor, resulting in a significant final paper or project.

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Theater

The curricular portion of the Bryn Mawr and Haverford Colleges' Theater Program focuses on the point of contact between creative and analytic work. Courses combine theory (reading and discussion of dramatic literature, history and criticism) and practical work (creative exercises, scene study and performance) to provide viable theater training within a liberal-arts context.

Theater Minor Requirements

Requirements for the minor in Theater are six units of course work, three required (ARTT 150, 251 and 252) and three elective. Students must consult with the Theater faculty to ensure that the necessary areas in the field are covered. Students may submit an application to major in Theater through the independent major program.

Theater Performance

Numerous opportunities exist to act, direct, design and work in technical theater. In addition to the Theater Program's mainstage productions, many student theater groups exist that are committed to musical theater, improvisation, community outreach, Shakespeare, film and video work, etc. All Theater Program productions are open and casting is routinely blind with respect to race and gender.

Theater Courses

ARTT B150 Introduction to Theater

H.Iwasaki
An exploration of a wide range of dramatic works and history of theater through research, analysis and discussion to develop understanding and foundations for a theatrical production.

ARTT B230 Topics in American Drama (Cross-listed as ENGL B230)

G.Hemmeter
Considers American plays of the 20th century, reading major playwrights of the canon alongside other dramatists who were less often read and produced. Will also study later 20th-century dramatists whose plays both develop and resist the complex foundation established by canonical American playwrights and how American drama reflects and responds to cultural and political shifts. Considers how modern American identity has been constructed through dramatic performance, considering both written and performed versions of these plays. Not offered in 2010-11.

ARTT B150 Introduction to Theater

Staff
An exploration of a wide range of dramatic works and history of theater through research, analysis and discussion to develop understanding and foundations for a theatrical production.

ARTT B230 Topics in American Drama (Cross-listed as ENGL-B230)

G. Hemmeterv
Considers American plays of the 20th century, reading major playwrights of the canon alongside other dramatists who were less often read and produced. Will also study later 20th century dramatists whose plays both develop and resist the complex foundation established by canonical American playwrights and how American drama reflects and responds to cultural and political shifts. Considers how modern American identity has been constructed through dramatic performance, considering both written and performed versions of these plays. Not offered in 2011-12.

ARTT B241 Modern Drama (Cross-listed as ENGL-B241)

M. Lord
A survey of modern drama from the 19th century to the present, beginning with Georg Buchner and ending with living writers. We will explore the formation of modern sensibilities in playwriting through careful study of the evolution of dramatic form and the changing relationship between written text and performance. Not offered in 2011-12.

ARTT B250 Twentieth-Century Theories of Acting

M. Lord
An introduction to 20th-century theories of acting emphasizing the intellectual, aesthetic and sociopolitical factors surrounding the emergence of each director's approach to the study of human behavior on stage. Various theoretical approaches to the task of developing a role are applied in workshop and scene study. Not offered in 2011-12.

ARTT B251 Fundamentals of Acting

Staff, C. Slusar
An introduction to the fundamental elements of acting (scene analysis, characterization, improvisation, vocal and gestural presentation, and ensemble work) through the study of scenes from significant 20th-century dramatic literature.

ARTT B252 Fundamentals of Technical Theater

R. Bochansky, H. Iwasaki
A practical, hands-on workshop in the creative process of turning a concept into a tangible, workable end through the physical execution of a design. Exploring new and traditional methods of achieving a coherent synthesis of all areas of technical production. Not offered in 2011-12.

ARTT B253 Performance Ensemble

Staff, M. Lord
An intensive workshop in the methodologies and aesthetics of theater performance, this course is open to students with significant experience in performance. In collaboration with the director of theater, students will explore a range of performance techniques and styles in the context of rehearsing a performance project. Admission to the class is by audition or permission of the instructor. The class is offered for a half-unit of credit.

ARTT B254 Fundamentals of Theater Design

H. Iwasaki, R. Bochansky
An introduction to the creative process of visual design for theater; exploring dramatic context and influence of cultural, social and ideological forces on theater and examining practical applications of various technical elements such as scenery, costume and lighting while emphasizing their aesthetic integration. Not offered in 2011-12.

ARTT B255 Fundamentals of Costume Design

Staff
Hands-on practical workshop on costume design for performing arts; analysis of text, characters, movement, situations; historical and stylistic research; cultivation of initial concept through materialization and plotting to execution of design.

ARTT B262 Playwriting I (Cross-listed as ARTW-B262)

A. Herzog
An introduction to playwriting through a combination of reading assignments, writing exercises, discussions about craft and ultimately the creation of a complete one-act play. Students will work to discover and develop their own unique voices as they learn the technical aspects of the craft of playwriting. Readings will include work by Edward Albee, Maria Irene Fornes, John Guare, Tony Kushner, Suzan-Lori Parks, Paula Vogel and others. Short writing assignments will complement each reading assignment. The final assignment will be to write an original one-act play. Not offered in 2011-12.

ARTT B344 Advanced Theater Design

H. Iwasaki
A workshop for those who have completed either Fundamentals of Theater Design, Costume Design or Technical Theater Production or have an equivalent experience, for students to explore their specific area of interest. The focus is on translating the theories into concrete designs. Prerequisite: ARTT 252, 254 or 255 or equivalent experience. Not offered in 2011-12.

ARTT B351 Acting II

Staff
Builds on the methods learned in ARTT 251, with an emphasis on strategies of preparing short solo performances. In addition to intensive exercises in naturalistic and anti-naturalistic performance techniques, the course provides opportunities for exploration of principles of design, directing, dramaturgy and playwriting as they pertain to specific projects conceived by members of the class. Prerequisite: permission of instructor.

ARTT B353 Advanced Performance Ensemble

Staff, M. Lord
An advanced, intensive workshop in theater performance. Students explore a range of performance techniques in the context of rehearsing a performance project, and participate in weekly seminars in which the aesthetic and theatrical principles of the play and production will be developed and challenged. The course may be repeated.

ARTT B354 Shakespeare on the Stage

M. Lord
An exploration of Shakespeare's texts from the point of view of the performer. A historical survey of the various approaches to producing Shakespeare from Elizabethan to contemporary times, with intensive scenework culminating in on-campus performances. Not offered in 2011-12.

ARTT B356 Endgames: Theater of Samuel Beckett (Cross-listed as ENGL-B356)

M. Lord
An exploration of Beckett's theater work conducted through both reading and practical exercises in performance techniques. Points of special interest include the monologue form of the early novels and its translation into theater, Beckett's influences (particularly silent film) and collaborations, and the relationship between the texts of the major dramatic works and the development of both modern and postmodern performance techniques. Not offered in 2011-12.

ARTT B359 Directing for the Stage

Staff
A semiotic approach to the basic concepts and methods of stage direction. Topics explored through readings, discussion and creative exercises include directorial concept, script analysis and research, stage composition and movement, and casting and actor coaching. Students rehearse and present three major scenes.

ARTT B362 Advanced Playwriting (Cross-listed as ARTW-B362)

A. Herzog
This course challenges students of playwriting to further develop their unique voices and improve their technical skills in writing for the stage. We will examine how great playwrights captivate a live audience through their mastery of character, story and structure. Students will complete bi-weekly playwriting assignments of 10-12 pages and, ultimately, a one-act play of 30-40 pages. Readings include plays by Beckett, Chekhov, Lorraine Hansberry, Ibsen, Arthur Miller, Tennessee Williams, August Wilson and others. Prerequisite: ARTW 262; or suitable experience in directing, acting or playwriting; or submission of a work sample of 10 pages of dialogue. Not offered in 2011-12.

ARTT B403 Supervised Work

M. Lord, H. Iwasaki

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