SOLO SHOWS
We will use the experience of writing a piece with built-in constraints – cast size with a solo show – to expand our thinking about what is a theatrical event. We will work toward becoming more in touch with our imaginations and in greater awareness and command of what we know. We will explore what is of interest to each of us now, through in-class writing and outside assignments.
- W 9:30 a.m.-12:20 p.m.
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Instructor:
Leslie Ayvazian
Wikipedia Info - 3 points
CONTEMPORARY AMERICAN PLAYS
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- F 10 a.m.-12:50 p.m.
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Instructor:
Kate Loewald
Info - 3 points
ARTISTIC RESEARCH
This graduate course is designed to explore the ways in which research can be approached through artistic practices. Through interdisciplinary approaches, students will explore and develop the use of artistic methodologies in their research practices, culminating in a final multidisciplinary art project that demonstrates the integration of these practices into their research.
- F 10 a.m.-12:50 p.m.
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Instructor:
Maria Jose Contreras
Info - 3 points
THE ACTOR'S BODY III
This course deepens the actor’s working understanding of their body as “instrument” and teaches practical application of learned skill sets for professional practice and complex use.The course achieves this objective by examining current practice and providing solutions for real time obstacles and challenges actors are encountering in their daily practice in classes and rehearsals. Challenges faced are explored specifically in context of class vocabulary as well as by providing increasingly complex tasks that require use of multiple skills sets at once.The course continues the work of developing physical ease and awareness and expands each actor also to prepare body and being for work in ensemble.
OTHER FRONTIERS IN STAGE MANAGEMENT
OTHER FRONTIERS: DANCE
TBD
- M 2 p.m.-4:50 p.m.
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Instructor:
Jacqueline Reid
Info - 1.5 points
OTHER FRONTIERS IN STAGE MANAGEMENT
OTHER FRONTIERS: OPERA
TBD
- W 2:30 p.m.-4:30 p.m.
- 1.5 points
SEMINAR IN STAGE MANAGEMENT III
MUSICAL STRUCTURE
Musicals, especially those that have traditionally originated on Broadway, are complex pieces of machinery that are designed to produce a variety of energies in the theater. When taken collectively, those energies constitute the aesthetic of the experience. As with plays, stage managers are charged with coordinating all of a musical’s production elements. However, stage managers should also be able to view a musical from every angle; that is, read it intelligently and analyze it dramatically so they can accurately gauge their contribution to the overall aesthetic. This course seeks to provide stage managers with a customized template to do that: in other words, how to connect what’s on the page and the stage to their own standard methodologies, cue calling, and the CEO/COO perspective. In the contemporary professional landscape, these are important tools that will help them optimize their work on musicals.
- R 2 p.m.-4:30 p.m.
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Instructor:
Michael Passaro
Info - 3 points
CRITICAL ISSUES IN STAGE MANAGEMENT
INTIMACY DIRECTION FOR SM
Conflict Resilience. Developing the comfort and skills necessary to respond to disagreements and mis-alignments is essential for leaders and stage managers. Through a series of discussions, experienced guests, reading, role-playing, and in-class exercises, this workshop style class will present an overview of Alternative Dispute Resolution (ADR) and Restorative Process theory and techniques with a practical focus on building our skills and comfort level to be able to reframe conflict as a chance for learning, understanding, and change.
Exceeding EDI. The impact of incorporating Equity, Diversity, Inclusion, Accessibility and Belonging into the commercial theater industry in a post George Floyd era. As stage managers, it is crucial that there is a framework for supporting the evolving identities and needs of the many populations present in a theater setting. Through a series of articles, in-class discussions, written reflections and conversations with working professionals, we will develop an understanding of a variety of social issues that currently exist in the industry while building a toolkit on how to navigate them.
- M 10 a.m.-12:50 p.m.
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Instructor:
Katherine A Mahoney
Info - 1.5 points
CRITICAL ISSUES IN STAGE MANAGEMENT
CRIT ISSUES: CONFLICT RES
Conflict Resilience. Developing the comfort and skills necessary to respond to disagreements and mis-alignments is essential for leaders and stage managers. Through a series of discussions, experienced guests, reading, role-playing, and in-class exercises, this workshop style class will present an overview of Alternative Dispute Resolution (ADR) and Restorative Process theory and techniques with a practical focus on building our skills and comfort level to be able to reframe conflict as a chance for learning, understanding, and change.
Exceeding EDI. The impact of incorporating Equity, Diversity, Inclusion, Accessibility and Belonging into the commercial theater industry in a post George Floyd era. As stage managers, it is crucial that there is a framework for supporting the evolving identities and needs of the many populations present in a theater setting. Through a series of articles, in-class discussions, written reflections and conversations with working professionals, we will develop an understanding of a variety of social issues that currently exist in the industry while building a toolkit on how to navigate them.
- M 10 a.m.-12:50 p.m.
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Instructor:
Fredric Hanson
Info - 1.5 points
Navigating DEAIB: Strategies for Stage M
Diversity, Equity, Inclusion, Accessibility and Belonging (DEIAB) is more than a series of practices; it incorporates values and principles that run counter to the traditional, exclusionary power dynamics that have impacted the commercial theatre industry for decades. With a focus on creating or re-establishing positive relationships amongst all community members, Critical Issues in Stage Management considers real-world proficiencies in diversity, equity, inclusion and consent-forward practices that have direct application to our work as Stage Managers.
During this course we will examine the impact of incorporating Equity, Diversity, Inclusion, Accessibility and Belonging into the commercial theater industry in a post George Floyd era. As stage managers, it is crucial that there is a framework for supporting the evolving identities and needs of the many populations present in a theater setting. Through a series of articles, group projects, in-class discussions, written reflections and conversations with working professionals, we will develop an understanding of a variety of social issues that currently exist in the industry while building a toolkit on how to navigate them.
- W 9:30 a.m.-12:20 p.m.
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Instructor:
Erin Dunlevy
Info - 3 points
THEATRE PRACTICUM II
IMPULSE/STIMULUS/SPECIFICITY
TBD
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Instructor:
Tina Benko
Info - 3 points
PRODUCTION & TECHNICAL MANAGEMENT
PRODUCTION & TECH. MANAGE
- F 9:30 a.m.-11:50 a.m.
- 3 points
DIALECTS & ACCENTS
This course continues the actor’s work of experiencing voice and text in a free body as a means to develop versatile and transformative speech. Students will deepen and refine their knowledge of the phonemes of the International Phonetic Alphabet (IPA), as well as the ability to categorize and utilize Lexical Sets in pursuit of a dialect/accent. Students will demonstrate their ability to notate texts and transcribe dialects and accents into both IPA and practically apply the framework of the Four Pillars and the Voice Recipe.
The student will use these tools, supplemented by handouts, video & audio resources and independent research, to study several accents/dialects in class as well as at least one additional independently researched accent/dialect. The goal of the class is to expand upon the actor’s choices of speech and vocal expression and to acquaint her/him with the resources necessary to truthfully portray an individual utilizing a dialect/accent on stage or screen.
Students will develop their own unique process for learning accents and dialects
, as well as efficiently and effectively applying their progression to texts via a combination of practice sentences, scene work, conversation, improvisation, cold readings, and a prepared monologue. Students will complete the course having created a personal, in-depth method for researching and performing a role in which an accent or dialect is required.
Students will do self-directed and supported research as part of their study. They will consciously and intelligently assimilate this contextual research into their embodiment choices. The final project is a presentation of their research and the sharing of a monologue that is ideally
written in the student’s selected dialect or accent
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Instructor:
Elizabeth Hayes
Info - 2 points
ACTING III
MFA acting students will tackle verse drama and heightened language. We will spend much of our time investigating Shakespeare’s writing, with a focus on King Lear and Much Ado about Nothing, and will weave in contemporary heightened language texts throughout the semester.
Goals
To develop students into keen interpreters of heightened theatrical language, both classical and contemporary
To enable students to express their instinctive emotional responses to the rhythms, sounds and the mysteries contained in great language texts
To bring character and the specific imaginative world of each play alive thru the language
To foster each actor’s unique voice
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Instructor:
Peter Fernandez
Wikipedia Info - 3 points
SHAKESPEARE IN PERFORMANCE
This class, will primarily focus on the challenges of interpreting and performing Shakespeare.
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Instructor:
Scott V Whitehurst
Info - 3 points
DIRECTOR-DESIGNER WORKSHOP
To begin to develop an understanding and vocabulary in relation to theatrical design with a central emphasis on the roles of scenery and costumes in telling a dramatic story.
The class will begin with a general introduction into the issues and goals of the course, after which there will be three sessions devoted to issues of scene design and three sessions devoted to issues of costume design. Shakespeare’s Hamlet will be the focus for these discussions. Over the course of these sessions, directors will be asked to gather visual research and, in the end, arrive at a concept for their production of the play.
Directors will also be asked to visit one set and one costume class so that they can see how designers are grappling with the same principles and developing different approaches to interpreting and realizing a theatrical text for the stage.
- T 6:30 p.m.-9:30 p.m.
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Instructor:
Anne Bogart
Wikipedia Info - 3 points
ADVANCED PLAY DIRECTING SEMINAR
ADV. PLAY DIRECTING SEMIN
This class will focus in on how to direct opera and will cover the process of making an opera from analysing the score until the opening night. The aims are to: 1) Introduce theatre directing students to the practical differences between theatre and opera directing; 2) Equip them with practical skills and knowledge so that they could walk into any opera rehearsal room (either as an assistant or a director) and know exactly what to expect and how to manage the process; 3) Offer them techniques to strengthen their skill of interpretation or concept by guiding them to focus in on one specific opera case study; and 4) Introduce them to specialist professional practitioners, like conductors, singers and set designers, to allow them to understand the art form through the lens of the collaborators the opera director works with.
- W 9:30 a.m.-12:20 p.m.
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Instructor:
Anne Bogart
Wikipedia Info - 3 points
DIRECTED STUDIES IN PLAYWRITING
DIRECTED STUDIES - PLAYWR
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- F 10:10 a.m.-1 p.m.
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Instructor:
Lynn Nottage
Wikipedia Info - 3 points
SCENE STUDY II
SCENE STUDY II: CHEKHOV
- T 2:10 p.m.-5 p.m.
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Instructor:
Moises Kaufman
Info - 3 points
ADVANCED SEMINAR IN THEATRE MANAGEMENT
ADV SEMINAR IN THEATRE MG
Aspects of the commercial theatre with perspectives from Executives of The Shubert Organization.
The Shubert Organization owns 17 Broadway, 6 Off-Broadway and 2 “road” theatres. It is a multi-million dollar company with significant real estate holdings, a substantial investment portfolio, a major ticketing operation and over 1,500 employees. But whether you are dealing with a 1,750-seat theatre or a converted garage, the issues are the same: What shows should be produced/booked? How to find an audience for them? How to make the most of ever-advancing modes of technology? How to contend with artistic, financial, organizational and legal challenges? The fundamental question: How to present the finest work in the best possible circumstances for the largest number of people in order to achieve the greatest artistic and financial return possible?
- R 1 p.m.-3 p.m.
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Instructor:
Charles Flateman
Info - 3 points
INTERNATIONAL FESTIVALS & TOURING
INTL FESTIVALS & TOURING
Theatrical experiences are more frequently crossing borders to not only share art around the world, but also to remain financially and culturally sustainable. This is the first course offered by the Theatre Program that looks at the vision and logistics of bringing theatre to places all over the world.
“The work of a director can be summed up in two very simple words. Why and How.” -- Peter Brook,
On Directing
As theatre producers and managers, we’ll ask “Why and How” in a preliminary investigation into the missions and mechanics of producing international festivals and tours. We will consider our roles as members of the international performing arts community and our relationships to our artists, our audiences, and our international partners and colleagues.
- W 2 p.m.-5 p.m.
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Instructor:
Ellen Dennis
Info - 1.5 points
PROOF OF CONCEPT
This class is specifically designed to give the 3rd year student an opportunity to learn how to create their own work in a safe and structured environment. The work will be broken into 7 parts and 10 classes.
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Instructor:
Rafi Silver
Info - 0 points