Identity is the relation a thing bears to itself and to no other thing. It is so basic to our thought, and so fundamental to the world we think about, that philosophers have despaired of saying much more about it. Some have even suggested that we should dispense with talk of “identity.” Yet, issues of identity are at the center of many important philosophical issues, for example, the relation between mind and body, the constitution of persons, and the nature of scientific discovery.

(Offered as AMST 374 and HIST 374 [US]) In the largest incidence of forced removal in American history, the U.S. incarcerated 120,000 people of Japanese descent during WWII, two-thirds of whom were American citizens. Preceded by half a century of organized racism, the attack on Pearl Harbor provided justification for imprisonment of an entire ethnic group solely on the basis of affiliation by “blood.” At the same time, Japanese Americans served in the U.S.

Independent Reading Course. Full course.

Admission with consent of the instructor. Fall and spring semesters. The Department.

An advanced course in the production of Theater and Dance works. Primary focus will be on the integration of the individual student into a leadership role within the Department’s producing structure. Each student will accept a specific responsibility with a departmental production team testing his or her artistic, managerial, critical, and problem-solving skills.  A half course.

Admission with consent of the instructor. Not open to first-year students. Fall and spring semesters. The Department.

A workshop/seminar for writers who want to complete a full-length play or series of plays. Emphasis will be on bringing a script to a level where it is ready for the stage. Although there will be some exercises in class to continue the honing of playwriting skills and the study of plays by established writers as a means of exploring a wide range of dramatic vocabularies, most of the class time will be spent reading and commenting on the plays of the workshop members as these plays progress from the first draft to a finished draft.

This course is a continuation of THDA 360, an advanced course in the arts of theatrical design. Primary focus is on the communication of design ideas and concepts with other theater artists. Also considered is the process by which developing theatrical ideas and images are realized. Students will undertake specific projects in scenic, costume and/or lighting design and execute them in the context of the department’s production program or in other approved circumstances. Students in this course will design for a full-scale production.

An advanced course in the arts of theatrical design. Primary focus is on the communication of design ideas and concepts with other theater artists. Also considered is the process by which developing theatrical ideas and images are realized. Students will undertake specific projects in scenic, costume and/or lighting design and execute them in the context of the Department’s production program or in other approved circumstances.

(Offered as THDA 352, FAMS 342 and MUSI 352.) The focus of this studio course will be to create performances, installations and/or videos in multiple locations both on and off campus.  This course is especially designed for students in dance, theater, film/video, art, music and creative writing who want to explore the challenges and potentials in creating performances and events outside of traditional "frames" or venues (e.g., the theater, the gallery, the concert hall).

This is a studio course in leading collaborators toward completed theatrical interpretations of dramatic texts. Each student director independently produces and directs two medium-length, site-specific projects. Reading, writing, and class sessions are devoted to the practice of directing and to discussion of problems and approaches. Topics include the articulation of coherent artistic intent, the role of the audience in performance, and the use of space, sound and light. Studio exercises are employed to support directorial techniques.

A workshop in writing for the stage. The semester will begin with exercises that lead to the making of short plays and, by the end of the term, longer plays--ten minutes and up in length. Writing will be done in and out of class; students’ work will be discussed in the workshop and in private conferences. At the end of the term, the student will submit a portfolio of revisions of all the exercises, including the revisions of all plays.