*Dramatic Arts 105. Production Dramaturgy: A.R.T. 2011-12 Season
Catalog Number: 7592 Enrollment: Limited to 12.
Ryan Scott McKittrick
Half course (spring term). W., 1:10–3:10. EXAM GROUP: 6, 7, 8
Principles of dramaturgy introduced and explained in the context of full productions of performance events. Focusing on productions in the American Repertory Theater’s 2011-12 season, students will apply literary research and analysis techniques to the preparation of scripts for performance. Specific A.R.T. productions will serve as examples for studying historical background, dramatic structure, new play development, and action theory as they are handled by directors, actors, and dramaturgs in the rehearsal hall.
*Dramatic Arts 110. Beginning Acting
Catalog Number: 3321 Enrollment: Limited to 20.
Thomas Derrah
Half course (spring term). Tu., Th., 11:30–1. EXAM GROUP: 13, 14
An exploration of the basic techniques of acting, beginning with exercises that flex the imagination and heighten observation; the course will then move towards work on rhythm, an actor’s instincts, focus, concentration, and character with an ongoing emphasis in improvisation. The texts of Anton Chekhov will be used as a point of reference for the work. The latter part of the course will concentrate on selected scene study from Chekhov’s major plays.
Note: Enrollment determined by audition. Students will audition for the course with a short improvisation described by the professor at the first class meeting.
*Dramatic Arts 110a. Acting Lab: The Fusion of Intellect and Imagination for the Stage
Catalog Number: 35526 Enrollment: Limited to 20.
Thomas Derrah
Half course (fall term). Tu., Th., 11:30–1. EXAM GROUP: 13, 14
Following guidelines without a prescribed text, students will work on physical and vocal invention, exploring the many ways and styles in which dynamic and compelling stories can be told. In this course, we will aim to heighten imagination and observation, build confidence, and enhance extemporaneous speech and thought through exercises, exploring impulses, and imaginative courage. Techniques used will include both individual and group activities, Grotowski exercises, mask work, and classical commedia dell’arte.
Note: Enrollment determined by audition. Students will audition for the course with a short improvisation described by the professor at the first class meeting.
[Dramatic Arts 111. Acting: 20th Century Texts]
Catalog Number: 9738
Karen L. MacDonald
Half course (spring term). Hours to be arranged.
An expansion of basic acting techniques, with an emphasis on the actor’s work done during rehearsal: creating a character, building a role and finding one’s own way of preparing for and making the most of rehearsal time. Actors will use exercises and improvs to help explore character and sharpen instincts, and do monologue and scene work using contemporary texts, both comic and dramatic.
Note: Expected to be given in 2012–13. Enrollment determined by audition.
[*Dramatic Arts 112r. Advanced Acting: 20th-Century Texts]
Catalog Number: 8011
Marcus Stern
Half course (fall term). Hours to be arranged.
For actors interested in working in television, film and theater, this is a course of advanced acting techniques using 20th-century dramatic texts for scene work. The emphasis is on action based acting and the creation of an acting process that is specifically tailored to the individual actor. Includes character work -- making physical and vocal changes. Emphasis also on learning how to audition better, includes helping actors assemble a group of working monologues to use in auditions.
Note: Expected to be given in 2012–13. Enrollment determined by audition on the first day of class.
*Dramatic Arts 114. Practical Aesthetics
Catalog Number: 8994 Enrollment: Limited to 16.
Scott Zigler
Half course (fall term). Tu., Th., 11:30–1. EXAM GROUP: 13, 14
Practical Aesthetics Acting Technique was developed by playwright David Mamet and actor William H. Macy, based on the work of the American acting teacher Sandford Meisner and the Russian acting teacher Konstantin Stanislavski. In this course, students will focus on rigorous text analysis combined with emphasis on enhancing the actor’s spontaneity through training in Meisner’s "Repetition Exercise." Students will do scene work drawn from a wide selection of plays.
Note: Enrollment will be determined by lottery at the first class meeting.
Prerequisite: Dramatic Arts course in Acting, previous study in Practical Aesthetics, or extensive undergraduate performance experience.
*Dramatic Arts 115. Acting Shakespeare
Catalog Number: 6659 Enrollment: Limited to 20.
Jeremy Geidt
Half course (spring term). M., 2–4. EXAM GROUP: 7, 8
Investigation of the texts of Shakespeare as theatre, developing an American approach to verse speaking and character analysis. Scenes are rehearsed to interpret the verse and prose by the light of modern experience. Explores the imagination of the playwright in order to develop the imagination of the student.
*Dramatic Arts 116. Acting Workshop: Comedy
Catalog Number: 9926 Enrollment: Limited to 16.
William S. Lebow
Half course (spring term). Tu., Th., 10–11:30. EXAM GROUP: 12, 13
A course developing the actor’s approach to and playing of comedy and humor. Using characters and scenes from Shakespeare, Molière, Shaw, and contemporary writers from Christopher Durang to Steve Martin, the course focuses on the universality of comic technique and the specific demands of comic playing. The question of humor is explored with respect to dramatic situations and characters that are inherently serious. Student scenes will occasionally be critiqued by members of the A.R.T. Company.
Note: Enrollment determined by audition on the first day of class. Students are asked to prepare a 30 second comic monologue, classical or contemporary, for the audition.
*Dramatic Arts 117. Acting Chekhov
Catalog Number: 1465 Enrollment: Limited to 14.
Remo Francisco Airaldi
Half course (fall term). M., 1–3. EXAM GROUP: 6, 7
An exploration of Chekhov’s plays from an actor’s point of view in order to develop a practical approach to any dramatic text. We will balance the use of analytical skills - playable actions, active verbs, subtext and beats - with the need to free the actor’s creative imagination, through exercises and improvisations. A variety of acting techniques will be used in scene work from the plays, including the techniques of Stanislavski, Michael Chekhov, Strasberg, Adler and Meisner as well as non-text-based approaches.
Note: Enrollment determined by audition. Each student will be asked to read a selection from one of Chekhov’s plays. No memorization required.
Dramatic Arts 119. Vocal Production for the Stage
Catalog Number: 8900 Enrollment: Limited to 18.
Nancy K. Houfek
Half course (fall term). Th., 1–3. EXAM GROUP: 15, 16
Whether one is performing in a play, speaking professionally, teaching a class or leading a group, the ability to use one’s voice effectively is a primary element of the success of the presentation. Using several major techniques of speaking training, students learn not only how to use the voice, but how these various approaches to voice training correspond to specific performance challenges.
Note: Enrollment determined by interview.
[Dramatic Arts 120. Introduction to Choreography]
Catalog Number: 2983
Instructor to be determined
Half course (fall term). Hours to be arranged.
This introductory choreography course utilizes movement exploration to tap into the participant’s aesthetic and interpretive skills as they are challenged to make dances. Explorations into the use of time, weight and space inform their creative process. Through a combination of readings, writings, discussions, videos and dance improvisation, the course focuses on how movement choices develop dances that are kinesthetic, dramatic, and artistic for both the performer and the audience. No previous dance experience necessary.
Note: Expected to be given in 2012–13. Enrollment determined by interview during the first week of class.
*Dramatic Arts 130r (formerly *Dramatic Arts 130). Directing
Catalog Number: 8160 Enrollment: Limited to 9.
Marcus Stern
Half course (fall term; repeated spring term). Fall: Tu., 1–3; Spring: Tu., 1–3. EXAM GROUP: 15, 16
A directing class for directors interested in theater, television and film, as well as for actors, dramaturgs, and designers investigating all aspects of theater. The class accommodates beginning to advanced levels of work. Students may bring in video or film scenes as part of the class work. Through constant scene work the course examines the directorial tools of text analysis, staging, design, and working with actors. The focus is on how to tell a story clearly and effectively.
Note: Enrollment determined by short interviews to be conducted on the first day of class.
*Dramatic Arts 131. Directing Lab
Catalog Number: 50633 Enrollment: Limited to 12. Enrollment determined by short interview to be conducted on the first day of class.
Shira Milikowsky
Half course (spring term). Th., 1–3. EXAM GROUP: 15, 16
This class is designed for students interested in expanding their understanding of directing for theater. The course will focus on the work of American experimental theater artists from the 1960’s to the present, examining the various ways avant-garde directors and ensembles have experimented with form to seek out radical new modes of storytelling. Students will create work inspired by the artists and productions studied, applying theory to practice in rehearsals and presentations.
[*Dramatic Arts 135. Design for the Theatre: History and Practice]
Catalog Number: 9503 Enrollment: Limited to 12.
J. Michael Griggs
Half course (spring term). Tu., Th., 1–2:30. EXAM GROUP: 15, 16
The practice of designing scenery for the theatre is explored through the history of stage design and the architecture of the theater building. Students complete projects of research and design for plays from various periods. The projects will introduce basic techniques in drawing, drafting, and model making. No previous experience in design or art necessary.
Note: Expected to be given in 2012–13.
*Dramatic Arts 136. Designing for the Stage
Catalog Number: 1116 Enrollment: Limited to 12.
J. Michael Griggs
Half course (spring term). Tu., Th., 1–2:30. EXAM GROUP: 15, 16
Students prepare and present for criticism stage design projects based on play texts that suggest varying interpretive and stylistic problems. Focus is on examining ideas through research of visual material and analysis of text. Through their design projects, students also complete assignments in perspective drawing, drafting, model making, and lighting design. No previous experience in design or art necessary.
Dramatic Arts 163x. Puppetry in Performance - (New Course)
Catalog Number: 19071 Enrollment: Limited to 20.
John T. Bell
Half course (fall term). Tu., Th., 4:30–6. EXAM GROUP: 18
This course focuses on the practice, theory and history of puppetry in the context of distinct performing object forms. How do we combine objects, movement, text, music and light together to create theater? Discussion sessions will consider historical and theoretical texts and contexts, from Plato and Ibn al-Jazari to Edward Gordon Craig, Oskar Schlemmer, and Sherry Turkle, in order to develop ideas and questions related to the workshop sessions. The workshop sessions will be focused on the design and creation of performances in four different forms: performing object theater, machine performance, toy theater, and bunraku-style puppetry.
Dramatic Arts 164x. Playing in the Material World: Puppet and Object Theater as Global Traditions - (New Course)
Catalog Number: 34178
John T. Bell
Half course (spring term). Tu., 4–6. EXAM GROUP: 18
This seminar will study the history and theory of puppetry as a global tradition with compelling applications for 21st century performance. Our goal is to understand puppet performance as a network of linked traditions - hybrid responses to cultural developments in specific communities. We will consider classic Asian forms (Bunraku, tolu bommalata and wayang kulit); European traditions (medieval giants, Pulcinella, Petrushka, and Punch); picture performance (from Indian and Persian par forms to 19th-century panorama); avant-garde rediscoveries (Symbolism, Dada, Bauhaus, and Russian Revolutionary performance); American puppet modernism (Little Theater Movement and 1930s popular culture); and automata and robots (from karakuri ningyo to Survival Research Laboratories).