The means and methods of the playwright. Analysis of the structure and dialogue of a few selected plays. Weekly and biweekly exercises in dramatic writing. Goal for beginning playwrights: to draft a one-act play by the end of the semester. Writing sample required. Instructor permission required.

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.

This course introduces students to the theory and practice of stage lighting design. Over the semester, the course cultivates sensitivity towards the expressiveness of light and the relationship between light, form and space, eventually learning to manipulate light to articulate ideas. Through script analyses and design projects, students learn to understand the power of light in enhancing stage presentations, acquire skills in illuminating the drama and apply such skills to collaboration with the production team at large.

The course develops overall design skills for designing sets for the theatre. After reading assigned plays, students learn to develop their designs by concentrating on character analysis and visualizing the action of the play. Visual research, sketches, basic drafting skills and model building are some of the areas in which students learn to develop their ideas. This course also emphasizes the importance of collaborating with every member of the creative team. Enrollment limited to 12.

A survey of plays written in the 21st century from a dramaturgical perspective – i.e., how the play is constructed – and a discussion of the cultural, political and artistic context in which they were written. Students learn the fundamentals and vocabulary of dramaturgical analysis. Playwrights studied may include: Suzan-Lori Parks, David Henry Hwang, Kristoffer Diaz, Stephen Adly Guirgis, Paula Vogel, Martyna Majok, Jackie Sibblies Drury and Sanaz Toossi. Enrollment limited to 18.

This is a studio course which gives one credit for participation in a Theatre Department production. Most positions are designed for people with no previous experience. Offerings within the course cover all areas of theatre production, on stage and off, including positions as stage crew, light and sound board operators, dressers, stage managers, design assistants, box office assistants, props charges, electricians or actors. There is one general meeting at the beginning of the semester. Attendance is mandatory. Attendance at weekly production meetings may be required for some assignments.

This is a studio course which gives one credit for participation in a Theatre Department production. Most positions are designed for people with no previous experience. Offerings within the course cover all areas of theatre production, on stage and off, including positions as stage crew, light and sound board operators, dressers, stage managers, design assistants, box office assistants, props charges, electricians or actors. There is one general meeting at the beginning of the semester. Attendance is mandatory. Attendance at weekly production meetings may be required for some assignments.

How does one “read” clothing? How accurate is the interpretation? What clues does one miss or misread, especially in dress from an era unfamiliar to them? What information can one look for to “explain” the significance or meaning of the garment? This course is an introduction to a methodology for the study of dress as material culture, examining physical structure, terminology, technology of production, and some of the historical, social and cultural variables shaping, and shaped by, these objects. It is a class using objects from the Smith College Historic Clothing Collection.