This course discusses issues relevant to the theatre history and practices, as well as dramatic literature, theories and criticism of 18th-, 19th- and 20th-century United States of America, including African American, Native American, Hispanic American, Asian American, and gay and feminist theatre and performance. Lectures, discussions and presentations are complemented by video screenings of recent productions of some of the plays under discussion.

The course examines the roots of the American musical as a seminal theatrical form, with its own distinctive venues and styles; we pay particular attention to the socio-cultural factors that made the American musical stage a locus for identity-formation. The history of the American musical is deeply intertwined with the assimilationist project, particularly among Jewish-Americans, who were highly instrumental in its development.

This course surveys the history of theatre, drama and performance from the 18th century to the present. The main focus is on the theatres of Europe and the United States and their relationship to their respective cultures. Non-Western issues in regards to African, Australian and South American theaters is also discussed. Lectures and discussions are complemented by video screenings of recent productions of some of the plays under consideration.

An introduction to the study of voice, exploring the connections between thought, feeling and vocalization through exercises that strengthen and enhance an actor’s (or speaker’s) understanding and command of vocal expression. Enrollment limited to 15.

The integration of the design elements of line, texture, color, gesture and movement into unified production styles. Further study of the history of clothing, movement in costume, construction techniques and rendering. Production work may be required outside of the class meeting time. Prerequisites: 254 and P.

Advanced aspects of directing for the stage. Structural analysis of dramatic texts, with emphasis on articulating a unique vision for a text. Work on problems of visual composition, rehearsal techniques and development, in collaboration with actors and designers, of the inner score of action and its physical expression the stage. Prerequisites: Directing I. In addition, Acting II (THE 242) and a 200-level design class are strongly recommended. Permission of the instructor required.

This course focuses upon interpretative approaches to dramatic texts and how they may be realized and animated through characterization, composition, movement, rhythm and style. Prerequisites: Acting I or FLS 280. Permission of instructor required. Enrollment limited to 12.

The elements of line, texture and color, and their application to design and character delineation. Research of clothing styles of various cultures and eras. Enrollment limited to 15.

Acting II offers intensive focus on different, specific topics pertaining to acting training. This course can be repeated for credit up to three times provided the content is different. Prerequisites: Acting I (THE 141) or its equivalent: What is the particular nature of acting for the camera? This course examines film and television production, and develops an acting approach suited for work in film and television. Students act on camera and examine the results of their work. We work with particular emphasis on the building of a performance through the process of the shoot.

Same description as above. There is one general meeting in the Green Room, Theatre Building. Attendance is mandatory; attendance at weekly production meetings for some assignments may be required. Grading for this course is satisfactory/unsatisfactory.