Intermediate Composition is structured as a workshop for you to explore and expand your own artistic vision. It will increase your understanding of inspiration and intention as they relate to choreography as well as encourage active consideration of choreographic possibilities for space, time, performer/audience interaction, energetic qualities, use of text, music, and physical and environmental intelligences.

This course is for students interested in working on Scenic Run Crew. No previous experience is required for this position; training will be provided as part of the practicum. Students will need to be present at all technical rehearsals and performances and will need to help with the strike of the set for the final performances.

This course is for students interested in the production crew positions listed below. No previous experience is necessary for any of these positions; training will be provided as part of the practicum. The student will need to be present for all technical rehearsals and performances and a training session scheduled before the start of tech. Light Board Operator: Program and run the light control board under the guidance of the Lighting Designer and Stage Manager.

The practicum covers crew for hair and makeup or wardrobe on a production. The student fulfilling a run crew must be present for all technical rehearsals and performances plus a training session scheduled before the start of tech. No previous experience is necessary for any of these positions; training will be provided as part of the practicum.

Fall 2016 Production:
THEAT-282-01: "Intimate Apparel"
Spring 2016 Production:
THEAT-282-01: "Wit"
THEAT-282-02: "Cabaret"

Fall 2016 Production:
THEAT-282-01: "Intimate Apparel"
Spring 2016 Production:
THEAT-282-01: "Wit"
THEAT-282-02: "Cabaret"

All the world's a stage. This course surveys the era of literary history that invented this powerful idea. The drama of the sixteenth and seventeenth centuries is a drama obsessively self-conscious, bursting with disguises, confidence tricks, cross-dressers, rituals, masques, and plays-within-plays. Reading Shakespeare as well as his rivals and peers (Marlowe, Jonson, Webster, and others), we will consider how theater, and the idea of theater, illuminates such concepts as desire, evil, gender, and ideology.

A study of some of Shakespeare's plays emphasizing the poetic and dramatic aspects of his art, with attention to the historical context and close, careful reading of the language. Eight or nine plays.

A historical survey of dramatic texts and world performance traditions from the seventeenth to the twentieth centuries, with attention given to: the influence of print culture on early modern theatrical movements; the rise of nationalism and the creation of dramatic genres; and the effects of industry and technology on experimental modernist forms. Understanding performance as both artistic practice and social institution, this course emphasizes the role performance has played in changing audiences and as a cultural and political force.

A study of ten to twelve plays and their film adaptations. Plays are drawn from a range of periods and genres, and films are chosen to show the scope of adaptive approaches from filmed play to radical re-imagining. The course will include readings on the theory and history of theatre-to-film adaptations. Playwrights will likely include Christopher Marlowe, Oscar Wilde, Tennessee Williams, Eugene O'Neill, Lorraine Hansberry, Edward Albee, Harold Pinter, David Mamet, and David Henry Hwang.