Associate Professor: Prestininzi; Assistant Professors: Anderson, Notarfrancisco; Adjunct Assistant Professors: Dumond, Luber; Associate Professor Jaffe, chair
The Major in Theater
The major in theater forms an integrated study wherein students develop a broad knowledge of theater by balancing creative experience in studio work and production with the study of criticism, history of drama, and literature.
In addition to the department faculty, students have opportunities to work with guest artists in a variety of special workshops and master classes. The varied production program is designed to provide challenging and dynamic theater for the campus community while raising each student's artistic, collaborative and professional expectations and standard for success.
After officially declaring the theater major, students are required to meet with the department faculty for a major declaration interview. This interview, which typically takes place during the second semester of the sophomore year, is intended to help students design an integrated plan of study consistent with their interests and goals in theater and the wider College curriculum. Students will show representative samples of their strongest work and discuss their creative and scholarly intentions for the completion of the major, their engagement in the department, and their activity in the arts beyond the College.
The major consists of a minimum of eleven courses and three production practicums, creating a breadth of study in performance, production, theater history, and literature. Students studying away at an approved theater-intensive program may apply up to two courses toward the major. These substitutions are determined in consultation with the major advisor.
Students must take the following eleven 4-credit courses:
- Five foundation courses: Courses 104, 110, 141, 241, and 242.
- Performance Application: At least one course in acting, directing, dramaturgy, or playwriting from among Courses 206, 212, 226, 238, 268 or 314.
- Theatrical Texts: Course 228, 231, or 266; and one of the following: Classics 204, 222, 225/325; English 264, 265, 303A, 303B, 331, 370; SPA 304; EAS 226; or an approved equivalent.
- Theatrical Design: At least one course from among Courses 244, 245, or 247; or an approved equivalent.
- Two other courses in theater at the 300-level, which may include individual studies.
Majors are required to participate in at least three mainstage productions, taking at least four credit hours from the following practicum courses in production: 213, 215, 313, 315.
As an interdisciplinary field, theater study embraces a wide variety of intellectual and artistic endeavors, including literature, history, performance, and technology. The department urges its majors to widen their exposure to theater as it manifests itself in other departments and programs.
Senior Capstone Projects and Honors Study
Students majoring in theater are strongly encouraged to pursue a senior capstone project that will serve as the culmination of their undergraduate study. The department encourages students to consider ways to integrate a minor or second major, if applicable, into their capstone project. Senior capstones are taken as 400-level individual studies or as a senior seminar, and are proposed and considered during the spring semester of the junior year. All students proposing capstone projects must have completed the 300-level course in their chosen field by the fall semester of their senior year.
Exceptional students who meet the College's requirements and the department's prerequisites may propose a two-semester Honors Study as their capstone. Successful proposals are undertaken with the mentorship of a faculty advisor, and typically embrace creative and/or scholarly research in complement with a performance component. Both one-semester capstone projects and full-year Honors Studies are undertaken in addition to the major requirements. Capstone/Honors Study require specific coursework and/or practicum study as well as a minimum grade point average of 3.5 for courses in the major taken during the sophomore and junior years. Students should discuss the relevant details with their major advisors.
The Minor in Theater
After officially declaring the theater minor, students are invited to meet with the departmental faculty. This meeting, which typically takes place during the junior year, is intended to help students integrate their interests and goals in theater with their major and the wider College curriculum. Students will discuss their engagement in the department and their creative/scholarly intentions for the completion of the minor.
A minor consists of a minimum of six courses: Courses 110 and 141; Course 228, 231, 241, 242, or 266; one upper level course in theatrical design or performance application; one additional 200-level course in theater; and one 300-level course in theater, excluding individual studies. In addition, students must complete a total of three credit hours from the following practicum courses in production: 213, 215, 313, 315.
The National Theater Institute
Connecticut College is the college of record for all of the six programs offered by the Eugene O′Neill Theater Center’s National Theater Institute in Waterford, CT:
- National Theater Institute (NTI);
- National Music Theater Institute (NMTI);
- Advanced Directing Semester (AD);
- Advanced Playwriting Semester (AP);
- Theatermakers Summer Intensive (TM)
- Moscow Art Theater Semester (MATS) in Moscow, Russia.
NTI, NMTI, MATS, Advanced Directing and Advanced Playwriting offer an intensive semester program providing students with a unique opportunity to experience the rigors and standards of professional theater within the context of a liberal arts experience. The Theatermakers Summer Intensive offers a six-week immersion in training with professional observerships at the National Playwrights and Music Theater Conferences.
At the end of each program, grades are reported to Connecticut College. Connecticut College issues an official transcript and forwards it to the student’s college or university registrar upon request. For Connecticut College approved course descriptions and more information on each program, please visit www.theoneill.org/national-theater-institute. It is recommended that if a student completes a semester away, it should be taken in the junior year.
Learning Goals in the Theater Major
The major in theater exposes students to all aspects of dramatic production: acting, directing, design, technical theater, playwriting and dramaturgy, while providing a thorough grounding in dramatic literature and theater history. Through their course of study, students develop an understanding of how theater is created and a critical cultural context through which they can interpret performance in a nuanced and informed manner.
Our curriculum is designed to produce graduates who have achieved proficiency in the following areas:
KNOWLEDGE OF THEATER
The Department of Theater emphasizes acting and directing, but we ask students to study and work on all elements of theater so that they understand process of creating theater.
Through experience with historical, critical, and dramaturgical methods of research, students will learn how to consult a variety of sources and apply them to the creation and scholarship of theater. Primary areas of investigation include:
- Visual sources
- Professional Public performances
- Historical and literary sources
Development of critical reading and writing skills will strengthen students′ abilities in these areas:
- Knowledge of the canon
- Script analysis
- Critical models to develop aesthetic sensibility
- Models of historical and literary analysis
Performing creative material develops students′ understanding of the art and craft of the theater. Components of this work include:
- Studio and classroom explorations
- Continuing faculty guidance throughout production process
- Public discussion after opening night
- Critiques for performance and technical students after each performance
PERSONAL DEVELOPMENT AS AN OUTGROWTH OF THEATER
The Department of Theater encourages growth through the fulfillment of concrete tasks and responsibilities demanded of its practitioners. These tasks promote learning by:
- Fostering collaborative skills and the ability to work as part of a team
- Strengthening of presentational and leadership skills
- Developing administrative skills
- Giving opportunities to develop creative abilities
- Enhancing aesthetic sensibilities
CITIZENSHIP IN THE THEATRICAL COMMUNITY
Through completion of the major, students achieve an ethical awareness that will enrich both their artistic projects and other endeavors. Citizenship includes:
- Fostering a dialogue with the college and the larger community
- Presenting social concerns of a multi-cultural society and encouraging artistic dialogue about them
- Discussing dimensions and facets of humanity presented through dramatic productions
- Establishing life-long habit of theater attendance
- Becoming an active patron of the arts
THEATER 104 ACTING I: PREPARATION A foundation course in acting technique with extensive physical and vocal work, including an introduction to textual analysis and character development. All students are required to work on a crew for a college production. No prior acting experience is required.
Enrollment limited to 16 students. Offered both semesters. This course satisfies General Education Area 5. Staff
THEATER 110 TECHNICAL PRODUCTION: DANCE AND THEATER A foundational exploration of various technical and design components of dance and theater performance. Lighting, scenery, sound, multi-media, and costume and makeup will be investigated as core elements of technical production. This course is intended for both creative artists and technicians and is built around practical and experiential learning. This is the same course as Dance 110. One three-hour session per week, plus required lab hours on departmental productions. Prospective Theater or Dance majors and minors are encouraged to take this course during their freshman year.
Enrollment limited to 16 students. Offered both semesters. This course satisfies General Education Area 5. R. Dumond and S. Hove
THEATER 141 THE ART OF THEATER An examination of the process by which theater is created in contemporary America. Explanation of how each of the elements of theater−acting, directing, design, playwriting, dramaturgy, and theater spaces−contributes to the creation of the total theatrical production. Attendance at productions at professional regional theaters in the area and college productions required. Prospective majors should take this course by the end of their sophomore year.
Enrollment limited to 20 students. Open to freshmen and sophomores, and to others with permission of instructor. Special fee. This course satisfies General Education Area 4. V. Anderson
THEATER 241 THEATER AND CULTURE I: RISE FROM RITUAL An overview of representative plays, people, spaces, and events from theater’s origins to the birth of the modern era. Evolving trends in performance and practice, includingproduction methods, acting styles, and plays are examined in their historical and political contexts.
Open to sophomores, juniors, and seniors. This course satisfies General Education Area 4. V. Anderson
THEATER 242 THEATER AND CULTURE II: THE MODERN MIND An overview of representative plays, people, spaces, and events from the birth of the modern era to the present. Evolving trends in performance and practice, includingproduction methods, acting styles, and plays are examined in their historical and political contexts.
Prerequisite: Course 241 preferred. Open to sophomores, juniors, and seniors. This course satisfies General Education Area 4. V. Anderson
THEATER 206 ACTING II: PLAY ANALYSIS Study and practice of script analysis for actors, with a focus on contemporary plays. Scene work will focus on a play’s objectives, relationships, complexities, and key moments in order to interpret and shape the action of a play in rehearsal and performance. Focus on freeing the voice and using the body as an expressive instrument.
Prerequisite: Course 104; and 110 (may be taken concurrently). Enrollment limited to 12 students. K. Prestininzi
THEATER 212 PLAYWRITING: EXPOSURE TO THE ELEMENTS Through writing exercises and the study of stage plays, students will creatively explore dramatic structures, stage strategies, and the necessity and power of their unique imaginations. Along with explorative weekly writing assignments, students will complete a one-act play. Writing will be shared in class and presented at least once to an invited audience.
Enrollment limited to 16 students. This is a designated Writing course. K. Prestininzi
THEATER 226 DIRECTING I: COACHING THE ACTOR The fundamental elements of performance including: script analysis of character function, relationship, and action; basic acting techniques and how they can be applied to creating performances by means of the collaboration between actor and director; and visual composition and metaphoric images. Students will develop communication skills essential to professional interaction through in-class presentations, coaching, and discussions.
Prerequisite: Courses 104 and 110 (may be taken concurrently), or permission of the instructor. Enrollment limited to 15 students. D. Jaffe
THEATER 268 PRACTICAL DRAMATURGY This course is designed as a practical approach to the study of dramatic literature. Since the emphasis of such a course is to read for production and performance, rather than for academic research, the course will focus on a limited number of plays from the world repertoire. These plays will be covered in depth in class as hypothetical production projects. Each play project will require external research: reading and writing assignments; it will also require students to participate in individual and group exercises, reports or demonstrations in class. V. Anderson
THEATER 278 SPECIAL PROJECTS IN THEATER Explorations of the techniques of creating performance. This course is the curricular component of selected departmental mainstage productions.
Enrollment is through audition or permission of instructor. Student performances with evening rehearsals are required. This course satisfies General Education Area 5. Staff
THEATER 301 DIRECTING II: BUILDING A CONCEPT The study and practice of the directing process through examination of production styles and concepts, analysis and staging of dramatic texts, and discussion of performance theory. Each student is expected to direct a one-act play for public performance as the culmination of the semester's work. Extensive rehearsal time is required in addition to class meetings.
Prerequisite: Course 226 and permission of the instructor. Recommended for juniors and seniors. Enrollment limited to 8 students. D. Jaffe
THEATER 312 ADVANCED PLAYWRITING: THE WORKSHOP An advanced playwriting class that builds on Course 212 or a similar theater foundation. Students write complete plays and explore their writing through rehearsals, readings, and performances. Writers will strengthen their own voices as they share and creatively respond to each other’s compositions. The workshop focuses on the creative process (individual strategies of attention, commitment, imagination, and play) as well as the demands of dramatic structures and traditions.
Prerequisite: Course 212 or permission of the instructor. Enrollment limited to 10 students. This is a designated Writing course. K. Prestininzi
THEATER 316 THE SOLO PERFORMANCE EVENT A study of seminal and influential contemporary works in various genres of solo performance (autobiography, creative writing, dance, drama, and music). Through creative expression within these ever-changing literary and performance traditions, students will investigate and ″try out″ the solo performer as political activist, cultural dramatist, and truth-telling fabricator. This is the same course as Gender and Women's Studies 254.
Open to sophomores, juniors, and seniors. Enrollment limited to 16 students. This course satisfies General Education Area 5. K. Prestininzi
THEATER 322 ADVANCED ACTING: THE REALISTS Intensive text analysis and performance of scenes from the major plays of Chekhov, Ibsen, and others, together with readings in acting theory. Two two-hour class meetings per week plus extensive rehearsal time.
Prerequisite: Course 206 or permission of the instructor. Enrollment limited to 10 students. D. Jaffe
THEATER 323 ADVANCED ACTING: HEIGHTENED TEXT Intensive text analysis and performance of scenes from plays that demand a heightened performance style. Class will focus on playwrights from the surrealist, absurdist, and post-dramatic theater movements. Two two-hour class meetings per week plus extensive rehearsal time.
Prerequisite: Course 206 or permission of the instructor. Enrollment limited to 10 students. D. Jaffe
THEATER 324 ADVANCED ACTING: SHAKESPEARE Intensive text analysis and performance of scenes and soliloquies from the major plays of Shakespeare, together with readings in acting theory. Two two-hour class meetings per week plus extensive rehearsal time.
Prerequisite: Course 206 or permission of the instructor. Enrollment limited to 10 students. D. Jaffe
THEATER 378 SPECIAL PROJECTS IN THEATER Explorations of the techniques of creating performance. This course is the curricular component of selected departmental mainstage productions. Enrollment is through audition.
Prerequisite: Courses 104 and 110, and permission of the instructor. Recommended for juniors and seniors. Student performances with evening rehearsals arerequired. This course satisfies General Education Area 5. Staff
THEATER 228 PLAY READING AS PUBLIC PERFORMANCE Creating a performance context for the reading of new and classic texts for the theater. Vocal and physical exercises, and analysis of dramatic texts. Performances will be staged in various locations both on campus and in the community. Student performances with evening rehearsals may be required. Recommended for sophomores and juniors.
Prerequisite: Course 104 and permission of the instructor. Enrollment limited to 15 students. Staff
THEATER 231 U.S.A. PLAYS/AMERICAN DRAMA The study of plays by American playwrights such as Adjmi, Albee, Chan, Cruz, Fornes, Kennedy, Kushner, Moss, Nottage, Vogel, Stein, Treadwell, Williams, and Wilder. Beginning with the 20th century, this course looks at the great diversity of affirmative and transgressive voices in playwriting in the United States with a focus on the relationship of the individual to society. This is the same course as American Studies 231.
Recommended for sophomores and juniors. K. Prestininzi
THEATER 266 MUSICAL THEATER IN AMERICAN CULTURE A survey of American musical theatre, including its origins, development, and influence on popular culture. The course focuses on significant productions and the composers, lyricists, librettists, directors, designers, choreographers, performers, and producers who created them. Artists may include Ziegfeld, Berlin, George and Ira Gershwin, Rodgers and Hart, Hammerstein, Bernstein, Robbins, Sondheim, Lloyd Webber, and Schwartz. This is the same course as Music 266 and American Studies 266.
Required field trips and screenings. This course satisfies General Education Area 4. V. Anderson
CROSS-LISTED THEATRICAL LITERATURE
THEATER 222 ANCIENT COMEDY This is the same course as Classics 222. Refer to the Classics listing for a course description.
THEATER 264 HAPPY ENDINGS: SHAKESPEARE'S COMEDIES This is the same course as English/Gender and Women's Studies 264. Refer to the English listing for a course description.
THEATER 265 SPEAKING WHAT WE FEEL: SHAKESPEARE'S TRAGEDIES AND HISTORIES This is the same course as English/Gender and Women's Studies 265. Refer to the English listing for a course description.
THEATER 331 SHAKESPEARE IN PERFORMANCE This is the same course as English 331. Refer to the English listing for a course description.
THEATER 370 MODERN DRAMA This is the same course as English 370. Refer to the English listing for a course description.
THEATER 244 EXPLORING LIGHT AND SHADOW: LIGHTING DESIGN FOR THE PERFORMING ARTS An introduction to the role of lighting in both the performing and visual arts. Students will examine lighting as a genre-crossing tool in theatre, dance, visual, and performance art. The course includes an overview of the entire design process, with emphasis on textual analysis, conceptualization, and collaboration. This is the same course as Arts and Technology/Dance 244.
No prerequisite. Theater/Dance 110 (formerly Theater 120/ Dance 125) is recommended. Enrollment limited to 16 students. This course satisfies General Education Area 5. Staff
THEATER 245 DESIGN AESTHETICS Focus on overall visual design skills including individual and group projects. Developing responses to plays and other media, and expressing those responses through set and light design. Particular attention will be given to the ways by which artists communicate with other artists and the audience through visual imagery. Permission of the instructor required.
Enrollment limited to 16 students. Staff
THEATER 247 THE PSYCHE OF DRESS: COSTUME DESIGN AND CONSTRUCTION An introductory studio course examining the theory and practice of costume design. Garment construction and fabric manipulation skills will be developed as students explore how clothing, personal adornment, and body language influence the way characters perceive others and present themselves. Emphasis on the thematic meanings of costume in theater, film, dance, and performance art. Special fee.
Prerequisite: Theater/Art History 297 or permission of the instructor. Enrollment limited to 10 students. This course satisfies General Education Area 5. S. Notarfrancisco
SPECIAL CREDIT COURSES
THEATER 275 ACTING COMPANY: THE PROJECT The course offers opportunities for students to act in advanced directing class projects. Usually covering a six-week rehearsal and performance period, the class engages students with one-act plays, extended scene work, or original adaptations. Students will deepen their exploration of the actor's instrument through ensemble work, character development, and performance experience. All projects are under the guidance of faculty directors or mentors. Open by audition; regular rehearsals and intensive production week commitment required. One semester-hour credit (pass/not passed). May be repeated for credit.
Enrollment limited to 40 students. Staff
THEATER 277 ACTING COMPANY: THE PRODUCTION The course offers opportunities for students to act in departmental mainstage productions. Usually covering a six-week rehearsal and performance period, the class engages students with full-length works from the Greeks to Shakespeare to contemporary playwrights. Students will deepen their exploration of the actor's instrument through ensemble work, character development, vocal and physical exercises, and performance experience. All productions are under the guidance of faculty directors. Open by audition; regular rehearsals and intensive production week commitment required.
Prerequisite: Course 104 and permission of instructor. Two semester-hour credits (optional pass/not passed). May be repeated for credit. Enrollment limited to 40 students. Staff
THEATER 294 THEATERMAKING WORKSHOP/SEMINAR SERIES Lectures, discussions, and workshops on current theatrical movements and methods. Presentations, demonstrations, and workshops by visiting artists and scholars, as well as Connecticut College faculty. Regularly scheduled meetings throughout the semester. One-credit hour, passed/not passed.
Enrollment limited to 40 students. Staff
SPECIAL COURSES AND SEMINARS
THEATER 199/399 CC: THE AIDS EPIDEMIC IN THEATER AND FILM HIV/AIDS is a crisis of our lifetime, and artists were among the first to document its role in history. In this course we will analyze theater created in response to the AIDS epidemic from the first documentation of the disease in 1981 to the present. We will consider these works from interdisciplinary perspectives, drawing on politics, economics, and changing medical discourse and practice in order to understand how the embodiment of HIV on stage reflects changing medical and social conditions. After exploring how public knowledge about AIDS has been constructed, we consider the creation and impact of artistic interventions. Through comparison with popular press coverage of key moments in the history of HIV/AIDS in the United States, we examine plays and performance as historical evidence contributing to a cultural chronicle of the epidemic. In conversation with New London’s AIDS Service Organization, Alliance for Living, students examine the connections among the local, national, and global histories of the epidemic and make them personal through their own performances, interviews, and awareness-building events.
Course 199 open to freshmen and sophomores. Students may not receive credit for this course and FYS 143K/144H. This is the same course as American Studies 199. As a ConnCourse, this class makes connections across the liberal arts. This course satisfies General Education Area 4. Enrollment limited to 15 students.
Course 399 open to juniors and seniors. Students enrolled in this course will complete additional assignments as appropriate. Students may not receive credit for this course and FYS 143K/144H or Course 199. This is the same course as American Studies 399. This course satisfies General Education Area 4. Enrollment limited to 15 students. G. Anderson
THEATER 297 COSTUME HISTORY The development of dress in the West, from Ancient Egypt to the present. Emphasis on style and silhouette, including textiles, cosmetics, hair dressing, and fashion accessories that created the differing ideals of beauty throughout history. Concentration on the social, political, and historical events that contributed to the evolution of clothing. This is the same course as Art History 297.
Enrollment limited to 40 students. This course satisfies General Education Area 4. S. Notarfrancisco
FULL COURSE DESCRIPTION WITH THE SRS COURSES?
THEATER 299 ART OF PROTEST: OCCUPY_____ This is the same course as Sophomore Research Seminar 299C. Refer to the Sophomore Research Seminar listing in College Courses for a course description. S. Luber
THEATER 310 GENDER ISSUES IN CONTEMPORARY PERFORMANCE An exploration of gender issues in contemporary dramatic literature and performance with an emphasis on collaborative practices used to create performance works. Staff
THEATER 329 TECHNE: PROJECTS IN PERFORMANCE AND TECHNOLOGY An exploration of the rich and often contested relationship between performance and technology. An historical investigation, from the deus ex machina of ancient Greece to the smartphone, will serve as the basis for examining contemporary issues of communication, connection, and shared values. Academic analysis will be complemented by collaborative workshops and original artistic work. This is the same course as Arts and Technology 230
Enrollment limited to 16 students. This course satisfies General Education Area 5. S. Luber
THEATER 340 SEMINARS IN THEATER Open to junior and senior majors, and to others with the permission of the instructor.
THEATER 340B SEMINARS IN THEATER: THEORIES OF PERFORMANCE Modern and classic approaches to performance art explored through the work of theoreticians, directors, and critics such as Aristotle, Wagner, Brook, Craig, and Chaikin. Appropriate videos, films, and plays considered in tandem with theoretical and critical readings. Staff
THEATER 340C SEMINARS IN THEATER: HISTORY OF THE AVANT-GARDE A study of the contemporary theater of Europe and the U.S. focusing on the anti-realists who shaped the avant-garde response in this country to the "fourth wall convention." Playwrights such as O'Neill, Brecht, and Pirandello will be studied as well as directors, theorists, and performance artists. Staff
THEATER 340D SEMINARS IN THEATER: EUGENE O'NEILL AND HIS AMERICA The life, times, and works of the United States' most honored playwright, with special emphasis on the New London roots of many of his dramas. This is the same course as American Studies 339. Open to juniors and seniors.
Enrollment limited to 15 students. This is a designated writing course. Staff
THEATER 340E SEMINARS IN THEATER: PERFORMANCE STUDIES This course employs ″performance″ as a lens through which culture and society can be scrutinized. Through site visits and readings, students will investigate such topics as the performance of nationality, cultural dynamics of tourism, and representations of history from the interdisciplinary perspective of performance studies.
Open to juniors and seniors. Enrollment limited to 16 students. Staff
THEATER 213 PRACTICUM: PRODUCTION INTENSIVE Extended work in a production week crew position (e.g., makeup crew head, sound board operator, lightboard operator) for one of the theater department's mainstage productions. Students work with director, designers, or technical director and may supervise crew. One required workshop, attendance at weekly production meetings as needed, and intensive commitment over a nine-day production period. One credit hour, pass/not passed marking. May be repeated for credit.
Prerequisite: Permission of the instructor. Staff
THEATER 215 PRACTICUM: PRODUCTION PROCESS Extended work as a major crew head (typically props, sound, or costumes) or assistant stage manager for one of the theater department′s mainstage productions. Students work with director, designers, or technical director, and may supervise construction or running crews. One required workshop, attendance at weekly production meetings during six-week rehearsal process, rehearsal attendance as needed, and intensive commitment over a nine-day production period. Two credit hours. May be repeated for credit.
Prerequisite: Course 110 preferred. Permission of the instructor. Staff
THEATER 313 PRACTICUM: PRODUCTION APPRENTICESHIP Extended work as an assistant director, assistant designer, assistant technical director, or dramaturg for one of the theater department's mainstage productions. Students work directly with director, designer, or technical director, and may supervise construction, running crews, or cast. One required workshop, attendance at weekly production meetings during six-week rehearsal process, rehearsal attendance and planning sessions as needed, and intensive commitment over a nine-day production period. Two credit hours. May be repeated for credit. Course 313 is prerequisite for a senior capstone or honors study.
Prerequisite: Courses 110, 215, and permission of the instructor. Enrollment limited to 40 students. Staff
THEATER 315 PRACTICUM: PRODUCTION LEADERSHIP Extended work as stage manager for one of the theater department's main-stage productions or production coordinator for the senior capstone projects. Student works directly with the director(s), designers, technical director, and department administration, and supervises assistant stage managers and running crews. One required workshop, planning sessions with the director and designers as needed, and intensive leadership commitment over a nine-day production period. Students lead weekly production meetings and manage rehearsals during six-week rehearsal process. Three credit hours. May be repeated for credit.
Prerequisite: Courses 110, 215 and permission of the instructor. Staff
INDEPENDENT STUDIES AND ADVANCED PROJECTS
THEATER 296 FIELD WORK Supervised practical work at an established theater company or organization. Students will work under the supervision of an official or director of the field theater and will keep a journal or record of the experience, including analysis from a theoretical viewpoint, which will be submitted to the supervising faculty member. Under exceptional circumstances, students may enroll for more than four hours in field work credit in a given semester.
Prerequisite: Completion of four courses in theater, recommendation of the supervising faculty member, practical experience, permission of the participating organization and field supervisor and approval by the advisory committee on theater. Staff
THEATER 330, 430 CONCENTRATION PROJECT This is a studio class for theater majors who are completing their concentrations or seek to develop their production work beyond the curricular offerings. Admission to the course is based on demonstrated excellence in related theater department courses and demonstrated ability to develop and pursue effort with a high degree of initiative and responsibility. Staff
THEATER 494 SENIOR CAPSTONE SEMINAR Advanced study leading to a capstone project in the student’s selected area of the major field (e.g. directing, playwriting, acting, design, or dramaturgy). The culminating project may be an original work, a performance, or research, and may be interdisciplinary in nature. Structured as a colloquium, participating students work in collaboration or individually, sharing their research and creative processes
Permission of the instructor. K. Prestininzi
THEATER 291, 292 INDIVIDUAL STUDY
THEATER 391, 392 INDIVIDUAL STUDY
THEATER 491, 492 INDIVIDUAL STUDY
THEATER 497-498 HONORS STUDY