Location: Bowdoin / Theater and Dance / Courses / Fall 2010

Theater and Dance

Fall 2010

Theater

010. Understanding Theater and Dance: Doing, Viewing, and Reviewing
June Vail T  10:00 - 11:25
TH 10:00 - 11:25
The goal is appreciation and understanding of contemporary performance. Investigates critical perspectives on dance, drama, and other performance events. Develops viewing and writing skills: description, analysis, interpretation, evaluation. Attending live performances, on and off campus, watching films and videos, and participating in studio workshops with performers and writers provide a basis for four essays and other modes of critical response—written, oral, or visual.

104. Stagecraft
Michael Schiff-Verre T  10:00 - 11:25
TH 10:00 - 11:25
Introduction to the language, theory, and practice of technical theater. Hands-on experience in lighting, scenic and property construction, costuming, and stage management. Considers the possibilities, demands, and limits inherent in different forms of performance and performance spaces, and explores the job roles integral to theater and dance production. Includes forty hours of laboratory work. Grading is Credit/D/Fail.

120. Acting I
Abigail Killeen M  1:30 - 3:25
W  1:30 - 3:25
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
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
Davis Robinson 
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. Students gain admission to Theater 195 either through audition (performers) or through advance consultation (designers, stage managers, and assistant directors). Students register for Theater 195 during the add/drop period at the beginning of each semester. Students are required to commit a minimum of six hours a week to rehearsal and production responsibilities over a period of seven to twelve weeks; specific time commitments depend upon the role the student is assuming in the production and the production schedule. Grading is Credit/D/Fail. One-half credit. May be repeated a maximum of four times for credit, earning a maximum of two credits.

211. Shakespeare's Tragedies and Roman Plays
William Watterson T  11:30 - 12:55
TH 11:30 - 12:55
Examines Hamlet, Othello, Macbeth, King Lear, Julius Caesar, Antony and Cleopatra, and Coriolanus in light of recent critical thought. Special attention is given to psychoanalysis, new historicism, and genre theory. Note: This course fulfills the pre-1800 literature requirement for English majors.

220. Acting II: Voice and Text
Abigail Killeen M  9:30 - 11:25
W  9:30 - 11:25
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.

230. Theater and Theatricality in the Restoration and the Eighteenth Century
Ann Kibbie T  1:00 - 2:25
TH 1:00 - 2:25
An overview of the development of the theater from the reopening of the playhouses in 1660 to the end of the eighteenth century, with special emphasis on the emergence of new dramatic modes such as Restoration comedy, heroic tragedy, “she-tragedy,” sentimental comedy, and opera. Other topics include the legacy of Puritan anxieties about theatricality; the introduction of actresses on the professional stage; adaptations of Shakespeare on the Restoration and eighteenth-century stage; other sites of public performance, such as the masquerade and the scaffold; and the representation of theatricality in the eighteenth-century novel. Note: This course fulfills the pre-1800 literature requirement for English majors.

260. Playwriting
Roger Bechtel T  9:30 - 11:25
TH 9:30 - 11:25
A writing workshop for contemporary performance that includes introductory exercises in writing dialogue, scenes, and solo performance texts, then moves to the writing (and rewriting) of a short play. Students read plays and performance scripts, considering how writers use image, action, speech, and silence; how they structure plays and performance pieces; and how they approach character and plot.

270. Directing
Davis Robinson M  1:30 - 3:25
W  1:30 - 3:25
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.

340. Live Performance and Digital Media
Roger Bechtel T  1:30 - 3:25
TH 1:30 - 3:25
Over the past two decades, digital media has infiltrated live performance to such an extent that it has become almost as indispensible as sets, lights, and costumes. Theater and dance artists have embraced these media as a way to enhance the expressivity and scale of their work, as well as a cultural phenomenon to be critically investigated. Introduces students to sound and video applications such as Garage Band, Final Cut Pro, Motion, and Isadora, and requires them to create performances incorporating these tools. Also contextualizes student projects with theoretical readings and examinations of contemporary performance practitioners.

Dance

010. Understanding Theater and Dance: Doing, Viewing, and Reviewing
June Vail T  10:00 - 11:25
TH 10:00 - 11:25
The goal is appreciation and understanding of contemporary performance. Investigates critical perspectives on dance, drama, and other performance events. Develops viewing and writing skills: description, analysis, interpretation, evaluation. Attending live performances, on and off campus, watching films and videos, and participating in studio workshops with performers and writers provide a basis for four essays and other modes of critical response—written, oral, or visual.

102. Making Dances
Paul Sarvis M  9:30 - 11:25
W  9:30 - 11:25
Explores ways of choreographing dances and multimedia performance works, primarily solos, duets, trios. A strong video component introduces students—regardless of previous experience in dance—to a wide range of compositional methods that correspond to creative process in other arts: writing, drawing, composing. Includes some reading, writing, and discussion, as well as work with visiting professional dance companies and attendance at live performances.

102. Making Dances
Charlotte Griffin M  9:30 - 11:25
W  9:30 - 11:25
Explores ways of choreographing dances and multimedia performance works, primarily solos, duets, trios. A strong video component introduces students—regardless of previous experience in dance—to a wide range of compositional methods that correspond to creative process in other arts: writing, drawing, composing. Includes some reading, writing, and discussion, as well as work with visiting professional dance companies and attendance at live performances.

104. Stagecraft
Michael Schiff-Verre T  10:00 - 11:25
TH 10:00 - 11:25
Introduction to the language, theory, and practice of technical theater. Hands-on experience in lighting, scenic and property construction, costuming, and stage management. Considers the possibilities, demands, and limits inherent in different forms of performance and performance spaces, and explores the job roles integral to theater and dance production. Includes forty hours of laboratory work. Grading is Credit/D/Fail.

111. Introductory Dance Technique
Gwyneth Jones M  1:00 - 2:25
W  1:00 - 2:25
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. May be repeated for credit. Grading is Credit/D/Fail. One-half credit.

112. Introductory Repertory and Performance
Gwyneth Jones M  2:30 - 3:55
W  2:30 - 3:55
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 Bowdoin College Museum of Art in May. Additional rehearsals are scheduled before performances. Attendance at all classes and rehearsals is required. May be repeated for credit. Grading is Credit/D/Fail. One-half credit.

130. Principles of Design
Judy Gailen M  9:30 - 11:25
W  9:30 - 11:25
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.

211. Intermediate Dance Technique
Gwyneth Jones T  2:30 - 3:55
TH 2:30 - 3:55
A continuation of the processes introduced in Dance 111. May be repeated for credit. Grading is Credit/D/Fail. One-half credit.

212. Intermediate Repertory and Performance
Gwyneth Jones T  4:00 - 5:25
TH 4:00 - 5:25
Intermediate repertory students are required to take Dance 211 concurrently. A continuation of the principles and practices introduced in Dance 112. May be repeated for credit. Grading is Credit/D/Fail. One-half credit.

221. Intermediate Ballet
Charlotte Griffin T 11:30-12:55
TH 11:30-12:55
A continuation of the processes introduced in Dance 121.

311. Advanced/Intermediate Dance Technique
Daphne McCoy T  2:30 - 3:55
TH 2:30 - 3:55
A continuation of the processes introduced in Dance 211. May be repeated for credit. Grading is Credit/D/Fail. One-half credit.

312. Advanced/Intermediate Repertory and Performance
Daphne McCoy T  4:00 - 5:25
TH 4:00 - 5:25
Intermediate/advanced repertory students are required to take Dance 311 concurrently. A continuation of the principles and practices introduced in Dance 212. May be repeated for credit. Grading is Credit/D/Fail. One-half credit.

340. Live Performance and Digital Media
Roger Bechtel T  1:30 - 3:25
TH 1:30 - 3:25
Over the past two decades, digital media has infiltrated live performance to such an extent that it has become almost as indispensible as sets, lights, and costumes. Theater and dance artists have embraced these media as a way to enhance the expressivity and scale of their work, as well as a cultural phenomenon to be critically investigated. Introduces students to sound and video applications such as Garage Band, Final Cut Pro, Motion, and Isadora, and requires them to create performances incorporating these tools. Also contextualizes student projects with theoretical readings and examinations of contemporary performance practitioners.