Drama

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Term
Time & Day Offered
Level
Credits
Course Duration

A Play Takes Place in the Audience — DRA4133.01

Instructor: Sherry Kramer
Credits: 4
A play is a unique, self organizing process which generates new states of order spontaneously out of nothing. It uses this order to create a perception shift in the audience. We will read 10 plays together to investigate the way that plays generate meaning. There will be a series of short writing exercises, and students will write a 30-90 minute play as their final project.

A Play Takes Place in the Audience — DRA4133.01

Instructor: Sherry Kramer
Days & Time: TBA
Credits: 4
A play is a unique, self organizing process which generates new states of order spontaneously out of nothing. It uses this order to create a perception shift in the audience. We will read 10 plays together to investigate the way that plays generate meaning. There will be a series of short writing exercises, and students will write a 30-60 minute play as their final project.

Acting Ensemble: TBA — DRA4395.01

Instructor: Jenny Rohn
Days & Time: Tu 7:00PM-10:00PM, W 2:10PM-5:50PM
Credits: 4

The Polish theater director Jerzy Grotowski defined his theory of “poor theatre” as the theatre that values the body of the actor and its relation with the spectator. Poor Theatre used the simplest of sets, costumes,lighting and props requiring the actors to employ all of their skills to transform a space into other imaginative worlds.

In this course, we will

Acting Ensemble: The Cherry Orchard — DRA4395.01

Instructor: Jenny Rohn
Credits: 4
The Polish theater director Jerzy Grotowski defined his theory of "poor theatre" as the theatre that values the body of the actor and its relation with the spectator. Poor Theatre used the simplest of sets, costumes,lighting and props requiring the actors to employ all of their skills to transform a space into other imaginative worlds. In this course, we will rehearse and

Acting in Tragi-Comedies — DRA4108.01

Instructor: Mercedes Herrero
Credits: 4
"I will make it a mixture. Since there are kings and slaves in it, I will make it a tragicomedia." Plautus on "Amphitryon" People cry at weddings and laugh at funerals. Beckett spoke of "wild laughter amidst severest woe." The pathos of the human condition, its complex and often contradictory nature, has been a fertile subject for many dramatists. In this class, we will explore

Acting Shakespeare: Play Upon the Text! — DRA4181.01

Instructor: chris edwards
Days & Time: TBA
Credits: 4
This course is an investigation of the principles and techniques of acting Shakespearean verse and prose. We will explore: scansion, phrasing, image clusters, operative words, rhetorical devices, imagery, textual analysis, physicalizing the text, textual clues and the challenges of weaving these concepts with the Stanislavski base of action and objective to help students

Actor's Instrument — DRA2170.01

Instructor: Jenny Rohn
Credits: 4
An actor honors and bears witness to humanity by embodying and giving voice to the human element in the landscape of theatrical collaboration. Investigating the impulses and intuitions that make us unique as individuals can also identify that which constitutes our shared humanity. Through exploration of the fundamentals of performance, students address the actor’s body, voice,

Actor's Instrument — DRA2170.02; section 2

Instructor: Jenny Rohn
Credits: 4
The craft of acting will be the main focus of this class. Through physical and vocal warm-up exercises, sensory exploration, improvisation, scene work, and extensive reading students will be asked to develop an awareness of their own unique instrument as actors and learn to trust their inner impulses where this is concerned. Extensive out of class preparation of specific

Actor's Instrument — DRA2170.01; section 1

Instructor: Dina Janis
Credits: 4
The craft of acting will be the main focus of this class. Through physical and vocal warm-up exercises, sensory exploration, improvisation, scene work, and extensive reading students will be asked to develop an awareness of their own unique instrument as actors and learn to trust their inner impulses where this is concerned. Extensive out of class preparation of specific

Actor's Instrument — DRA2139.01

Instructor: Dina Janis
Credits: 4
An actor honors and bears witness to humanity by embodying and giving voice to the human element in the landscape of theatrical collaboration. Investigating the impulses and intuitions that make us unique as individuals can also identify that which constitutes our shared humanity. Through exploration of the fundamentals of performance, students address the actor’s body, voice,

Actor's Instrument — DRA2170.02, section 2

Instructor: Jennifer Rohn
Credits: 4
An actor honors and bears witness to humanity by embodying and giving voice to the human element in the landscape of theatrical collaboration. Investigating the impulses and intuitions that make us unique as individuals can also identify that which constitutes our shared humanity. Through exploration of the fundamentals of performance, students address the actor’s body, voice,

Actor's Instrument — DRA2170.01, section 1

Instructor: Dina Janis
Credits: 4
An actor honors and bears witness to humanity by embodying and giving voice to the human element in the landscape of theatrical collaboration. Investigating the impulses and intuitions that make us unique as individuals can also identify that which constitutes our shared humanity. Through exploration of the fundamentals of performance, students address the actor’s body, voice,

Actor's Instrument — DRA2139.02

Instructor: Kirk Jackson
Credits: 4
An actor honors and bears witness to humanity by embodying and giving voice to the human element in the landscape of theatrical collaboration. Investigating the impulses and intuitions that make us unique as individuals can also identify that which constitutes our shared humanity. Through exploration of the fundamentals of performance, students address the actor’s body, voice,

Actor's Instrument — DRA2139.01

Instructor: Mercedes Herrero
Credits: 4
"An actor is a vessel to be filled so that she can then be poured into the audience's ear." Cicely Berry (Vocal Coach) As actors, our bodies and our imagination are our tools. We use voice, body, and spirit to breathe life into a story before an audience in order to transform them. For an audience to experience the full range and music of the text, we must be fine-tuned. In

Actor's Instrument — DRA2139.01

Instructor: Jenny Rohn
Credits: 4
The craft of acting will be the main focus of this beginning class. Through physical and vocal warm-up exercises, sensory exploration, improvisation, scene work, and extensive reading students will be asked to develop an awareness of their own unique instrument as actors. Students will develop an understanding of the fundamentals of performance; using their body, voice, and

Actors Instrument — DRA2170.01, section 1

Instructor: Dina Janis
Credits: 4
In our work as actors, we honor the truth... using our imagination. How? Our art is the expression of genuine reaction and the following of impulses truthfully, while serving the telling of the story. Through a progressive series of exercises, improvisations, questions and answers, some light reading, writing, and engaging scene work, students will be introduced to the

Actors Instrument — DRA2170.02, section 2

Instructor: Dina Janis
Credits: 4
In our work as actors, we honor the truth... using our imagination. How? Our art is the expression of genuine reaction and the following of impulses truthfully, while serving the telling of the story. Through a progressive series of exercises, improvisations, questions and answers, some light reading, writing, and engaging scene work, students will be introduced to the

Actors Instrument — DRA2170.01

Instructor: Jenny Rohn
Days & Time: MO,TH 10:00am-11:50am
Credits: 4

An actor honors and bears witness to humanity by embodying and giving voice to the human element in the landscape of theatrical collaboration. Investigating the impulses and intuitions that make us unique as individuals can also identify what constitutes our shared humanity. Through exploration of the fundamentals of performance, students address the actor’s body,

Actors Instrument — DRA2139.01

Instructor: Kirk Jackson
Credits: 4
An actor honors and bears witness to humanity by embodying and giving voice to the human element in the landscape of theatrical collaboration. Investigating the impulses and intuitions that make us unique as individuals can also identify that which constitutes our shared humanity. Through exploration of the fundamentals of performance, students address the actor’s body, voice,

Actors Instrument — DRA2170.01

Instructor: Kirk Jackson
Credits: 4
An actor honors and bears witness to humanity by embodying and  giving voice to the human element in the landscape of theatrical collaboration. Investigating the impulses and intuitions that make us unique as individuals can also identify that which constitutes our shared humanity. Through exploration of the fundamentals of performance, students address the actor’s body,

Actors Instrument — DRA2170.01, section 1

Instructor: Dina Janis
Days & Time: MO,TH 3:40pm-5:30pm
Credits: 4

The craft of acting will be the main focus of this class. Through physical and vocal warm-up exercises, sensory exploration, improvisation, scene work, and craft readings students will be asked to develop an awareness of their own unique instruments and artistic voices while learning to trust their inner impulses as they develop basic acting technique.  Extensive out of

Actor’s Instrument — DRA2139.01

Instructor: Dina Janis
Credits: 4
The craft of acting will be the main focus of this class. Through physical and vocal warm-up exercises, sensory exploration, improvisation, scene work, and extensive reading students will be asked to develop an awareness of their own unique instrument as actors and learn to trust their inner impulses where this is concerned. Extensive out of class preparation of specific

Adaptation — DRA2249.01

Instructor: Sherry Kramer
Credits: 4
Adaptation: A writer is a reader moved to imitation. Appropriation, repurpose, pastiche, hybrid, sampling, remix, in conversation, mash up. Everyone knows that when you steal, steal from the best. When we write we may borrow the structure of a sonata, the plot from a story, the tang and tone of a novel, and characters from our own lives. Is everything we write adaptation? We