{"id":185,"date":"2017-10-23T18:32:28","date_gmt":"2017-10-23T18:32:28","guid":{"rendered":"https:\/\/www.macalester.edu\/theatreanddance\/courses\/"},"modified":"2024-07-19T17:34:45","modified_gmt":"2024-07-19T17:34:45","slug":"courses","status":"publish","type":"page","link":"https:\/\/www.macalester.edu\/theater-and-dance\/courses\/","title":{"rendered":"Course Descriptions"},"content":{"rendered":"
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Theater and Dance<\/h2>\n \n
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THDA 21 - Beginning Dances of the African Diaspora<\/h3>\n
\n This dynamic course invites students to dive into the vibrant world of dances of the African Diaspora, where movement, music, rhythm, and history come together. In 2025-26, students will explore the rich cultural heritage of the African Diaspora in Brazil, especially the forms Capoeira, Samba, and Maculele\u0302. The course begins with energizing warm-up exercises designed to prepare the body for the flow and intensity of these dance forms. Through embodied practice, students will develop foundational skills, strengthen the connection between dance and music, learn about diasporic history, and engage in community building. Readings include \"Capoeira's Incredible Roots: Brazil's Unique Art Form,\" \"The Cultural History of Brazilian Samba Music,\" and \"Maculele, history of this lesser known martial arts from Brazil,\" among others. May be repeated for credit. No experience necessary. Letter grading.<\/span>\n \n

Frequency: Every fall.<\/p>\n \n <\/div>\n \n \n \n \n <\/div>\n
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THDA 22 - Beginning Ballet<\/h3>\n
\n This is a beginning ballet class designed for students who have never had ballet before. The goal is to demonstrate fundamental understanding and execution of basic ballet technique and to develop a foundation in movement that will carry over and support any other style of dance or physical practice. It will include barre and center work, across-the-floor combinations, and stretching and strengthening practices. Correct alignment, coordination, and body mechanics will be emphasized. May be repeated for credit. Letter grading.<\/span>\n \n

Frequency: Every semester.<\/p>\n \n <\/div>\n \n \n \n \n <\/div>\n
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THDA 23 - Dance Improvisation<\/h3>\n
\n This class introduces students to the process of spontaneously creating movement, and the art of composing in the moment. Creative exploration is facilitated using a variety of movement scores and structures, working with the elements of time, space, quality, sensory experiences and perception. This course emphasizes collaboration and community, as well as individual agency within that framework. Through a kinesthetic lens, using curiosity and awareness, we will delve into who we are and how we move through the world. The class includes an introduction to Contact Improvisation, the \"art-sport\" developed by Steve Paxton in 1972. Come with a desire to move, an open mind and a willingness to explore in a non-competitive environment. Open to students with any level of previous experience in dance and movement, from beginning to advanced. May be repeated for credit. Letter grading.<\/span>\n \n

Frequency: Every year.<\/p>\n \n <\/div>\n \n \n \n \n <\/div>\n
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THDA 24 - Modern Dance I<\/h3>\n
\n This introductory level course explores the theory, technique, and terminology of modern dance as a performing art. Students engage fully with their bodies and minds as they deepen their strength, sense of rhythm, flexibility, and coordination. The course develops skills in inversions, floorwork, and balance based in a deepening awareness of alignment. May be repeated for credit. Letter grading.<\/span>\n \n

Frequency: Every fall.<\/p>\n \n <\/div>\n \n \n \n \n <\/div>\n
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THDA 25 - Urban Dance I<\/h3>\n
\n This course introduces students to fundamental characteristics, techniques, and principles of Urban and Street Dance. This spring, the course will focus specifically on Krump. The class will dive into the typical movements, histories and origins of this urban dance style. We are going into deep detail using theories and concepts that can help our minds, bodies and spirits connect further and deeper to the styles themselves. This class will allow your own identity and way of motion to be in the forefront. The course is physically rigorous, and emphasizes community building. No experience required. All are welcome. May be repeated for credit. Letter grading.<\/span>\n \n <\/div>\n \n \n \n \n <\/div>\n
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THDA 31 - Intermediate Dances of the African Diaspora<\/h3>\n
\n This dynamic course invites students to dive into the vibrant world of dances of the African Diaspora, where movement, music, rhythm, and history come together. In 2025-26, students will explore the rich cultural heritage of the African Diaspora in Brazil, especially the forms Capoeira, Samba, and Maculele\u0302. The course begins with energizing warm-up exercises designed to prepare the body for the flow and intensity of these dance forms. Through embodied practice, students will develop foundational skills, strengthen the connection between dance and music, learn about diasporic history, and engage in community building. Readings include \"Cultivating capoeira: tensions in an Afro-Brazilian art 'gone global,\" \"Evolution of Samba: How Samba has evolved in the last 50 years,\" and \"Maculele: Origins and Modern Interpretation.\" May be repeated for credit. No experience necessary, though THDA 21 (fall semester) is recommended. Letter grading.<\/span>\n \n

Frequency: Spring semester only.<\/p>\n \n <\/div>\n \n \n \n \n <\/div>\n
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THDA 32 - Intermediate Ballet<\/h3>\n
\n This is a beginning intermediate level ballet class for students who have acquired a foundation in the basic skills of classical ballet or have successfully completed THDA 51. Students will be expected to develop or expand their ballet technique while continuing to grow as dance artists. This class will consist of ballet barre and center work, simple pirouettes and the development of basic petit allegro steps. May be repeated for credit. Letter grading.<\/span>\n \n

Frequency: Every semester.<\/p>\n \n <\/div>\n \n \n \n \n <\/div>\n
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THDA 34 - Modern Dance II<\/h3>\n
\n This course builds on skills introduced in Modern Dance I. Students engage fully with their bodies and minds as they deepen their strength, flexibility, and felt sense of alignment and flow. Emphasis is placed on deepening precision, sense of rhythm, and anatomical awareness of the body in motion. Class consists of in-place warm-ups, traveling across the floor, and final combinations. May be repeated for credit. Letter grading.<\/span>\n \n

Frequency: Every spring.<\/p>\n \n <\/div>\n \n \n \n \n <\/div>\n
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THDA 35 - Urban Dance II<\/h3>\n
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THDA 42 - Advanced Ballet<\/h3>\n
\n This is an advanced level ballet class for students who have achieved an advanced level of skill and artistry in classical ballet. Students will be expected to expand and develop their ballet technique while continuing to grow as dance artists. It will include barre work, pirouettes ending in all positions, and petit allegro with beats. Combinations will increase in complexity and students will be expected to pick up material quickly. May be repeated for credit. Letter grading.<\/span>\n \n

Frequency: Every semester.<\/p>\n \n <\/div>\n \n

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Prerequisite(s): <\/strong>Prerequisite(s): Permission of instructor.<\/span><\/p>\n <\/div>\n \n \n \n \n <\/div>\n
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THDA 44 - Modern Dance III<\/h3>\n
\n This intermediate to advanced level technique course values expression, precision, and stamina. Students develop an understanding of how to use tiny muscles hidden within large muscles as they practice complex movement phrases on the ground, in the center, and across the floor. They learn a range of turns, jumps and movement sequences that build strength and agility. May be repeated for credit.<\/span>\n \n

Frequency: Every fall.<\/p>\n \n <\/div>\n \n

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Prerequisite(s): <\/strong>THDA41 or THDA42 or permission of instructor<\/span><\/p>\n <\/div>\n \n \n \n \n <\/div>\n
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THDA 54 - Modern Dance IV<\/h3>\n
\n The purpose of this technique class is to allow the intermediate to advanced modern dance student to explore and discover themselves as an articulate and expressive mover. Classwork places specific emphasis on alignment, power, momentum, articulation, clarity of intent, musicality and stamina. Class consists of in-place warm-ups, center exercises and a range of dance phrases. May be repeated for credit. Letter grading, effective Spring 2022.<\/span>\n \n

Frequency: Every spring.<\/p>\n \n <\/div>\n \n

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Prerequisite(s): <\/strong>THDA 42<\/a> or THDA 44<\/a> or permission of instructor.<\/span><\/p>\n <\/div>\n \n \n \n \n <\/div>\n
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THDA 79 - Performance Practice in Student Projects<\/h3>\n
\n Students are involved in Theater and Dance Department productions as actors or dancers in student-led pieces. Performance Practice in Student Projects is the appropriate course when students will not work under direct supervision of a faculty member, but are part of a student director's or student choreographer's work in an Honors production or Dance Concert. Two credits awarded at the end of the semester. May be repeated for credit. S\/N grading only.<\/span>\n \n

Frequency: Every semester.<\/p>\n \n <\/div>\n \n \n \n \n <\/div>\n
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THDA 80 - Performance Practice<\/h3>\n
\n Students are involved in production as actors or dancers, assistant choreographers or choreographers, assistant directors or directors, assistant designers or designers, dramaturgs and playwrights. Two credits awarded at the end of the semester. May be repeated for credit.<\/span>\n \n

Frequency: Every semester.<\/p>\n \n <\/div>\n \n

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Prerequisite(s): <\/strong>Permission of instructor required; please contact the Theater and Dance Department directly for audition and registration information<\/span><\/p>\n <\/div>\n \n \n \n \n <\/div>\n
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THDA 81 - Technical Practice<\/h3>\n
\n Students are involved in set, costume, lighting and sound engineering and construction, and running crew. Two credits awarded at the end of the semester. May be repeated for credit.<\/span>\n \n

Frequency: Every semester.<\/p>\n \n <\/div>\n \n

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Prerequisite(s): <\/strong>Permission of instructor required; please see instructor to be added to registration roster<\/span><\/p>\n <\/div>\n \n \n \n \n <\/div>\n
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THDA 105 - Seeing Performance in the Twin Cities<\/h3>\n
\n In this course, first-year students critically attend live dance and theater performances in the exciting arts scene of the Twin Cities, and articulate their individual reactions by writing reviews, responses, and essays. In this process of studied spectatorship, students acquire the vocabularies of the field. Readings include seminal texts in dance and theatre criticism, as well as manifestos and scholarly articles. We will attend dance and theater performances at professional venues such as the Walker Arts Center, the Guthrie, Penumbra Theatre, Mixed Blood, Northrop Auditorium, and Cowles Center. This course is typically reserved for incoming first-years and not open to returning students. Only offered as a First-Year Course.<\/span>\n \n

Frequency: Every fall.<\/p>\n \n <\/div>\n \n \n \n \n <\/div>\n
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THDA 112 - Reading Plays<\/h3>\n
\n Reading Plays guides students in close readings of dramatic literature, in particular of plays that are typically left out of the traditional theatrical canon. Each semester offers a different focus of study-we have offered courses examining the writings of Asian\/Asian American; Black, Latin American\/Latine\u0301; Queer; and Award Winning playwrights. Students will learn about the socio-historical context of each play, and in-class exercises will introduce them to the foundation of script analysis: they will examine the play's given circumstances, dialogue, dramatic action, characters, and style. Students will read a new play every week; assignments include weekly in-class writing exercises and short critical papers.<\/span>\n \n

Frequency: Every year.<\/p>\n \n <\/div>\n \n \n \n

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Cross-Listed as: <\/strong>AMST 102<\/a> <\/span><\/p>\n <\/div>\n \n \n <\/div>\n
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THDA 113 - The Power of the Dancing Body<\/h3>\n
\n This course focuses on key 20th century contemporary choreographers across four continents, including LIN Hwai-min, Pina Bausch, Akram Khan, and Ohad Naharin, among others. We examine the international impact of their work as well the cultural contexts in which they thrived, or are thriving, as artists. We compare their creative processes, aesthetics and philosophies. We examine the political, social, and spiritual power of their artistic lives and bodies of work, with special attention to issues of race and gender.<\/span>\n \n <\/div>\n \n \n \n \n <\/div>\n
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THDA 120 - Acting<\/h3>\n
\n This course introduces students to the art of acting. They will acquire fundamental acting skills and engage in artistic experimentation. Students will learn how to create a repeatable score of psychophysical actions, script analysis, use the body\/voice as the actor's performing instrument; explore internal (memory, impulses, and so forth) and external (the other actors, the environment, objects, and so forth) stimuli as creative sources; rediscover of play and imagination; and develop work ethics and discipline. Students in this course will engage in physical activity and be required to spend 3-5 hours in rehearsals outside of scheduled class time.<\/span>\n \n

Frequency: Fall semester only.<\/p>\n \n <\/div>\n \n \n \n \n <\/div>\n
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THDA 125 - Technologies of Performance<\/h3>\n
\n This course grounds students in the technical and construction practices of performance-making: materials and their sources and histories; conventional and contemporary technologies and techniques; quantitative methods for calculating and assessing drawings for execution. A balance of lecture and hands-on studio time allow students to learn and apply knowledge through working with materials. Students in this course also may provide support to mainstage performance projects, further extending their learning in the course. Department provides course materials.<\/span>\n \n

Frequency: Every year.<\/p>\n \n <\/div>\n \n \n \n \n <\/div>\n
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THDA 145 - Make-Up Design and Application<\/h3>\n
\n This course teaches students the theory and practice of make-up design and application, through a combination of lecture, discussion, demonstration and intense application. Students independently complete an extensive research portfolio called a \"make-up morgue\" while learning the principles of make-up design and application in weekly classroom laboratory format. Department provides course materials.<\/span>\n \n <\/div>\n \n \n \n \n <\/div>\n
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THDA 194 - Topics Course<\/h3>\n
\n Varies by semester. Consult the department or class schedule for current listing. <\/span>\n \n <\/div>\n \n \n \n \n <\/div>\n
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THDA 215 - Dance History: Reading the Dancing Body<\/h3>\n
\n This course focuses on dance in the United States from the early 20th century to today. The historical study of dance as an embodied art form supports an intersectional examination of how gender, race, ethnicity, and class experiences both reflect and shape individual and collective identities. We will read seminal texts in dance and cultural studies, analyze dance videos and live performances, and write short papers that critically consider an array of theatrical dance forms and traditions.<\/span>\n \n

Frequency: Every other year.<\/p>\n \n <\/div>\n \n \n \n \n <\/div>\n
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THDA 217 - Gender and Race Theory in Performance<\/h3>\n
\n This course introduces students to debates, methods, and conceptual frameworks in race and gender, as represented in performance. It engages students in an interdisciplinary exploration of key terms--such as corporeality, embodiment, intersectionality, and performativity--that remain central to the fields of gender and sexuality, critical race theory, and performance. Through drafts and revisions of written work, critical dialogues and oral presentations in small groups, peer feedback, and analytical reading, students will engage in questions around identity formation, structural inequality, and the politics of citizenship.<\/span>\n \n

Frequency: Occasionally.<\/p>\n \n <\/div>\n \n \n \n

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Cross-Listed as: <\/strong>WGSS 217<\/a> <\/span><\/p>\n <\/div>\n \n \n <\/div>\n
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THDA 220 - Voice in Performance<\/h3>\n
\n Students will work to discover their own voice in this class. Habits that have formed in the body will be worked on to free the voice and allow for its true potential to exist. Breathing and relaxation exercises, and developing a sense of body awareness and presence will all be a part of the journey of the class. Improvisation and games will be used as tools to help define openness, balance and creativity, strength and vulnerability. Students will consult various books and memorize a number of texts. Students are asked to write responses to readings, a report on a book of the instructor's choice, a report on a Macalester theater production, and a review of one professional play. A large part of a student's grade depends on the thoroughness and rigor of their work, as well as how much they develop and improve their skills throughout the semester. Students are expected to attend and participate in all classes and to complete all assignments. There is one required book for the class, The Actor Speaks<\/em>, by Patsy Rodenburg.\u200b<\/span>\n \n

Frequency: Offered occasionally.<\/p>\n \n <\/div>\n \n \n \n \n <\/div>\n
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THDA 221 - Dance Composition<\/h3>\n
\n This course is the study and discipline of dance-making. Students learn the tools of the choreographer - time, space, energy - and how they can be shaped to give the body expressive power. The course focuses on the relationships between form, content, and technique. Students choreograph short studies, improvise, discuss, and view dance on film and in live performance. The course values risk-taking and collaboration in a supportive, shared space. Students in this class will work with those in THDA 255 - Lighting Design<\/a> in a collaborative dance project that will culminate in public performances in the Theater and Dance Department Huber-Seikaly Theater. May be repeated for credit.<\/span>\n \n

Frequency: Every spring.<\/p>\n \n <\/div>\n \n

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Prerequisite(s): <\/strong>THDA 31<\/a> or coursework in a dance technique; or permission of instructor. Students with dance experience prior to Macalester are encouraged to contact the instructor for permission to enroll.<\/span><\/p>\n <\/div>\n \n \n \n \n <\/div>\n
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THDA 222 - Contemporary Ensemble Choreography<\/h3>\n
\n In this introductory studio course, students learn the art of contemporary dance-making with an emphasis on ensemble work. In the role of choreographer, students learn how to convey movement to dancers, as well as evoke movement from them. In an atmosphere of play, we explore a range of approaches to choreography, while analyzing the styles and choreographic structures of post-modern and contemporary choreographers. We explore site-specific work, and give special emphasis to the integration of music as well as design elements including set, costume, and lighting. We inquire about what defines dance and what are choreographic forms that speak to the needs of our time.<\/span>\n \n

Frequency: Fall semester only.<\/p>\n \n <\/div>\n \n

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Prerequisite(s): <\/strong>THDA 31 or coursework in a dance technique; or permission of instructor. Students with dance experience prior to Macalester are encouraged to contact the instructor for permission to enroll.<\/span><\/p>\n <\/div>\n \n \n \n \n <\/div>\n
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THDA 225 - Technologies of Performance II<\/h3>\n
\n This course will undertake the process of technical design; the challenges and problems one must overcome in bringing a visual design to full realization. We live in a performance world greatly influenced by film and spectacle; and these influences create great technical challenges. This course will expand and develop specific technical areas introduced in Technologies of Performance. These areas will include: stage rigging, structural design, metal fabrication and stage automation and control. <\/span>\n \n

Frequency: Alternate spring semesters.<\/p>\n \n <\/div>\n \n

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Prerequisite(s): <\/strong>THDA 125<\/a> <\/span><\/p>\n <\/div>\n \n \n \n \n <\/div>\n
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THDA 230 - The Art of Play: Action, Invention, and Chaos<\/h3>\n
\n Making theatre is a messy business; in this studio course, we will explore physical comedy, the haphazard world of the clown, masks, improvisation, games, and object manipulation. The goal of the course is to encourage curiosity, and to engage the student as creator, designer, and performer-we will invent everything ourselves by learning how to play with skill. In short: there are no scripts, no lines and no stage directions. Our training will include basic acrobatics, balancing, and juggling. The instructor draws inspiration from the work of French stage actor and movement coach Jacques Lecoq. <\/span>\n \n

Frequency: Every spring.<\/p>\n \n <\/div>\n \n \n \n \n <\/div>\n
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THDA 232 - Crafting the Tangible<\/h3>\n
\n As our society shifts away from a human connection to the tangible, this course seeks to reconnect the student to the tangible object. Our focus will be on the process of \"thinking through making.\" Through a series of project based learning opportunities, students will develop a deeper understanding of themselves, the process of \"critical making,\" and current performance production technologies. Department provides course materials.<\/span>\n \n <\/div>\n \n \n \n \n <\/div>\n
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THDA 235 - Fundamentals of Scenography<\/h3>\n
\n Scenography is the creation of imagined spaces for performance. In this course we will study the fundamentals of scenography holistically, including scenic, lighting, costume, and sound design. Students will develop the ability to analyze and critique elements of performance design, articulate design ideas through written and verbal means, and complete a design project from textual analysis to tangible objects. This course is a prerequisite for intermediate and advanced design courses in Theater and Dance. Department provides course materials.<\/span>\n \n

Frequency: Every fall.<\/p>\n \n <\/div>\n \n \n \n \n <\/div>\n
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THDA 242 - Playwriting<\/h3>\n
\n In this course, students engage in a series of playwriting exercises and read a wide variety of plays. They will read new and contemporary plays that employ different storytelling techniques (i.e., structure, character arcs, staging elements, etc.), in order to embrace the unlimited possibilities of theatricality, exemplifying why we write for the stage. Students will develop a \"playwriting toolkit\" as they explore their artistic interests. In-class exercises, prompts, small-group workshopping, and related readings will challenge each writer's individual development. A mid-term check-in and in-class readings of final plays will allow students to hear their work out loud in a supportive public setting. Course may be taken twice for credit.<\/span>\n \n

Frequency: Every semester.<\/p>\n \n <\/div>\n \n \n \n

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Cross-Listed as: <\/strong>ENGL 285<\/a> <\/span><\/p>\n <\/div>\n \n \n <\/div>\n
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THDA 247 - Stage and Event Management<\/h3>\n
\n This course will introduce students to the multi-faceted responsibilities of the stage manager in theatrical stage productions. Through a combination of classroom discussions, in-class group activities, at-home exercises and site visits, students will learn the responsibilities and tools of managing any collaborative creative team. By the end of this course, students will have developed core proficiencies in note-taking, information management, giving written & verbal feedback, collaboration, leadership, communication, conflict intervention and team organization.<\/span>\n \n

Frequency: Alternate fall semesters.<\/p>\n \n <\/div>\n \n \n \n \n <\/div>\n
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THDA 250 - Experiential Anatomy and the Mind Body Connection<\/h3>\n
\n The study of anatomy and somatics provide concrete pathways to deepening our understanding of self and the mind-body connection. We will study the musculoskeletal human anatomy on both a theoretical and practical level. Countering the notion that the body is an assemblage of parts to be trained, strengthened, and disciplined, we will delve into various mind-body practices that illuminate anatomy from a first-person perspective. We will focus on experiential learning including embodied anatomy and movement practices that provide direct knowledge of anatomy and alignment while providing opportunities for an integrated experience from within and increased self-awareness. In-class work will be supplemented by readings, journaling, physical practice, writing and research.<\/span>\n \n

Frequency: Every year.<\/p>\n \n <\/div>\n \n \n \n \n <\/div>\n
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THDA 253 - Sound Design<\/h3>\n
\n This course will provide the student with an introduction to the creative and technical process of sound design in contemporary theater. Through lecture, demonstration, and projects, students will learn the aesthetic of sound design, the basic science of sound, audio software, and the process of collaboration. Students will acquire the skills to analyze and research a script; to edit, manipulate, and program sound files; and to present and defend design projects.<\/span>\n \n

Frequency: Alternate fall semesters.<\/p>\n \n <\/div>\n \n \n \n

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Cross-Listed as: <\/strong>MUSI 253<\/a> <\/span><\/p>\n <\/div>\n \n \n <\/div>\n
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THDA 255 - Lighting Design<\/h3>\n
\n This course is an introduction to performance lighting design. While emphasis is on performance, the principles can be applied to film, television, and environmental settings. The course focus will be on the design process, but there will be some attention to lighting hardware and technologies as well. A primary goal of the course is to make the student more aware of color and light around them every day. Department provides course materials.<\/span>\n \n

Frequency: Every year.<\/p>\n \n <\/div>\n \n

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Prerequisite(s): <\/strong>THDA 125<\/a> or THDA 235<\/a> or permission of instructor.<\/span><\/p>\n <\/div>\n \n \n \n \n <\/div>\n
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THDA 264 - Acting for the Camera<\/h3>\n
\n The camera has a way of capturing truth in an unflinching way. The acting techniques needed to be able to communicate honestly and authentically are magnified when acting for the camera. This class will explore the expression of truth for both drama and comedy while building acting skills uniquely required for film and video. Students will develop critical response techniques that will enable constructive feedback. With the current industry trend towards video content, this class will give a strong foundation to succeed in any of the various film and video platforms.<\/span>\n \n

Frequency: Offered occasionally.<\/p>\n \n <\/div>\n \n \n \n

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Cross-Listed as: <\/strong>MCST 264<\/a><\/span><\/p>\n <\/div>\n \n \n <\/div>\n
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THDA 267 - A Historical Journey from Greek theater to the Restoration<\/h3>\n
\n This course explores the four significant periods of theater history (Classical, Medieval, Renaissance, and Restoration) through learning about the historical context, the design and architectural elements, the plays that defined the time and the playwrights who wrote them. Students will engage with script analysis of the plays through staged readings.<\/span>\n \n

Frequency: Alternate years.<\/p>\n \n <\/div>\n \n \n \n

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Cross-Listed as: <\/strong>HIST 247<\/a> <\/span><\/p>\n <\/div>\n \n \n <\/div>\n
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THDA 285 - Costume Design<\/h3>\n
\n Students in this class will engage with costume design as both generative and collaborative artists. They will learn to conceptualize costumes for theater and dance productions drawing from a multitude of inspirations including the fine arts, costume\/fashion history, music, literature, film, opera, and textiles. Class meetings will include discussions about readings and visual literacy, as well as hands-on exploration of a real-world design process including research, drawing and painting renderings, budgeting, fittings, and oral presentations of designs. Students will engage with both traditional and devised methods of developing characters and silhouettes to develop their unique vision for theatrical and dance productions. There will be 1-2 field trips to visit key resource locations for costume designers.<\/span>\n \n

Frequency: Every year.<\/p>\n \n <\/div>\n \n \n \n \n <\/div>\n
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THDA 287 - Creative Technologies: Tools of Performance Design<\/h3>\n
\n Today's theatre artist has many tools at their fingertips to create the environments for performance. In this course students will develop skills in Adobe Creative Suite, QLab and Isadora. A final project of the student's design will demonstrate use of one or more of these technologies in creating performance.<\/span>\n \n <\/div>\n \n
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Prerequisite(s): <\/strong>Permission of instructor<\/span><\/p>\n <\/div>\n \n \n \n \n <\/div>\n
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THDA 294 - Topics Course<\/h3>\n
\n Varies by semester. Consult the department or class schedule for current listing. <\/span>\n \n <\/div>\n \n \n \n \n <\/div>\n
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THDA 325 - Labor and Class and the Theater<\/h3>\n
\n Join the conversations around class and the development of the labor movement in the US from the late 1800s to the present day through the lens of the theater and the people who worked in it. We will ask how the economic and political landscape shaped their working conditions, and how the arts themselves then shaped that same landscape. We will engage with this great conversation through 8-9 plays on power, labor and class struggle and analyze them in their context both as pieces of theatrical entertainment and political statements. Students will write two papers, one each half of the semester, analyzing some aspect of theatre and labor.<\/span>\n \n

Frequency: Offered occasionally.<\/p>\n \n <\/div>\n \n \n \n

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Cross-Listed as: <\/strong>AMST 325<\/a> <\/span><\/p>\n <\/div>\n \n \n <\/div>\n
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\n

THDA 345 - Performance Histories and Theories<\/h3>\n
\n By examining key movements in dance and theater history from the late 19th century to the present, this seminar explores the active relationship between theoretical thought and aesthetic innovation on stage. Through close readings of primary, secondary, and critical texts, the course highlights the ways in which dance and theater advanced movement by movement, each \"ism\" a reaction to what came before, and how the transformation from historical avant-garde to experimental contemporary performance represents dynamic and cumulative ruptures with the mainstream. Ultimately, they shape how we imagine, see, and create dance and theater today. Work in this class will support learning theories and methodologies for capstone and Honors projects, as well as independent research in theater, dance, and other forms of live performance.<\/span>\n \n

Frequency: Fall semester only.<\/p>\n \n <\/div>\n \n

\n

Prerequisite(s): <\/strong>Preference given to Theater and Dance major and\/or minors.<\/span><\/p>\n <\/div>\n \n \n \n \n <\/div>\n
\n \n

\n

THDA 350 - Directing for the Stage<\/h3>\n
\n This course prepares advanced theater students to direct public performances, and thus focuses on the acquisition of skills such as text analysis, dynamic storytelling, stage composition, and communication (with designers, actors, stage managers, and production team). Students will choose a scene from a play proposed by the instructor, research style and aesthetic, run auditions, cast the scene, facilitate a rehearsal process, and stage a live performance. They will also learn best collaborative practices, since the class unfolds in conversation with the Acting Approaches course (THDA360) and culminates in public performances at the James A. Williams Theater.<\/span>\n \n <\/div>\n \n
\n

Prerequisite(s): <\/strong>THDA 120<\/a> or THDA 235<\/a> or THDA 360<\/a>, or permission of the instructor.<\/span><\/p>\n <\/div>\n \n \n \n \n <\/div>\n
\n \n

\n

THDA 360 - Acting Approaches<\/h3>\n
\n In the different editions of this course, students have an opportunity to approach the acting method of theater masters, as well as acting styles and genres. This is arguably the greatest challenge for any actor. Through monologues and scenes from Shakespeare plays, students will learn to mine the text, understand the historical context in which he wrote the plays, develop voice and speech techniques, and gain acting skills to effectively bring his iconic characters to life. May be repeated for credit.<\/span>\n \n <\/div>\n \n \n \n \n <\/div>\n
\n \n
\n

THDA 375 - Set Design<\/h3>\n
\n The course explores scenic design in traditional theatrical buildings and alternative sites. Students will learn how to bridge script analysis and visual research, deepen their knowledge of spatial composition, acquire drafting skills, and practice design conceptualization with reference to historical and contemporary practices. The course outcome is a design portfolio, the collection of the various course projects each student will create during the semester. Department provides course materials.<\/span>\n \n <\/div>\n \n
\n

Prerequisite(s): <\/strong>THDA 125<\/a> or THDA 235<\/a> or permission of the instructor.<\/span><\/p>\n <\/div>\n \n \n \n \n <\/div>\n
\n \n

\n

THDA 385 - Intermediate Playwriting<\/h3>\n
\n This course-a mixture of lecture, discussion, study of dramatic texts, writing exercises and in-class analysis of student writing-is intended to reinforce and build upon the skills developed in Playwriting. Topics will include dramatic structure, conflict, characterization, language\/dialogue, as well as how to analyze your own work, give and receive feedback and techniques for rewriting. Students will engage in a rigorous development process which will culminate in the writing of a one act play.<\/span> <\/span>\n \n

Frequency: Spring semester<\/p>\n \n <\/div>\n \n

\n

Prerequisite(s): <\/strong>THDA 242<\/a>\u200b or ENGL 150<\/a>, or permission of instructor<\/span><\/p>\n <\/div>\n \n \n \n

\n

Cross-Listed as: <\/strong>ENGL 385<\/a> <\/span><\/p>\n <\/div>\n \n \n <\/div>\n
\n \n

\n

THDA 394 - Topics Course<\/h3>\n
\n Varies by semester. Consult the department or class schedule for current listing. <\/span>\n \n <\/div>\n \n \n \n \n <\/div>\n
\n \n
\n

THDA 490 - Senior Seminar<\/h3>\n
\n This is a reading and writing intensive course that engages theories from the fields of aesthetics and cultural studies to support each student's in-depth research into a topic of their choice. Discussions examine how particular uses of the body, space, and narrative intersect to inform our experience of \"performance,\" broadly defined, and engage the interplay between real and fictional in both artistic productions and performative social contexts. Students may pursue archival and library research, analysis of live performance, and analysis of documents of various kinds, including visual materials. Required for Theater and Dance majors, open to Dance, Theater, and Performance Design and Technologies minors.<\/span>\n \n

Frequency: Every fall.<\/p>\n \n <\/div>\n \n \n \n \n <\/div>\n
\n \n

\n

THDA 494 - Topics Course<\/h3>\n
\n Varies by semester. Consult the department or class schedule for current listing. <\/span>\n \n <\/div>\n \n \n \n \n <\/div>\n
\n \n
\n

THDA 601 - Tutorial<\/h3>\n
\n \n \n

Frequency: Every semester.<\/p>\n \n <\/div>\n \n

\n

Prerequisite(s): <\/strong>Permission of instructor and department chair. <\/span><\/p>\n <\/div>\n \n \n \n \n <\/div>\n
\n \n

\n

THDA 602 - Tutorial<\/h3>\n
\n \n \n

Frequency: Every semester.<\/p>\n \n <\/div>\n \n

\n

Prerequisite(s): <\/strong>Permission of instructor and department chair. <\/span><\/p>\n <\/div>\n \n \n \n \n <\/div>\n
\n \n

\n

THDA 603 - Tutorial<\/h3>\n
\n \n \n

Frequency: Every semester.<\/p>\n \n <\/div>\n \n

\n

Prerequisite(s): <\/strong>Permission of instructor and department chair. <\/span><\/p>\n <\/div>\n \n \n \n \n <\/div>\n
\n \n

\n

THDA 604 - Tutorial<\/h3>\n
\n \n \n

Frequency: Every semester.<\/p>\n \n <\/div>\n \n

\n

Prerequisite(s): <\/strong>Permission of instructor and department chair. <\/span><\/p>\n <\/div>\n \n \n \n \n <\/div>\n
\n \n

\n

THDA 611 - Independent Project<\/h3>\n
\n For the advanced student capable of independent study requiring library research and\/or experimental work in the theatre.<\/span>\n \n

Frequency: Every semester.<\/p>\n \n <\/div>\n \n

\n

Prerequisite(s): <\/strong>Permission of instructor and department chair. <\/span><\/p>\n <\/div>\n \n \n \n \n <\/div>\n
\n \n

\n

THDA 612 - Independent Project<\/h3>\n
\n For the advanced student capable of independent study requiring library research and\/or experimental work in the theatre.<\/span>\n \n

Frequency: Every semester.<\/p>\n \n <\/div>\n \n

\n

Prerequisite(s): <\/strong>Permission of instructor and department chair. <\/span><\/p>\n <\/div>\n \n \n \n \n <\/div>\n
\n \n

\n

THDA 613 - Independent Project<\/h3>\n
\n For the advanced student capable of independent study requiring library research and\/or experimental work in the theatre.<\/span>\n \n

Frequency: Every semester.<\/p>\n \n <\/div>\n \n

\n

Prerequisite(s): <\/strong>Permission of instructor and department chair. <\/span><\/p>\n <\/div>\n \n \n \n \n <\/div>\n
\n \n

\n

THDA 614 - Independent Project<\/h3>\n
\n For the advanced student capable of independent study requiring library research and\/or experimental work in the theatre.<\/span>\n \n

Frequency: Every semester.<\/p>\n \n <\/div>\n \n

\n

Prerequisite(s): <\/strong>Permission of instructor and department chair. <\/span><\/p>\n <\/div>\n \n \n \n \n <\/div>\n
\n \n

\n

THDA 621 - Internship<\/h3>\n
\n The theatre and dance department allows up to eight credits for approved internship experiences, which may be applicable to a major in theatre arts (and non-majors, by approval from and in consultation with a department faculty member).<\/span>\n \n

Frequency: Every semester.<\/p>\n \n <\/div>\n \n

\n

Prerequisite(s): <\/strong>Junior or Senior majors. Permission of instructor and department. Work with Internship Office. <\/span><\/p>\n <\/div>\n \n \n \n \n <\/div>\n
\n \n

\n

THDA 622 - Internship<\/h3>\n
\n The theatre and dance department allows up to eight credits for approved internship experiences, which may be applicable to a major in theatre arts (and non-majors, by approval from and in consultation with a department faculty member).<\/span>\n \n

Frequency: Every semester.<\/p>\n \n <\/div>\n \n

\n

Prerequisite(s): <\/strong>Junior or Senior majors. Permission of instructor and department. Work with Internship Office. <\/span><\/p>\n <\/div>\n \n \n \n \n <\/div>\n
\n \n

\n

THDA 623 - Internship<\/h3>\n
\n The theatre and dance department allows up to eight credits for approved internship experiences, which may be applicable to a major in theatre arts (and non-majors, by approval from and in consultation with a department faculty member).<\/span>\n \n

Frequency: Every semester.<\/p>\n \n <\/div>\n \n

\n

Prerequisite(s): <\/strong>Junior or Senior majors. Permission of instructor and department. Work with Internship Office. <\/span><\/p>\n <\/div>\n \n \n \n \n <\/div>\n
\n \n

\n

THDA 624 - Internship<\/h3>\n
\n The theatre and dance department allows up to eight credits for approved internship experiences, which may be applicable to a major in theatre arts (and non-majors, by approval from and in consultation with a department faculty member).<\/span>\n \n

Frequency: Every semester.<\/p>\n \n <\/div>\n \n

\n

Prerequisite(s): <\/strong>Junior or Senior majors. Permission of instructor and department. Work with Internship Office. <\/span><\/p>\n <\/div>\n \n \n \n \n <\/div>\n
\n \n

\n

THDA 631 - Preceptorship<\/h3>\n
\n Through a preceptorship, an advanced student assists a faculty member in the planning and teaching of a course. <\/span>\n \n

Frequency: Every semester.<\/p>\n \n <\/div>\n \n

\n

Prerequisite(s): <\/strong>Junior or Senior majors. Permission of instructor and department. Work with Academic Programs. <\/span><\/p>\n <\/div>\n \n \n \n \n <\/div>\n
\n \n

\n

THDA 632 - Preceptorship<\/h3>\n
\n Through a preceptorship, an advanced student assists a faculty member in the planning and teaching of a course.<\/span>\n \n

Frequency: Every semester.<\/p>\n \n <\/div>\n \n

\n

Prerequisite(s): <\/strong>Junior or Senior majors. Permission of instructor and department. Work with Academic Programs. <\/span><\/p>\n <\/div>\n \n \n \n \n <\/div>\n
\n \n

\n

THDA 633 - Preceptorship<\/h3>\n
\n Through a preceptorship, an advanced student assists a faculty member in the planning and teaching of a course.<\/span>\n \n

Frequency: Every semester.<\/p>\n \n <\/div>\n \n

\n

Prerequisite(s): <\/strong>Junior or Senior majors. Permission of instructor and department. Work with Academic Programs. <\/span><\/p>\n <\/div>\n \n \n \n \n <\/div>\n
\n \n

\n

THDA 634 - Preceptorship<\/h3>\n
\n Through a preceptorship, an advanced student assists a faculty member in the planning and teaching of a course.<\/span>\n \n

Frequency: Every semester.<\/p>\n \n <\/div>\n \n

\n

Prerequisite(s): <\/strong>Junior or Senior majors. Permission of instructor and department. Work with Academic Programs. <\/span><\/p>\n <\/div>\n \n \n \n \n <\/div>\n
\n \n

\n

THDA 641 - Honors Independent<\/h3>\n
\n Independent research, writing, or other preparation leading to the culmination of the senior honors project.<\/span>\n \n

Frequency: Offered every semester.<\/p>\n \n <\/div>\n \n

\n

Prerequisite(s): <\/strong>Permission of instructor and department chair. <\/span><\/p>\n <\/div>\n \n \n \n \n <\/div>\n
\n \n

\n

THDA 642 - Honors Independent<\/h3>\n
\n Independent research, writing, or other preparation leading to the culmination of the senior honors project.<\/span>\n \n

Frequency: Offered every semester.<\/p>\n \n <\/div>\n \n

\n

Prerequisite(s): <\/strong>Permission of instructor and department chair. <\/span><\/p>\n <\/div>\n \n \n \n \n <\/div>\n
\n \n

\n

THDA 643 - Honors Independent<\/h3>\n
\n Independent research, writing, or other preparation leading to the culmination of the senior honors project.<\/span>\n \n

Frequency: Offered every semester.<\/p>\n \n <\/div>\n \n

\n

Prerequisite(s): <\/strong>Permission of instructor and department chair. <\/span><\/p>\n <\/div>\n \n \n \n \n <\/div>\n
\n \n

\n

THDA 644 - Honors Independent<\/h3>\n
\n Independent research, writing, or other preparation leading to the culmination of the senior honors project.<\/span>\n \n

Frequency: Offered every semester.<\/p>\n \n <\/div>\n \n

\n

Prerequisite(s): <\/strong>Permission of instructor and department chair. <\/span><\/p>\n <\/div>\n \n \n \n \n <\/div>\n
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