A first college-level course in the fundamentals of acting, with an emphasis on the connections between dramatic action and character. Students learn how to analyze dramatic texts and bring them to life through a collaborative process, and by using body, voice and imagination. Classwork includes regular exercises designed to develop acting craft. Homework includes memorization, regular rehearsals and relevant reading, alongside practical research and short writing in various modes. Assignments progress toward realizing performed scenes.

This introductory course focuses on movement as a language that communicates our thoughts, emotions, beliefs, habits and sensations. We will explore and expand our individual movement vocabularies through improvisation and various movement practices. Each week different practices and themes will be introduced to offer multiple viewpoints, different ways of moving, approaches of dance/performance making and compositional methodologies.

In this course, we explore the ways in which artists in theater and dance create performances.  In particular, we will focus on collaboration as the primary mode of artists' creative research.  How do collaborating artists play with one other?  What kinds of conversations are the most generative?  How can we interact playfully with movement, text, space, and time?  How do the design elements of performance (such as light, sound, objects, etc.) “play” with each other?  Study of performance conventions and forms, seminal performance works, and theoretical reading

Double course. Open to senior majors in Sexuality, Women’s and Gender Studies who have received departmental approval.

Spring semester. The Department.

How to handle overenrollment: null

Students who enroll in this course will likely encounter and be expected to engage in the following intellectual skills, modes of learning, and assessment: an emphasis on written work, readings, and independent research. They will be required to meet regularly with the professor.

Open to senior majors in Sexuality, Women’s and Gender Studies who have received departmental approval.

Spring semester. The Department.

How to handle overenrollment: null

Students who enroll in this course will likely encounter and be expected to engage in the following intellectual skills, modes of learning, and assessment: an emphasis on written work, readings, and independent research. They will be required to meet regularly with the professor.

Independent reading course.

Fall and spring semesters. The Department.

How to handle overenrollment: null

Students who enroll in this course will likely encounter and be expected to engage in the following intellectual skills, modes of learning, and assessment: an emphasis on written work, readings, and independent research. They will be required to meet regularly with the professor.

(Offered as HIST 348 [US/TR/TS] and SWAG 348) This seminar will explore the intersections of gender, migration, and labor, with a particular focus on Asian American women in the United States (broadly defined to include the U.S.’s territories and military bases), from 1870 to the present. Through transnational and woman-of color feminist lenses, we will investigate U.S.

(Offered as ASLC 321, FAMS 321, and SWAG 321) Bombay cinema, popularly known as “Bollywood Cinema,” is one of the largest film industries in the world. This course focuses on Bollywood cinema and its local and global offshoots to think about questions of gender, sexuality and agency. The course considers questions such as: What beauty standards are imposed on women in Bollywood and how do they connect to colonialism, race and empire? Do LGBTQ romances in Bollywood endorse homonormative narratives? How do we read the sexualization of the female body in song and dance numbers?

(Offered as ENGL 385, FAMS 308, SWAG 309) As an artistic and industrial form, film depends on acts of collaboration. Such acts take place at the level of production, whether on a Hollywood lot that might employ hundreds if not thousands of people to make a single film or in an independent artisan’s work in which one primary maker works with the subjects she films.