Drama
Professors WOMACK (chair), LINDBLADE, WANG; Associate Professor MANLEY, DAVIS GREEN, EDMONDS (by courtesy); Assistant Professor PLATT, Adjunct Associate Professors AMES, DAVIS; Part-time Faculty MERCER; Artist in Residence, HERMINJARD, Guests in Drama and Dance, TINSLEY-WEEKS, EIKO & KOMA, AVAUNT, LAURITZEN, GOUDIABY, MARBLE, NELSON, SPENCER, BUNTPORT THEATRE, TAIYUAN PUPPET THEATRE, HUGHES; Emeritus Professors JOHNSON, MALCOLM; Lecturers LASMAWAN, Department Coordinator QUINN; Technical Director ; MARTIN, Assistant Technical Director PRIEST; Costume Shop Supervisor AVRAMOV
Drama
Please use (DR) when signing up for a Drama Theory class
THE MAJOR — REQUIREMENTS:
Drama majors must complete a minimum of 13 units for the major: three units from theatre production (105, 110 or 111, 206), two units chosen from theatre backgrounds (220, 221, 222, 223) and one unit from diversity and globalism (224, 320, 321, 322). These six courses constitute the core requirement for the major. In addition all majors are required to take 225 and successfully complete 303 (junior seminar) and 404 (senior thesis). In completing 404, all majors must demonstrate their ability to do advanced work in the field. Outstanding work will be rewarded with distinction upon graduation. Students must also complete three adjuncts in theatre studio (.25 unit per adjunct, DR 212-215) and act in a department production (.25 unit per adjunct, DR 212-215). The remaining three units may be chosen according to individual interests in acting, directing, literature, or design. Drama majors are urged to elect at least one unit in dance that will not count toward the units required for the major. Students are urged to study one or more foreign languages. Please consult the Handbook for Drama and Dance Majors online for further clarification of the major.
DR 100 History of Performance – Surveys performance in the Western tradition from ancient sacred ritual to contemporary performance art; chronological, thematic and theoretical study of Greek theatre and Roman spectacle, the medieval masque and revelry, Lully’s ballets and Moliere’s plays, and Renaissance public forms of performance. Considers notions of class, genre, industrialization, and expression in 19th century dance and drama, including realism and the revolt against established forms. Introduces elements of technology, reproduction, and multimedia forms in the late 19th and early 20th centuries. Considers film, installation, and early performance art as critical additions to performance. Creative projects and field trips augment the course. This class meets the Critical Perspectives: The West in Time requirement, and is also listed as Dance Theory 100. (DA 100) 2 units — Lindblade/Platt
DR 105 Acting I: Introduction – Work on basic acting skills through observation, improvisation, physical and vocal preparation, and the basics of Stanislavsky’s theories. The emphasis is on exercises and games that release the imagination and instinct of the performer with the aim of giving everyone the means to approach any role. Work will culminate with scripted scenes and a group presentation. Class limit of 18, 1 unit — Lindblade
DR 110 Fundamentals of Design and Technical Theatre – Basic theatrical design and technical theatre, its vocabulary, theory and application in the areas of technical direction, sound, lighting, set and costume design. A foundation course with emphasis placed on understanding the collaborative nature of technical theatre in production. Limited to 14, 1 Unit – Davis-Green
R 200/300/400 Topics in Drama/Dance: Courses offered by resident and visiting faculty on specialized topic areas, including theatre history, dramatic literature, dramatic theory, and film.
BLOCK 2
DR/DA 300 Topics in Drama/Dance: Eiko & Koma, Naked and Delicious: “The State of Being”: Delicious Movement is an experiential and experimental course taught by Eiko & Koma, dancer/choreographers and interdisciplinary artists. This course combines the “Delicious Movement Workshop” and the study of postwar Japanese arts. Through the study of movement, readings, videos, and films we will learn that space/time is not a white canvas that stands alone and empty. Here and now are continuous parts of a larger geography (space) and history (time) and as such are dense with memories, shadows, and possibilities. We will see art works and films from postwar Japan as examples of artistic representations of despair and perseverance. What is it to forget, remember, mourn, and pray? How do we transcend violence and loss? How does being or becoming a mover or dancer affect our emotional rigor, seeing/learning, and creativity? These are some of the many questions we will explore. This is not a dance class, nor is it geared toward performers. We will learn some movement together, but we encourage you to think about movement as a method of accessing human experiences and building knowledge, a way to explore sensations, thoughts, and reactions to a particular space (DA 300) – 1 unit – Eiko & Koma
BLOCK 3
DR 300 Topics in Drama: Theatre of the Absurd: An investigation of the influential dramatic texts of the Theatre of the Absurd, including works by Ionesco, Genet, Adamov, Beckett, Pinter, Albee, Jarry, and Pirandello. The class will examine the Theatre of the Absurd’ s philosophical roots in the existential philosophies of Camus and Satre and root the movement’s genesis in the world wars of the of the 20th Century. (CO 351) – 1 unit – Lindblade
DR/DA 200 Topics in Drama/Dance: Movement for the Performer: The purpose of this course is to develop greater physical awareness. It is designed to increase our bodily knowledge and our capacity to move with attention, intention and intelligence. The course draws on several bodily-based practices with emphasis on the interplay between intensive training in yoga and improvisation. Open-ended body-based explorations cultivate expanded perceptual and sensory awareness. Physical activity combined with reading and discussion investigates somatic practices as alternative means to theorize the relationship of mind to body. Improvisation exercises build skill in moment-by-moment decision-making, shaping material while in the act of doing, developing expressive range through physical action and creating collectively as a group or ensemble. These skills are applied to a culminating movement theatre performance by the entire class. Activities are physically active and about action. Much of the learning happens on our feet, on one foot, off our feet, in the air, on the ground and possibly while we are upside down. No previous dance experience is necessary to participate in and enjoy this course. 1 unit – Womack
HALF BLOCK
DR 200 Topics in Drama: Solo Performance: A practical investigation into the forces that shape solo performance of every type, as live performance, text, video, audio and art and the development of your own brief solo performance. Students will use their own ideas and imaginations as part of the creative process, helping each other to shape material, develop performance techniques, explore text, music, movement, dance, song, sound, props, set, lights, and costumes. This class encourages dancers, musicians, actors, writers, visual artists, singers and everybody interested in self-expression to be part of it. The class will culminate in a short solo performance by each student – 1 unit – Manley
DR 200 Topics in Drama: The Art of the Business/The Business of the Art: In this course we will investigate and develop the skills necessary to create and sustain a successful career in the theatre. Areas that will be explored include interview techniques, acting and audition techniques, successful rehearsal techniques, the employment cover letter, the 8×10 picture and resume writing, grant writing, networking, union affiliations, and working internationally – 1 unit – Davis
BLOCK 5
DR/DA 200 Topics in Drama/Dance: Buntport Theater Studio: This is an intensive block with Denver’s Buntport Theater; members of the troupe, in residence at Colorado College, will teach the course. After grounding the class in their aesthetic and their methods of collaboration, students (along with Buntport Theater) will be responsible for conceiving and mounting the Block 5 production of the Department of Drama and Dance. The collaboration includes design, script, direction, and dramaturgy, all elements leading to a public presentation of a new work in the third week of the block. Warning: Do not take this class unless you have an open and flexible schedule allowing total immersion in the experience (DA 200) 1 unit — Buntport Theater.
DR/DA 200 Topics in Drama/Dance: Experimental & Expanded Cinema: since its infancy, cinema has been predominantly regarded as a narrative form. Beginning with seminal experiments from the sixties, this course will explore an alternative artistic tradition that emphasizes elements peripheral to convention cinema, such as film’s visual and physical qualities. We will first establish how filmmakers like Michael Snow and Tony Conrad used irregular rhythmic structures and their medium’s materiality to disrupt spectators’ passive pleasure and thereby expose limits shared by artistic and social communication. We will also consider the use of similar techniques by feminist filmmakers such as Barbara Hammer and Joan Jonas to resist the subordination of women to the male gaze. Following the invention of video, our line of inquiry will shift to examine the impact of new technologies on experimental cinema, which led to the emergence of hybrid artistic genres, including multi-media performance and installation. By tracing the migration of cinema beyond the screen in work by artists like Nam June Paik, Anthony McCall, and Jeffrey Shaw, the course will ultimately reflect on how these experiments redefine film as it enters a digital age (DA200/FS 205) – 1 unit – Platt
BLOCK 6
DR 200 Topics in Drama: Voice and Speech for Actors: A practical class using vocal and physical exercises to explore and develop the full range and expressiveness of the actor’s speaking voice and to establish the fundamental principles underlying the effective use of voice and speech in the act of performance. The class will seek to enable the actor to be truly vocally expressive in the service of their character, situation and play through the exploration of voice placement, breathing, articulation, range, resonance and relaxation. It will lead to a full range of work with dramatic scenes and monologues and poetic texts – 1 unit – Manley
DR 200 Topics in Drama: Violence by Design: From global cities like New York, Paris, Sao Paulo, Beijing and Berlin, come join us as we explore physical space through design and how it relates to cultural violence and individual expression. Only an inquisitive mind is necessary. No prior design experience is required 1 unit — Davis-Green.
DR 200 Topics in Drama: Black Arts Movement: This course is a survey of one of the most significant, provocative, and influential artistic, cultural and political movements, which had global resonances upon American arts and letters. Through the examination of literature, theatre, music, dance, and film we will place this movement in its historical, critical, political and philosophical context (ES 200/PA 250) 1 unit — Davis.
BLOCK 7
DA 200 Topics in Dance: Dance & Digital Technology: This class will explore dance through the eyes of digital film and digital media. Students will learn about the history of dance on film and Dance for the Camera, a vibrant art form of dance films that are presented at Dance Film Festivals and on the Internet. Students will also learn the practical tools to make their own dance for the camera movie with iMovie. The class will culminate with a showing of student dance films. Prerequisite: Cornerstone Arts Initiative 1 unit — Herminjard.
DR 200 Topics in Drama: Stage Management: In the course we will learn the responsibilities of a stage and production manager, from pre‐production meeting and auditions, through rehearsals, opening and closing night of theatrical dramas, musicals, dance and music concerts, special events and tours. The course will cover effective stage management procedures, techniques, skills and management styles — Davis.
BLOCK 8
DA 200 Feminist Performance: Feminist performance since the sixties has used the body’s material presence and erotic force to disrupt masculine regimes of control and meaning. This course will examine how this disruptive tradition of resistance and affirmation has become the dominant paradigm for female artists across multiple disciplines, including dramatists, choreographers, and performance artists, such as Carolee Schneeman, Karen Finley, and Annie Sprinkle. However, the course will also investigate female artists whose personal accounts of social marginalization portray the disappearance or loss of individual identity. Beginning with Gertrude Stein’s elusive poetic idiom, we will trace this aesthetic of disappearance into novels, plays, and films of the seventies by Christa Wolf, Marguerite Duras, and Chantal Akerman. We also consider Ana Medieta’s emphemeral body performances and subdued choreography by Yvonne Rainer, Trisha Brown, and Meredith Monk. In conclusion, the course will investigate three interdisciplinary artists—Theresa Hak Kyung Cha, Yoko Tawada, and Cecilia Vicuña—whose multi-linguistic texts and performances turn feminist aesthetics towards a global horizon. Additional artists to be considered may include Adrian Piper, Kate Bornstein, Lynn Hershman, Mary Kelly, Louise Bourgeois, Rebecca Horn, and Nancy Spero (DR200/FG 206/CO 200) – 1 unit – Platt
DR 200 Topics in Drama: A City in a Forest: Urban Succession in Colorado Springs: Cities evolve in a way similar to Forests, through Urban Succession of species. While Forests adapt to changing conditions through adaptation and competition of species, Cities adapt either by altering existing building species, introducing non-native species, or inventing new species designed specifically to address changing conditions. Thus, the history of a city can be read in its buildings. This course would begin with a census of existing building species within a subject area, in this case downtown Colorado Springs. The first half would identify problem sites and concoct strategies whether anthropological, architectural, or performative to bring equilibrium to the entire urban ecosystem; the second half would shift the focus to the larger ecosystem or ³anthrome, ² with the goal of attempting to reconcile the human footprint with the native “biome,” the natural surroundings of the region. The course would conclude with a presentation of findings, conjectures, and aspirations to the Colorado Springs City Council. Readings would include ³The History of Forgetting² by Norman M. Klein, ³Los Angeles: The Architecture of Four Ecologies² by Reyner Banham, ³The Provisional City² by Dana Cuff, and ³Glitter, Stucco & Dumpster Diving² by John Chase. This class does not qualify for the elective requirement for drama and/or dance majors 1 unit – Marble, T.
DR 205 Acting Workshop - An extended-format adjunct class given twice a week over 4 blocks. Designed to enhance and practice the skills from Acting 1 through exercises and scene work. The format is designed to allow for a longer period of assimilation, keeping the acting muscles active and developing on a continuous basis, and for individual attention for each student. Prerequisite: Drama 105 1 unit -Manley
DR 206 Directing I - Fundamentals of play directing, analysis and rehearsal procedure. Includes presentation of scenes. Prerequisite: DR 105 and DR 110 or 211 Fundamentals of play directing, analysis and rehearsal procedure. Includes presentation of scenes. Limited to 18 1 unit — Manley
DR 210 Intermediate Design Studio – Intermediate work in theater design, period styles, historical research, fieldwork, computerized and traditional rendering. Topic rotates among four sub-areas: 1) rendering for the theatre, 2) scene painting, 3) computer-assisted design and 4) stage makeup. 1 unit. – Davis-Green
DR 211 Speech Arts – Introduction to public speaking and oral interpretation of literature. Class limited to 18, 1 unit —
DR 212 – 215: Studio work in technical theatre and acting, required for the major. Students will earn technical theatre credit for work done on a specific departmental production over a span of 2 blocks. Subheading indicates type of work and title of the production:
DR 212 Theatre/Acting Studio – Block 2 – Studio work in technical theatre or acting required for the major. Students will earn technical theatre credit for work done on a specific departmental production over a span of 2 blocks. Subheading indicates type of work and title of the production. .25 unit
DR 213 Theatre/Acting Studio – Block 4 – Studio work in technical theatre or acting required for the major. Students will earn technical theatre credit for work done on a specific departmental production over a span of 2 blocks. Subheading indicates type of work and title of the production. .25 unit
DR 214 Theatre/Acting Studio – Block 6 – Studio work in technical theatre or acting required for the major. Students will earn technical theatre credit for work done on a specific departmental production over a span of 2 blocks. Subheading indicates type of work and title of the production. .25 unit
DR 215 Theatre/Acting Studio – Block 8 – Studio work in technical theatre or acting required for the major. Students will earn technical theatre credit for work done on a specific departmental production over a span of 2 blocks. Subheading indicates type of work and title of the production. .25 unit
DR 216 Theatre Institute – (Not offered 2010-11.) 1 unit
DR 220 Origins and Early Forms of Theatre – A study of origins, early texts, performance practices, and developing theatrical conventions in various cultures, with special emphasis on ancient Greek and Roman theatre 1 unit – Hughes
DR 221 Medieval and Renaissance Theatre - A study of theories about the “rebirth” of theatre during the Middle Ages, tracing its development throughout Renaissance Europe, with special emphasis on Elizabethan England (not offered 2011-2012) 1 unit —
DR 222 Romantic, Commedia, and Neoclassic Theatre – A survey of Western theatre from the English Restoration through German Romanticism, culminating with the advent of realism throughout Europe. Studies will include the work of Racine, Corneille, Goethe, Schiller, Bichner, Gozzi, Goldoni, and the innovators of modern stage practice. 1 unit. – Lindblade
DR 223 Modern Theatre – A study of 20th Century movements in playwriting and theatre practice. Topics will include realism (Ibsen, Strindberg, Chekhov, Schnitzler) and the anti-realistic revolts against it, such as the work of Maeterlinck, Cocteau, Kaiser, Pirandello, Brecht, and various artists of alternative theatre. (CO 220/EN 280) 1 unit — Lindblade
DR 224 Contemporary Performance 1950-Present - Using an interdisciplinary arts approach, investigates varied performance aesthetics, theory and practices of the later 20th and early 21st century with a focus on the American experience, new and disenfranchised voices, and hybrid genres in the arts. Considers perspectives in music, dance, directing, multimedia, and of theorists and playwrights. Disillusionment of the post-WWII era, voices of protest, agitation/propaganda, performance art, and identity politics; Gay, Lesbian, Bi-sexual and Transgender performance, race relations, and the feminist aesthetic. (Meets the Critical Perspectives: Diverse Cultures and Critiques requirement.) (CO 220) 1 unit. – Platt
DR 225 Play-writing and Screenwriting – Practice through intensive exercises, study of genres and scripts, and the production of scripts in writing for live performance and for film or television. Culminates in public presentation of work.(FS 284) 1 unit — Nelson
DR 303 Junior Seminar: Collaborative Practices - Activates theoretical and practical aspects of creative collaboration between drama and dance majors respectively, and also among artistic disciplines. Studies include immersion in performance theory, aesthetic philosophy, and collaborative strategies to create an integral final group public performance. Collaboration and collision through a process of experimentation and rehearsal to discover which elements (visual, kinesthetic, audio, textual, temporal, and spatial) lend themselves to a unified event in performance. (DA303) 1 Unit – Platt
DR 305 Acting 2: Intermediate - Developing and furthering the skills from Acting 1 with an emphasis on intensive scene work that will focus on a wide range of contemporary playwrights. Work will culminate with a public presentation of scenes. Class is limited to 18 Prerequisite: Drama 105. (Not offered 2010-11) 1 unit
DR 306 Directing II - Advanced theory and practice of directing. Class is limited to 18 Prerequisite: Drama 206. (Not offered 2010-11.) 1 unit.
DR 307 Lighting Design - History, theory, and practice of lighting design for the stage. Script analysis, drafting, plotting, and color theory. Laboratory required: participation in one stage production. Class is limited to 15 Prerequisite: Drama 110 or consent of instructor. (not offered 2011-2012)1 unit
DR 311 Stage Costuming – Costume design and construction, including the recreation of period dress pattern drafting, rendering, and costume-related crafts. Laboratory required. (Class limit 10) 1 unit — Ames
DR 320 African and African-American Theatre - History of African and African-American theatre, emphasizing the synergy between the two forms and the two continents from the griot-driven oral tradition and African folk-tale languages of performance grounded in the talking drum through American minstrelsy and other African-American musical and theatrical traditions (choreo-poems, performance art, jazz). Examines the development of the two forms in their theatrical, literary and performance traditions. (Meets the Critical Perspectives: Diverse Cultures and Critiques requirement. (CO 200/ES 200) 1 unit — Davis
DR 321 Latino/a and Latin-America Theatre – Examines Latino/a and Latin American theatrical works as forms of socially accepted resistance and politically charged art forms. Considers plays and performances that challenge governments, inequities, and the status quo using humor, passion, spectacle, and simplicity. Considers performance art, theatre of the oppressed, agitation/propaganda, activism, post-colonialism, existentialism and feminism. Contextualizes Latino/a and Latin American performance in political and social landscapes. (Meets the Critical Perspectives: Diverse Cultures and Critiques requirement.) (Not offered 2010-11.) 1 unit.
DR 322 Asian and Asian-American Theatre – Studies at least two of four Asian traditions-Chinese, Japanese, Indonesian, and Indian-and the combined effect of these traditions on contemporary Asian-American theatre. Traditional styles considered may include Chinese opera, Bunraku, Noh, Kabuki, Kyogen, Indonesian shadow/puppet plays, and Sanskrit drama. Modern American authors and companies may include David Henry Hwang, Chay Yew, Jeannie Barroga, Velina Hasu Houston, Theatre of Yugen, East-West Players, and Asian American Theatre Company. (Meets the Critical Perspectives: Diverse Cultures and Critiques requirement.) (not offered 2011-2012)1 unit
DR 325 Projects in Drama - Independent work in dance appropriate to the needs or interests of qualified students.
DR 330 Drama Away – Class attendance at theatre in a selected city with written analysis of the works seen, Concentration on the social, cultural, historical, and national parameters of drama 2009–10 London Extra expense $$$. 1 unit — Manley
DR 331 Site Specific Theatre – Theatre doesn’t need theaters. It can and should happen anywhere and everywhere. Practicum aims to investigate, develop, and present, via an overview of site specific performance history and practice, any type of performance work wherever is appropriate, exploring both the performance work and the space in which it is presented. (Not offered 2010-11.) 1 unit.
DR 404 Senior Thesis – Advanced work in drama and/or dance culminating in performance, written thesis, major creative or choreographic work, scenic or lighting design, or other work appropriate to the discipline. Proposal must be approved at the end of the junior year by the department faculty. Offered in block 5 of the senior year. (Prerequisite: consent of department. 1 unit — Department
DR 405 Acting 3 – Consolidating skills from Acting 1 and 2 and working on heightened and poetic texts including Shakespeare, the Greeks, and the Jacobean and Restoration eras. The class is dedicated to seeing Shakespeare as our contemporary and the verse as no barrier to expression or understanding. Work will culminate with a public presentation. Class is limited to 18. Prerequisite: Drama 305. 1 unit (not offered 2011-2012)
DR 410 Advanced Design Workshop – Advanced study of topics related to theory, criticism, literature, and history of the theatre. Resultant performance or thesis required of all drama majors. Limited to majors and minors or with consent of instructor. (Not offered 2010-11.) 1 unit.