Course Descriptions

THEA 1

Introduction to Theater

As a set of staged practices rich with social context, theater has sought to document, engage, and affect communities. This course introduces and explores theater from page to stage as a live performing art. Topics include the relationship between theater and society (historical and contemporary), dramatic structure, theatrical representation, and the crafts of theater artists such as directors, designers, playwrights, and actors. We will also engage with live performances and video archives of past performances.

This course does NOT require instructor permission.

THEA 10.22: Shakespeare in the Schools

This course is a team process approach that offers students the challenges and pleasures of working with fifth and sixth grade children while teaching, directing, and producing a Shakespeare play. The method of instruction is based upon the model for Shakespeare-in-Education developed by Shakespeare and Company of Lenox, Massachusetts.

Regular initial weekly meetings with the instructor will serve as preparation for an on site weekly residency at Northern Stage, White River Junction, VT. Student mentoring teams will be instructed in an approach to introduce Shakespeare’s world and the world of the play, and to guide children through a process of rehearsal, and ultimately, performance of an abridged 45-minute adaptation of a Shakespeare’s A MIDSUMMER NIGHT’S DREAM.

The class will culminate in an end-of-term invited performance at Northern Stage Theater in White River Junction for students, parents and the public.

Please note that this class meets by arrangement: 12:30--3:00 MWF

THEA 10.03/RUSS 18

Russian Theater

This course is devoted to Russian drama and theater from the 19th through the 21st century. We will read eight plays that are central to Russian literary and theatrical tradition and then discuss their most significant interpretations on both the Russian and the world stage. The meetings will be conducted in a non-traditional format. In our examination of the plays, we will attempt to model the process of stage production in accordance with the principles developed by Konstantin Stanislavsky, a celebrated Russian director whose approach to theater transformed acting in Russia and beyond. The course will culminate in the production of a play by a Russian playwright which students themselves will cast, direct, and design. All readings are in English.

THEA 10.04

Acting for Musical Theater

This course will introduce students to the techniques used by actors/singers to play musical theater scenes believably, honestly and dynamically. Basic acting techniques will be taught as well as work in singing, text analysis, movement and speech. Students will begin with individual songs, then prepare, rehearse and present two-person musical scenes from Company, West Side Story, Side Show, Jane Eyre, Into the Woods, Passion, She Loves Me, The Secret Garden, Follies and others.

Instructor permission is required.

THEA 10.05/CLST 2

The Tragedy and Comedy of Greece and Rome

The course studies in translation selected works of Aeschylus, Sophocles, Euripides, Seneca (tragedy), Aristophanes and Plautus (comedy), and some of their central themes and questions: law, community, revenge, passion, and justice. We will approach them both as texts and as scripts/librettos, considering their relationship to other types of performance (ritual, rhetoric, music, dance) and genres (history, philosophy) as well as to theatrical space. There will be practical workshop opportunities for those interested.

This course does NOT require instructor permission.

THEA 10.08

Creativity and Collaboration

Creativity and collaboration are concepts found in all disciplines and regularly requested, although rarely taught. In this course, students will have the opportunity to develop creative abilities through experiences in performance-based arts, and apply these in a collaborative project. Faculty artists active in movement and theater will teach the course, which is open to students with no performance experience, as well as those looking for a new approach to existing skills.

This course does NOT require instructor permission.

THEA 10.13

Dramatic Storytelling: Plays and Screenplays

Why choose just one? In "Dramatic Storytelling," beginning and advanced students explore the two forms, discovering which form better suits a given story. Along the way, students study film adaptations of such playwrights as William Shakespeare, Marsha Norman, Arthur Miller and Edward Albee. In doing so, they develop an appreciation of the history and traditions of both forms, along with an understanding of the issues involved with adaptation. By the end of the term, students have developed the ability to access and adapt the vast reservoir of dramatic stories to the times, issues, and forms that lie ahead. The course ends with an evening of public readings, showcasing the work developed in the class. No experience necessary.

This course does NOT require instructor permission.

THEA 15

Theater and Society I: Classical and Medieval Performance

This course explores selected examples of world performance during the classical and medieval periods in Western Europe and eastern Asia.  Plays to be discussed might include those by Aeschylus, Sophocles, Euripides, Aristophanes, Seneca, Plautus, Terence, and Zeami. Through the reading and discussion of primary and secondary texts, we seek to situate selected performance texts within their sociopolitical and artistic contexts.

This course does NOT require instructor permission.

THEA 16

Theater and Society II: Early Modern Performance

This course explores selected examples of world performance during the early modern period (fourteenth through the eighteenth centuries). Plays to be discussed might include those by Shakespeare, Calderón, Sor Juana de la Cruz, Molière, Racine, Marivaux, and Carlo Gozzi. Through the reading and discussion of primary and secondary texts, we seek to situate selected performance texts within their sociopolitical and artistic contexts.

This course does NOT require instructor permission.

THEA 17

Theater and Society III: 19th and 20th Century Performance

This course explores selected examples of world performance in the 19th and 20th century. Plays to be discussed might include those by Ibsen, Strindberg, Chekhov, Lorca, Ionesco, Beckett, Williams, Miller, and Brecht, as well as contemporary U.S. playwrights such as Suzan-Lori Parks and Charles Mee. Through the reading and discussion of primary and secondary texts, we seek to situate selected performance texts within their sociopolitical and artistic contexts.

This course does NOT require instructor permission.

THEA 19/COLT 34.02

Human Rights and Performance

What can theatre do for human rights, and human rights for theatre? How do playwrights translate violations of human rights to the stage? Through class discussion and creative exercises, we will explore selected plays from around the world that address human rights through various genres and dramatic forms, including theatre of testimony, documentary theatre, realism, allegory, and surrealism.

This course does NOT require instructor permission.

This course is not offered in the 2016-2017 academic year.

THEA 21

Race, Gender and Performance

Students will explore the perspectives of contemporary Latina/o, Asian American, Black, and Native American theater artists/performers. Our examination will also consider the socio-historical and political contexts engaged through these artists' works. We will also consider the relationship between the construction of identity and strategies of performance used by playwrights/performers to describe race, gender, sexuality, class, subjectivity, and ideas of belonging. Texts examined will include works by Moraga, Highway, Wilson, Parks, Gotanda, and Cho.

This course does NOT require instructor permission.

THEA 22/AAAS 31

Black Theater, U.S.A.

This course will examine African American playwrights, drama, and theater from 1959 to the present. Further exploration will focus on the impact of civil rights, the Black Arts movement, and cultural aesthetics on the form, style, and content of African American plays. Readings will include plays of Hansberry, Baldwin, Baraka, Kennedy, Childress, Shange, Wolfe, Wilson, Parks and others.

This course does NOT require instructor permission.

 

THEA 23/AAAS 54

Postcolonial African Drama

This course explores selected theatre and performance traditions of sub-Saharan Africa. How do African playwrights negotiate and transform the colonial legacy of Western drama, and how do they use theater to challenge neocolonial regimes and to advance ideas of democracy, human rights, and gender equality? Plays from Nigeria, South Africa, Kenya, and Uganda receive special emphasis. No prior knowledge of African studies or theater is necessary, just a willingness to expand critical and creative horizons.

This course does NOT require instructor permission.

THEA 24/AMES 24

Asian Performance Traditions

This course studies the performance traditions of Asia, focusing on China, Japan, Indonesia and India. Classical forms studied include Noh, Bunraku, Beijing opera, Sanskrit drama, Balinese dance and Japanese puppet theater. Attention is paid to social, religious and aesthetic influences on these traditions, theories on which they are based, the history behind the theatrical practices, and training and dramatic techniques. Students gain an appreciation of the rich variety and scope of theatrical conventions of Asia.  

This course does NOT require instructor permission.

THEA 25

Solo Performance

This course will introduce and engage the history, texts, topics, theoretical guideposts, and landmark figures/performances central to the genre of solo performance. Working between critical examination and practice, participants will analyze the form and content of leading solo performers while also composing a series of short exercises that activate solo performance strategies and methods. The course will culminate in the creation of a participant's self-authored, short solo performance piece.

This course does NOT require instructor permission.

THEA 26

Movement Fundamentals I

An introduction to movement for the stage, this course will animate the interplay between anatomy, movement theories and performance. Through exploration of physical techniques, improvisation and movement composition, students will experience a fundamental approach to using the body as a responsive and expressive instrument. Assignments will include readings, written work, class presentations, mid-term exam and final paper.

This course does NOT require instructor permission.

THEA 27

Movement Fundamentals II

A continuation of THEA 26, this class will explore further the relationship between efficient and expressive movement and body connectivity. Contact improvisation, conditioning, kinesiology and movement repertoire form the foundation from which the class will explore individual performance. Assignments include readings, written work, class presentations and a final paper.

This course does NOT require instructor permission.

THEA 28

Dance Composition

An in-depth study of the principles of dance composition leading to choreographic projects. Students will receive training in both dance composition and criticism, developing the requisite tools for choreography while acquiring the vocabulary for sophisticated choreographic analysis. Reading and writing assignments on contemporary issues in dance will be the departure for students' theoretical and creative exploration. To this end the class will concentrate on individual student choreography. Students' class work will be performed in an informal showing at the conclusion of the term.

THEA 29

Dance Theater Performance

Students will examine movement theories and techniques, utilizing these elements to create physical language while developing enhanced ensemble skills. Emphasis will be placed on the creation of a dance theater ensemble piece, which culminates the term in a final performance. The creative process, collaboration, and individual performance are key components of the experience. Readings in Dance Studies and critical reviews of performances are included to contextualize the course’s creative work. 

Instructor permission is required.

This course will not be offered in the 2016-2017 academic year.

THEA 30

Acting I

This course is a basic introduction to acting technique for the stage. It is designed to develop the ability to play dramatic action honestly and believably, using realistic/naturalistic material as well as self-scripted autobiographical writing. Course work includes exercises and improvisations exploring awareness, relaxation, observation, the senses, voice, and physical and emotional life. Work in preparation of the monologue will be introduced. Scene work, in the second half of the term, will focus on breaking down the play, analysis, identity, motivation and action. Out-of-class assignments include required readings from acting texts and plays. Attendance at, as well as responses to, a number of stage productions scheduled during the term is required.

Instructor permission is required.

To enroll in this course, you must interview with the instructor and be granted permission to enroll. Interviews are normally conducted on the first day of 10A/2A classes of the term in which the course is taught; interview sign-up sheets are posted in Shakespeare Alley at 8 AM on the previous day.

THEA 31

Acting II

Further study of acting technique for the stage. Course work includes continued exercises, improvisations, and naturalistic/realistic scene study. Out-of-class assignments include the reading of plays and theoretical works on acting technique; required attendance at area stage productions; analytic and critical writing assignments; scene preparation, investigations, and rehearsal; and an extensive acting journal of work done in and out of class.

Instructor permission is required.

Prerequisites also include THEA 30.

THEA 32

Acting III

An advanced scene study class that focuses on developing a process for performing non-realistic acting texts. Students will encounter plays that present unique challenges for actors in terms of language, physicality, characterization, style, content, and text analysis.

This course is not offered in the 2016-2017 academic year.

Instructor permission is required.

Prerequisites also include THEA 30 and THEA 31. The department recommends that Acting III should be taken in the term following Acting II.

THEA 36

The Speaking Voice for the Stage

This course is an examination of the principles and practice of freeing the natural voice. It proceeds from the notion that "voice" and "acting" are inseparable. Although it is an introduction to the use of voice in the theater, it is in no way limited to the actor. A specific progression of exercises will be presented to facilitate freeing the body of tensions, discovering the natural breath, releasing vibrations of sound from the body, and opening the channel for sound (throat, jaw, tongue). Resonance, vocal freedom, and articulation will also be explored. Techniques for accessing emotional and psychological truth will be practiced as fundamental to the actor's creative process. A groundwork will be laid for physical and vocal presence.

Instructor permission is required.

Do not pre-register for this course: registration is invalid without permission from the instructor. To enroll in this course you must first interview with the instructor. Interviews are conducted on the first day of classes. A sign-up sheet for interviews will be posted in Shakespeare Alley the day before classes begin.

THEA 40

Technical Production

An introduction to the technical aspects of scenic and property production, exploring traditional and modern approaches. Topics include drafting, materials and construction, stage equipment, rigging, and health and safety. Lectures and production projects.

Instructor permission is required.

THEA 41

Stage Management

An introductory course in the theories, techniques, and practices of stage managing a production from its initial stages to the conclusion of the run. Plays, musicals, opera, dance, and touring productions will be examined from the perspective of the stage manager. Working with directors, choreographers, and other members of the production team will be discussed as well as calling shows. Students will acquire practical experience through assignments on Department of Theater productions. When practical, field trips to such places as Yale Repertory Theatre, Long Wharf Theatre, or American Repertory Theatre will be arranged and will include discussions by their production stage managers.

Instructor permission is required.

THEA 42

Scenic Design

An introduction to the basics of scenic design through weekly projects in scale models, drawings, research, lighting and storyboards. Students will also study the collaborative process among scene designers, directors, costume and lighting designers. Suitable for students interested in theater, visual and video art, installation, film, architecture, and sculpture. Students will have the opportunity to assist student and faculty scene designers on Department of Theater productions. Open to all classes.

This course does NOT require instruction permission.

THEA 43

Scenic Design II

Further study of the design process and the creation of visual expressions of dramatic text. Emphasis will be placed on the differences among theater, opera and ballet. Students will work with scale color models and have opportunities to design student-directed Department of Theater productions.

THEA 44

Lighting Design

An introduction to the practical and artistic elements of theatrical lighting design. The course will include topics in color theory, form, movement, composition, and the creative process. Through analyzing the script and studying light in nature, film, and art, students will prepare projects that explore the possibilities of light in the theater. Students will have the opportunity to work on Department of Theater productions with faculty and student lighting designers. Lectures, discussions, design projects, and critiques.

This course does NOT require instructor permission.

THEA 48

Costume Design

An introductory course in the appreciation of the costume design process as part of the dramatic production. Through weekly projects, students will study the principles of line, texture, and color as well as the history of costume from the Renaissance through the eighteenth century. Lectures, design projects, and critiques. 

Instructor permission is required.

THEA 50

Playwriting I

The aim of this course is for each student to write the best one-act play he or she is capable of writing. It is open to students both with a theater background and those without. This course will involve a number of preliminary exercises, the preparation of a scenario, the development of the material through individual conferences, and finally the reading and discussion of the student's work in seminar sessions.

This course does NOT require instructor permission.

THEA 51

Playwriting II

A continuation of THEA 50: Playwriting I.

Instructor permission is required.

THEA 54

Directing

An introductory course in directing for the stage. Topics include the role and function of the director in the contemporary theater; the basic tools of proscenium blocking and staging, such as composition, picturization, movement, and gesture; structural script analysis; and basic actor coaching techniques.

Instructor permission is required.

Open to sophomores, juniors, and seniors, with instructor's permission.

THEA 60

Classical Performance I

This course is taught by the LAMDA faculty. THEA 60 is an intensive course in classical theater training focused on acting (including improvisation), movement (including movement theater, clown and historic dance), and voice (including singing). Texts include Shakespeare and either Jacobean or Restoration plays. This typical British conservatoire experience is designed for students interested in acting, directing, playwriting, design, stage management, dramaturgy or criticism.

Offered only as a part of the Theater Foreign Study Program in London. This program requires submission of an application and acceptance as a participant. This course is graded as credit/no credit.

THEA 61

Classical Performance II

A continuation of THEA 60: Classical Performance I.

Offered only as a part of the Theater Foreign Study Program in London. This program requires submission of an application and acceptance as a participant. This course is graded as credit/no credit.

THEA 62

Plays in Performance: Perception and Analysis

Offered only as a part of the Theater Foreign Study Program in London, this seminar integrates the study of theater with the experience of plays in performance. By providing intense, comparative experience of playgoing, the course intends to broaden students' knowledge of the dramatic repertoire, to heighten their awareness of production approaches and values, and to encourage them to develop considered critical response to theater. Students attend a number of required performances and in addition attend performances of their own choosing - normally a total of three plays per week. Productions will represent a variety of periods and styles of playwriting, and a similarly diverse range of production companies and approaches to performance.

Offered only as a part of the Theater Foreign Study Program in London. This program requires submission of an application and acceptance as a participant. This course is graded as credit/no credit.

THEA 65

New Plays in Development

This class is designed to investigate methods for the development of new work for the theater. Students will participate in all aspects of a mainstage production designed for this course. In addition, students will intern with the New York Theatre Workshop during their August residency at Dartmouth. The class will also include field trips, visits by guest artists, and independent work in each student's area of concentration.

Instructor permission is required. Open to sophomores, juniors, and seniors by permission of the instructor.

THEA 80

Independent Study

This course is designed to enable qualified upperclass students, who have completed the appropriate supporting coursework, to engage in independent study in theater under the direction of a member of the department. A student should consult with the faculty member with whom he or she wishes to work as far in advance as possible, and not later than the term immediately preceding the term in which the independent study is to be pursued.

A written proposal and the approval of the faculty member and the Chair are required.

THEA 90

Contemporary Practices in U.S. Theater

This course draws upon faculty and guest artists of the Department of Theater to explore what it means to be a theatre artist of the new millennium. What are the plays, theatre 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.

This course is mandatory for senior Theater majors. Instructor permission is required.

THEA 91

The Honors Thesis

An Honors project, which normally extends through two terms and receives two major credits, must include a thesis or thesis project. This course must be elected by all honors candidates. For acceptance into this course, please see the section in the ORC on the Theater Honors Program.

THEA 10.24/ARTH 16/ENG 55.07

The Arts of War

Walt Whitman said of the American Civil War: “the real war will never get in the books.” This course will raise core questions about how war is remembered and represented through text, performance, and visual culture. Our questions will be anchored in concrete case studies but will also raise far-ranging philosophical, ethical, and historical questions that examine instances of war in relation to the aesthetics of war.

This course does NOT require instructor permission.

THEA 7.01

Theater for Social Change

This course will trace particular developments in American and Western European Theater from the First World War through the present. Artists and theater groups under consideration will be those whose work has focused on contemporary social conditions and the potential of performance to effect social change. In addition, students will experiment with developing scripts and performances based on current events. Readings will include selections from the writings of Erwin Piscator, Bertolt Brecht, The Federal Theatre Project, Harold Pinter, Augusto Boal, etc. as well as newspapers, news magazines, and other media sources. In addition to creative and critical writing, students will be assigned one major research project. Emphasis will be on class participation. This course DOES NOT require instructor permission