Class Schedules

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Spring 2017 Class Schedule - updated May 29, 2016 at 11:00 pm

Number/Section  Title
Days Time Room Instructor
THDA 120-01  Acting Theory and Performance I
MWF 12:00 pm-01:30 pm THEATR STUDIO STAFF
*First day attendance required*

THDA 145-01  Make-Up Design and Application
TR 09:40 am-11:10 am THEATR 205 Thomas Barrett
THDA 210-01  Community-Based Theatres
TR 01:20 pm-02:50 pm Harry Waters Jr.
THDA 213-01  Cultures of Dance
MWF 12:00 pm-01:00 pm THEATR 204 Wynn Fricke
THDA 220-01  Voice and Speech
MWF 02:20 pm-04:00 pm THEATR 205 Cheryl Brinkley
*First day attendance required* An introduction to the fundamentals of correct and successful playing of the vocal instrument of the individual human body. Using techniques of Lessac, Linklater, and Rodenburg, students learn all the elements of elocution: communication awareness and confidence; breath support; healthy voice production and projection; posture and poise; articulation; Standard American English pronunciation; vocal expressiveness. Essential for all theatre and performing arts majors, including singers, and extremely useful for anyone choosing a career such as law, teaching, politics, leadership, etc., which demands speaking to groups and public presentations. Students learn to craft a process of vocal support practice through continuous self-analysis, journaling of exercises, explorations, and performance. This is a dynamic, physical, highly experiential, practical, and performance-based, lab course. Semester culminates with solo oratory and poetry performances. No previous experience required.

THDA 230-01  Physical Approaches
MWF 02:20 pm-04:30 pm THEATR STUDIO Robert Rosen
THDA 250-01  Experiential Anatomy and the Mind Body Connection
MWF 09:40 am-10:40 am THEATR 204 Jill Lile
THDA 255-01  Lighting Design
TR 01:20 pm-02:50 pm THEATR 204 Megan Reilly
This course is an introduction to basic lighting design techniques used in performance and the history of lighting. While the student will be expected to have a basic grasp of lighting hardware, the emphasis of this course is on developing a design process that includes script analysis, making design decisions that support the performance in question, and how to translate ideas and inspiration into a practical design. The first aim of the course is to make the student more aware of color and light around him/her every day. Demonstrations are an integral part of the lectures.

THDA 294-01  Enactments:Threatres/Therapies
MWF 01:10 pm-02:10 pm Cleary, Strauss
*Cross-listed with PSYC 294-02; first day attendance required*

THDA 294-03  Ecology and Performance:What does the Warming World need now?
TR 01:20 pm-02:50 pm Malin Palani
*Cross-listed with ENVI 294-01* In this course, students will develop a working knowledge of current ecological debates and concerns; an understanding of eco-performance and the core principles that inform ecological practices in theatre and performance; and a range of performance techniques that inform an ecologically-driven performance project. The course will focus on experiential learning and student-directed research that encourages students to collaborate with others including their other-than-human surroundings. The course will foster a practice-based awareness of how theatre and the performing arts help us take up and critically communicate environmental issues as well as develop a more informed understanding of our responsibilities, roles, and relations with the environment and the earth

THDA 294-04  Performance Art: Defiance, Disruption, Dys/topia as Critical Life Practice
TR 03:00 pm-04:30 pm THEATR 204 Malin Palani
In this Performance Art class, students will develop their own performance art practice in response to 20th and 21st century performance art genres and movements. Based in practical exercises and embodied engagements, the course will focus on: how the categories of "art" and "life" are constructed, the stakes of performance art, and on how one’s own artistic practice might impact and transform the surrounding world. Guided by themes of body, time, identity, community, event, and action—students will question how their work participates in urgent critiques of social, cultural, and historical formations.

THDA 360-01  Acting Theory and Performance II
MWF 09:40 am-11:50 am THEATR STUDIO Harry Waters Jr.
*Permission of instructor required; first day attendance required*

THDA 22-01  African-Based Movement II
TR 03:00 pm-04:30 pm THEATR 6 Patricia Brown
THDA 31-01  Dance Improvisation
MWF 10:50 am-11:50 am THEATR 6 Krista Langberg
THDA 42-01  Modern Dance II
TR 01:20 pm-02:50 pm THEATR 6 Wynn Fricke
THDA 44-01  Modern Dance IV
MW 04:00 pm-05:30 pm THEATR 6 Brian Evans
THDA 52-01  Ballet II
MW 02:20 pm-03:50 pm THEATR 6 Jill Lile
THDA 54-01  Ballet IV
TR 04:40 pm-06:10 pm THEATR 6 Jill Lile

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Fall 2016 Class Schedule - updated May 29, 2016 at 11:00 pm

Number/Section  Title
Days Time Room Instructor
THDA 105-01  Theatre and Performance in the Twin Cities
MWF 02:20 pm-03:20 pm THEATR 204 Beth Cleary
*First Year Course only; first day attendance required* Incoming First-Years, you are attending college in one of the most vibrant urban centers for performance in the U.S. The Guthrie Theatre is well-known, and with a new artistic director there is local and national buzz; but there are scores of professional and semi-professional companies here making performance that hybridizes theatre and dance, interprets "the classics," tells stories through objects and puppets, and interrogates race, history, class, hetero/sexism, capitalism in revelatory ways. Our classroom is on campus and our laboratories are a bus ride away!

In this course, we will learn and practice the skill of "complex seeing" as audiences of live performance. We will work against our pre-assigned roles as mere consumers of visual culture, and instead become aware of our capacities as meaning-makers in the performance environment. Starting as readers of written texts (plays), we'll advance to readings of the live, and fleeting, event of performance itself. We'll consider crucial questions. Why read plays? How do we "read" dance? What is the use of critiquing a performance that is "over"? What does "over" mean, if we still derive pleasure in memory? What are the theoretical frameworks we need to advocate for performance's role in broad cultural work and social change? What is the work of performance in our highly, hyper-, mediated and virtual experience of "the real"? Does Hamilton suggest widespread hunger, enthusiasm, for staging history? We will read, attend, discuss, meet theatre artists, practice thinking and writing about performance. Welcome to college in the Twin Performance Cities!

THDA 110-01  Introduction to Theatre Studies
TR 01:20 pm-02:50 pm THEATR STUDIO Malin Palani
THDA 120-01  Acting Theory and Performance I
MWF 12:00 pm-01:30 pm THEATR STUDIO Harry Waters Jr.
*First Day Attendance required*

THDA 121-01  Beginning Dance Composition
MWF 09:40 am-10:40 am THEATR 6 Wynn Fricke
THDA 125-01  Technical Theater
MWF 10:50 am-11:50 am THEATR 205 Thomas Barrett
THDA 125-L1  Technical Theater Lab
T 08:00 am-11:10 am THEATR 202 Thomas Barrett
THDA 125-L2  Technical Theater Lab
R 08:00 am-11:10 am THEATR 202 Thomas Barrett
THDA 220-01  Voice and Speech
MWF 02:20 pm-04:00 pm THEATR 205 Cheryl Brinkley
*First day attendance required; class will also meet in Theater 3*

THDA 235-01  Fundamentals of Scenography
TR 09:40 am-11:10 am THEATR 205 Megan Reilly
THDA 294-01  Oral Histories in Performance
M 07:00 pm-10:00 pm THEATR 204 Beth Cleary
*Cross-listed with ANTH 294-02* Interview. Testimony. Auto-ethnography. These bases for performance challenge conventional play-wrighting and, as Della Pollock declares, "expand upon traditional ways of transmitting historical knowledge." Oral history/-based performance often breaks new performance ground, especially for issues and underrepresented bodies/voices lacking access to traditional performance economics and audiences. We will study the ethics advocated, and practices developed, by major figures in the field of oral history and oral history-based performance, including Studs Terkel, Augusto Boal, Anna Deavere Smith, Roger Guenveur Smith, and the choreographer Ralph Lemon. Students will develop projects in designing and creating new oral history performance and, if they are so inclined, moving their texts into performance. (This course is superb preparation for a major oral history-based performance in THDA in Spring 2017, on themes of nursing, emotional labor, and public health; students interested in ethnographic methods are encouraged to enroll in this course even if they cannot participate in the Spring production.)

THDA 310-01  Theatre Methods: Shakespeare to Viewpoints
MWF 03:30 pm-04:30 pm THEATR 204 Beth Cleary
*Permission of the instructor required; first day attendance required*

THDA 310-L1  Theatre Methods:Shakespeare to Viewpoints Lab
R 08:00 am-11:10 am THEATR STUDIO Beth Cleary
THDA 341-01  Intermediate Dance Composition
MWF 09:40 am-10:40 am THEATR 6 Wynn Fricke
*Permission of the instructor required*

THDA 394-01  Creative Technologies:Tools of Design
TR 01:20 pm-02:50 pm THEATR 201 Megan Reilly
Today’s theatre artist has many tools at his or her fingertips to create the environments for performance. In this course students will develop skills in computer drafting, Adobe Creative Suite, and other software programs. A final project of the student’s design will demonstrate use of one or more of these technologies in creating performance. Prerequisites: THDA 235 (Fundamentals of Scenography) or THDA 255 (Lighting Design) or instructor permission.

THDA 394-02  Francophone Theater of Exile and Immigration
MWF 09:40 am-10:40 am THEATR 204 Juliette Rogers
*Cross-listed with FREN 320-01; taught in French* This course is a survey of francophone theater and film from 1975 to 2014. The plays and films will cover three main topics: the development of colonial and post-colonial subjects, the act of writing and performing while living in exile, and the idea of the Other in francophone film and theater. We will study a variety of plays and films that were written in and take place in all parts of the francophone world, including Quebec, Lebanon, Algeria, Belgium, Cameroon, Senegal, Mali, Martinique, Romania, and France. The form of each work varies widely, from classical French dramatic techniques to minimalist contemporary staging and characterization. Students will study blocking and staging techniques and explore contemporary performance theory in addition to writing literary and cultural analyses. Authors and filmmakers studied include Abla Farhoud, Wajdi Mouawad, Edouardo Manet, Michel Azama, Michele Cesaire, Anca Visdei, Pierre Gope et Nicolas Kurtovithc, and Moussa Toure.

THDA 489-01  Performance Theory Seminar: Theorizing the Body/Embodying Theory
TR 03:00 pm-04:30 pm THEATR 205 Malin Palani
*First day attendance required; course open to Juniors and Seniors of any discipline; all others contact instructor for approval.* Those who make performance—the practitioners—are often thought to be different and distinct from those who theorize performance—the academics. However, as this seminar suggests, well-thought theory is rooted in material practice inasmuch as performance practice is rooted in thinking and theorizing. The primary goal of this course is to introduce students to a wide array of critical theorists and theoretical approaches with a particular emphasis on how these approaches are bound to the study and practice of theatre and performance. The seminar is not a comprehensive course that investigates any one theoretical field in detail and to its fullest complexity. Rather, we will work to closely read texts from a broad range of critical approaches, to connect theoretical approaches to material practices, and to understand theory through our own embodiment. The readings are situated in fields such as Feminist/Queer Theory, Critical Race Theory, Critical Theory, and Eco-Criticism. The course is designed to encourage students to practically think through theory and to theoretically think through practice—questioning how the two are bound together in different ways.

THDA 21-01  African-Based Movement I
TR 01:20 pm-02:50 pm THEATR 6 Patricia Brown
THDA 41-01  Modern Dance I
MWF 10:50 am-11:50 am THEATR 6 Wynn Fricke
THDA 43-01  Modern Dance III
TR 03:00 pm-04:30 pm THEATR 6 Brian Evans
THDA 51-01  Ballet I
MW 02:20 pm-03:50 pm THEATR 6 Jill Lile
THDA 53-01  Ballet III
TR 04:40 pm-06:10 pm THEATR 6 Jill Lile

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