Spring 2014 SEMESTER
TDPS358J Special Topics in Intermediate Performing Arts; Musical Theatre Jazz
TDPS 358A – Arts Management & Entreprenuership
An introduction to the inquiry-based discipline of Arts Management, this course serves both as a preparation for further study in Arts Management at the graduate level and as an explorative guide for artists in attending to the various legal, political, and economic challenges they will inevitably face in creating/producing and presenting art.
TDPS458V Voice and Movement
Taught by Assistant Professors Ashley Smith and Adriane Fang
This class is designed to expand upon the specific training that dancers receive by examining and practicing the physical act of vocal production. Classes will be focused on encouraging dancers to find greater comfort, skill and competence/capability in using their voices.
DANC138L World Dance Forms: Latin-Influence Contemporary Dance
DANC138W World Dance Forms: West African Dance
THET328V Viewpoints; Prerequisites: THET222, THET223, THET116, and TDPS201. Taught by Assistant Professor Jennifer Barclay. Viewpoints is a movement-based performance course for students who already have a foundation in the basics of acting and/or dance. The Viewpoints are a set of tools and vocabulary; using 9 categories of time and space, students will fully explore the possibilities of using their physical instruments (the body) to their fullest on stage. Culminating performances include monologues, scenes from plays, and original ensemble collaborations. Dancers will be challenged to merge their physical expression with text, and actors will be challenged to use these tools to better activate their bodies on stage. This will be a fun, physically intensive course which will encourage students to push their creative boundaries.
THET380 Sound Design
Theatre Sound Design is a first course in designing sound for stage productions.
THET388C Theatre for Social Change
THET408C Seminar: Theory and Performance Studies; Carnival: Festival Culture and Performance
Taught by Visiting Professor James Ball.
This course surveys the history and theory of carnival from the medieval and renaissance eras to the present. Though ‘carnival’ has historically named the period of excessive festivity immediately preceding Lent in Christian calendars, today multiple sites, performances, and events prove heir to its efforts to enact a utopian realm of freedom and abundance. Carnival (and festive cultures that follow in its wake) is as often dismissed as celebrated for the ways it overturns social norms, transgressing taboos surrounding sex, intoxication, and the usual hierarchies of power. Carnival reverses the social order for a brief period, though its subversive and conservative effects remain hotly debated. This course will examine the performances that proliferate within and around festive culture, the specific impact of carnival on theatrical genres, and the theories and histories that account for these forms. Throughout, special attention will be paid to performances of race, gender, and class, and to theories of ritual, space, and popular culture. This course will also feature a global survey of contemporary carnivals, as festive culture appears today in multiple locations and under many names: from Rio de Janeiro to Venice and from Mardi Gras to Spring Break. Diverse methodologies and disciplines will inform this investigation, including literary criticism, historical analysis, anthropological reports, and sociological studies, in order to fully contextualize carnival in both performance theory and the history of theatre.
THET489I Special Topics in Theatre History from 1800 to Present; Aeschylus to Orlandersmith; (3 credits). Taught by Assistant Professor Faedra Chatard Carpenter.
We identify it, talk about it, and attempt to express it through our artistic works, but what exactly is “tragedy”? How has the theatrical concept of the tragic form informed dramatic theories, strategies, and enactments—past and present? Tragic Turns: From Aeschylus to Orlandersmith strengthens—and complicates—our knowledge of Western tragedy by exploring the work of various philosophers, theorists, and artists, from the ancient Greeks to contemporaneous New Yorkers. While this course satisfies Theatre History/Performance Studies requirements, it is a course designed to expand the proverbial “tool boxes” of scholars, playwrights, actors, directors, and designers alike.