(Offered as ARHA 315 and FAMS 443.)  What constitutes cinematic narrative, distinct from other forms of storytelling? How do we engage film form to tell a story?  Can the camera be a narrator?  How can we alter a traditional narrative structure, and, what are the implications of these transformations? How can we use color to construct the subjective space of a character, or use sound to manipulate the temporal order of the story, creating flashbacks, ellipses or flash-forwards?

(Offered as RUSS 241 and FAMS 321.)  Lenin declared “For us, cinema is the most important art,” and the young Bolshevik regime threw its support behind a brilliant group of film pioneers (Eisenstein, Vertov, Kuleshov, Pudovkin, Dovzhenko) who worked out the fundamentals of film language. Under Stalin, historical epics and musical comedies, not unlike those produced in 1930s Hollywood, became the favored genres.

(Offered as ARHA 225 and FAMS 225.)  This course is a hands-on, in-depth exploration of the formal elements of moving images and sound. We will begin with a study of the camera, and, through in-class projects and individual assignments, we will explore framing and composition; light, color and texture; camera movement and rhythm; editing and relationships between image and sound. We will approach set-up and documentary situations from a variety of formal and conceptual perspectives.

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 353 and FAMS 345.)  An advanced course in the techniques of creating performance. Each student will create and rehearse a performance piece that develops and incorporates original choreography, text, music, sound and/or video. Experimental and collaborative structures and approaches among and within different media will be stressed. The final performance pieces and events will be presented in the Holden Theater. Can be taken more than once for credit.

Requisite: THDA 252 or the equivalent and consent of the instructor. Fall semester. Professor Woodson.

An introduction to the analytical methods and skills necessary for the creation of costumes for theater and dance with emphasis on the integration of costume with other visual elements. Western costume history. Lab work in costume construction.

Requisite: THDA 112 or consent of the instructor.  Limited to 8 students.  Fall semester.  Professor Dougan.

What is the role of sound in live performance, and how is it designed and produced?  This course provides an introduction to the fundamentals of sound design in live performance contexts from both technical and artistic perspectives.  Students will explore the fundamentals of audio production and acoustics through a series of short projects, covering a range of topics from using various sound-editing software applications, including ProTools, Logic and other DAW platforms, to live sound reinforcement principles.

The study and practice of contemporary movement vocabularies, including regional dance forms, contact improvisation and various modern dance techniques. Because the specific genres and techniques will vary from semester to semester, the course may be repeated for credit. Objectives include the intellectual and physical introduction to this discipline as well as increased body awareness, alignment, flexibility, coordination, strength, musical phrasing and the expressive potential of movement. The course material is presented at the beginning/intermediate level.

A beginning studio course in the development of voice for speaking. Students develop range and tone through regular physical exercises in relaxation, breathing technique, placement, and presence. Individual attention focuses on helping each student develop the physical, mental, and emotional self-awareness needed for expressive vocal production. Practice is oriented toward acting for the stage, but students with a primary interest in public speaking, teaching, or improved interpersonal communication will find this course valuable. Three class meetings per week.

This course examines what happens on stage (the action) and “how” that action happens (the character) from the points of view of the playwright and the actor. The course assumes that the creative processes of both the actor and the playwright are similar. Therefore, the students will write scenes and at least one short play, which will be rehearsed as homework for presentation in class. Students will be given a series of acting and playwriting exercises to develop craft and to reinforce their understanding of creative processes.