This course presents a historical study of Western theater from its origins to the present time. The course will examine the evolution of the physical theater structure and production elements of each period, as well as the relationship between each style and its historical context. The course will include lectures, readings, projects and discussion. This course is a requirement for a major in drama. Prerequisite: sophomore standing. This course will be offered every year.
Through the rehearsal and performance of various scenes, students will explore the nature of the actor's contribution to the theater. Work will include performance exercises, readings and written assignments. Prerequisite: DRAM 111. This course will be offered every year.
Working from varied scripts, students will move from a study of the visual choices implicit in the text to the process of designing scenery. The work of the course places an emphasis on collaboration and includes written assignments, drafting, sketching and model building. Prerequisite: DRAM 111. This course generally will be offered every year.
This course examines the work of the director through the analysis of plays and the exploration of the visual means of realizing that analysis on stage. Work includes exercises, written assignments, readings, discussion and lectures. Students will act both as performer and director in exercises and scenes throughout the semester. Prerequisite: DRAM 111. This course generally will be offered every year.
This course teaches how the art and craft of stage makeup can be used to project the students' facial features on stage and how to visualize the determinants of a character's physical appearance. In addition to the assimilation and projection of the character in terms of age, environment, and health, the course also explores the psychological support makeup can give the actor based on the examination of 5 to 6 plays and the critical analysis of and makeup design for different characters in them. The young actor is often left to his own devices when it comes to stage makeup. He is usually unfamiliar with how to use makeup as visual component of a harmonious and coherent stage production in order to complete the character's appearance. Many young actors do not know how to put on and properly care for a wig or how to apply facial hair. Yet these are certainly situations they will encounter during their academic and professional careers. This course is not only beneficial to the student actor but also to students interested in design and directing. Prerequisite: DRAM 111
Harold Pinter is one of the greatest playwrights of the 20th and 21st Century, who has influenced every playwright that came after him. Playwright David Hare even argues that he’s better than Beckett: “I think he is one of the few disciples superior to the master, rooting Beckett in a real social world instead of an arid limbo.” Pinter’s characters are masters of deception and his mysterious plays demand deciphering. The plays would be taught in chronological order to demonstrate how Pinter gradually learned to keep the menace, but leave the actual violence offstage. Prerequisite: DRAM 220, 231, 232, or 261 and a dramatic literature course (one of the 250 series) or permission of Instructor.