Handbook

WELCOME TO THE DEPARTMENT OF DRAMA AND DANCE

A Statement of Philosophy

Congratulations on your choice to major in the Drama/Dance department at Colorado College! We trust you will find the information contained in this handbook useful as you undertake this part of your educational journey. Please read the section appropriate to your chosen major (drama or dance), and refer to the information it contains regularly.

As you read, you will notice that our department values both the academic side of performance theory and history combined with ALL dance and theatre performance practice. While some argue that practice and theory imply altogether different ways of knowing, we firmly believe that each kind of endeavor deepens the work and understanding of the other. Therefore, we encourage you to take full advantage of courses that challenge you to perform the skills connected to your primary interests (whether these fall within dancing, acting, directing, choreographing, design, or technical theatre) while participating fully in courses that broaden your academic understanding about how these practices have evolved.

Finally, the disciplines of Drama and Dance are, essentially, collaborative art forms. Therefore, we urge each student to explore the extensive possibilities our curriculum provides to develop these necessary collaborative skills.

Our department is committed to creating a learning environment where all three aspects of your education (theory, practice and collaboration) come together to create the visionary, well-rounded and exciting performance practitioners of the future. We are pleased that you have chosen to join our department, and look forward to working with you.

I have read and will adhere to the terms of the Drama/Dance Handbook.

__________________________ ____________________________ ______________

Print Name Signature Date

The Department of Drama / Dance Handbook

Table of Contents

Section A: Drama Handbook 3

Section B: Dance Handbook 11

SECTION A: The Drama Major

Table of Contents

The Major

How to Become a Drama Major 4

Requirements for a Drama Major 4

Technical Jobs Requirements 5

A Quick Look at the Drama Major 6

Department Procedures and Practice

Department Expectations & Opportunities 7

Senior Project Procedures 8

Senior Project Proposal 8

Department Drama Production Procedures 9

Department Lending Policies 10

Production and Rehearsal Space Procedures 10

How to Become a Drama Major

Read and understand the department’s handbook and philosophy statement.
Go to the Registrar’s Office and ask for a Declaration of Major form. If applicable, pick up a Declaration of Double Major form instead. If you need to change advisors, pick up a Change of Advisor form.
Complete the form(s), sign the philosophy statement, and make an appointment to see the Chair of the department. At this meeting, you will discuss areas of interest, career paths, appropriate advisors, and degree progress. Be prepared to discuss your long-term goals, ideas, and aspirations.
Once the form(s) have been signed, see the Department Coordinator to have your picture taken and then added to the Wall of Fame.
If you have any questions about this process, please ask any professor in the department or the Department Coordinator.

Requirements for a Drama Major

Drama majors must complete a minimum of 13 units for the major comprising:

Six required units are:

DR 105: Acting 1

DR 110: Fundamentals of Design and Technical Theatre

DR 206: Directing 1

DR 225: Playwriting and Screenwriting

DR 303: Junior Seminar (usually Block 3 Junior Year)

DR 404: Senior Project

two units from Western theatre backgrounds

DR 220: Origins and Early Forms of Theatre

DR 221: Medieval and Renaissance Theatre

DR 222: Romantic, Commedia and Neoclassic Theatre

DR 223: Modern Theatre

DR 224: Contemporary Performance 1950 – Present

one unit from Diverse theatre backgrounds

DR 320: African and African-American Theatre

DR 321: Latino and Latin-American Theatre

DR 322: Asian and Asian-American Theatre

three units from Elective Classes, chosen according to individual interests in acting, directing, literature, technical theatre or design.

and one unit comprising an Acting Adjunct in a specific production (.25), and three technical theatre jobs (total .75 unit). Both these requirements should ideally be completed before the final semester of the major.

Progress Meeting: There will be an annual progress meeting with full faculty and individual students to monitor, assess and advise their progress. Students must bring 10 copies of their unofficial transcript and resume to the meeting.

Students are urged to study one or more foreign languages.

Outstanding work overall will be rewarded with distinction upon graduation.

Technical Theatre Jobs Requirements

Drama majors must complete 3 different jobs (.75 unit) on at least 3 department shows (a minimum of 90-100 hours). Job areas include set construction, scene painting, properties management and construction, costume construction, master electrician, running crews in properties/lights/make-up/ costumes, and sound/lighting board operation.

Stage management is an exception to this requirement. Stage-managing a department production fulfills 2 jobs (.50 unit), due to the depth of involvement in all areas of technical theatre.

The department Cornerstone bulletin board, outside office 320, will list technical and design opportunities available for the academic year. Students should discuss their needs and desires for assignments with the design professors, directors and the technical director early in the academic year to insure that they reserve positions that are beneficial and well suited to them. Please see crew job manuals posted on the website for specifics.

Hours can be completed only on departmental productions. Theatre Workshop, Dance Workshop, paid crew hours, class-required crew hours, and senior projects DO NOT fulfill this requirement.

The technical jobs requirement will be listed as DR 212 (Block 2 Production); DR 213 (Block 4 Production); DR 214 (Block 5 Production); DA 214 (Faculty Dance Concert); and DR 215 (Block 8 Production). The student will receive credit and a grade for their technical work. The professor of record will be either the director of the specific production or the director of the Faculty Dance Concert. You must register under the appropriate production either before or during the course of the production. You may NOT add the course after the production is over. Crew hours and job completion status are maintained by the Professor of Record.

Students are entirely responsible for registering for DR212-15 Theatre Studio, and getting the appropriate faculty signatures. Late registrations will not be considered, and students will lose any hours they have already put in for certain jobs.

How to sign-up for DR 212-215:

Each course number represents 0.25 units of credit.

DR 212 1642 Theatre Studio: Name of 2^nd Block Production (Acting) – Name of Professor of Record

DR 212 1652 Theatre Studio: Name of 2^nd Block Production (Technical Theatre Job) – Name of Professor of Record

DR 212 1662 Theatre Studio: Name of 2^nd Block Production (Stage Manager – Rehearsal) – Name of Professor of Record

DR 212 1672 Theatre Studio: Name of 2^nd Block Production (Stage Manager – Performance) – Name of Professor of Record

DR 213 3614 Theatre Studio: Name of 4^th Block Production (Acting) – Name of Professor of Record

DR 213 3624 Theatre Studio: Name of 4^th Block Production (Technical Theatre Job) – Name of Professor of Record

DR 213 3634 Theatre Studio: Name of 4^th Block Production (Stage Manager – Rehearsal) – Name of Professor of Record

DR 213 3644 Theatre Studio: Name of 4^th Block Production (Stage Manager – Performance) – Name of Professor of Record

DR 214 5616 Theatre Studio: Name of 5^th Block Production (Acting) – Name of Professor of Record

DR 214 5626 Theatre Studio: Name of 5^th Block Production (Technical Theatre Job) – Name of Professor of Record

DR 214 5636 Theatre Studio: Name of 5^th Block Production (Stage Manager – Rehearsal) – Name of Professor of Record

DR 214 5646 Theatre Studio: Name of 5^th Block Production (Stage Manager – Performance) – Name of Professor of Record

DA 214 5616 Theatre Studio: Faculty Dance Concert (Technical Theatre Job) – Name of Professor of Record

DA 214 5636 Theatre Studio: Faculty Dance Concert (Stage Manager – Rehearsal) – Name of Professor of Record

DA 214 5646 Theatre Studio: Faculty Dance Concert (Stage Manager – Performance) – Name of Professor of Record

DR 215 7618 Theatre Studio: Name of 8^th Block Production (Acting) – Name of Professor of Record

DR 215 7628 Theatre Studio: Name of 8^th Block Production (Technical Theatre Job) – Name of Professor of Record

DR 215 7638 Theatre Studio: Name of 8^th Block Production (Stage Manager – Rehearsal) – Name of Professor of Record

DR 215 7648 Theatre Studio: Name of 8^th Block Production (Stage Manager – Performance) – Name of Professor of Record

A Quick Look at the Drama Major

Units	Category	R Class
6.0	Required	q DR 105 Acting 1 q DR 110 Fundamentals of Design &Technical Theatre q DR 206 Directing I q DR 225 Playwriting and Screenwriting q DR 303 Junior Seminar (Block 3 Junior Year) q DR 404 Senior Project
2.0	Theatre Backgrounds	Pick Two from below: q DR 220 Origins and Early Forms of Theatre q DR 221 Medieval and Renaissance Theatre q DR 222 Romantic, Commedia, and Neoclassic Theatre q DR 223 Modern Theatre q DR 224 Contemporary Performance 1950-Present
1.0	Diversity and Globalism	Pick One from below: q DR 320 African and African-American Theatre q DR 321 Latino and Latin-American Theatre q DR 322 Asian and Asian-American Theatre
3.0	Electives	Three electives are required. Please see departmental offerings / independent studies & internships from our current catalog.
.25 .75	Acting Hours (Pick One) Technical Theatre Jobs (Pick Three) Each course is worth 0.25 units	q DR 212 Theatre Studio: 1^st Drama Production q DR 213 Theatre Studio: 2^nd Drama Production q DR 214 Theatre Studio: 3^rd Drama Production q DA 214 Theatre Studio: Faculty Dance Concert q DR 215 Theatre Studio: 4^th Drama Production
13	Total Units Required

Department Expectations and Opportunities

Participation. Because you have chosen Drama or Dance as your academic major, you will be expected to participate fully in the department’s productions.

Distinction. Students who successfully participate in all aspects of Drama and/or Dance (literature/theory/history, performance, technical/design) retain a GPA of at least 3.0 within the major, and complete an outstanding Senior Project/Thesis will be considered for Distinction in Drama or Dance upon graduation.

Variety. You will be encouraged to investigate different aspects of Drama and Dance disciplines. For example, regardless of whether you are an actor or dancer you will be encouraged to help build a set, run the light or sound board for a production, be in charge of getting props, stage manage, assist in the costume shop, etc. Conversely, if you are a designer or a technical theatre student, you will be encouraged to act, dance, or direct.

Meetings. You will be required to attend all department majors meetings.

Junior Seminar. All Junior majors are required to take the Junior Seminar class in Block 3 of their Junior year.

Senior Proposals. In Block 7 of your junior year, you will be asked to formally propose your Senior Project. See page 8 for senior proposal guidelines.

Activities. Throughout the year, the department schedules many activities intended to enrich your experiences and understanding of performance. You are expected to attend these department-sponsored events / activities. All majors should check the callboard for special announcements regularly.

Academic Standing. College policy states that you must earn a C- or better to receive credit for any major core requirement.

Internships. As a major, you will be encouraged to do an internship in your area of interest. Before you do this, however, you must talk to a faculty member about what you would like to accomplish, what venue you would like to work in, and how DR 325 Independent Study: Internship will be contracted. Remember: faculty have many contacts in the profession and are here to make your undergraduate career fulfilling and challenging.

Independent Studies. There are specific procedures for registering for Independent Studies. After you have met and talked to a faculty member about why and what you would like to do and they have agreed to be your mentor and the professor of record, obtain an Independent Study Drop/Add Slip from the Registrar and sign up for DR 325 Independent Studies: Title of Proposal. Next, you need to write a contract with your faculty mentor, stating your intentions and goals. This proposal must then be approved by the Chair, and he/she must sign you add slip. Note: Department professors mentor Independent Studies as overloads and are not obliged to take them on.

Senior Project Procedures

Senior projects:

Rubrics for written work for both dance and drama majors:

Statement of intent (this is to be used to evaluate student proposals in junior year)

Student has articulated the intent (prospectus) for the project, and provided a complete rationale for such an undertaking.
Student has for the most part given a good rationale for the project, but could do more to develop the argument for such an undertaking.
Student seems unable to articulate reasons for working on the project, although the proposal is interesting. More work needs to be done to develop a rationale for the work.
Student seems unaware of any real purpose for doing the work, and shows little analytic ability insofar as developing objective analysis of why one would undertake such a project.

Argument—formal structures.

The student has articulated and defended a range of possibilities for how the project could have evolved, while presenting a strong rationale for the unique choices he/she made in the completion of his/her work.
The student has made mostly informed choices regarding the development of the work, but has only a limited understanding of the possible range of ideas.
The student has made choices that worked well for the project, but which were mostly based on unexplored territory, often selecting the first and most obvious ideas as the project evolved.
The student made poor choices and as a result the work remained largely unoriginal.

Coherent structure throughout each section of the written work.

The written presentation is well organized, with each section providing greater insight into the progression, performance and post-performance of the project.
The written presentation of the work is somewhat disorganized in structure, but still provides good insight into how the written work reflects the overall project.
The written presentation is presented almost in a journal format, with little awareness about how the overall format leaves the reader confused about the work.
The written work jumps from idea to idea, providing neither context nor structure for the written presentation.

Application of writing techniques/style.

The writing is grammatically correct. There are no punctuation errors or typos, and the presentation is precise.
The writing has few grammatical errors, misspellings, or poor word choices, but is, for the most part, a well-written work.
The writing contains numerous grammatical errors, typos, and/or misspellings, but remains understandable for the reader.
The writing contains many errors in grammar and style. The reader remains confused about both the meaning and intent of the paper.

Breadth of knowledge and understanding of discipline including historical foundations.

The student has researched ideas historically and theoretically relevant to the project.
The student has included references to creative or theoretical work beyond their own appropriate to their project, but has only partially suggested how the mentioned work is relevant.
The student mentions other artists or theoreticians working in the field, but gives little information about how this work is relevant to his/her project.
The student seems unaware of other professional ideas or work beyond their own project.

Critical reflection and self-analysis about the creative work. (process and project)

The student has effectively created a narrative concerning the work that includes the discoveries, challenges and questions that remain as a result of the completed project.
The student has included a realistic understanding of some of the questions he/she might have addressed through the performance, but the analysis remains fairly focused on the specifics of the project, without a broader understanding of its implications.
The student has included a few of the points drawn from the experience that remain to be addressed, but lacks a coherent over view of the experience.
The student seems unaware of the implications of their own work and is unable to address relevant questions about the process or the project.

Creative Projects for Drama Majors:

IDEA

A. Student has a sophisticated and well-developed idea worthy of extended investigation. The idea is neither clichéd nor contrived and generates authentic interest in the viewer.

B. Student has developed an idea that shows promise, but the student has yet to articulate the full range of issues and nuances relevant to the idea.

C. The student is working with an idea that is somewhat shallow, but despite this limitation, has found ways to increase the interest of the audience.

D. The student’s basic idea is either shallow or clichéd, and lacks interest for the viewer.

STRUCTURE

A. Student has developed a clear structure within which a complete investigation of his/her ideas can develop.

B. The student has developed a structure that allows for most of her/his ideas to develop, although one can perceive some ideas that would have benefitted from greater exploration.

C. While the work remains interesting, the student has created a work that would benefit from greater attention to its overall structure. Certain ideas seem under developed or arbitrary due to the poor structure.

D. The structure of the work is disorganized and arbitrary, preventing the audience from comprehending either the intent or the concept.

METHODOLOGY

A. Student has utilized all methods appropriate to the idea and structure of the piece and can provide a clear explanation about why he/she has done so.

B. Student has demonstrated an ability to work with most of the available methods having to do with the execution of the idea, but has been inattentive to some details that would have enriched the expression of his/her ideas.

C. Student has worked well in some methods appropriate to the expression of her/his idea, and would benefit from a more holistic approach to the work. The student seems unclear about how the choices made relate to the overall construction of the work.

D. Student has selected only one method for exploration, creating a uni-dimensional work, and lacks clarity about how one makes choices about any particular methodology.

EXECUTION AND REALIZATION:

A. The thesis had an excellent execution and exceeded the expectations of the original idea and its intent; ready for publication and/or significant performance.

B. The thesis was executed very well and met expectations of the original idea and its intent; ready for extended discussion and/or workshop performance.
C. The thesis was executed adequately and met some expectations of the original idea and its intent; ready for further revisions.

D. The thesis was executed poorly and met few or no expectations of the original idea and its intent; not ready for public exposure.

CHOREOGRAPHIC PROJECTS (for dance majors):

Concept

Student has developed a sophisticated and well-rounded idea worthy of extended investigation.
The concept development shows strong promise, but its potential remains unrealized since the student has yet to articulate the full range of issues and ideas that underlie the concept.
The student is working with an idea that is somewhat shallow, but has created a work that expresses the idea well. The student’s work is somewhat underdeveloped making the work seem shallow in some areas, but in general has created a work that expresses the idea on some level.
The student’s basic idea is underdeveloped and has thus created an either shallow or clichéd work, which lacks interest for the viewer.

Organization, Structure and Energy

Student has demonstrated an understanding of how the dynamic shape of the work is experienced by the audience by creating a work that has a clear sense of “beginning, middle and end” maintaining the energetic structure throughout.
Student has for the most part created work that has a sense of “beginning, middle and end” although the dynamic interest within the dance is somewhat undeveloped.
Student has used time well in certain instances within the work, but lacks the ability so far to create an overall dynamic impression from start to finish.
The work lacks dynamic qualities that would create interest.

Space

Student has chosen an appropriate space for the choreographic work and has developed the choreography with sophisticated understanding of how spatial relationships contribute to the overall expressiveness of the work.
Student has chosen an appropriate space for the work, and for the most part uses it well. The choreography is at times unfocused in terms of how spatial relationships are developing within the dance.
Student has a limited awareness of how the dance works spatially, although there are moments when the spatial qualities become more evident.
Student has shown little awareness of how spatial qualities either support or diminish their work.

Movement invention

Student has both chosen and developed a unique movement vocabulary that supports the choreographic concept.
Student has for the most part developed movement that supports the choreographic concept, but has not yet developed an authentic choreographic voice.
Student has partially worked to develop a new vocabulary appropriate to her/his idea, but has mostly kept standard phrasing and techniques. S/he could explore this element further.
Student has not yet begun to develop a unique movement vocabulary to express her/his ideas, relying instead on canonical dance movement or rote technical exercises.

Use of music/sound/ silence

The student has chosen a sound/music accompaniment that supports the choreographic idea, while adding to the overall develpment for the work.
The student has chosen music or sound that is sometimes distracting, although it generally works with the overall concept of the piece.
The student has selected music/sound that works well with the movement but is generally uninteresting. A better choice would have strengthened the work considerably.
The student has chosen music or sound that detracts from the work, is uninteresting, clichéd, or banal.

Solo Choreography

Student has selected a solo form appropriate to the content of the work, and has managed to sustain interest throughout the piece.
Student has used the solo form fairly well, although the viewer’s interest lags at times due to undeveloped use of the form.
Student seems unaware of how to best utilize the strengths of the solo form, and the dance seems unfocused or unaware at times.

Group Choreography

Student has a strong understanding of how groups moving in space support the overall visual and energetic quality of the dance.
Student has for the most part worked well with various groupings of dancers, but the work seems somewhat arbitrary at times with regard to the changes of groupings.
Student chose to work with a group but lacks some ability to manage group material. The work is less interesting due to poor group interaction.
Student has relied on unison movement or undeveloped choreographic material to handle multiple dancers in the work.

Overall production quality: Design, Costumes, Lighting, Use of Media

What type of project? Film, choreography, etc. Comments pertaining to scope of project not addressed in this document.

Senior Project Proposal

In Block 7 of junior year, all majors will be required to make a senior project proposal to the faculty and staff. This proposal should include the following:

A title and a description of the thesis project or written thesis.
An explanation of how this senior thesis is a culmination of your education, with specific references to classes that you will call on in order to make the proposal come alive.
An explanation of how you came to this idea, i.e. give us a hint as to its germination.
A proposed timeline for the thesis project or written thesis, including start dates, meeting frequency with advisors, and performance/supporting paper completion dates.
A budget; the department will reimburse you up to a maximum of $150.
A request for space, if applicable.
An indication of performers and all the necessary and probable components needed.
A roster of technical support, if applicable. Please note that the department technical staff is NOT your technical crew, and will not serve in that capacity under any circumstances. We expect that the department requirements of DR 110 and elective classes such as Lighting Design and Costume Design will serve you in good stead. Should you require crew including a stage manager, lighting designer, etc., please contact them before your presentation, and make sure that they are aware of their obligation.
A request for a specific advisor, who will be your professor of record. Advisors must be in the Department of Drama and Dance.

The proposal should be professional and polished. It should last approximately 15 minutes, with 5 minutes of questions/comments after the presentation. After the proposal is made, the department will consider it at length and then respond with suggestions. In some cases, we will ask you to present again, in the first week of the fall semester, in order to give you more time to consider the proposal.

Department Drama Production Procedures

The opportunity to participate in theatre at Colorado College is available to all students, no matter what your major is.

Drama productions are usually presented during Blocks 2, 4, 5, and 8 with the Faculty Dance Concert in Block 6. All productions are directed by a member of the faculty or a visiting director/professor.

Other opportunities for performing, designing and technical work happen in the classroom. As a drama major you will find that there are endless opportunities for you to be involved in drama. However, it is important that you remember that your first commitment is to your coursework followed by department productions and finally any other extra-curricular opportunities.

Production Process

Production process begins with the play selection, which we try to have solidified in the spring prior to the next academic year. Because of possibility of visiting directors, this sometimes is not possible.

Auditions are normally held in the block prior to the start of rehearsals. All auditions are open and usually have no prerequisites or prepared readings. We will try to have scripts available in the department office, Cornerstone 320, prior to auditioning so you can read it before auditions. A sign-up sheet will be posted on the department call board at least a week before auditions. Audition notices will be posted around campus as well as on the student digest. Auditions usually happen over two evenings. A third evening is reserved for callbacks. Watch the callboard for these postings.

Once the cast has been chosen the list will be posted on the callboard, outside the Cornerstone 320. It is important that you initial by your name in order to accept the role. By accepting a role you have committed yourself to the production and must be available for all rehearsals, costume fittings, dress and technical rehearsals, the performance and post performance strike.

In general, productions are rehearsed over two blocks. Rehearsals are scheduled in afternoons and evenings depending on a director’s way of working. It is expected that all actors will be on time for these rehearsals and ready for the warm-up exercises. If you experience an unexpected conflict with your block class schedule, you must notify the director as soon as you discover the conflict to work out the details of your continued participation. If other, non-curricular conflicts should arise, you are expected to treat the production as your first priority.

Technical rehearsals normally begin on the Friday prior to the opening performance and continue through the weekend. All crew and cast are required for these rehearsals, which continue through to dress rehearsals from the Monday prior to opening.

Opening night is usually the third Thursday of Blocks 2, 4, 5, and 8 followed by 2 additional performances on Friday and Saturday nights. Curtain up times vary.

Strike of set, lights and costumes is usually scheduled after the last performance. All actors and technical crew must participate in strike.

Department Lending Policies

Props:

The department props collection is available for department productions, classes, and senior projects. Props and furniture are not for personal use. Contact the technical staff for information and access.

Costumes:

The Colorado College Costume Collection is available for productions. Departmental use has priority. Other appropriate use of the Collection is for Theatre Workshop and Dance Workshop productions, educational projects for all college departments and Senior Projects. Costumes are not available for personal use or classroom scenes. To access any part of the collection, you must make an appointment with the costume shop supervisor. Certain items within the collection are not available for checkout. A refundable damage deposit will be required for any costume checked out from the collection. The deposit is refunded when the costumes are returned cleaned and undamaged. Cleaning costs are the responsibility of the borrower.

Lights:

Lights and lighting equipment are available to use on site and with the permission of the Lighting Supervisor. South Theater, Studio A and Atrium Spaces are well equipped with theatrical lighting. Classrooms in the CAC building are equipped with dimming overhead lights (non-theatrical), which can be programmed and used in performance. The Cornerstone building is designed to be used creatively and many areas of the building are utilized for performance outside of these actual classrooms or theaters.

Cossitt Gym is a Drama/Dance sponsored performance space that can also be booked to use with available lights and sound. The Lighting Supervisor will direct the use of these spaces and equipment with prior notice.

Sound and Video Equipment:

Most sound and video equipment will be provided through Audio/Visual Services in Armstrong. Any AV equipment belonging to the Drama and Dance Department will be checked out through our technical department. Please check with the technical staff and follow the aforementioned procedures for borrowing items.

Production and Rehearsal Space Procedures

Protocol for requesting Cossitt Gym, North Studio, South Studio, Amphitheater

Contact Patrizia Herminjard at 719-389-6353 or pherminjard@coloradocollege.edu

Protocols for requesting EKG/CAC Spaces

Fill out a facilities request form at the Worner Desk, indicating specific dates, time, and technical needs. Make sure to leave enough set-up and breakdown time.
Joy Walter (Worner Desk) circulates the request to the appropriate parties. Here is the breakdown on the appropriate parties for each space:

South Theatre: Drama/Dance (Coordinator/Chair/Tech Staff)

Main Space (Atrium): Drama/Dance (Coordinator/Chair/Tech Staff)

Studio A: Drama/Dance (Coordinator/Chair/Tech Staff)

Shops: Drama/Dance (Coordinator/Chair/Tech Staff)

Design Room: Drama/Dance (Coordinator/Chair/Tech Staff)

IDEA Space: Curator

Class / Seminar Rooms (3): Associate Registrar, in consultation with departments

Studio B: Film Studies (Coordinator, English Department)

Screening Room: Film Studies (Coordinator, English Department)

Experimental Space: Art Studio (Coordinator)

Flex Room: Music (Coordinator)

Armstrong 32 Blackbox: Audio Visual Department

ALL SPACES MUST BE RETURNED TO NEUTRAL (the way you found it) AFTER USE.

SECTION B: The Dance Major / Minor

Table of Contents

The Major / Minor

How to Become a Dance Major or Minor 12

Requirements for a Dance Major 12

Requirements for a Dance Minor 13

Grading Policy for Adjunct Dance Classes 13

Technical Theatre Requirements for Dance Majors/Minors 14

A Quick Look at the Dance Major 15

A Quick Look at the Dance Minor 16

Department Procedures and Practice

Department Expectations & Opportunities for Majors/Minors 17

Senior Project Procedures 18

Senior Project Proposal 19

Department Lending Policy 19

Production and Rehearsal Space Procedures 20

How to Become a Dance Major / Minor

Read and understand the department’s handbook and philosophy statement.
Go to the Registrar’s Office and ask for a Declaration of Major form. If applicable, pick up a Declaration of Double Major form instead. If you need to change advisors, pick up a Change of Advisor form.
Complete the form(s), sign the philosophy statement, and make an appointment to see the Chair of the department. At this meeting, you will discuss areas of interest, career paths, appropriate advisors, and degree progress. Be prepared to discuss your long-term goals, ideas, and aspirations.
Once the form(s) have been signed, see the Department Coordinator to have your picture taken and then added to the Wall of Fame.
If you have any questions about this process, please ask any professor in the department or the Department Coordinator.

Requirements for a Dance Major

Dance majors must complete a minimum of 12.75 units in the major. Of these, 2.5 units must be in upper-level technique 300-400 with at least 1.0 unit in modern dance and .50 units in ballet.

Dance majors are required to take Dance Theory courses including:

DA 110: Fundamentals of Design and Technical Theatre

DA 221: Beginning Choreographic Forms: Theory and Practice

DA 225: The Body in Motion: Anatomy and Kinesiology

DA 303: Junior Seminar (Block 3)

DA 311: Social History of Dance: The Birth of Modern Dance in America

DA 322: Music and Dance

DA 404: Senior Thesis / Honors Project

Majors must complete Dance Theory courses DS 223: Improvisation (.25 unit) either concurrently or prior to taking DA 221: Beginning Choreographic Forms and DA 321: Advanced Choreographic Workshop (.50 units).

The remaining two courses are electives, and may not be in Dance Studio. They are to be chosen from any Dance Theory block course or:

DA 100: History of Performance (2 block course; only 1 unit counts toward the major)

DR 105: Acting 1: Introduction

In addition, majors must complete a production participation requirement of .50 units working technical support, which is listed as DR 212-15 Theatre Studio. Technical theatre job requirements should ideally be completed before the final semester of the major. Please see the section on Technical Theatre Requirements for Dance Major/Minors for more details.

Progress Meeting: There will be an annual progress meeting with full faculty and individual student to monitor, assess and advise their progress. Students must bring 10 copies of their unofficial transcript and resume to the meeting.

Dance majors are urged to elect at least one unit in drama that will not count toward the units required for the dance major. Dance majors are also advised to study French as a basis for understanding much of the contemporary and historical vocabulary of dance.

In completing DA 404, all majors must demonstrate their ability to do advanced work in the field. Outstanding work overall will be rewarded with distinction upon graduation.

Requirements for a Dance Minor

The minor in dance consists of 5 units, .25 unit of crew work, and one integrative project worth one unit. Three of the required units are in Dance Theory:

DA 221: Beginning Choreographic Forms: Theory and Practice

DA 311: Social History of Dance: The Birth of Modern Dance in America

DA 322: Music and Dance

one unit is from Dance Studio in upper level technique (300-400), of which 0.50 unit must be in modern dance and 0.25 unit in ballet.

and one elective unit, to be chosen from any Dance Theory block course or:

DA 100: History of Performance (2 block course; only 1 unit counts toward the major)

DR 105: Acting 1: Introduction

DA 110: Fundamentals of Design and Technical Theatre

In addition to course work, dance minors must complete .25 unit of crew work, which is listed as DR 212-15 Theatre Studio. Technical theatre job requirements should ideally be completed before the final semester of the minor. Please see the section on Technical Theatre Requirements for Dance Major/Minors for more details.

Dance minors must also complete an approved junior or senior integrative project that is either appended to a regular block course or registered for as DA 404: Senior Thesis, respectively.

Progress Meeting: There will be an annual progress meeting with full faculty and individual student to monitor and assess their progress. Students must bring 10 copies of their unofficial transcript and resume to the meeting.

Grading Policy for Adjunct Dance Classes

Grading is based on effort, attitude, and improvement exhibited by individual students. Absences will lower the final grade accordingly. Please see individual faculty for class make-up guidelines.

Grade Track: Students may miss 2 classes due to illness or academic conflict over the two-block period, any additional absences must be made-up to get a passing grade.

Pass/Fail: Students may miss 3 classes due to illness or academic conflict over the two-block period, any additional absences must be made-up to pass. Adjunct classes that meet only twice a week may only miss up to 2 classes in order to receive credit for the course.

Audit: Students must complete half of the total class sessions over the two-block period; students attending less than half of the dance classes will be dropped from the audit.

All students taking dance classes MUST sign up for a grade track (G), Pass/Fail, or Audit. No one is permitted to take an adjunct without officially registering for the course.

Technical Theatre Requirements for Dance Majors/Minors

Dance majors must complete .50 unit of crew involvement on a minimum of 2 shows. Dance minors must complete .25 unit on a minimum of 1 show. In order to focus on technical/design issues in dance, dance majors/minors assignments might include fabricating costumes, sound/light board operation, makeup, costume running crew, or stage management.

Stage management is an exception to this requirement. Stage-managing one department production fulfills all crew requirements for the major (.50 unit), due to the depth of involvement in all areas of technical theatre.