Major

Theater 1: Introduction to Theater
Theater 40: Technical Production

Prerequisite courses should normally be completed by the end of the sophomore year. Students who become majors after the sophomore year should enroll for the prerequisite courses during the first terms in which they are available after the major has been declared.

Ten major courses, exclusive of the prerequisites, as enumerated within the following categories:

A. The following three courses in theater studies:

• Theater 15: Theater and Society I: Classical & Medieval Performance
• Theater 16: Theater and Society II: Early Modern Performance
• Theater 17: Theater and Society III: 19th and 20th Century Performance

B. Any two of the following courses:

• Theater 10: Special Topics in Theater (with the approval of the Chair)
• Theater 22: Black Theater, U.S.A.
• Theater 23: Topics in African Theater and Performance
• Theater 24: Asian Performance Traditions
• Theater 62: Plays in Performance: Perception and Analysis (FSP)

With prior approval of the Chair, up to two courses in theater studies from another department may be used to fulfill this category, including but not limited to:

• English 24 (now English 15): Shakespeare I
• English 26: English Drama to 1642
• English 47 (now English 34): American Drama
• English 54 (now English 39): Modern British Drama

C. Five courses in theater practice:

An organized, coherent program of five courses supported by the major, written rationale, and approved by the Chair of the Department. Majors are required to take at least one of the performance courses (26, 27, 28, 29, 30, 36, 54, 60, 61, or 10 upon approval) and one of the design courses (41, 42, 43, 44, 45, 48, and 10 upon approval). Theater 50, 51 and 90 may be used in partial fulfillment of the five courses in theater practice requirement.

Every theater major is expected to demonstrate competence in the area of theater production by active and sustained participation in theater offerings at the Hopkins Center (or elsewhere as approved by the Department), especially during the period of his or her declared major. Active and sustained participation shall consist of at least four active involvements in productions sponsored (or with approval, cosponsored) by the Department over a minimum of three terms each of which constitutes a production credit. A production credit must include a minimum of 25 hours of work. Production credits must reflect a variety of theater activity. One production credit must be as a stage manager or assistant stage manager for one mainstage production or the completion of Theater 41. With prior approval of the Director of Theater, a Shakespeare Alley Showcase production may be substituted. One production credit must be for production crew or working in the shops and the other two production credits can be in any category. With Department approval work-study hours may, in some cases, count toward the fulfillment of the requirement. Participation may include any form of activity with the exception of work associated with the prerequisite course Theater 40: Technical Production.

a. courses that include a production component
b. acting in productions
c. participation in a production crew and/ or working in the shops
d. stage management
e. directing
f. designing
g. playwriting when the script is produced under the sponsorship of the Department
h. dramaturgy under faculty supervision.

All Theater majors and modified Theater majors must complete the course Theater 90: Contemporary Practices in U.S.Theater to satisfy their Culminating Experience in Theater. Theater minors and other majors modifying with Theater will complete their Culminating Experience in their primary departments. Double majors must complete Culminating Experiences in both majors.

Theater 90: Contemporary Practices in U.S. Theater draws upon faculty and guest artists of the Department of Theater to explore what it means to be a theater artist of the new millennium. What are the plays, theater artists, and practices that describe our era? What are the relationships among and between designer, actor, playwright, and scholar? What is the nature of interdisciplinary work? How do you see yourself participating? Course materials include contemporary plays, readings on current practices, and research about contemporary companies.