INDEPENDENT STUDY
Prerequisites: Permission of the instructor and the chair required. Students submit, before the semester begins, a detailed proposal for independent research to a faculty sponsor.
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Instructor:
Anne Bogart
Wikipedia Info -
Instructor:
Brian Kulick
Info - 1-4 points
MOVEMENT FOR ACTORS
A journey through movement, connecting the basic principles of movement techniques, such as Ballet, Horton, Graham, Jazz, and Musical Theatre to apply to an actor's body and the physical creation of a character.
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Instructor:
Will Rhem Jr
Info - 1.5 points
CLOWN
CLOWN II
In this class, we will build up the actor’s physical and mental muscles via exercises, games, and assignments that rediscover uncensored child-like wonder. We will attempt to relax our brains, open up our hearts and move our bodies with great pleasure together, which will cultivate an intrinsic appetite for an open, vulnerable, generous, ferocious, playful, rigorous, surprising and impulsive presence. This state of flow, hopefully, will be able to find its rightful place in any role and in any medium you pursue.
Most of this semester will be spent on exercises in pursuit of your unique individual clowns as we necessarily soften and shed physical and emotional holds by inviting a sense of play and imagination. These exercises will gradually allow your latent clown-within (i.e. your talent / humanity) to show up in the room. Towards the end of this introductory class, we will encounter the smallest mask on earth – the Red Nose! – which not only doesn't mask, but instead draws attention to and magnifies YOU.
We will invite your generous openness, ferocious abandon, insistent honesty and gleeful mischief to make a larger footprint in your work, so the top layer of the iceberg that is your socially-conditioned selves can slowly melt away. You will sweat. You will make songs. You will listen deeper and harder. You will be engaged and relaxed at the same time. You will release some glorious ha-ha’s and emotional wa-wa’s into the ether. This all will be silly. You will make something disastrous and messy. You will confront fears and conjure bravery. You will make something wonderful and surprising – as you unearth the engine behind all that makes you interesting, that which makes you authentic. What makes you YOU. Your clown – the one and only.
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Instructor:
Ralf Jean-Pierre
Info - 3 points
ACTING II
The scenes selected for study and practice will come from dramatic works by playwrights of the 20th and 21st centuries. For the most part these writers will be American dramatists, but exceptions may sometimes be made. The scenes being used are assigned by the instructor, sometimes by way of suggestions by the student, if the student has a particular interest in a specific writer or character. Three scenes are presented each class. Each scene will be able to work with the teacher for approximately 50 minutes. The emphasis of the working session is on process, methods of rehearsal, engagement of body and voice, employment of principles of craft, and self-analysis.
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Instructor:
Ronald Van Lieu
Info - 3 points
CREATIVE CODING
In the production of immersive experiences, technology is used in creative ways to promote interactivity with an audience. Imagine creating performances where effects are magically triggered by participants, bespoke props can be controlled through theatrical cueing systems and online experiences are connected to the physical world. The Internet of Things (IoT) can be much more than smart toaster ovens - connected devices open up the possibility for unique storytelling opportunities beyond the screen.
This course provides a hands-on introduction to programming and the development of physical computing devices. We will explore various sensors, outputs, communication protocols and methods for connecting internet services together to create interactive prototypes for your immersive concepts.
STORYTELLING & DRAMA
Non-traditional Structure
This course is designed to explore nontraditional structures for the theater and beyond. We will read plays, stories, theories and watch movies that all utilize and explore nontraditional narrative structures. We will then write our own plays. Through small writing in the beginning of the semester, we will be looking at how story and structure work together to make drama. You will also find structure that excite you and you will write a final play using a structure of your choice. The course will also explore kinds of story, genre, and geometry of story.
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Instructor:
James Ijames
Info - 3 points
SURVEY OF DIRECTOR EXPERTISE
The goal of this course is to introduce the MFA directing students to the depth and breadth of the knowledge contained by some of the most exciting directors working today. Through three distinct sections, faculty will share with students a bit of their expertise in a particular topic, discussing how it informs their directing practice, and providing opportunities for students to learn by doing.
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Instructor:
Moises Kaufman
Info - 3 points
CREATING A PLAY II
The Spring Semester will provide the opportunity for each student to hone their play through further drafts into a finished work. Students will serve as dramaturges for each other. The semester will end with presentations of the completed plays. Each presentation is the responsibility of the author and their dramaturge.
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Instructor:
Leslie Ayvazian
Wikipedia Info - 3 points
GAMES
Theatre Games to access, release into and foster playfulness. Through games, students build a foundation for curiosity and boldness. Students learn to listen to their creative instincts as an aid to dissolving self-judgment. Games are played in a bare room and out of nothing more than our imaginations.
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Instructor:
Danielle Skraastad
Info - 1.5 points
TOPICS IN THEATRE HISTORY & THEORY
DRAMATURGIES OF THE REAL
A course description will be forthcoming.
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Instructor:
Maria Jose Contreras
Info - 3 points
SPEECH II
In this course, students will continue an exploration of their Idiolects in relationship to both extemporaneous and heightened texts through class and small group work that focuses on audibility, clarity, resonance, vocal dynamics by way of imaginative activation, articulation and ownership. The objective of this course is for students to activate their speech in such a way that it ignites and expands both their imaginations and their capacity to communicate language with honesty. They will experience a full and balanced sound that is neither pushed nor half-baked, neither rushed nor indulgent, and fill space onstage and in the world with their voice and their presence. Students will also hone their skills of self-observation, offer useful feedback and take ownership of and interpret a variety of texts to be expressed on vibration.
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Instructor:
Elizabeth Hayes
Info - 2 points
SPEECH III
In this course, students will continue their individual development of
greater ownership
, expression and embodiment of heightened (mostly Shakespeare’s) text. The objective of this course is for students to practice landing heightened text with honesty and clarity, uniting the Givens and the Imaginatives. “It’s not about making it right, it’s about making it ALIVE.”
Students will:
(Continue to) refine their articulation skills via a strong working knowledge of the IPA and corresponding Lexical Sets
Dance along the fine line between control and freedom of their muscles of articulation in order to share complicated thoughts and speak heightened language with invisible technique
Unpack and investigate texts in order to marry structure with meaning
Interpret texts with Musiclarity – the musicality of the language supporting the clarity of the thought
Play with passion, curiosity, specificity and
humanity.
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Instructor:
Elizabeth Hayes
Info - 2 points
VOICE & ALEXANDER TECHNIQUE II
Voice and Alexander Technique II deepens and expands the work we did in Voice and Alexander Technique I. This continuing course presupposes that you have continued our work in your daily practice and in your other classes and have begun to develop clarity around the inner structure of the body which is your physical and vocal support. Our work this term will help you develop a solid vocal technique, a body that is strong, open and free, and a mind which is clear and focused.
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Instructor:
Jean McClelland
Info - 1 points
OTHER FRONTIERS IN STAGE MANAGEMENT
OTHER FRONTIERS: INTL
TBD
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Instructor:
Fredric Hanson
Info - 1.5 points
THEATRE MANAGEMENT & ADMINISTRATION II
THEA MGMT & ADMIN II
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Instructor:
Steven E Chaikelson
CULPA: 5
Info
- 3 points
THEATRE MANAGEMENT & ADMINISTRATION II
UNION AND CONTRACTS
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Instructor:
Laura B Mackinnon
Info - 3 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.
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Instructor:
Bonnie Panson
Info - 3 points
TICKETING
An in-depth, seminar-style course on the management of ticketing with a focus on practical strategies to maximize grosses efficiently while providing a seamless audience experience. The course includes a semester-long group project intended to demonstrate the various decisions that theater managers must make to ensure the financial stability of their productions and institutions.
- 3 points
ART OF LEADING: NEXT PRACTICES FOR SM
As a Stage Manager, collaborative leadership is a both a skill and an art. It is crucial to the success of any production. This involves understanding human behavior, developing effective communication skills, and fostering a holistic workplace environment. Contemporary stage managers need to develop “next practice” skills
in order to actively calibrate their important contribution to the art of creating theater. With practice and refinement, these skills become the foundation for stage managers to lead the people and the production.
The goal of the course is to explore a variety of forward-thinking topics that focus on the process of leading theatrical teams; by the end of the semester, students should have not only a better understanding of next practice theory, but methodologies and competencies that they can deploy in practice.
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Instructor:
Amber White
Info - 3 points
THEATRE PRACTICUM II
ELEVATED & CONTEMPORARY TEXTS
TBD
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Instructor:
Scott V Whitehurst
Info - 3 points
THEATRE PRACTICUM II
UNPAC US RESIDENT THEATRE
TBD
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Instructor:
Victoria Bailey
Info - 3 points
THEATRE PRACTICUM II
PLAYWRIGHT-ACTOR WORKSHOP
TBD
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Instructor:
James Ijames
Info - 3 points
THEATRE PRACTICUM II
CONTEMPORARY GLOBAL PLAYS
TBD
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Instructor:
Kate Loewald
Info - 3 points
COLLABORATION STUDIO
Collaboration Studio is meant to foster and encourage creative relationships between and among the six concentration that comprise the Columbia MFA Theatre Program.
The goal of the class is to celebrate the process and presentation of new work.
Success is defined by a desire by all participants for working relationships to extend beyond the class and into the world-at-large.
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Instructor:
Timothy A Hess
Info - 0-3 points
DIRECTED STUDIES IN PLAYWRITING
DIRECTED STUDIES - PLAYWR
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Instructor:
Lynn Nottage
Wikipedia Info - 3 points
DRAMATURGY OF MUSICAL THEATRE
The purpose of this course would be to familiarize its students with the form and function of musicals, and teach them how to work with writers of musicals. I would begin with a fundamental building block of the musical structure: the song. We would look at examples of songs both from musicals and not in order to analyze how songs contain information pertinent to both plot and emotional arcs. After this we would look at examples of classic musical structures. This might include shows and structures like Oklahoma! (for a classic structural template), Guys and Dolls (musical comedy), Gypsy (a dominant singular character), A Chorus Line (a superstructure), Assassins (a show that probably shouldn’t work but does) and A Strange Loop (a show that references many other shows and structures to build its engine.) We would also look at a new musical currently in process in order to determine which notes might be useful, and how to give them. We would also speak with current musical theater writers about the shows they are writing, their inspirations, methods, and various storytelling tools. Lastly, we would discuss the musical theatre industry, and how musicals are made and produced in the current theatrical ecosystem.
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Instructor:
Anika S Chapin
Info - 3 points
LEADERSHIP FOR STAGE MANAGERS II
LEADERSHIP - STAGE MANAGE
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Instructor:
Michael Passaro
Info - 3 points
STAGE MANAGEMENT METHODOLOGIES II
MAINTAIN. THE B'WAY SHOW
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Instructor:
Michael Passaro
Info - 3 points
STAGE MANAGEMENT METHODOLOGIES III
STAGE MGMT METHODOLOGIES
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Instructor:
Justin Scribner
Info - 3 points
DIRECTING FOR STAGE MANAGERS
In the collaborative world of theatre, the director is at the helm. We, as stage managers, support the director’s creative process from rehearsals through opening night. What happens when the director leaves and turns over the maintenance of the production to the stage manager? This course will help give you the tools to meet that challenge. Beginning with rehearsals, how do we best observe directors so that we can understand and preserve their vision? In preparation for working with the cast, we will discuss the various acting methods. How do we prepare our script to direct cast replacements, incorporating script analysis and acting beats. We will also review the basics of directing and identify the most influential directors now, and in recent history.
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Instructor:
Matthew Dicarlo
Info - 3 points
CURRENT ISSUES IN STAGE MANAGEMENT
CURRENT ISSUES IN SM
The role of the stage manager continues to change in response to various production models, directing styles, and most importantly: the cultural/social climate in which shows are created, as well as the individual lived experiences of the humans who are involved in the creative process. Theory is vital, but theory must work in practice with the specific people who are in the room with the stage manager. This course will provide a holistic approach to this premise with up-to-date resources, conversations with guest artists, and thoughtful reflection on how the ever-changing theatrical workspace affects moment-by-moment interactions for all stage managers. We will dive into various discussion around diversity, inclusion, and equality and how it relates to the world of theatre and stage management. Guest speakers will join us to provide testimony to their experience within the Broadway community, spark reflection and engage in discussion on how the industry moves forward.
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Instructor:
Cody Richard
Info - 1.5 points
CRITICAL ISSUES IN THEATRE MANAGEMENT
ARTS LEADERSHIP & AUD DEV
The art of negotiation is a critical skill for stage managers to develop. Conflict resolution, communication, and collaboration are all aspects of theater that require negotiation on many levels. This course will explore these concepts and apply them to the real-world atmospheres in which stage managers must navigate these challenges effectively. Contemporary management texts, role-playing, guest speakers, and lectures/class discussion will illuminate the importance of negotiation as a tool that will be required of all stage managers no matter where they choose to work.
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Instructor:
Donna Walker-Kuhne
Info - 3 points
ISSUES IN NAT'L NOT FOR PROFIT THEATRE
ISSUES IN NAT'L NFP THEAT
The course will acquaint the student with the history, current realities and evolving direction of the American not-for-profit professional theatre. Through materials and discussion both theoretical and practical, as well as distinguished guests from the field, the class will explore present-day challenges and opportunities related to theatre institutions, artists, audiences and public support. The class will also investigate the intersection between the not-for-profit theatre field, American culture and larger societal forces.
The intent of the course is to equip the student with a multifaceted perspective on the past, present and future evolution of the field. Students are encouraged to make the class their own through the shared exploration of individual areas of interest, ideas, questions and the challenge to brainstorm the future. The course is also intended to expand understanding of the field from a values-based orientation, including both organizational and personal values.
LABOR RELATIONS & COLLECTIVE BARGAINING
LABOR RELATIONS & COLL BA
In the theatre, people are your greatest asset (and often the biggest expense in your budget). A good understanding of Human Resources, labor relations and collective bargaining is critical for any successful venture, organization or production. In this course, we will cover theory and law behind these topics and tackle practical application of the concepts in our unique employment environment. We will do simulation work on some of the most common challenges in labor and bargaining, all which will require coordination with your classmates in and out of class. Given the rapid pace of change in these areas, topics below are subject to change.
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Instructor:
Darren Robertson
Info - 3 points
PUBLIC SECTOR POLICY & AMERICAN THEATRE
Students will gain an understanding of public sector planning and policies related to theater and the arts broadly, while also learning how research makes the case for public investment in arts planning, grantmaking, and new facilities. The course will include an overview of research tools and resources to support a final project and in preparation for students’ independent research work.
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Instructor:
Stacey C McMath
CULPA: 4 Info - 1.5 points
PROFESSIONAL PRACTICE
TBD
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Instructor:
Erica Jensen
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Instructor:
David H Hwang
Info - 0 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