Theater Studies

Director of undergraduate studies: Dominika Laster, Rm. 102, 220 York St., 432-1310; theaterstudies.yale.edu

FACULTY ASSOCIATED WITH THE PROGRAM OF THEATER STUDIES

Professors Vasudha Dalmia (Religious Studies), Richard Lalli (Adjunct) (Music), *Lawrence Manley (English), Donald Margulies (Adjunct) (English, Theater Studies), J. D. McClatchy (Adjunct) (English), *Charles Musser (Film Studies, American Studies, Theater Studies), *Joseph Roach (English, African American Studies, Theater Studies), *Marc Robinson (School of Drama, Theater Studies, English), Ellen Rosand (Music), *Robert Stepto (African American Studies, English, American Studies), Katie Trumpener (Comparative Literature)

Associate Professors *Murray Biggs (Adjunct) (Theater Studies, English), *Toni Dorfman (Adjunct) (Theater Studies), Gundula Kreuzer (Music), Joan MacIntosh (Adjunct) (Theater Studies, School of Drama), *Deb Margolin (Adjunct) (Theater Studies)

Assistant Professors Sarah Demers (Physics), William Fleming (Theater Studies, East Asian Languages & Literatures), Sam See (English), Christopher Semk (French)

Lecturers Jessica Berson, Emily Coates, Lacina Coulibaly, Daniel Egan, Andrew Gerle, Grant Herreid, Annette Jolles, Michael Korie, Kedar Kulkarni, Frederick Lamp, Daniel Larlham, Dominika Laster, Elise Morrison, Maria-Christina Oliveras, Lynda Paul, Rashida Shaw, Rachel Sheinkin, Nicole Stanton, Robert Woodruff

Senior Lectors Krystyna Illakowicz, Bárbara Safille

*Member of the Executive Committee for the program.

As a branch of the humanities and as a complex cultural practice, theater claims a rich history and literature and an equally rich repertoire of embodied knowledge and theory. Theater Studies emphasizes the reciprocal relationship between practice and scholarly study. The major combines practical training with theory and history, while stressing creative critical thinking. Students are encouraged to engage intellectual and physical approaches to explore diverse cultural forms, historical traditions, and contemporary life.

The study of theater is interdisciplinary in scope and global in perspective. Students are expected to take courses in cognate disciplines such as history, philosophy, anthropology, political science, film, art, literature, and foreign languages. Faculty members are affiliated with a range of departments; their diverse expertise lends breadth and depth to course offerings and enables students to devise a course of study reflective of their developing interests.

Special features of the program are the production seminars and guided independent study projects. Each production seminar concentrates on study, through practice, of one aspect of work in the theater; examples are approaches to acting, directing, writing, dance, or design. Each seminar involves numerous projects that grow out of the term's work. For example, the project may be production of a play or several plays, adaptation or translation of existing works, or creation of original plays, performance pieces, or set design. Independent study projects give the student freedom to pursue individual and group-generated projects under the guidance of a Theater Studies faculty member. All production seminars require permission of the instructor (by application or audition). Independent study project courses are open only to majors.

The major The major consists of ten term courses beyond the introductory prerequisites (THST 110, 111), one of which must be THST 210. Students are encouraged to enroll in a balanced combination of courses involving studio work and courses with literature, history, and theory content. Of the ten required term courses, four must be chosen from four periods of dramatic literature or theater history or from four cultures. A suggested scheme might be one course in each of four of the following categories: Shakespeare, African American theater, Greek drama, melodrama, British drama, modern American drama, contemporary American drama, German drama, or other courses in dramatic literature and theater history. At least one of the four courses should include dramatic literature originating in a language other than English. Students are urged to read plays in the original languages whenever possible.

Students are encouraged to choose additional courses to develop the perspectives achieved in the production and literature courses. These courses may be selected (1) as a study of material that has influenced or provided sources for a playwright or theater; (2) as a study of the historical, political, or religious context of a particular playwright, theater, or literature; (3) as a study of forms of expression contemporary with a particular theater or author, for example, courses in music, art history, architecture, or film; or (4) as a study of theoretical aspects of the theater through courses in such areas as linguistics, aesthetics, psychology, or the history of criticism.

Credit/D/Fail courses For the Class of 2016 and subsequent classes, courses taken Credit/D/Fail may not be counted toward the requirements of the major in Theater Studies.

Senior requirement Majors satisfy the senior requirement in one of two ways. They may undertake a one-term senior project (THST 491) or, with the approval of the director of undergraduate studies, they may take one of the dramatic literature or theater history courses as a senior seminar. Senior projects may take the form of directing, designing, or writing a play, performing a role, choreographing a dance piece, or writing a critical essay. Performance-oriented projects are in addition to a senior essay, which is an integral requirement of THST 491. Students wishing to undertake a senior project must submit a proposal before the deadline announced by the director of undergraduate studies. Each proposal is submitted to a faculty committee for approval.

Students interested in mounting a production as part of their senior project are encouraged to develop collaborative proposals among actors, writers, directors, designers, dancers, or dramaturgs. Students proposing a collaborative production project have priority for rehearsal time and production slots in the Whitney Theater Space, 53 Wall Street. Proposals for senior project productions will normally be approved only for students who have previously served as producers of other students' senior projects.

Courses in the School of Drama Undergraduates may not enroll in acting or directing courses offered by the School of Drama. Majors in Theater Studies, however, are encouraged to consider taking selected courses in design, dramaturgy, and theater management, with permission of the instructor. For a description of these courses, see the director of undergraduate studies. Meeting times and places are posted in Online Course Information.

Students enrolling in School of Drama courses should note that only four term courses given in the professional schools may be offered toward the bachelor's degree. Permission to count any School of Drama course toward the major in Theater Studies must be obtained from the director of undergraduate studies at the beginning of the term in which the course is taken. Students also should note that the academic calendars of the School of Drama and of Yale College differ. The School of Drama calendar should be consulted for scheduling.

Unless otherwise specified in individual course descriptions, courses in the School of Drama are not open to the Credit/D/Fail option.

REQUIREMENTS OF THE MAJOR

PrerequisitesTHST 110, 111

Number of courses 10 term courses beyond prereqs (incl senior req)

Specific course requiredTHST 210

Distribution of courses 4 courses in dramatic lit or theater hist, each from a different period or culture as specified (1 with reading in lit other than English)

Senior requirement Senior sem or senior project (THST 491)

Core Curriculum in Theater Studies

THST 110a and THST 111b, Survey of Theater and Drama William Fleming and Dominika Laster

An introduction to theater history, plays, aesthetic theories, and performance techniques. From antiquity to the Restoration period in the fall and continuing through to the present in the spring.  HU
TTh 10.30–11.20, 1 HTBA Lecture

*THST 210a, Introduction to Performance Concepts Deb Margolin and staff

A studio introduction to the basic techniques of acting, including the actor's vocabulary and performance tools. Improvisation, performance exercises, and scene work based on Stanislavsky, Vakhtangov, Michael Chekhov, Strasberg, Adler, Meisner, and Hagen. Admission by audition. Open to Theater Studies majors only. Required for Theater Studies majors in the year immediately following THST 110, 111.  RP
HTBA Studio

Drama and Dance: History, Theory, Literature

*THST 099a / FILM 045a, Dance on Film Emily Coates

An examination of dance on film from c. 1920 to the present, including early Hollywood pictures, the rise of Bollywood, avant-garde films of the postwar period, translations of stage choreography to screen, music videos, and dance film festivals. The impact of industry, circulation and audience, aesthetic lineages, and craft in the union of the two mediums. Students develop an original short film for a final class project. No prior dance or filmmaking experience necessary. Enrollment limited to freshmen. Preregistration required; see under Freshman Seminar Program.  WR, HU
MW 1.00–2.15 Seminar

*THST 115a / PHYS 115a, The Physics of Dance Sarah Demers and Emily Coates

Critical investigation of introductory concepts in physics through the lens of dance. Topics in physics include the normal force, friction, Newton's laws, projectile motion, potential and kinetic energy, and conservation of energy. Topics in dance include aspects of dance history, contemporary artists who engage with science, and the development of movement studies. Class meetings include movement exercises. Prerequisite: basic trigonometry and algebra. Prior dance experience is not required.  QR, SC
MW 2.30–4.20 Studio

*THST 236a / MUSI 246a, American Musical Theater History Daniel Egan

Critical examination of relevance and context in the history of the American musical theater. Historical survey, including nonmusical trends, combined with text and musical analysis.  WR, HURP
W 1.30–3.20 Seminar

*THST 265a / FREN 265a, French Classical Tragedy Christopher Semk

Comprehensive survey of seventeenth-century French tragedy, with an emphasis on performance. Stylistic features and major themes of tragedy; the material conditions of early modern performance; the art of declamation; recent productions, including both those that seek to reproduce early modern practices and those that modernize the plays. Works by Bernard, Corneille, Racine, and Rotrou.  L5, HU
MW 9.00–10.15 Seminar

THST 289b / EALL 222bG, Kabuki Theater from Its Origins to the Present William Fleming

The conventions, repertoire, and historical development of kabuki theater since its origins in the early seventeenth century. The significance of the popular stage in early modern society; kabuki's influence on popular literature and adaptation into other media; the role of censorship and politics. No knowledge of Japanese required. Formerly JAPN 290.   HU
MW 1.00–2.15 Lecture

*THST 291a / ENGL 288a, Eloquence: Classical Rhetoric for Modern Media Joseph Roach

Classical rhetoric, from Demosthenes to the digital age: the theory and practice of persuasive public speaking and speech writing. Open to junior and senior Theater Studies majors, and to nonmajors with permission of the instructor. Students must preregister during the reading period of the preceding term.  HU
MW 2.30–3.45 Studio

*THST 295b, Performance Studies Joseph Roach

An introduction to the field of performance studies, with attention to events in music, theater, dance, performance art, and social practice. Live performances interpreted using strategies of observer-participant analysis. Open to junior and senior Theater Studies majors, and to nonmajors with permission of the instructor. Students must preregister during the reading period of the preceding term.  HU
MW 2.30–3.45 Seminar

*THST 330b / AMST 331b / FILM 428b / MUSI 330b, Alternate Realities and Musical Multimedia Lynda Paul

The role of music and other kinds of sound in the creation and experience of alternate realities, from video games to theme parks and theatrical multimedia. Perspectives from recent work in film and media studies, theater and performance studies, anthropology, cognitive science, and a variety of musicological and ethnomusicological subdisciplines, such as popular music studies, opera studies, and ritual studies.  HU
W 3.30–5.20 Seminar

*THST 348b / ENGL 383bG / LITR 275b, The Common Wealth of Drama Murray Biggs

Study of plays in English from or about former British colonies, both before and after independence, including Ireland, Canada, Australia, South Africa, Nigeria, Ghana, the West Indies, and the Indian subcontinent.  WR, HU
TTh 4.00–5.15 Seminar

*THST 349b / AFAM 355b, African American Humor and Its Social Contexts LaMarr Bruce

The formal, aesthetic, philosophical, and political dimensions of African American humor. The uses of humor within practices of self-making, community building, cultural critique, protest, and healing. Sources include black vernacular practices such as toasting, signifying, and the dozens; black folklore; and written and performed comedy.  HU
Th 1.30–3.20 Seminar

THST 351b / GMST 194b / LITR 243b / MUSI 363b, Cabaret Lynda Paul

An exploration of cabaret as both a historical and a contemporary form of musical-literary-theatrical performance. Famous historical cabarets, with a focus on Europe in the late nineteenth and early twentieth centuries; films, plays, novels, and short stories based on the genre; cabaret songs and famous performers. Analysis of works by contemporary American cabaret artists. Students collaborate to write, produce, and perform three cabaret events.  HU
TTh 2.30–3.45 Lecture

*THST 369a / AFAM 369a / AMST 378a / ENGL 364a / LITR 271a, African American Theater Staff

African American dramatic literature and theater history from the nineteenth century to the present. Key events in black theater history, including the emergence of black musical comedy, the Federal Theatre Project, and the Black Arts movement. Plays by Langston Hughes, Lorraine Hansberry, Adrienne Kennedy, August Wilson, Amiri Baraka, and others. Open to junior and senior Theater Studies majors, and to nonmajors with permission of the instructor. Students must preregister during the reading period of the preceding term.  WR, HU
Th 9.25–11.15 Seminar

*THST 370b / PLSH 248b, Polish Theater and Its Traditions Krystyna Illakowicz

Exploration of the rebellious, defiant, and explosive nature of Polish theater, including ways in which theater has challenged, ridiculed, dissected, and disabled oppressive political power. Polish experimental and absurdist traditions that resulted from a merger of the artistic and the political; environmental and community traditions of the Reduta Theatre; Polish-American theater connections. Includes attendance at live theater events as well as meetings with Polish theater groups and actors.  HU  Tr
MW 1.00–2.15 Seminar

*THST 380b / AMST 370b, The History of Dance Emily Coates

An examination of major movements in the history of concert and social dance from the late nineteenth century to the present, including ballet, tap, jazz, modern, musical theater, and different cultural forms. Topics include tradition versus innovation, the influence of the African diaspora, and interculturalism. Exercises are used to illuminate analysis of the body in motion.  WR, HU
W 3.30–5.20 Seminar

*THST 384b / FILM 440b / HUMS 242b / LITR 313b, Modernism in Northern Europe, 1880–1918 Katie Trumpener and Carolyn Sinsky

The roots of modernism in Scandinavia, Russia, Germany, and Ireland from 1880 to 1918. Experiments with artistic forms, cultural institutions, and social theories such as feminism, Marxism, and psychoanalysis. Works from experimental theater, cinema, fiction, poetry, and the visual arts.  HU
T 1.30–3.20 Seminar

*THST 391a / SAST 463a, Indian Theater, 1850 to the Present Kedar Kulkarni

Introduction to major movements and playwrights in modern Indian theater. Focus on post-independence drama and its forms that derive from classical Indian, folk, and other sources, both indigenous and foreign.  HU
M 3.30–5.20 Seminar

*THST 398aG / AMST 371a / ENGL 366a, American Experimental Theater Marc Robinson

Topics include the Living Theater, Happenings, Cunningham/Cage, Open Theater, Judson Dance Theater, Grand Union, Bread and Puppet Theater, Ontological-Hysteric Theater, Meredith Monk, Mabou Mines, Robert Wilson, and the Wooster Group. Open to junior and senior Theater Studies majors, and to nonmajors with permission of the instructor.  WR, HU
T 1.30–3.20 Seminar

*THST 399a / HUMS 208a, Politics of Performance Dominika Laster

The political strands of modern and postmodern theater and performance. Overtly political performance trends in the twentieth century, such as Soviet agitprop, Italian futurism, and the work of Bertolt Brecht, Augusto Boal, and Ngugi wa Thiong'o. Sociopolitical activism of contemporary performance artists and collectives; performative strategies of activist and resistance movements such as Madres de Plaza de Mayo, Orange Alternative, culture jamming, hactivism, and subvertising. Open to junior and senior Theater Studies majors, and to nonmajors with permission of the instructor.  HU
TTh 11.35–12.50 Seminar

*THST 415b / FILM 463b / RSEE 415b / RUSS 415b, Eastern European Master Directors Dominika Laster

The theories and methods of both theater and film directors in the Eastern European tradition. Focus on directors whose research and creative work is paradigmatic of theatrical and cinematic trends in the twentieth and twenty-first centuries. The directors' artistic visions, work with actors, texts or scripts, use of light and space, performance construction, and montage techniques. Open to junior and senior Theater Studies majors, and to nonmajors with permission of the instructor.   HU
F 1.30–3.20 Seminar

*THST 416b / ENGL 384b / FILM 461b, British Cinema from Documentary to Reality Fiction Murray Biggs

Study of twentieth-century British film and culture. Focus on four periods: the 1930s, the Second World War, the late 1950s and early 1960s, and the past thirty years. Relations between film and the social, political, and aesthetic conditions of the period. Works directed by Grierson, Jennings, Reed, Lean, Powell and Pressburger, Richardson, Reisz, Anderson, Leigh, and from Ealing Studios.  WR, HURP
MW 4.00–5.15 Seminar

*THST 417b / ENGL 325b / LITR 471b, Dramas of Reconciliation Jan Hagens

Differences between tragedy and the drama of reconciliation, a genre in which a serious and potentially tragic conflict is brought to a positive yet nontrivial ending. Close reading of dramas of reconciliation from the Western canon that have traditionally been categorized as tragedies. Ways in which the recategorization of such plays lends additional complexity and meaning to their endings and allows for new interpretations of the texts and their authors.  HU
M 2.30–4.20 Seminar

*THST 422a, The Senses in Visual and Performance Arts Frederick Lamp

Sensory aspects of the material arts, theater, musical and movement performance, ritual, and architectural space. Cultural translation and presentation; theories on the arts and the senses throughout history. Includes museum visits and theater attendance. Open to junior and senior Theater Studies majors, and to nonmajors with permission of the instructor. Students must preregister during the reading period of the preceding term.  HU
T 9.25–11.15 Seminar

*THST 436b / HUMS 229b, Biography into Drama Toni Dorfman

The process of creating drama out of nondramatic sources, including biography, history, and archival materials such as journals, letters, and photographs. Suspense, adding characters, key scenes, and turning points. Ethical and privacy issues surrounding the use of a person's life to create a stage play.  HU
T 9.25–11.15 Seminar

*THST 444b, Theories of Embodiment Jessica Berson

Examination of theories about the body and its motion. The inscription of identity on and through the body; ways in which the body resists and rewrites identity through movement. The body as a physical, social, and phenomenological entity; institutional, normative, aesthetic, and virtual bodies. Practical workshops and exercises include movement experiences. Open to junior and senior Theater Studies majors, and to nonmajors with permission of the instructor. Students must preregister during the reading period of the preceding term.  HU
T 1.30–3.20 Seminar

Playwriting, Production, and Performance

*THST 211b, Intermediate Acting Joan MacIntosh and staff

Continued study of acting as an art, building on performance concepts introduced in THST 210. Various approaches to the actor's task, requiring deeper understanding of conceptual issues and increasing freedom and individuality in building a character. Exercises, monologues, and scene work. Admission by audition. Prerequisite: THST 210.  HURP
HTBA Studio

*THST 224a / MUSI 228a, Musical Theater Performance I Andrew Gerle

The structure and meaning of traditional and contemporary musical theater repertoire. Focus on ways to "read" a work, decipher compositional cues for character and action, facilitate internalization of material, and elicit lucid interpretations. For singers, pianists, and directors. Prerequisites: MUSI 211 and 219, or with permission of instructor. Admission by audition only. May be repeated for credit. For audition information e-mail dan.egan@yale.edu.  HURP
F 1.30–3.20 Seminar

*THST 230b, Advanced Acting and Scene Study Deb Margolin

Combination of exercises and scene study to deepen the understanding and playing of action. Admission by audition. Open to junior and senior Theater Studies majors only. May be taken more than once. Prerequisite: THST 211.  RP
MW 3.30–5.20 Studio

*THST 247b, Theater and the Sea Mary Isbell

The tradition of nautical drama and the performance history of nineteenth-century shipboard theatricals. Techniques used by playwrights, directors, designers, and performers to represent life at sea. Students conduct dramaturgical research and collaborate to produce a one-act play. Includes optional field trips to Mystic Seaport and the USS Constitution Museum.  HU
W 1.30–3.20 Seminar

*THST 300a, The Director and the Text I Toni Dorfman

Basic exercises in approaching dramatic or other literary texts from the director's perspective. Particular attention to the many roles and functions of the director in production. Rehearsal and production of workshop scenes. Open to junior and senior Theater Studies majors, and to nonmajors with permission of the instructor. Prerequisite: THST 210.  HURP
MW 1.30–3.20 Studio

*THST 303b / ENGL 336b / LITR 323b, The Opera Libretto J. D. McClatchy

A selective survey of the genre from its seventeenth-century Italian origins to the present day. The libretto's history, from opera seria to opéra comique to melodrama, featuring libretti by Hofmannsthal, W. S. Gilbert, and Auden. Emphasis on literary adaptations, from Da Ponte and Beaumarchais to Britten and Thomas Mann. Source material includes works by Shakespeare, Schiller, Hugo, Melville, and Tennessee Williams. Readings in English; musical background not required.  WR, HU
T 1.30–3.20 Seminar

*THST 315a, Shakespeare Acted Murray Biggs

An attempt to realize some of Shakespeare's texts through performance. Emphasis on problems of language: how to give language meaning, clarity, and form, while making it suggestive and natural, in alliance with other acting considerations. Close work with sonnets and monologues, with duologues, and finally with scenes. Admission by audition. Preference to seniors and juniors; open to nonmajors.  HURP
TTh 4.30–6.15 Studio

*THST 318b / MUSI 322b, Analyzing, Directing, and Performing Early Opera Grant Herreid and Toni Dorfman

Study of a seventeenth-century Venetian opera, with attention to structural analysis of text and music. Exploration of period performance practice, including rhetorical expression, musical style, gesture, dance, Italian elocution, and visual design. Production of the opera in conjunction with the Yale Baroque Opera Project. Open to all students, but designed especially for singers and directors. Prerequisites: MUSI 211 and 219. Admission by audition only. May be repeated for credit. For audition information e-mail grant.herreid@yale.edu.  HURP
Th 4.00–6.00 Seminar

*THST 320a / ENGL 453a, Playwriting Donald Margulies

A seminar and workshop in writing for the stage. Readings include modern American and British plays by Pinter, Mamet, Churchill, Kushner, Williams, and Wilder. Emphasis on play structure, character, and conflict. In addition to weekly exercises, students write a one-act play. Admission by application. Interested students should submit a writing sample of no more than five pages of a play or other creative writing, as well as a brief statement of purpose, to the instructor before the first class meeting.  RP
T 2.30–5.00 Seminar

*THST 321a, Production Seminar: Playwriting Deb Margolin

A seminar and workshop in playwriting. Emphasis on developing an individual voice. Scenes read and critiqued in class. Admission by application, with priority to Theater Studies majors. A writing sample and statement of purpose should be submitted to the instructor before the first class meeting.  RP
MW 3.30–5.20 Studio

*THST 322b, Advanced Playwriting Deb Margolin

A seminar and workshop in advanced playwriting that furthers the development of an individual voice. Study of contemporary and classical plays to understand new and traditional forms. Students write two drafts of an original one-act play or adaptation for critique in workshop sessions. Familiarity with basic playwriting tools is assumed. Open to juniors and seniors, nonmajors as well as majors, on the basis of their work; priority to Theater Studies majors. Writing samples should be submitted to the instructor before the first class meeting. Prerequisite: THST 320 or 321, or a college seminar in playwriting, or equivalent experience.  RP
MW 1.30–3.20 Studio

*THST 324b, Playwright-Director Laboratory Toni Dorfman

An exploration of the collaboration between the director and the playwright in the creation of new work. Particular attention to the shaping of dramatic action, structure, and characters. Short scenes are written, staged, critiqued, and revised. Prerequisites: THST 210; for directors: THST 300; for playwrights: THST 320, 321; or with permission of instructor.  RP
TTh 11.35–12.50 Seminar

*THST 327b / ENGL 468b, Advanced Playwriting Workshop Donald Margulies

An intensive workshop in advanced playwriting techniques. Discussion of works by contemporary playwrights. In addition to weekly exercises, students write a full-length play. Prerequisite: an intermediate course in playwriting or screenwriting, or with permission of the instructor. Creative writing and journalism courses require an application. Consult the English department Web site at http://english.yale.edu/courses/creative-writing?tid_1=93 for detailed instructions and application deadlines.  RP
T 2.30–5.00 Seminar

*THST 335a / AFST 435a, West African Dance: Traditional to Contemporary Lacina Coulibaly

A practical and theoretical study of the traditional dances of Africa, focusing on those of Burkina Faso and their contemporary manifestations. Emphasis on rhythm, kinesthetic form, and gestural expression. The fusion of modern European dance and traditional African dance. Admission by audition during the first class meeting.  HURP
TTh 1.30–3.20 Studio

*THST 387b, Advanced Dance Composition Susan Rethorst and Susan Rethorst

A seminar and workshop in dance-theater composition. Focus on the history of dance composition, tools for generating and interpreting movement, basic choreographic devices, and dance in dialogue with media, music, and other art forms. Choreographic projects developed over the course of the term are presented in a final performance. Admission by application. May be repeated for credit.  HURP
F 1.30–5.20 Studio

*THST 400b / ART 385b / FILM 348b, Performance and the Moving Image Emily Coates and staff

The boundaries between live and mediated performance explored through the creation of an original work that draws on methods in experimental theater, dance, and video art. Questions concerning live versus mediated bodies, the multiplication of time, space, and perspective through technology, and the development of moving images. The final production includes both a live performance and an art video. Application deadline January 8, 2014. Contact the instructors for more information. Open to students of all levels and majors.  WR, HU
MW 1.30–3.20 Studio

*THST 401a, Conceptual Sound Design for Theater Nathan Roberts

Theoretical and practical considerations for conceptual sound design, the creation of aural content and imagery in support of dramatic action. The use of sound to communicate meaning and intention effectively in a theatrical setting. Auditory culture and the phenomenology of hearing; the role of technology in sound design; development of critical listerning skills and of a foundational vocabulary for the medium. Projects focus on the generation of content and ideas in support of a text.
M 9.25–11.15 Seminar

*THST 404b, Elements of Composition for the Stage Robert Woodruff

Workshop focused on enhancing directors' theoretical foundations and theatrical skills. Exploration of elements that serve as sources of inspiration in creating live performance. Historical and contemporary performance theory as it deals with time, visual arts, text, and music. Specific artists who have contributed to the development of contemporary performance. Open to junior and senior Theater Studies majors, and to nonmajors with permission of the instructor. Students must preregister during the reading period of the preceding term. Prerequisites: THST 210 and 300, or with permission of instructor.  HU
Th 3.30–6.00 Studio

*THST 407b, Music and Theater of Appalachia Annette Jolles

Production of a new musical exploring the people and music of Appalachia in the early twentieth century. Study of the history, mores, and culture of the period as preparation for staging the play. Open to junior and senior Theater Studies majors, and to nonmajors with permission of the instructor. Students must preregister during the reading period of the preceding term.  HURP
F 1.30–5.20 Studio

*THST 408a / FREN 323a, Actor and the Text: The Misanthrope Toni Dorfman

Critical and practical exploration of Molière's Misanthrope, culminating in a public performance. Admission by audition on Monday, August 26; interested students may sign up for auditions in the week prior. To audition, students must read from The Misanthrope or perform a comic monologue. Open to junior and senior Theater Studies majors, and to nonmajors with permission of the instructor.  HU
MW 4.00–5.15 Seminar

*THST 414a, Lyric Writing for Musical Theater Michael Korie

The craft of lyric writing in musical theater, opera, and crossover works. Both historical models and new composition used as objects of study. Analysis of song form and placement, and of lyric for character, tone, and diction. Creation of lyrics in context. May not be repeated for credit.  HURP
M 11.30–1.20 Seminar

*THST 421b / AFST 426bG, Performance in Africa Frederick Lamp

Examination of ten specific works of African performance from antiquity to the twenty-first century. Viewing of documentary films and photographs; study of audio recordings; critique of readings in performance theory and case studies; theater and museum visits.  HU
T 9.25–11.15 Studio

Special Projects

*THST 471a and THST 472b, Directed Independent Study Daniel Larlham and Dominika Laster

An independent study should generally conform to the standards and procedures of the senior project, THST 491, even when not undertaken by a senior. If the independent study is a performance or directing project, the adviser visits rehearsals and performances at the mutual convenience of adviser and student. The project must be accompanied by an essay of about fifteen pages, worth about half the final grade. Although the paper's requirements vary with the project and its adviser, it must be more than a rehearsal log. The paper typically engages interpretative and performance issues as revealed in other productions of the work (if they exist). The writing should be concomitant with rehearsal, to enable each to inform the other, and a draft must be presented to, and commented on by, the adviser at least a week before—not after—the final performance. The final version of the paper, incorporating adjustments and reflections, should be turned in to the adviser no later than ten days after the performance closes, and no later than the first day of the final examination period. An essay project entails substantial reading, at least four meetings with the adviser, and a paper or papers totaling at least twenty pages. A playwriting project normally requires twenty new script pages every two weeks of the term and regular meetings with the adviser. A final draft of the entire script is the culmination of the term's work. Application forms are available from the director of undergraduate studies. Juniors may use one term of these courses to prepare for their senior projects. Open to juniors and seniors. Prerequisites: THST 210 and one seminar.
HTBA HTBA Individual Study

*THST 473a and THST 474b / ENGL 438a and ENGL 439b, Directed Independent Study: Eugene O'Neill Murray Biggs

Individual or small-group study focused on the works of Eugene O'Neill. The course of study is planned by the student under faculty supervision; work may include one or more performances and/or written projects. Open to junior and senior Theater Studies majors, and to nonmajors with permission of the instructor.
HTBA HTBA Individual Study

*THST 491a or b, Senior Project in Theater Studies Staff

Students must submit proposals for senior projects to the Theater Studies office by the deadline announced by the director of undergraduate studies. Attendance at weekly section meetings is required for all students undertaking production projects. Application forms are available in the Theater Studies office, 220 York St.
W 9.15–10.15 [F]; W 9.25–10.15 [Sp] Senior Essay