Course Descriptions

Lower-Division Courses

10. Introduction to Theater Design and Technology. F,S

Addresses imagination and creativity. Using the framework of theater
production, students explore the process of translating a script into a
performance. Topics include visual literacy, creative problem solving,
establishing effective working teams, tear sheets, storyboarding,
drawing, sound and color theory. This course is a prerequisite for all
upper-division design courses. (General Education Code(s): IM, IH, A.)
B. Baron, K. Edmunds

12. Stage Management. F

Designed to acquaint students with the complexities of staging
productions from the audition process to final performance. Directing,
lighting, scenic production, sound, cueing, and personnel management are
aspects that will be touched upon in class. Students are billed a
materials fee. (Formerly Production Management.) (General Education
Code(s): A.) The Staff

14. Drawing. W

A fundamental course in drawing from still life, the figure, and in the
landscape. The approach is from the tonal and volumetric aspects of the
object. Color is introduced as the course progresses. Instruction
fashioned to the individual needs of the student. The inexperienced are
welcomed as well as the experienced. Students are billed a materials
fee. (General Education Code(s): PR-C, A.) K. Edmunds

15. Special Topics in Textiles. *

Introduces varied techniques in textile manipulation to create scenic
and costume-design properties including drapery, upholstery, masks,
bags, and millinery. Students learn basic sewing and surface-design
methods, such as knitting, screen-printing, painting/dyeing, and
distressing. Enrollment limited to 20. (General Education Code(s): PR-C,
A.) B. Baron, The Staff

17. Costume Construction. W

The process of interpreting a costume designer's sketch into a finished
theatrical costume. Some techniques included are dyeing, fabric
selection, draping, flat pattern drafting, pattern manipulation,
adaptation, fitting, and alteration. Using various techniques, students
make basic pattern pieces and learn to modify them to create costumes.
Students are billed a materials fee. Enrollment limited to 20. (General
Education Code(s): PR-C, A.) The Staff

18. Drafting for Theatrical Production. W

An examination of the fundamentals of drafting scale drawings for
production, including floor plans, elevations, sections, working
drawings, dimensions, layout, and lettering. Students learn isometric
drawing, perspective, and rendering techniques. Students are billed a
materials fee. Enrollment limited to 20. (General Education Code(s): A.)
K. Edmunds

18C. Drafting-Computer Aided. *

In-depth exploration of computer-aided drafting, specifically the
programs Vectorworks, Spotlight, and Renderworks. Topics include: the
user interface, ground plan, section and detail views, paper space vs.
working space, tool palettes, USITT drafting standards, layers, line
weights, objects, classes, library annotations, importing rasters, and
3D modeling. Students required to do weekly projects such as ground
plans, lighting plots, perspectives, and detail drawings, as well as
turn in a major final project, and complete a mid-term, final, and
quizzes. Students are billed for a materials fee. Enrollment restricted
to theater arts majors. Enrollment limited to 10. (General Education
Code(s): A.) D. Cuthbert, The Staff

19. Design Studio: Lighting Studio A. S

An introduction to the theory and practice of lighting design with
attention to the practical skills and creative approaches to lighting
performance pieces; the technical side of lighting design via
demonstrations, lectures, and labs. Students complete projects evolving
and executing concepts for lighting chosen pieces. Students are billed a
materials fee. Prerequisite(s): course 10. (General Education Code(s):
PR-C, IH, A.) D. Cuthbert

20. Introductory Studies in Acting. W,S

Introduction to basic acting skills and the problems of performance.
Concentrates on expanding the students' range of expression and ability
to respond to and analyze dramatic text. Students with little or no
experience are encouraged to attend. (General Education Code(s): IM, IH,
A.) P. Gallagher

21A. Acting Studio 1A: Psychological Realism. W,S

Explores the fundamentals of the work of Konstantin Stanislavski as
developed at the Moscow Art Theater to the works of his and our
contemporary playwrights. Specifically, students apply those techniques
of action, physical score, given circumstances, subtext, interior
monologue, goals, and objectives, throughline, superobjective, and
emotional recall to works of Henrik Ibsen, Anton Chekov, and appropriate
American realists, such as Sam Shepard, August Wilson, etc. Enrollment
by interview only: audition at first class meeting. Enrollment limited
to 31. (General Education Code(s): A.) P. Whitworth, D. Scheie

21B. Acting Studio 1B, Actors' Physicality. W

Uses a rigorous physical approach to acting (rather than the text-based
approach of course 21A). Provides an "outside-in" starting point for
theatrical creation and study, balancing and countering the "inside-out"
approach of Stanislavski-based actor training. Emphasis on physical
characterization, ensemble theater, mask work, and object performance.
May involve practices, theories, and readings of Jerzy Grotowski,
Eugenio Barba, Jacques Lecoq, and/or Tadashi Suzuki. Enrollment by
interview only. Enrollment limited to 30. (General Education Code(s):
A.) P. Gallagher

22. Indonesian Dance and Drama. *

Students learn the basic movement repertoire of the specific characters
of the Indonesian dance-drama/puppetry tradition over the quarter with
explication of how these types operate in their own cultural context.
The course culminates in an open showing of scenework. May be repeated
for credit. (General Education Code(s): CC, A, E.) P. Gallagher, M.
Foley

23. Voice for the Actor. *

Students work on developing resonance, range and expressivity for stage
performance via physical exercises and text explorations undertaken in
small groups. Prerequisite(s): course 20. Audition required for
acceptance into class. Enrollment limited to 20. (General Education
Code(s): A.) The Staff

30. Introduction to Dance Theory and Technique. F,S

Intensive instruction in developing the dancer's mind/body, with
introduction to movement theory and practice. Students are billed a
materials fee. (Formerly Introduction to Modern Dance Theory and
Technique.) May be repeated for credit. (General Education Code(s):
PR-C, IH, A.) E. Warburton, The Staff

31P. Postmodern Dance I. *

Introduction to postmodern dance theory and technique. Focus on
performance practices of historically significant postmodern dance
choreographers in the U.S. and worldwide. Enrollment limited to 30. May
be repeated for credit. (General Education Code(s): IM, A.) E. Warburton

33. Advanced Introduction to Modern Dance. *

Intensive instruction in developing the dancer's physical instrument.
Intended for students who have a previous fundamental knowledge of the
basics of classic dance, combined with movement theory. Students are
billed a materials fee. Prerequisite(s): course 30. Enrollment limited
to 30. May be repeated for credit. (General Education Code(s): IH, A.)
The Staff

36. Introduction to Dance Composition. F

Composing solo dances using a variety of approaches for developing
movement combinations. Observation and recognition of personal movement
patterns and discovering new sources for creative material. Students are
billed a materials fee. May be repeated for credit. (General Education
Code(s): PR-C, IH, A.) The Staff

37. African Dance. *

A griot (musician-entertainer from western Africa) from Burkina Faso
teaches "The African Journey," which emphasizes dance as combined in
Africa, including singing, history, oral tradition, and storytelling.
Students are billed a materials fee. Enrollment limited to 30. (General
Education Code(s): PR-C, A.) The Staff

40. Introduction to Directing. F

An overview of the analytical and creative processes that inform the
director's work. Close examination of texts, concepts, and directorial
choices in staged performances, opera, films, and video. (General
Education Code(s): IM, IH, A.) The Staff

45. Student-Directed Production. F,S

Participation in a student-directed play or student-choreographed dance
concert under faculty supervision. (See course 192). Rehearsals
culminate in public performances. Prerequisite(s): admission by
audition; see department office for more information. The Staff

50. Fundamentals of Theater Production (2 credits). F,W,S

Work is on various aspects of theatrical production, including scenery,
lighting, costumes, sound, stage management, and video documentation.
Satisfies the department's technical experience requirement. May be
repeated for credit. D. Cuthbert

52. Basic Stagecraft. *

Provides introduction to technical theater and basic stagecraft. Course
examines two-dimensional and three-dimensional scenery, scenic
engineering, the physical theater, stage and scene shop equipment,
project organization and process, technical theater graphics, materials,
and theatrical construction techniques. Prerequisite(s): course 10.
Enrollment limited to 30. (General Education Code(s): A.) The Staff

55A. Workshop in Performance: Barnstorm. F,W,S

Process-oriented investigation of practical theater production by
working in and on productions in the Barnstorm season. Requires a total
of 150 hours working backstage or onstage. Admission by audition at
first class meeting; see department office for more information. May be
repeated for credit. D. Cuthbert

55B. Workshop in Performance: Barnstorm Lab (2 credits). F,W,S

Process-oriented investigation of practical theater production by
working in and on productions in the Barnstorm season. Requires a total
of 50 hours working backstage or onstage. Admission by audition at first
class meeting; see department office for more information. May be
repeated for credit. D. Cuthbert

61A. Ancient and Medieval Drama. F

Ancient enmities; horrific acts of parricide; monumental errors;
suffering and contrition. This course examines the enormous appeal of
the ancient Greek tragic and comic visions from their inception through
their enthusiastic adaptation by the Romans and on into the Middle Ages.
For comparison purposes, Greek and Roman dramas are studied
back-to-back with the contemporary non-Western dramatic forms of Noh and
ancient Sanskrit drama. (Formerly Issues and Methods in Theater Arts.)
(General Education Code(s): TA, IH, A.) M. Chemers

61B. Drama from the Renaissance to the Modern Age. W

Examines major trends in European drama from the rediscovery of ancient
Greek and Roman drama in the early 17th century to the late 19th
century. Examines major trends in European drama from the discovery of
ancient Greek and Roman drama in the early 17th century to the late 19th
century. These trends include neo-classical drama, the rise of
middle-class drama, social realism, romanticism, early naturalism, and
the well-made play. These trends are compared with the parallel
developments of the non-Western forms of Japanese Kabuki and Javanese
Wayang. (Formerly Tragedy.) Enrollment limited to 40. (General Education
Code(s): TA, IH, A.) K. Jannarone

61C. The Birth of the Modern: Drama and Performance After the Renaissance. S

Examines dramatic and theatrical works that sprang into being in the
wake of the European Renaissance. Follows the ways modern artists have
dramatized their questions, struggles, beliefs, and despair in the face
of world wars, cultural fragmentation, unprecedented prosperity, and new
technologies that changed the concrete experience of life itself.
Enrollment limited to 60. (General Education Code(s): TA, IH, A.) K.
Jannarone

80A. Introduction to African American Theater. *

Surveys African American theater from late 19th century to contemporary
21st-century playwrights and examines dramatic narratives to trace
creation, evolution, and development of African American cultural
identity formation in American theater. Enrollment limited to 50.
(General Education Code(s): ER, T4 (TH), A, E.) The Staff

80B. Rock 'n' Roll Design. *

Examination of the genesis, history, and development of technical
theater practices used in large arena rock shows. Topics will include
the development of rigging practices used in arenas, touring logistics,
lighting instrumentation and aesthetics of rock shows, and the nature,
practice, and approach of sound in these venues. (General Education
Code(s): T4-Humanities and Arts, A.) The Staff

80C. Monsters. W

Examines the operation of monsters in plays from Ancient Greece to
today, inquiring as to why these powerful cultural tools for the
expression of social tension show no sign of diminishing despite our
ostensible advance into scientific rationalism. (General Education
Code(s): IM.) M. Chemers

80D. Commercial Design 1900 to Present. *

History of 20th-century commercial design for the theater through the
eyes of the Western consumer. (Formerly course 161W, Critical Survey of
Commercial Design, 1900 to Present.) (General Education Code(s): IM,
T4-Humanities and Arts, A.) B. Baron

80H. Hamlet Conundrums. *

Offered online, the course explores major issues of interpretation of
Shakespeare's classic play, which has occupied the minds of audiences,
directors, designers, performers, and critics during its 400-year
history. In doing this, it offers a sense of history of people's
preoccupations with and thoughts about the play. Students taking this
class are expected to complete the course during the quarter for which
they are enrolled. All students enrolled in this course should visit
elsinore.ucsc.edu and write to elsinore@ucsc.edu. (General Education
Code(s): T4-Humanities and Arts, A.) J. Bierman

80K. Shakespeare 4every1. *

Introduces all students, regardless of experience, to the plays and
theater of Shakespeare, and directly addresses linked relevance to
contemporary 21st century American culture. (General Education Code(s):
TA, T4-Humanities and Arts, A.) P. Whitworth, D. Scheie

80L. Muppet Magic: Jim Henson's Art. F

The artistic and social impact of the Muppets on American puppetry,
children's television, and Hollywood film is explored through viewings,
guest lectures, and analysis. Henson's legacy in artistic innovation,
mainstreaming of puppet theater for adult audiences, and establishment
of puppetry in media and marketing are also explored. (General Education
Code(s): IM, T4-Humanities and Arts, A.) M. Foley

80M. Chicano/a Teatro. *

Introduction to Teatro Chicano/a with examination of how cultural
diversity plays a role in theater. Through lectures, films, and workshop
exercises, reflect upon the process of Teatro Chicano. Students write
their own acts, improvise, and perform in class. (General Education
Code(s): ER, T4 (TH), A, E.) The Staff

80N. Walt Disney. *

An examination of Walt Disney's creation of the American vision of
"family entertainment." Particular attention will be paid to the classic
animated feature films of Walt Disney and to the way this Disney
invention has been preserved and developed since his death. We will also
look at the live action films, theme parks, and other Disney creations.
(General Education Code(s): IM, T4-Humanities and Arts, A.) The Staff

80P. The Pixar Feature. *

Combines examination of the canon of Western dramatic literature and
theater history through viewings of Pixar Animation Studios' full-length
animated features, representing the most popular form of digital art
and new media in the world today, and lectures focusing on digital art
and new media viewed through established rules and traditions of
dramatic art in literature, plays, and the theater. (General Education
Code(s): IM, T4-Humanities and Arts, A.) D. Scheie

80Q. Introduction to Queer Theater. *

Examines the history of the queer perspective in dramatic literature,
from the Greeks to Marlowe and Shakespeare through the calcification of
homosexuality in the era of Freud, then traces theater stewardship by
gay and lesbian artists from within the closet and without. (General
Education Code(s): IM, T4-Humanities and Arts, A.) The Staff

80S. Theater Arts Education and the Community. *

This course is designed to develop ways in which we can direct our
interest in the arts into concrete and successful community projects.
Although the emphasis will be on developing skills to work within K-12
classrooms, other community projects will be discussed and designed.
(General Education Code(s): T4-Humanities and Arts, A.) The Staff

80V. The Circus in American Culture. *

Circus arts from their shamanic roots to contemporary practice will be
analyzed in a historical, aesthetic, and creative dimension. Lecture,
discussion, and demonstrations will explore the theory and practice of
American circus arts. In section, students will explore basic circus
skills from clowning to tumbling to exhibition of freaks. (General
Education Code(s): T4-Humanities and Arts, A.) The Staff

80X. The Performance of Story in Theater and Film. F

An examination of the theory and practice of theater and film,
comparing and contrasting works that have been adapted from one genre to
another. Lecture, film and video viewing and discussion of materialist,
psychoanalytic, and feminist approaches will be shared. (General
Education Code(s): TA, T4-Humanities and Arts, A.) The Staff

80Y. American Musical Theater. S

The history of American musical theater, from it's roots to today, is
studied through scripts, scores, and film. Major composers and
lyricists' work is shown, discussed, and analyzed. (General Education
Code(s): T4-Humanities and Arts, A.) K. Edmunds

80Z. Indian Dance. F

Classical Indian dance will be studied as a performance practice.
Understanding of drum syllables and associated steps, religious and
sociological context, and mimesis (abinaya) as well as introduction to
epic stories (Ramayana, Mahbharata, Bhagavata Purana) and classical
song. (General Education Code(s): CC, T4-Humanities and Arts, A.) The
Staff

99. Tutorial. F,W,S

Students must file their petitions for this course with the department
office by the end of the fifth day of instruction in the quarter in
which they would like to take the tutorial.Prerequisite(s): petition
required, approved by instructor and department. May be repeated for
credit. The Staff

Upper-Division Courses

100A. Asian Theater/Dance and Global Impacts. *

Overview of selected theater/dance performance genres of India,
Indonesia, China, Korea, and Japan with attention to how cultural,
political, and social flows have impacted contemporary performance in
Asia and beyond. Lectures supplemented by workshops. (General Education
Code(s): A, E.) M. Foley

100B. Black Theater USA. *

Spanning slavery, emancipation, reconstruction, the great depression,
civil rights, and the black power/black arts movements, course explores
African American drama from literary, historical, and biographical
perspectives in lecture/discussions, film excerpts, dramatizations, and
visits from award-winning guests. (General Education Code(s): A, E.) The
Staff

100C. Courts, Courtesans, Shamans, and Clowns: Asian Drama. *

Asian court and popular performance are traced. Sanskrit drama is
contrasted with Indian epic recitation, medium, and courtesan dance.
Gender specialization is noted in Indonesian courts using Indian and
local legends in dance, mask/puppetry, and clowning. Buddhist and
Confucian impulses in Chinese theater and early Korean and Japanese mask
and puppetry are introduced. Students are evaluated on participation,
tests, writing, and a performance project. (General Education Code(s):
A.) P. Gallagher, M. Foley

100W. Black/African Diasporic World Theater. *

Examines major black African diasporic playwrights and theater. Focuses
on the historical, cultural, and literary contexts that gave rise to
the works of dramatists such as Ama Ata Aidoo, Derek Walcott, Wole
Soyinke, Aime Cesaire, Debbie Green Tucker, and Paul Boakye.
Prerequisite(s): course 61 or 60A or 60B or 60C. (General Education
Code(s): A, E.) The Staff

104. Multimedia Authoring. *

Introduces students to basic tools for the creation of multimedia
digital projects. Special attention is given to the integration of
video, sound, graphics, text and virtual reality and to the creation and
execution of strategies for interaction between users and the projects
themselves. With this in mind, students design and create computer
puzzles and games. Enrollment limited to 25. (General Education Code(s):
A.) J. Bierman

106. Digital Illustration. *

Introduces digital rendering techniques using the Adobe Creative Suite.
Using Photoshop, Illustrator, Acrobat Writer and InDesign, students
solve design problems relevant to scenic, costume, and property design.
Material is applicable to anyone with an interest in the Adobe platform.
Enrollment by permission of instructor. Application form available at
department office. Enrollment limited to 15. (General Education Code(s):
A.) B. Baron

113. The History of Design for Theater. W

The development of scenic design from the Greek period to the present.
Concentration is on the changing styles of set design in relation to the
changing attitudes toward dramatic literature, art, and theater
architecture. (General Education Code(s): IM, A.) B. Baron

114. Design Studio: Sound. *

The intangible and transitory nature of the acoustic reality.
Electronically regenerated sounds for use in the performing arts. Broad
scope of the course consideration begins with found sound and includes
sound propagation. Emphasis on tape-recording, editing, sound control
functions, and equipment utility. Students are billed a materials fee.
Prerequisite(s): course 10. (General Education Code(s): PR-C, A.) The
Staff

115A. Design Studio: Scenic Design. S

Advanced work in principles and theory of scenic design. Students are
billed fa materials fee. Prerequisite(s): course 10. (General Education
Code(s): PR-C, A.) K. Edmunds

115B. Design Studio: Scenic Design B. *

Advanced theory and practice of theatrical set design. Prerequisite(s):
course 115. (General Education Code(s): PR-C, A.) K. Edmunds

116A. History of Clothing and Costume. *

Survey of clothing and theatrical costumes; emphasis on dress of the
audience and actor in historical periods of theatrical activity.
Students are billed a materials fee. (General Education Code(s): IM, A.)
B. Baron

117. Design Studio: Costume. W

Advanced principles and theory of costume design for theatrical
productions. Students are billed for a materials fee. May be repeated
for credit. (General Education Code(s): IM, A.) B. Baron

117A. Advanced Costume Construction. *

Advanced principles in costume construction, including tailoring,
advanced pattern drafting, and draping techniques. Focuses on
translating modern techniques into historical garment construction.
Teaches how to study artifacts and do primary research to unlock the
past. Prerequisite(s): course 17. Enrollment limited to 25. (General
Education Code(s): A.) The Staff

118. Design Studio: Scene Painting. *

Emphasis on techniques used in painting scenery for the theater.
Students are billed a materials fee. Prerequisite(s): course 10.
(General Education Code(s): A.) The Staff

119. Design Studio: Lighting Studio B. W

The theory and practice of lighting design with emphasis on practical
application. Light plots, electricity, optics, design, and manipulation
of lighting for the theater and related performance events are
investigated. The student explores mechanics and aesthetics with
hands-on experience. Students are billed a materials fee.
Prerequisite(s): course 19. (General Education Code(s): PR-C, A.) D.
Cuthbert

121. Acting Studio II. W

Continuing concentrated work on basic acting skills and textual
analysis through scene study. May be repeated for credit with consent of
instructor. Prerequisite(s): admission by audition at first class
meeting. See department office for more information. Course 21
recommended as preparation. May be repeated for credit. (General
Education Code(s): A.) D. Scheie

122. Indian Performance: Rama, Siva, Krishna. *

Study of the classical theater and dance of India, with attention to
performance practice, aesthetic theory, relationship to religious
practice devoted to Rama, Siva, and Krishna, political implications and
intercultural experimentation. (General Education Code(s): CC, IH, A.)
The Staff

126. Acting Studio III. S

Individual work on acting skills and problems, with emphasis on
individual interpretation and scene work with other students.
Prerequisite(s): course 121; permission of instructor; audition at first
class meeting—contact department office for more information.
Enrollment limited to 18. May be repeated for credit. (General Education
Code(s): A.) P. Gallagher

128. Choreographic Workshop (2 credits). W

Intensive upper-division choreographic workshop that begins from the
key motifs of historical dance to develop original work. Dancers made
available to the student choreographers. Concurrent enrollment in course
139 is required. Enrollment limited to 15. May be repeated for credit.
(General Education Code(s): PR-C, A.) E. Warburton

130. Intermediate Dance Theory and Technique. W

A progression from the simple phrasing and articulation of beginning
technique class to more complex material requiring more acute perceptive
skills and richer dynamic range. Emphasis is on both alignment and
maintaining the kinetic integrity of the body while moving through
space. Students are billed a materials fee. (Formerly Intermediate
Modern Dance Theory and Technique.) Prerequisite(s): course 30 or 31 or
permission of instructor. May be repeated for credit. (General Education
Code(s): IM, A.) The Staff

131. Advanced Dance Theory and Technique. *

Advanced instruction in developing the dancer's mind/body, combined
with contemporary movement theory and practice. Students are billed a
materials fee. (Formerly Advanced Modern Dance Theory and Technique.)
Prerequisite(s): course 30 or 31 or permission of instructor. May be
repeated for credit. (General Education Code(s): A.) E. Warburton

131C. Dance Studio II. *

Continued study of contemporary dance theory and practice. Focus on
intermediate dance technique, individual and group movement invention,
choreographic voice, and theatrical applications. Students are billed a
materials fee. Enrollment limited to 30. (General Education Code(s): A.)
The Staff

131P. Postmodern Dance II. *

Continued study of postmodern dance theory and technique. Focus on
advanced compositional practice, theatrical applications, and critical
analysis of contemporary postmodern dance choreographers in the U.S. and
worldwide. Audition at first class meeting. Enrollment limited to 30.
May be repeated for credit. (General Education Code(s): IM, A.) E.
Warburton

135. Dance Improvisation and Theory. S

Exploring sources for movement; gaining facility in a wide range of
movement elements; working in ensemble and solos. Students are billed a
materials fee. (General Education Code(s): A.) E. Warburton

136C. Dance Studio III. *

Advanced study of contemporary dance theory and practice. Focus on
dance performance, creative process, and choreographic form in a
contemporary style. Students are billed a materials fee. Enrollment
limited to 30. May be repeated for credit. (General Education Code(s):
A.) The Staff

137. Studies in Performance (Dance). *

Studies in dance, taken in connection with performance in a major dance
concert. Students are required to work on all aspects of the
production. Students work with guest and faculty choreographers. May be
repeated for credit with consent of instructor. Students are billed a
materials fee. Admission by audition held late winter quarter; see
department office for more information. May be repeated for credit.
(General Education Code(s): A.) The Staff

139. Random: With a Purpose. W

Participation in a student-choreographed and directed dance concert
under faculty supervision. Rehearsals culminate in public performances.
Students are billed a materials fee. Auditions to be held on the first
day of class. May be repeated for credit. (General Education Code(s):
PR-E, A.) E. Warburton

141. Play Direction Studio I. W

Basic studio exploration through scene problems and exercises of the
development of directing principles. Intensive work on the director's
pre-rehearsal work from text selection, analysis, and casting. Audition
at first class. Enrollment limited to 20. K. Jannarone

142. Play Direction Studio II. *

Intensive studio exploration of the art and craft of directing. Primary
focus on text analysis, collaboration with designers, developing a
point of view and visual/auditory language for the play, staging
techniques, and communication techniques with actors. Prerequisite(s):
course 40, 141, or permission of instructor. Enrollment limited to 15.
May be repeated for credit. (General Education Code(s): A.) The Staff

151. Studies in Performance (Drama). F,W,S

Studies in theater, taken in connection with participation in a Theater
Arts Department sponsored production. Enrollment is limited to those
persons chosen to take part in a particular production. Admission by
audition; audition schedule to be announced at first class meeting. May
be repeated for credit. (General Education Code(s): A.) The Staff, M.
Foley, D. Scheie

151A. Studies in Performance: African American Theater Arts Troupe. *

Studies in drama; emphasis on African American theater taken in
connection with participation in a theater arts sponsored production.
Enrollment by audition only, and limited to those persons chosen to take
part in a particular production. May be repeated for credit. (General
Education Code(s): ER.) D. Williams

152. Advanced Stagecraft. *

Exploration of stage technology from the scene shop's perspective.
Conversion of scenic designs to construction drawings. Pursuit of
scenic-engineering and construction techniques using steel, wood, and
other materials. Training on use of stage machinery: rigging, flying,
wagons, tracking, and propulsion. Prerequisite(s): course 52. Enrollment
limited to 25. (General Education Code(s): A.) The Staff

155. Workshop Experiments in Performance. W

A process-oriented investigation of specific playwrights or theatrical
styles consisting of work which may culminate in a final production.
Admission by audition at first class meeting; see department office for
more information. May be repeated for credit. (General Education
Code(s): A.) P. Gallagher

157. Playwriting. F

Students are given the opportunity to write their own scripts and
refine them as the result of class discussion and scenework with actors.
Work is on specific problems involving such elements as the structuring
of a plot or the development of character. Prerequisite(s):
satisfaction of the Entry Level Writing and Composition requirements.
May be repeated for credit. (General Education Code(s): W,A.) J. Bierman

158. Chautauqua Workshop. *

Advanced course that provides directors, writers, and performers with
an opportunity to develop new works in performance. Students enrolling
in this course as playwrights are selected on basis of submissions
turned in the previous quarter. Students are billed a materials fee.
Students taking the course as directors are required to obtain consent
of the instructor. Other students may enroll as usual. May be repeated
for credit. The Staff

159. Advanced Playwriting. W

A study, through practice, of the constituent elements in the
construction of a drama. Students concentrate, in particular, on the
organization of complex plots, the expression of character through
conflict, and maximizing the emotional impact of dramatic situations.
Prerequisite(s): course 157 or equivalent, satisfaction of the Entry
Level Writing and Composition requirements. Enrollment limited to 25.
May be repeated for credit. (General Education Code(s): W,A.) J. Bierman

160. Dramatic Theories. S

An examination of the theories of acting and directing from the 19th
century to our own time, starting with the classic theater and
concentrating on the 20th-century debate centered in Stanislavski and
Brecht, Grotowski, and Robert Wilson. This course must be taken prior to
student's senior year; required for course 185. Prerequisite(s):
satisfaction of the Entry Level Writing and Composition requirements.
(General Education Code(s): A.) M. Chemers

161. Theater, Literature, and History. *

161A. Irish Theater. *

Examines the idea of a "National Theater" in Ireland from its
beginnings in the founding of the National Literary Society in 1892 to
the current vitality of the contemporary Irish Theater. Enrollment
limited to 45. (General Education Code(s): A.) P. Whitworth

161C. The Theater and Drama of Renaissance Europe. W

An examination of selected plays from Renaissance Europe (1580-1680,
Italy, Spain, and France) from an explicitly theatrical viewpoint which
will include practical scene study. Covers Renaissance theater buildings
and some related critical materials. Offered in alternate academic
years. (General Education Code(s): A.) P. Whitworth

161D. Asian Theater: An Anthropological Approach. F

Art serves simultaneously to educate its audience to the group's
traditional values and to test new ideas. Indian, Indonesian, and
Japanese forms are studied in relation to their cultural context.
Through videotapes, lecture demonstrations, performances, and scenework,
students explore the forms. Offered in alternate academic years.
(General Education Code(s): CC, A, E.) The Staff

161M. Sexuality, Gender, Drama, and Performance. *

Exploration and analysis of the interrelationships between gender,
sexuality, and performance on stage and on the page. Topics include
gender and homosexuality in the history of performance and dramatic
literature, drag, queer Shakespeare, closet drama, same-sex performance
conditions (e.g., Greece) vs. dual-gendered (e.g., Restoration England).
Combines study of theoretical texts and script with analysis and
practice. (Formerly Gender and Performance.) (General Education Code(s):
A.) D. Scheie

161P. Theater in the "Chicano Power" Movement. *

Covers the rise of Teatro Chicano as a cultural–political force within
the 1960's "Chicano Power" Movement starting with founding playwriter
Luis Valdez and El Teatro Campesino and covering Chicana/o playwrights
inspired by the movement, e.g. Cherrie Moraga, Luis Alfaro, and Josefina
Lopez. (Also offered as Latin American&Latino Studies 161P.
Students cannot receive credit for both courses.) (General Education
Code(s): A, E.) The Staff

161Q. Queer Theatricks: Representations and Sensibilities. *

An examination of the idea, form, and significance of queer/gay
sensibility and representation in the English-speaking theater from the
Renaissance to the present. (General Education Code(s): A.) The Staff

161R. Theater of American Cultures. *

Interrelationship of ethnicity and the rise of significant American
theater groups including the black theater movement, Chicano Teatro, and
Asian American theater will be shared via lecture, viewing, and
discussion. (General Education Code(s): A, E.) The Staff

161S. American Drama: Politics and Theater. *

The dream of group theater, a long-term partnership of actors,
directors, and playwrights, has fueled extraordinary and exciting change
in the 20th-century American theater theory and practice. We examine
ten exemplary manifestations of this dream. (General Education Code(s):
A.) The Staff

161T. Women in Theater. F

Explores 20th-century American female playwrights from textual,
historical, and multicultural perspectives. The course progresses from
Trifles (1916) through the Harlem Renaissance, Broadway's Lillian
Hellman, and today's post-Feminist theatrical explosion in lectures,
films, dramatizations, and award-winning playwrights' visits. (General
Education Code(s): A.) P. Gallagher

161U. Performance of Story in Theater and Film. *

Examination of theory and practice of theater and film comparing and
contrasting works having been adapted from one genre to another.
Lecture, film, and video viewing. Discussions of materialist,
psychoanalytic, and feminist approaches shared. Students cannot receive
credit for this course and course 80X. (General Education Code(s): A.)
The Staff

161Y. Modern Ancient Drama. *

Studies 20th- and 21st-century productions and adaptations of ancient
Greek drama in theater, dance, music, and film, including Stravinsky,
O'Neill, Graham, Pasolini, and Breuer, discussing artists' goals, the
sociopolitical context, ideas of authenticity, and audience response.
Enrollment limited to 30. (General Education Code(s): A.) The Staff

163. Special Studies in Individual Playwrights.

163A. Shakespeare. F

Focuses on selected plays of Shakespeare. Explores the range and
variety of interpretations of the plays, both in critical writings and
in performance. Also studies other writings and graphic art created on
the subjects and themes of the plays. Offered in alternate academic
years. (General Education Code(s): A.) P. Whitworth

163E. Chekhov and His Impact. *

Delves into the work of Chekhov and the Moscow art theater. Through
scene work Stanislavski's acting techniques are related to the scripts.
The impact on later Russian innovators, especially Meyerhold, and on the
American theater is considered. (General Education Code(s): A.) The
Staff

163G. Special Studies in Playwrights: Artaud. *

Antonin Artaud through three critical lenses: influence on modern and
contemporary theater, subject and site of psychoanalytic and social
criticism, and theater practitioner. Exercises cultural, historical, and
analytic approaches to his work. Prerequisite: course 160 recommended.
Enrollment limited to 40. (General Education Code(s): A.) K. Jannarone

163H. Henrik Ibsen and His Impact: Ghosts of the Future. W

Examines representative texts of Ibsen's work: early plays, realistic
middle plays, and late plays. The cultural/historical context of Ibsen's
oeuvre is considered as well as its impact, through contemporary
translations and productions, on subsequent theater theory and practice.
(General Education Code(s): TA.) P. Whitworth

164. Issues in Dance History and Theory. S

A research seminar. Topics range from problems in dance aesthetics,
criticism, or theory to particular movements, periods, or the work of a
choreographer. (Formerly course 133.) Enrollment limited to 20. May be
repeated for credit. (General Education Code(s): A.) E. Warburton

165. Introduction to Dance Modernism. *

Rare historical footage and the writings of famous choreographers
provide an overview of 20th-century dance within the perspective of
modernism. Topics include romanticism, "natural" dance, Orientalism,
Ausdruckstanz, "industrial" dance, American modern dance and
neo-classicism, chance procedure, postmodernism, and the avant-garde
commodity marketplace. (Formerly course 134.) (General Education
Code(s): A.) M. Franko

166. Ballet: A History. *

Chronological critical and historical overview of ballet from its
origins in the 15th century to the present, fleshing out the
sociological, aesthetic, and design (costume and set) aspects of ballet
production from the courts to the bourgeois opera house and the
independent impresario. (Formerly course 100H.) Enrollment limited to
40. (General Education Code(s): A.) M. Franko

185. Senior Seminar. F

A required seminar for majors involving readings and discussions of
important texts in dance, design, and drama. Prerequisite(s):
satisfaction of the Entry Level Writing and Composition requirements;
course 160. D. Scheie

190. Group Projects. F,W,S

Prerequisite(s): petition required, approved by instructor and department. May be repeated for credit. The Staff

192. Directed Student Teaching. F,W,S

Teaching a lower-division seminar under faculty supervision. (See
courses 42 and 45). Petition required, approved by instructor and
department. The Staff

193. Proseminar. *

Exposes students to an aspect of the theory or practice of theater
arts. Visiting scholars share their area of expertise in lectures to a
small group of students. Enrollment limited to 25. May be repeated for
credit. (General Education Code(s): A.) The Staff

193F. Proseminar (2 credits). *

Exposes students to an aspect of the theory or practice of theater
arts. Visiting lecturers share their area of expertise in lectures to a
small group of students. Enrollment limited to 25. May be repeated for
credit. (General Education Code(s): A.) The Staff

198. Independent Field Study. F,W,S

Provides for department-sponsored individual study programs off campus
for which faculty supervision is not in person (e.g., supervision is by
correspondence). Students engaging in field study must complete
application procedures for such study by the fifth week of the previous
quarter. Petition required, approved by instructor and department. The
Staff

198F. Independent Field Study (2 credits). F,W,S

Provides for department-sponsored individual study programs off campus
for which faculty supervision is not in person (e.g., supervision is by
correspondence). Students engaging in field study must complete
application procedures for such study by the fifth week of the previous
quarter. Petition required, approved by instructor and department. May
be repeated for credit. The Staff

199. Tutorial. F,W,S

Individual study in areas approved by sponsoring instructors. Students
submit petition to sponsoring agency. May be repeated for credit. The
Staff

199F. Tutorial (2 credits). F,W,S

Individual study in areas approved by sponsoring instructors. Students
submit petition to sponsoring agency. May be repeated for credit. The
Staff

Graduate Courses

290A. Text Analysis. F

Presents a range of performance blueprints (texts, scores, libretti,
etc.), and introduces key methodologies for translating text into
performance. A final paper required. Enrollment restricted to graduate
students in theater arts. May be repeated for credit. P. Whitworth

290B. Performance Histories. W

Contextualizes major movement in performance. Students are exposed to a
wide range of historical and visual material pertinent to the creation
of theater and dance. A final paper is required. Enrollment restricted
to graduate students in theater arts. May be repeated for credit. J.
Bierman

290C. Performance Analysis. W,S

Examines the production approaches of a range of performance
practitioners, production companies, and performance traditions.
Includes exercises in analysis and reconstruction of performance. A
final reconstruction project is required. Enrollment restricted to
graduate students in theater arts. May be repeated for credit. B. Baron

291. Field Study. F,W,S

Student-designed and conducted research carried out in field settings. A
brief prospectus must be filed with the department office before
undertaking the research, and a brief final report of activities must be
filed upon return. Course intended for students with graduate standing
in theater arts. Petition required, approved by instructor and
department. The Staff

292. Teaching-Related Independent Study. F,W,S

Directed graduate research and writing coordinated with the teaching of
undergraduates. Course intended for graduate students in theater arts.
Petition required, approved by instructor and department. The Staff

293. Performance Research Project (10 credits). F,W,S

Internship with a professional theater company in the student's area of
emphasis. This work will have a significant academic component
supervised and assessed by a theater arts faculty member during the
quarter it is taken. Enrollment restricted to graduate students. The
Staff

295. Group Critique. W

Peer review and constructive assessment of works in progress. Students
are required to give individual presentations to the group at least once
a quarter. Educational objectives are to develop the ability to
articulate themes and ideas in student's body of work; to strengthen
critical skills in making, evaluating, and discussing theater art; to
explore the role of the audience in context and criticism; and to
investigate the ways artists construct, use, and maintain support
communities. Enrollment restricted to graduate students. B. Baron

297. Independent Study. F,W,S

Independent study or research for graduate students in theater arts.
Petition required, approved by instructor and department. May be
repeated for credit. The Staff

297F. Independent Study/Graduate (2 credits). F,W,S

Independent study or research for graduate students in theater arts.
Petition required, approved by instructor and department. Enrollment
restricted to graduate students in theater arts. May be repeated for
credit. The Staff

299. Capstone Thesis. S

Involves participation in a major collaborative performance project
(either faculty-directed or graduate student-directed with faculty
supervision) or a research project group. Includes a written thesis,
though the length will vary depending upon the student's particular
emphasis. Enrollment restricted to graduate students. The Staff

* Not offered in 2013-14

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