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Spanish |
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SP 389 Independent Study: Spanish
(2 to 4 credits)
In-depth study of an author, movement, genre, or a theme such as advanced grammar.
Prerequisite: Senior standing with 30 credits already approved, a minimum GPA of 3.0, consent from a faculty to direct the course, and authorization from the chair.
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SP 490 Senior Thesis
This is a Capstone project for senior Spanish majors, exploring cultural issues in the Hispanic World, both inside and outside of the United States. Seminar format, culminates in a project consisting of 20-25 pages written in Spanish and a public presentation. The course develops along one year (Fall, 4 credits; Spring, 2 credits) and the theme must be approved by the instructor.
Prerequisite: All previous major courses requirements completed, and Senior Standing.
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SP 491 Senior Thesis II
(2 credits)
This is a second semester course culminating in the conclusion of your thesis and final capstone presentation.
Prerequisite:
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Sport Management |
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SPM 261 Introduction to Sports Management
The course provides and overview of the field of sport management. The focus of this course is to cover basic fundamental knowledge and skill sets of sport manager, as well as to provide information on sport industry segments (i.e., professional, collegiate, non-traditional, and youth and community sport) for potential job emplyment and career choices.
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SPM 267 Event Management
This course addresses the management skills necessary to plan, implement, and evaluate sport or recreation events. There are theory and practice components in this course.
Prerequisite:
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SPM 270 Practicum I
2 credits
Students will undertake a 5-10 week (minimum of 40 hours total), part-time supervised entry-level experience. This course provides observation of higher level management operation and participation in day-to-day duties in a selected sport organization. The work site needs to be approved by the course instructor. The focus on quality learning experience and partnership with the business community are main components of the practicum program and combine to provide distinct and meaningful educational opportunities for students. Before registering this course, students must consult with the course instructor to discuss about securing a practicum position.
Prerequisite: . Before registering for this course, students must consult with the course instructor to discuss securing a practicum poistion.
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SPM 330 Sport Law/Ethics
This course is to provide students with an examination of the legal environment in which professional and amateur sports presently operate. Focus is placed on contract law, labor law, constitutional law and antitrust law. In addition, this course includes an examination of selected ethical and moral issues current in the conduct of American sport such as the ethics of competition, equality, and excellence, and the place of athletics in education.
Prerequisite:
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SPM 331 Sport Economics
This course is designed to provide a better understanding of economic theories along with knowing the conditions of scarcity and human interactions in the sport industry.
Prerequisite:
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SPM 361 Leadership and Management in Sport
This course provides students with an applied knowledge of the general concepts of leadership and human resources within a sport management context. Student will develop their abilities to synthesize and integrate human resource management and organizational behavior, particularly from a leadership perspective, with sport management practices.
Prerequisite:
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SPM 370 Practicum II
2 credits
This is a upper level field experience course that allows students to practice and demonstrate their developing skills and competencies in their chosen career (e.g., college athletics, pro sports). Students undertake a 5-10 week (minimum of 40 hours total). This course provides observation of higher level management operation and participation in day-to-day duties in a selected sport organization. The focus on quality learning experience and partnership with the business community are main components of the practicum program and combine to provide distinct and meaningful educational opportunities for students.
Prerequisite: and . Before registering this course, students must consult with the course instructor to discuss about securing a practicum position
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SPM 380 Sport Budgeting and Finance
This course is designed to provide students with a comprehensive understanding of the budgeting and finance principles used in sport organizations. Focus is placed on financial budget analysis as well as revenue enhancement and expense control for sport organizations. In addition, students are exposed to economic impact analysis, public subsides, broadcast rights, player costs, sponsorship, and sport facilities.
Prerequisite: , , junior standing or with instructor’s permission.
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SPM 381 Consumer Behavior in Sport
This course is based on theories developed in psychology and marketing and builds a bridge to sport consumer behavior. A common thread in this course is to provide a better understanding of how individuals make decisions and judgments in spectator sport consumption setting. To this end, various theoretical frameworks and practical implications relevant to sport consumer behavior are examined.
Prerequisite:
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SPM 470 Internship
The internship course is considered to be one of the most critical components of the Sport Management Major. Students will undertake a 10-15 week (minimum of 80 hours total), full-time supervised internship. This course is expected to enhance the students’ academic experiences via a required industry analysis, weekly logs and a portfolio, and provide networking opportunities and additional field experience. Before registering this course, students must consult with the course instructor to discuss about securing an internship position.
Prerequisite: , , &
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Theater Arts |
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TH 101 The Actor’s Instrument
(3 credits)
The focus of the work is on relaxation, alignment, breathing, the development of free resonance flow, and good articulation of vowels and consonants.
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TH 102 Voice and Speech II
(2 credits)
Actors are introduced to the progression of voice exercises in Kristin Linklater’s “Freeing the Natural Voice.” The focus of the class is on developing techniques that foster the connection between the acting impulse and the voice.
Prerequisite: TH 102.
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TH 131 Theater Dares You
This course for non-majors deepens students’ engagement with this communal art form. The perspective from which we set out to survey the theater is that of an audience member. Informed and literate audience members are crucial to theater; without an audience there is no performance. We start by demonstrating why this particular art form is/ has been ubiquitous not only globally today, but down through the annals of time, as well. The students are introduced to the cluster of different artists typically employed when a show is being created: writers, designers, directors, casting, actors, etc. A broad survey of genres and styles of plays is presented. Aside from seeing and thoroughly assessing five to seven LIVE productions during the course of the semester, class projects are designed for students to explore theatrical possibilities for telling their own stories.
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TH 140 Fundamentals of Acting
Students work on basic acting skills such as developing the ability to produce free, imaginative, and purposeful behavior in relation to environments, objects, and other persons; individual silent exercises; and group exercises. This work leads to in-class performances of selected scenes from a variety of American contemporary plays with special focus given to the sensory requirements in the text.
No previous experience is required.
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TH 141 Role Play and Improvisation
In exploring the dimensions of theatrical self-expression, this course employs lecture, discussion and classroom activities to raise issues that stretch self-awareness through dramatic interaction involving imagination and creativity. Through theater games and dramatic situations, students learn a variety of performance skills and find themselves exploring their own creative and artistic possibilities.
No previous experience required.
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TH 150 Improvisation
Work on improvisation is central to the formation of an actor; it is a kind of research—a way of working through which the actor’s experiences pass to nourish their imagination. Without the help of a playwright or director, the actor creates and presents a full dramatic life. Improvisation develops the faculties of invention, imagination and concentration and at the same time gives the actor a sense of freedom.
Studio course with lab requirement.
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TH 159 Applied Voice for Musical Theater
(1 credit)
This course is an intensive study of the voice in the private studio. The teacher works with the student to improve vocal technique, to learn new vocal literature, to enlarge knowledge of diction and develop basic language skills, and to pursue other activities designed to better the voice for the musical theater actor. This course involves a 45 minute private lesson once per week at a time scheduled between the applied instructor and the student, a one-hour studio class once per month and public performances twice a semester in recital/cabaret format.
Prerequisite: Acceptance into the Musical Theater concentration (within the BFA degree in Acting; by audition only) or express permission of the instructor is required.
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TH 165 Method Acting
Long after the impact of Brecht, Artaud, Grotowski, Lecoq and Peter Brook, the art and practice of acting is still turning on the revelations and teachings of Constantine Stanislavsky. If the Stanislavsky “system” or “method” is applied literally, it leads merely to realism, but applied systematically with discrimination it can become the grammar of all styles. While based on the teachings of Stanislavsky, this course includes insights by other famous acting teachers such as Uta Hagen, Sanford Meisner, Lee Strasberg, Michael Chekhov and Stella Adler. This is an initial acting course with a focus on the practical and playable aspects of the “system’s” training, providing the actor with a resource to operate completely on his or her own in any and all production situations.
Studio course with lab requirement.
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TH 191 Stage Practicum and Crew I
(0 credits)
This course includes scene construction, rigging, costume construction, drafting and stage lighting. It examines theater architecture and elements of scene, costume and lighting production. All students in the first year of the program are assigned on a rotating basis throughout the year to various crews that build and run the shows in the Theater performing series.
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TH 192 Stage Practicum and Crew II
(0 credits)
This course includes scene construction, rigging, costume construction, drafting and stage lighting. It examines theater architecture and elements of scene, costume and lighting production. All students in the first year of the program are assigned on a rotating basis throughout the year to various crews that build and run the shows in the Theater performing series.
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TH 199 Theater History
This course is a study of the development of the physical theater and concurrent developments in dramatic literature and musical theater. It surveys styles in acting, directing, dramatic criticism and production from historical, analytical and performance perspectives. It requires individual and group projects. Attendance at theater productions is included when possible.
No previous experience required.
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TH 200 Movement Training for Comfort, Power & Grace
(2 credits)
The course gives students a reliable way to feel better in their bodies. The course provides an understanding of how bodies function and gives each student insight into his or her personal habits outside this design that create tension in the body. Students learn to move more freely and gain new understanding of their aches and pains. Students come away with a working knowledge of the musculoskeletal system and how to cultivate true core support and to balance functioning of all muscle groups. We review the newest research in back pain and neuroplasticity, study the respiratory system and breathing patterns, and study how perception contributes to our bodily feeling and use patterns. The class is catered to anyone with an interest in feeling better and moving with increased ease and coordination. Assignments include exercises around public speaking, working at the computer, and lifting challenging objects (including an evening in the weight room). Students gain increased powers of self-observation, impulse control and improved coordination.
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TH 201 Script Analysis
There’s no other way to say it: Reading plays is difficult. To read a play in print is to encounter a work of art in unfinished and incomplete form. Visual artistry, physical presence and live audience dynamics are reduced to flat, static words on a page. In this course, students explore and practice with various techniques for reading and analyzing scripts: techniques designed to help theater artists discover more fully the dynamic potential of theatrical texts as blueprints for live performance. Students work with several techniques for analyzing play texts, explore conventional play genre labels (tragedy, comedy and tragicomedy), and examine the ideas of key theorists in Western theater history (Aristotle, and Brecht), to discover different perspectives from which plays may be read and evaluated critically. Class discussions, online discussions and writing assignments provide opportunities to develop and refine the critical/analytical skills addressed in course readings.
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TH 203 Voice and Speech III
(2 credits)
Actors explore second half of the Linklater voice progression. The focus is on developing each actor’s full vocal range. In addition to the voice exercises, students work on a variety of texts chosen to support their growing acquisition/skills.
Prerequisite: .
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TH 204 Voice and Speech IV
(2 credits)
The focus is on speech. Clarity of articulation and effective use of vowels is developed by learning the International Phonetics Alphabet.
Prerequisite: .
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TH 210 Yoga
(2 credits)
This course introduces study in the Indian exercises of relaxation and energy focusing. No previous experience necessary. May be repeated once for credit.
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TH 211 Stage Makeup
(2 credits)
This course seeks to illuminate the actor’s quest for character through a concise, easily understood exploration of the connection between makeup and character, emphasizing the total visual impact of the character on the audience and discussing in depth the contribution of props and costume to the overall effect. The course is intended to help performers. Students bridge the gap between understanding a role and expressing that understanding in tangible form. (Theater Acting majors only.)
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TH 212A Advanced Yoga
(2 credits)
This course is suitable for students who have a basic understanding of yoga and want to deepen their practice through exploration of intermediate yoga postures and techniques that promote mental clarity, relaxation, and total well being. An emphasis will be placed on the chakra system, the subtle energy centers in the body.
Prerequisite: or previous yoga experience (approved by instructor).
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TH 220 Special Topics in Stagecraft
(3 credits)
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TH 221 Dance and Choreography
(3 credits)
Movement is inherently dramatic. Explore the wide range of movement that exists within our bodies and the world around us. This is a studio course that explores the elements of dance making and the craft of choreography through the manipulation of time, space and energy. The movement material explored is pedestrian movement and stylized dance. Each student works within his or her own technical skill level to uncover the endless possibilities of movement within the human body and the vast opportunities for communication of the human experience. No previous experience necessary.
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TH 222 Stage Combat I
(3 credits)
Starting with the basics of hand-to-hand combat, or weaponless fighting, the students are introduced to the idea of personal safety, how to be safe and remain safe onstage, including all the fundamental moves every actor needs to get by in this business. Students then study and practice the art of the sword and learn the techniques that keep the actor safe long after training is over. Coursework includes training in unarmed and single sword. No previous experience required.
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TH 223 Stage Combat II
(2 credits)
Picking up from basic stage combat, the student is drilled in the sword and works toward its perfection. An emphasis on fencing with the foil epee and saber becomes part of the student’s regimen to teach better coordination and focus, as well as the practical applications thereof. The latter part of the class is dedicated to the quarterstaff and its use. Students explore the weapon through exercises and choreography. Basic certification with Fight Directors Canada is possible upon completion of training.
Prerequisite: .
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TH 224 Stage Combat III
(2 credits)
Rapier and Dagger: The traditional weapons of Shakespeare’s day; picking up from single sword technique, the additional weapon is added to the non-dominant hand, i.e. dagger. The student practices in this double fence style until he or she can use them with facility. Broadsword: The basics of this classic medieval weapon are taught in much the same way as the rapier. Starting with the rudimentary footwork and guards of the weapon, the cut and parries are taught and drilled. The students explore the use of the broadsword through choreography and styles taught. Basic certification with the Society of American Fight Directors is possible upon completion of training.
Prerequisite: .
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TH 228 Dance Techniques for Musical Theater
(3 credits)
This beginning level dance technique class focuses on styles and performance elements of dance for musical theater. Through warm-up exercises and movement combinations, both set and improvisational, students will build a foundation of skills needed to dance in musical theater productions. Disciplines explored include jazz, ballet, African, tap, modern dance, partnering, ensemble work, solo work, floor work, hip hop and improvisation. Students will improve stamina, strength, range of movement, and performance commitment, and will acquire a deeper understanding of the challenges of musical theater dance.
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TH 230 Modern Dance
(3 credits)
This is a modern dance technique class focusing on the connection and coordination of the upper and lower body. To this end, emphasis is placed on increasing abdominal strength, thereby gaining freedom and fluidity in the limbs. Warm-ups and exercises increase strength, stretch and stamina. Traveling sequences are geared toward gaining rhythmic accuracy and coordination. Class combinations and exercises increase in length and difficulty throughout the semester.
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TH 231 Intermediate Dance
This is a modern technique class that builds on the foundation in . Emphasis is placed on increasing accuracy of articulation and range of movement and moving the body as a cohesive unit. As the body gains strength and flexibility, each student is encouraged to find his or her own stylistic voice and individuality in movement.
Prerequisite: / or instructor’s permission.
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TH 241 Acting: Scene Study
This is a scene study class focusing on characterization and motivation. Students rehearse and perform contemporary plays as a means of furthering skills and craft. Both performance and personal journals are maintained on a continuing basis, and outside rehearsals on scenes are expected. The emphasis is on interpretation of the playwright’s intentions and finding actable, interesting choices for the actor. Studio course with lab requirement.
Prerequisite: and permission of instructor.
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TH 252 American Women Playwrights
This course surveys some of the most influential plays written by American women of the 20th century. The course examines how female writers have participated in, responded to, and helped to shape the prevailing currents of American drama. No previous experience necessary.
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TH 253 African American Drama
This course views the social, political and cultural history of 19th- and 20th-century United States through the lenses provided by a diverse selection of African American playwrights and other theater artists. The plays (which range from one act to full-length, from the tragic to the satirical) address a variety of issues, including slavery and its abolition, civil rights, inter-racial relationships, Black Nationalism, women’s rights, and gay rights. Classes include script, scene and character analyses as well as student-directed and acted readings from selected scripts. The course also explores the educational applications the theater arts can have in related fields.
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TH 254 Introduction to Dramaturgy
(3 credits)
What the heck is a dramaturg? What does a dramaturg do? Why do we need dramaturges in the theater? This course explores the theory and practice of dramaturg as a creative art. Together we examine the responsibilities of a dramaturg in helping to shape a theatrical production and complete practical exercises that will help to build the skills and sensibility needed for real-life dramaturgical work. Members of the class attend and discuss theater productions and work together on dramaturgical research for a Theater Arts program’s production.
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TH 260 Puppet Theater
Starting with a survey of object animation traditions spanning Asia, Africa, Europe and the United States, students develop an understanding of how puppets have and continue to be used as a vibrant medium for communicating sophisticated ideas and the needs of the people they represent. From this historical and cultural foundation, students create their own original works of puppet theater by writing, developing, designing and building an animated short. The focus is primarily on puppet theater geared toward adult audiences utilizing non-narrative storytelling.
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TH 261 Stage Design
This is a two-part program of study: scene design for display, culminating in a scenic model; and stage lighting theory and practice, culminating in a full light plot. The course examines the history of design and its influence on the actor’s art, tools and techniques. It surveys the practical and theoretical elements of lighting instruments, their function and design. It includes theater laboratory and assistance in the actual lighting of a production.
Offered in even years.
Prerequisite: No prerequisites required.
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TH 262 Costume Design
This is a two-part program of study: costume design for display, culminating in a full-costume plot. This examines the history of design and its influence on the actor’s art, tools and techniques. It surveys the practical and historical elements of costume, their function and design. It includes theater laboratory and assistance in the actual costuming of a production.
Offered in even years.
Prerequisite: No prerequisites required.
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TH 263 Stage Construction
(3 credits)
This course includes scene construction, rigging, costume construction, drafting and stage lighting. It examines theater architecture and elements of scene, costume and lighting production.
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TH 264 Stage Management
(3 credits)
This course is divided into pre-production, rehearsal period, tech/running, and maintenance of production segments. The objective is to thoroughly introduce the student to the different venues of theater, from small storefront theater to large regional theaters. Although the emphasis is on management practices for theater venues, there is an element of the practical, day-to-day “nuts and bolts” in the stage management process.
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TH 266 Craftwork Applications
This offering focuses on expanding the student’s skill set to include highly employable, specialized techniques utilized in the entertainment industry, fine arts and theatre. Through project based exercises, students explore leatherwork, thermoplastics, millinery, simple circuits, sculpting, mold making and casting as a means to develop creative expertise, fine craftsmanship and critical thinking skills.
Prerequisite: None.
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TH 267 Lighting Design
This course provides an introduction to the art of lighting design for the theater: from the reading and analysis of a script, through the design process and a completed production. Students will develop a sense of how lighting contributes to the audience’s understanding of a play, learn about the theories and concepts that inform lighting design, work with the various kinds of lighting instruments and other tools at a lighting designer’s disposal, and explore how the learn the qualities of light can be manipulated to shape audience perception of the human form, sculpt theatrical space and serve the needs of a theatrical production. Course work will also help students understand the basic scientific concepts of light and electricity, and master the technical demands of executing lighting designs in the theater.
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TH 293 Acting a Song
Acting a Song is a workshop class aimed at beginning actors or others who have an interest in musical theater and performance. Musical theater is often first point of contact for students of theater, yet high school theater settings often do not allow the time needed to explore the process of performing a song effectively. Using songs from the American Musical Theater cannon the course seeks to reinforce lessons learned in Improv and Scene Study. Each student will memorize and perform two solo songs and one duet. Students will work with a live accompanist in class and will be required to bring to class a recording device that will allow them to record piano parts to the songs they are working on so that rehearsal away from class is possible.
Prerequisite: or or permission of the instructor.
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TH 299 Global Traditions of Theater and Performance
(3 credits)
This course investigates non-Western theatrical histories, performance practices and dramatic texts from across the globe. We will read and discuss play scripts, watch and analyze performances on video (or live performances, if and when the opportunity arises), and investigate some of the cultural histories, folk traditions, religious ritual practices and other contexts that inform the theatrical lives of these global regions. We will use the study of theater and performance as a means of approaching the cultures of unfamiliar societies, and seek understanding of how these theatrical traditions compare and contrast with our own. Units of study include China, India, South Africa, Nigeria, Caribbean, and South America.
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TH 300 Advanced Theater Practicum
(2 credits)
This course is an in-depth study in performance or production culminating in a performance project. The Theater Arts adviser must approve topic and project.
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TH 301 Neutral Mask
(2 credits)
Neutral mask work is central in actor training because it enables the actor to experience in its most startling form the chemistry of acting. Because the face is hidden, all expression depends on the body—the mask becomes an energizing force leading the actor to depend upon the richness of his or her inner life within a calm and balanced body. The mask then is a tool to help the actor to strengthen his or her inner feelings and power of concentration, develop physical powers of outward expression and diminish self-consciousness.
Studio course with lab requirement.
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TH 303 Business of the Arts
(3 credits)
Students learn how the entertainment industry works and how to get started upon a career.
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TH 305 Voice & Speech V
(2 credits)
Breath work, vocal sounding and physical alignment are focused on poetry.
Prerequisite: .
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TH 319 Stage Combat IV
(2 credits)
Stage combat in production. This course is for those interested in careers in stage combat. The course begins with the acquisition of new weapons forms, which are then incorporated into a “fight show.” From auditions to performance, the students address all aspects of mounting these productions, including staging their own fights: the productions are treated as professional work.
Prerequisite:
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TH 330 Directing
This course is intended as an introduction to directing for the stage. The principles of working with actors and leading a team of designers accompany a series of small assignments leading to a final directing project. The course includes theory and practice in play directing: play selection, playscript interpretation, composition, movement, business management, casting, rehearsal, performance, director/designer and director/actor relationships. Students focus on perception and expression as a means of drawing inner and physical expression from others. The course requires prompt preparation of scripts, direction of scenes and one-act plays, and theater laboratory.
Prerequisite: Two 200-level Theater courses.
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TH 341 Acting in Modern Theater
This is a scene study of modern classic writers, such as, Ibsen, Strinberg, Chekhov, and American writers O’Neill, Miller, Hellman, Wilson, and Vogel.
Studio course with lab requirement.
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TH 343 Commedia del’ Arte
Not regularly scheduled.
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TH 344 Acting Shakespeare
The course begins with helping the student to feel the very heartbeat of the work, the students/actors have to know how to decipher and understand a text that may feel strange on the tongue, and they have to discover the text’s tone and tempo, mine its inner richness, and learn how to speak the text with ease. Lectures cover background with studio work and seminars built around improvised scenes along with scenes and monologues that are to be rehearsed outside the class for performance and critique during class.
Studio course with lab requirement.
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TH 345 Acting in Film and TV
In this course, students learn to deliver performances that are truthful, based on instinct rather than intellect. Participants work with student directors in preparing scenes selected from film, television, theater, or original material to be recorded on videotape for in-class presentation, discussion and critical analysis by the instructor.
Studio course with lab requirement.
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TH 349 Advance Scene Study
Advanced Scene Study is a workshop class aimed at upper level acting majors or others who have a serious interest in acting. Students in consultation with the instructor and other members of the theater arts faculty will work on scenes that will strengthen identified weaknesses and take advantages of identified strengths to codify and deepen the understanding of the principles of acting. Individualized instruction will be given to each student as they work in class on scenes. Students will be expected to work at least 5 hours a week with partners outside of class. Students will present to the instructor and invited members of the theater arts faculty 4 prepared scenes for evaluation and comment.
Prerequisite: or permission of the instructor.
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TH 350 Playwriting
Using the creative approach, the course examines several forms of scriptwriting (e.g., playscript, the screenplay and scripts for audio/visual media), introduces tools of critical analysis through critique of student’s original work, and presents practical aspects of marketing the stage of screenplay. No previous experience required.
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TH 360 Audition Techniques
This course is designed to help young actors begin to negotiate the world of the audition. Students hone their audition skills in a supportive atmosphere, through hands-on workshops focusing on various types of auditions: contemporary and classical monologues, commercial voiceovers, dance, and cold-copy commercial. By meeting and auditioning for working artists and casting directors from the professional world, students will gain insight into what awaits them in the real world as theatre artists, and refine the skills that will help them audition more effectively in all contexts.
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TH 361 Seminar: Modern Drama
This course is exploration of the styles and techniques of modern century theater, including selected British, American, and Continental plays by modern dramatists such as, Ibsen, Strindberg, Chekhov, Shaw, Synge, O’Neill, Pirandello, Brecht, and Pinter.
Prerequisite: Junior standing or above.
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TH 365 Theater for Young Audiences
This is a course in the multiple aspects and practices of children’s theater in America. The course examines the theatrical conventions and structures of this distinct area of theater. It explores the multiple areas of children’s theater from performance to puppetry. The course includes writing a paper on a children’s theater or practitioner in America. The art of children’s theater is a loss of our present inhibition and a willingness to rediscover the child within. We discuss and explore all areas of performing for children. No previous experience required.
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TH 370 Career Internship in Theater Arts
This is a working internship for one semester at a professional theater, television, or radio station.
Prerequisite: Junior standing or above.
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TH 389 Independent Study
In-depth study and research culminates in a substantial paper or performance project.
Prerequisite: Junior standing or above; a minimum GPA of 3.0 and permission of the Department Chair.
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TH 393 Special Studies in Theater Arts
This is an advanced course on special topics such as Solo Performance, Performance: From Ritual to Theater, autobiographical Adaptations: Ethnographic method for playwriting and performance, Spirituality and Theater, Movement Theater and the New Vaudeville, or New Perspectives on Theater Adaptation. The course is designed as a means of addressing the interdisciplinary nature of the art of theater and poses subjects of interest to students and faculty.
Prerequisite: Two Theater courses 200 level or above. Topics may vary; may be repeated for credit.
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TH 490 Advanced Workshop in Theater
This course is individual or small-group projects in acting styles, directing full-length plays, scene and lighting design, theater management, or other theater areas. It may involve directing or designing of a major college production, a formal advanced class, or other approved topics.
Prerequisite: Individualized projects require the approval of the instructor or Director of Theater.
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University Seminar |
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US 202 Envisioning Sustainability: Contemporary Art & Environmental Science
This course serves to explore the relationship between contemporary art and environmental science using sustainability (global interdependence) as a conceptual nucleus. The course is based on the lecture and lab structure. The ‘lecture’ will be the scientific analysis of data and information and the ‘lab’ will be the corresponding creative process (to include long and short-term experimental projects). The class does not unfold in a linear fashion; rather the scientific content forms a framework for the artistic work. The studio art component serves as a lens through which to view issues of sustainability. Public exhibitions of the work developed throughout the course serve to link art and science and visually represent the scientific data and other findings of the course content. Consider the saying ‘think globally act locally’: The scientific analysis component is the GLOBAL and the experiential creative work (i.e. the collection of personal data and material) is the LOCAL. Students make a tangible connection between local choices and their corresponding global effects.
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US 203 Songwriting: A Blend of Poetry and Music
This course will be directed toward students who consider themselves poets and are interested in adding music, and/or musicians looking to write lyrics and investigate poetry, and/or for students that just want to write songs and be a part of a songwriting team. Either way, this interdisciplinary class is designed to teach students to make beautiful, memorable (maybe even sellable) songs. It will give them an understanding of some of the best songs ever written and how/why they became so good. In this class students will be poets, musicians, critics, and scholars.
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US 204 Buddhism and the Beats: Dharma Bums, Zen Lunatics and Crazy Wisdom
The writers and artists who are identified as “beat” collided in San Francisco, New York City, Boulder CO and “on the road” smack in the middle of the twentieth century. In early fifties America, these budding writers were attracted to Buddhism as an alternative to the era’s prevalent social and religious values-epitomized by the likes of religious leader Billy Graham and President Dwight D. Eisenhower. For Beat writers, Jack Kerouac, Gary Snyder, Joanne Kyger, Allen Ginsberg and Diane DiPrima, Buddhism was an antidote to what they saw as the spiritual and cultural stagnation of a society corrupted by Cold War politics and rampant consumerism. An overarching goal of this University Seminar will be to make connections between the Buddhist sources and the voices and visions of the Beat generation. Students will read selected works of these writers alongside the Beats’ favorite Buddhists scriptures and texts. Students will engage in close reading, intertextuality, discussions and inquiry-based learning. Through responsive, reflective and creative writing students will explore how the Beats incorporated Buddhist thought and philosophy into their fiction and poetry.
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US 205 Philadelphia Then & Now
This course explores metropolitan Philadelphia’s past and present in order to examine how history shapes the places in which we currently live, work, and play. The course uses a historical lens through which to view a range of contemporary subjects including: wealth and poverty; suburban sprawl; architecture and space; local literature and visual art; watersheds and other environmental resources; urban politics; regional mass media. Students explore aspects of urban Philadelphia as well as of Philadelphia-area suburbs and “vacationlands.” In addition to doing weekly assigned readings, students also take individual and group trips to locations around the region and conduct research designed to provide them a more complex understanding of and deeper relationship to the Philadelphia region.
Note: US205 can count toward the History major and minor.
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US 207 Global Citizenship: Who in the World Are We?
What does it mean to be a citizen of the world? This course will explore this question from a historical, political, cultural and personal perspective. Students will develop a clearer understanding of what citizenship is, a clearer understanding of the ways citizenship is changing as a result of globalization, and a strategy to enact change in an era of globalization.
The class will explore the question of where ones identities come from. The class will look at global issues, such as climate change, crimes against humanity, and global poverty. What role have global citizens played in addressing these issues in the past? What will the emerging role of “global citizens” be in the future? Students will ultimately be required to take a perspective on what citizenship in a global era means for each of them. What are the rights and responsibilities associated with being a global citizen?
Finally, we will raise questions about social change. Historically, how have definitions of citizenship been used to bring about social change? How is this different in light of globalization? How can global citizens have a positive influence on global issues? What are the change mechanisms through which they can act?
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