Courses

Courses

Fall 2007 Courses

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Dance

101. Cultural Choreographies: An Introduction to Dance
June Vail T 10:00 - 11:25, TH 10:00 - 11:25 Memorial Hall-601 Dance Studio
Dancing is a fundamental human activity, a mode of communication, and a basic force in social life. Investigates dance and movement in the studio and classroom as aesthetic and cultural phenomena. Explores how dance and movement activities reveal information about cultural norms and values and affect perspectives in our own and other societies. Using ethnographic methods, focuses on how dancing maintains and creates conceptions of one’s own body, gender relationships, and personal and community identities. Experiments with dance and movement forms from different cultures and epochs—for example, the hula, New England contradance, classical Indian dance, Balkan kolos, ballet, contact improvisation, and African American dance forms from swing to hiphop—through readings, performances, workshops in the studio, and field work.

111. Introductory Dance Technique
Paul Sarvis T 2:30 - 3:55, TH 2:30 - 3:55 Sargent-Dance Studio
Classes in modern dance technique include basic exercises to develop dance skills such as balance and musicality. More challenging movement combinations and longer dance sequences build on these exercises. While focusing on the craft of dancing, students develop an appreciation of their own styles and an understanding of the role of craft in the creative process. During the semester, a historical overview of twentieth-century American dance on video is presented. Attendance at all classes is required. One-half credit.

112. Introductory Repertory and Performance
Paul Sarvis T 4:00 - 5:25, TH 4:00 - 5:25 Sargent-Dance Studio
Repertory students are required to take Dance 111 concurrently. Repertory classes provide the chance to learn faculty-choreographed works or reconstructions of historical dances. Class meetings are conducted as rehearsals for performances at the end of the semester: the December Studio Show, the annual Spring Performance in Pickard Theater, or Museum Pieces at the Walker Art Building in May. Additional rehearsals are scheduled before performances. Attendance at all classes and rehearsals is required. One-half credit.

130. Principles of Design
Judy Gailen M 9:30 - 11:25, W 9:30 - 11:25 Memorial-309 Stowe Sem Room
An introduction to theatrical design that stimulates students to consider the world of a play, dance, or performance piece from a designer's perspective. Through projects, readings, discussion, and critiques, students explore the fundamental principles of visual design, as they apply to set, lighting, and costume design, as well as text analysis for the designer, and the process of collaboration. Strong emphasis on perceptual, analytical, and communication skills.

195. Production and Performance
The Department
Engagement in the presentation of a full-length work for public performance with a faculty director or choreographer. Areas of concentration within the production may include design, including set, light, sound, or costume; rehearsal and performance of roles; service as assistant director or stage manager. In addition to fulfilling specific production responsibilities, students meet weekly to synthesize work. May be repeated for credit. One-half credit.

211. Intermediate Dance Technique
Gwyneth Jones M 2:30 - 3:55, W 2:30 - 3:55 Sargent-Dance Studio
A continuation of the processes introduced in Dance 111. One-half credit.

212. Intermediate Repertory and Performance
Gwyneth Jones M 4:00 - 5:25, W 4:00 - 5:25 Sargent-Dance Studio
Intermediate repertory students are required to take Dance 211 concurrently. A continuation of the principles and requirement introduced in Dance112. One-half credit.

222. Topics in Choreography: Dance and the Camera
Paul Sarvis M 11:30 - 1:25, W 11:30 - 1:25 Memorial Hall-601 Dance Studio
Strong Original creative projects arise from dance and video explorations, and by looking at historical models of dance for camera. How do the languages and techniques of film echo or diverge from those of dance? What video strategies support the transposition of dance from live action to flat screen? What values do choreographers bring to non-dance subject matter? Includes dance studio work; instruction in the basics of videography and editing; viewings, readings, discussion, and written responses.

311. Advanced/Intermediate Dance Technique
Gwyneth Jones T 2:30 - 3:55, TH 2:30 - 3:55 Memorial Hall-601 Dance Studio
A continuation of the processes introduced in Dance 211. One-half credit.

312. Advanced/Intermediate Repertory and Performance
Gwyneth Jones T 4:00 - 5:25, TH 4:00 - 5:25 Memorial Hall-601 Dance Studio
Intermediate/advanced repertory students are required to take Dance 311 concurrently. A continuation of the principles and requirement introduced in Dance 212. One-half credit.

Theater

120. Acting I
Sonja Moser T 1:30 - 3:25, TH 1:30 - 3:25 Memorial-108
Introduces students to the physical, emotional, and intellectual challenge of the acting process. Voice and movement work, analysis of dramatic texts from an actor's point of view, and improvisational exercises are used to provide students with a variety of methods for acting truthfully on stage.

130. Principles of Design
Judy Gailen M 9:30 - 11:25, W 9:30 - 11:25 Memorial-309 Stowe Sem Room
An introduction to theatrical design that stimulates students to consider the world of a play, dance, or performance piece from a designer's perspective. Through projects, readings, discussion, and critiques, students explore the fundamental principles of visual design, as they apply to set, lighting, and costume design, as well as text analysis for the designer, and the process of collaboration. Strong emphasis on perceptual, analytical, and communication skills.

195. Production and Performance
The Department
Engagement in the presentation of a full-length work for public performance with a faculty director or choreographer. Areas of concentration within the production may include design, including set, light, sound, or costume; rehearsal and performance of roles; service as assistant director or stage manager. In addition to fulfilling specific production responsibilities, students meet weekly to synthesize work. May be repeated for credit. One-half credit.

203. Women in Performance
Gretchen Berg M 11:30 - 12:55, W 11:30 - 12:55 Memorial-108
An exploration of women on stage — as characters, performers, playwrights, directors, designers, and technicians. Reflecting their studies and personal experiences, students engage in historical research and in-class studio work that culminates in performance projects at the end of the semester.

210. Shakespeare’s Comedies and Romances
William Watterson M 11:30 - 12:55, W 11:30 - 12:55 Hubbard-Conference Room West
Examines A Midsummer Night’s Dream, The Merchant of Venice, Twelfth Night, As You Like It, The Winter’s Tale, and The Tempest in light of Renaissance genre theory. Note: This course fulfills the pre-1800 literature requirement for English majors.

220. Acting II: Voice and Text
Sonja Moser T 9:30 - 11:25, TH 9:30 - 11:25 Sargent-Dance Studio
An intermediate acting course focused on the link between language, thought, and feeling, with the goal of achieving full-mind-body engagement in the act of communication. Students work with poetry, plays, and other dramatic texts to encourage vocal, physical, and emotional freedom. Breathing exercises attune students to the physiological impulse to speak, while vocal exercises concentrate on developing increased range, strength, and color of expression. Interpretation is explored through close readings of texts.This course, along with Theater 225, Acting II: Physical Theater, is part of a two-semester course series. Theater 220 and 225 may be taken individually or in any order.

262. Drama and Performance in the Twentieth Century and Beyond
Marilyn Reizbaum M 1:00 - 2:25, W 1:00 - 2:25 Chase Barn Chamber
Examines dramatic trends of the century, ranging from the social realism of Ibsen to the performance art of Laurie Anderson. Traverses national and literary traditions and demonstrates that work in translation like that of Ibsen or Brecht has a place in the body of dramatic literature in English. Discusses such topics as dramatic translation (Liz Lochhead’s translation of Moliere’s Tartuffe); epic theater and its millennial counterpart (Bertold Brecht, Tony Kushner, Caryl Churchill); political drama (Frank McGuinness, Athol Fugard); the “nihilism” of absurdist drama (Samuel Beckett); the “low” form of the musical (as presented, for example, by Woody Allen); and the relationship of dance to theater (Henrik Ibsen, Ntozake Shange, Stomp, Enda Walsh) with an eye to the cultural and sexual politics attending all of these categories. Formerly English 262.

270. Directing
Davis Robinson M 1:30 - 3:25, W 1:30 - 3:25 Memorial-108
Introduces students to the major principles of play direction, including conceiving a production, script analysis, staging, casting, and rehearsing with actors. Students actively engage directing theories and techniques through collaborative class projects, and complete the course by conceiving, casting, rehearsing, and presenting short plays of their choosing. A final research and rehearsal portfolio is required.

321. Comedy in Performance
Davis Robinson M 9:30 - 11:25, W 9:30 - 11:25 Memorial Hall-601 Dance Studio
Looks at several facets of comedy on stage, from its origins in Greek and Roman theater to contemporary comic forms. Theory is combined with practical exercises in clowning, satire, physical comedy, wit, timing, phrasing, and partner work to develop a comic vocabulary for interpreting both scripted and original work. Students work in solos, duets, and groups to create final performance projects that are presented to the public at the end of the semester.