If cinema is, as André Bazin writes, “change mummified,” violence and death are among the most dramatic physical changes it can “mummify.” This course studies the long, complex relationship between cinema and these bodily spectacles. How has censorship impacted the way violence has been screened? How can cameras make the internal processes of death externally visible? What are the ethics of filming “real” violence and death in a documentary mode? How are cultural attitudes toward violence and death reflected in and shaped by films?

This course examines the film musical as a global genre traversing a range of media, not only including film but also theater, television, social media and recorded music. Since the advent of synchronous sound film, the musical has become one of the global film industry’s most enduring and profitable genres. What has made the musical so successful the world over? Though much critical and scholarly attention has been paid to the Hollywood studio-era musicals of the 1930s–’50s, the scope of our investigation is global and our focus is on more recent iterations of the genre.

This course examines the film musical as a global genre traversing a range of media, not only including film but also theater, television, social media and recorded music. Since the advent of synchronous sound film, the musical has become one of the global film industry’s most enduring and profitable genres. What has made the musical so successful the world over? Though much critical and scholarly attention has been paid to the Hollywood studio-era musicals of the 1930s–’50s, the scope of our investigation is global and our focus is on more recent iterations of the genre.

The history of Southern Africa, which includes a number of states such as South Africa, Zimbabwe, Namibia, Angola and Lesotho, is very complex. In addition to developing an historical understanding of the Khoisan and Bantu-speaking peoples, students must also know the history of Europeans and Asians of the region. The focus of this course is to understand the historical, cultural and economic inter-relationships between various ethnic groups, cultures and political forces which have evolved in Southern Africa since about 1600.

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.

This course looks at the advanced challenges when designing sets for ballet, music theatre and opera. What must the set designer consider when live music is added to each of these performing arts? Students have the opportunity to pick which ballet, music theatre and opera they want to design for from a list of productions provided by the instructor. The syllabus can also be customized to address a specific interest of a student with the instructor’s permission. The objective of this course is to build a portfolio of set designs showing the specific needs in all of the performing arts.

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.

Michel Tremblay and contemporary Canadian playwrights. Emphasis on plays by and about women, within the context of political/personal issues of gender, class, race, sexuality and cultural identity in English Canadian and French Canadian and Native Canadian drama of the past five decades. Other playwrights explored are Judith Thompson, George Walker, Erika Ritter, David French, Rene Daniel DuBois, Margaret Hollingworth, Anne-Marie McDonald, Sally Clark, Tomson Highway, Hannah Moscovitch and Sharon Pollock.

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.: An intensive exploration of specific approaches to improvisation (authentic movement, contact improvisation, Johnstone, Boal, transformational exercises and theatre games) that enhance the agility, resourcefulness and creativity of the performer. Prerequisites: one semester of acting or one semester of dance. Enrollment limited to 12.

Intensive study of selected plays and film from the U.S., Israel and the Jewish diaspora, examining the ways in which Jewish identity is rendered on stage. Particular focus is given to texts by Jewish authors, and their treatment of issues of authenticity and identity. We draw on texts which challenge or interrogate prevailing intragroup definitions, as well as those which offer positive and reinforcing viewpoints.