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Organization, Regulations, and Courses 2013

THEA 10 Special Topics in Theater

In 13F at ARR (Section 1), Dramatic Storytelling. This course is designed to expose students to two main forms of dramatic storytelling, play and screenplay, and explore the ways they are different and the ways they are the same. By the end of the course, the student will better understand which form best suits a given story, to adapt stories told originally in one form into the other, and develop an appreciation of the history and traditions of both forms. Dist: ART. Sutton

In 14W at 10A (Section 1) Creativity and Collaboration. Creatuvity and collaboration are concepts found in all disciplines and regularly requested, although rarely taught. In this course, students will have  the opportunity to develop creative abilities through experiences in performance- based arts, and apply these in a collaborative project. Faculty artists active in movement and theater will teach the course, which is open to students with no performance experience, as well as those looking for a new approach to existing skills. Dist: ART. Evans.

In 14W at 11 (Section 2) Russian Theater. (Identical to, and described under, RUSS 18). Dist: LIT; WCult: W. Somoff.

In 14W at 10A (Section 3) Contemporary U.S. Latina/o Theater and Performance. (Identical to, and described under, LATS 35.1) A study of contemporary plays, performances, and other theatrical modes of representation written by U.S. Latina/o playwrights/performers. Focus will be placed on works by Puerto Rican, Mexican-American, and Cuban American ethnic heritages. Readings will include theoretical writings about representation and identity, sociopolitical contexts, dramatic criticism, and historical studies that situate Latina/os in US America. All play texts will be in English with some Spanish passages. The course does not require Spanish fluency. Dist: ART; WCult: CI. Mayorga.

In 14W at 2A (Section 4) Solo Performance. This course will introduce and engage the history, texts, topics, theoretical guideposts, and landmark figures/performances central to the genre of solo performance. Working between critical examination and practice, participants will analyze the form and content of leading solo performers while also composing a series of short exercises that activate solo performance strategies and methods. The course will culminate in the creation of a participant's self-authored, short solo performance piece. Dist: ART. Mayorga.

In 14W at 12 (Section 5) Unveiling the Harem Dancer. (Identical to, and described under, WGST 59.3 and AMES 25)The historical legacy of Orientalism continues to perpetuate a stereotypical image of the exotic female dancing body. We will consider the Oriental dancer as an entry point to examine contexts of the colonial encounter, global circulation, and postcolonial conditions. We will also explore issues of gender and sexuality in Arab Islamic culture and address questions about the social agency of the female dancer. Materials include theoretical texts, travel accounts, films, and performances. Dist: INT; WCult: NW. Yessayan.

In 14W at 10A (Section 6) August Boal's Forum Theater. This course exams the theoretical Pedagogy of the Theater of the Oppressed and proceeds to the practical—original Forum Theater narratives presented to invited audiences at end-of-term.  Readings and systematic conditioning through specific exercises developed by Boal, prepare students for creating and performing four Forum Theater pieces, narratives of students’ personally experienced oppressions within the Dartmouth community.  Students can explore the roles of actor, director, playwright, stage manager and technical contributor to the ensemble creations. Dist: ART (pending approval) Rice.

In 14S at 10A (Section 1), Human Rights and Performance. (Identical to COLT 34) This course explores performance texts and theater scholarship that engage with the discourse of human rights. The course examines various case studies of state-sanctioned violations of human of human rights and how theater and performance artists have responded to those violations. In addition to a series of short response essays, each student will develop an independent research project throughout the term. Dist: ART. Edmondson.

In 14S at 3A (Section 2) Textual Analysis. An introduction to the techniques for analyzing a theatrical text from the point of view of a practicing theater artist. Methods for exploring the elements of a script will be applied to Clifford Odets’ 1935 social protest play, Waiting for Lefty, with the purpose of successfully transforming a one-dimensional script into a three-dimensional performance. Particular attention will be given to the social, cultural and artistic context that gave rise to this Depression-era play. The class will culminate in a workshop production of Waiting for Lefty presented for an invited audience. Dist: ART. Hackett.

In 14S at 11 (Section 3) The Tragedy and Comedy of Greece and Rome. (Identical to, and described under, CLST 2) Dist: ART; WCult: W. Tell.

In 14S at 2A (Section 4) Acting for Musical Theater. This course will introduce student to the techniques used by actors/singers to play musical theater scenes believably, honestly and dynamically. Basic acting techniques will be taught as well as work in singing, text analysis, movement and speech. Students will begin with individual songs, then prepare, rehearse and present two-person musical scenes from Company, West Side Story, Side Show, Jane Eyre, Into the Woods, Passion, She Loves Me, The Secret Garden, Follies and others. Permission of the instructor is required. Dist: ART. Dunne.



13F: Arrange 14W: 10A, 11, 12, 2A 14S: 11, 10A, 2A, 3A