Linda Caruso-Haviland, Director of Dance
Karl Kirchwey, Director of Creative Writing (on leave, semester II)
Mark Lord, Director of Theater and the Arts Program (on leave, semester I)
Madeline Cantor, Associate Director of Dance
Hiroshi Iwasaki, Designer/Technical Director of Theater
Glenda Adams, Creative Writing
Pallabi Chakravorty, Dance
Nancy Doyne, Creative Writing
Eils Lotozo, Creative Writing
Elizabeth Mosier, Acting Director of Creative Writing, Semester II
Rachel Simon, Creative Writing
Elizabeth Stevens, Theater
Courses in the arts are designed to prepare students who might wish to pursue advanced training in their fields and for those who want to broaden their academic studies with work in the arts that is conducted at a serious and disciplined level.
Arts in Education
ARTA B251. Arts Teaching in Educational and Community Settings
This is a Praxis II course intended for students who have substantial experience in an art form and are interested in extending that experience into teaching and learning at educational and community sites. Following an overview of the history of the arts in education, the course investigates the theories of arts education. The praxis component allows students to create a fluid relationship between theory and practice through observing, teaching and reflecting on arts practices in education contexts. School or community placement 4-6 hours a week. Enrollment limited to 15. Prerequisite: at least an intermediate level of experience in an art form. This course can count towards the minor in Dance or in Theater. (Cantor, Division III; cross-listed as Dance 256, Education 251 and Theater 256) Not offered in 2004-05.
Courses in creative writing within the Arts Program are designed for students who wish to develop their skills and appreciation of creative writing in a variety of genres (poetry, fiction, creative nonfiction, memoir, playwriting, screenwriting and journalism) and for those intending to pursue studies in creative writing at the graduate level. Any major may include one Creative Writing course in the major plan. Students may pursue a minor as described below. While there is no existing major in Creative Writing, exceptionally well-qualified students have completed majors in Creative Writing through the Independent Major Program.
Requirements for the minor in Creative Writing are six units of course work, generally including three required courses (159 plus any two of 260, 261, 262, 263, 264, 265, 266, 268, 269) and three elective, including at least one course at the 300 level (360, 361, 362, 364, 366, 367, 371, 373). Students should consult with the Creative Writing Program director to ensure admission to the appropriate range of courses.
Concentration in Creative Writing
English majors may elect a three-course concentration in Creative Writing as part of the English major program.
ARTW B159. Introduction to Creative Writing
This course is designed for students who wish to experiment with several kinds of creative writing: short fiction (with glances at creative nonfiction), poetry and drama. Priority will be given to interested first-year students; any additional spaces will be made available to upper-year students with little or no prior experience in creative writing. Students will write or revise work every week; roughly four weeks each will be devoted to short fiction, poetry and drama. There will be individual conferences for students with the instructor to discuss their progress and interests. Half of each week's class time will be spent discussing student work and half will be spent discussing syllabus readings. (Mosier, Division III)
ARTW B260. Writing Short Fiction I
This course offers an introduction to fiction writing, focusing on the short story. Students consider fundamental elements of fiction and the relationship of structure, style and subject matter, exploring these elements in their own work and in the readings, developing an understanding of the range of possibilities open to the fiction writer. There will be writing exer-cises, primarily in the first weeks, leading to the writing and revision of complete short stories. (Adams, Division III)
ARTW B261. Writing Poetry I
This course will provide a semester-long survey of the formal resources available to students wishing to write poems in English, beginning with syllabic verse, accentual verse and accentual-syllabic (metered) verse, as well as free verse. Students will gain experience writing in a variety of verse forms (including cin-quains, Anglo-Saxon accentual verse and sonnets), and throughout the emphasis will be on helping the student locate herself/himself as part of an ongoing tradition of poets writing on particular subjects in particular voices and forms. The objective of the course will be to provide students with the skills to find a form and voice with which to express themselves. (Kirchwey, Division III)
ARTW B262. Playwriting I
This course is run as a workshop, with emphasis on in-class development of student work. The focus will be on theme, storytelling and dramatic action, and on weaving these three elements into a consistent and coherent whole. This will be achieved by concentrating primarily on the 10-minute play form. Through weekly playwriting/rewriting assignments, students will complete two stageworthy 10-15 minute original one-act plays and a notebook of critical comments. Students will critique each other's work as well as acting in and directing it. Students will have individual meetings with the instructor at least biweekly to discuss and defend their dramatic efforts. (staff, Division III; cross-listed as Theater 262) Not offered in 2004-05.
ARTW B263. Writing Memoir I
The purpose of this course is to provide students with practical experience in writing about the events, places and people of their own lives in the form of memoir. Initial class discussions attempt to distinguish memoir from related literary genres such as confession and autobiography. The purpose of writing assignments and in-class discussion of syllabus readings is to explore both the range of memoirs available for use as models (representative excerpts by writers including Elizabeth Bishop, Louise Bogan, Jacques Casanova, Benvenuto Cellini, Annie Dillard, Frederick Douglass, Edward Gibbon, Maxine Hong Kingston, James Merrill, Tim O'Brien, Ned Rorem) and such elements (often associated with fiction) as narrative voice and perspective, tone, plot, characterization and the use of symbolic and figurative language. (Kirchwey, Division III) Not offered in 2004-05.
ARTW B264. Feature Journalism
Unlike straight news stories, which tell the who, what, when and where of unfolding events, feature articles tell stories about people, places, events, trends and issues. This course will consider the many forms that feature writing can take and the reporting basics necessary to add depth and context to stories. The work of established writers will be used to examine beginnings, middles, endings, transitions, structures and voices to discover what makes for lively and effective feature writing. Prominent journalists will be guest speakers. (Lotozo, Division III)
ARTW B265. Creative Nonfiction
This course will explore the literary expressions of nonfiction, looking at the continuum from the objective, as exemplified by the nonfiction novel and literary journalism, to the subjective, as exemplified by the personal essay and memoir. Using the information-gathering tools of journalist, the self-examination tools of the essayist and the technical tools of the fiction writer, students will produce pieces that will incorporate both factual information and first person experience. An important goal is for students to learn to read as writers, to allow their analytical work to feed and inform their creative work. (Simon, Division III)
ARTW B266. Screenwriting
This combination discussion/workshop course is an introduction to dramatic writing for film. Basic issues in the art of storytelling will be analyzed and explored: theme, dramatic structure, image and sound. The course will have two basic areas of concentration: it will be an exploration and analysis of the art and impulse of storytelling, and it will provide a safe but rigorous setting in which to discuss student work. What is a story? What makes a character compelling, and conflict dramatic? How does a story engage our emotions? How does it reflect our lives and our world? Through written exercises, close analysis of various texts and the screening of film, we will come to better understand the tools and dictates of film writing. (Doyne, Division III)
ARTW B268. Writing Literary Journalism
This course will examine the tools that literary writers bring to factual reporting and how these tools enhance the stories they tell. Readings will include reportage, polemical writing and literary reviewing. The issues of point-of-view and subjectivity, the uses of irony, forms of persuasion, clarity of expression and logic of construction will be discussed. The importance of context — the role of the editor and the magazine, the expectations of the audience, censorship and self-censorship — will be considered. (staff, Division III) Not offered in 2004-05.
ARTW B269. Writing for Children
This course will offer students the opportunity to learn to write imaginatively for children aged pre-K through young-adult. Students in the course will learn to read as writers, to allow their analytical study of classic and contemporary literature — from fairy tales to the fantastic, from poetry to the so-called "problem" novel — to feed and inform their creative work through the discoveries they make about character, plot, theme, setting, point of view, style, tone and structure. Regular writing exercises, annotations of readings, class discussion, peer review and private conferences will provide guidance for each student's unique exploration of content and style. (Mosier, Division III)
ARTW B360. Writing Short Fiction II
For students whose previous work has demonstrated an ability and passion for fiction writing, and who are ready to undertake the discipline of reworking their best material. Through first drafts and multiple revisions, private conferences and class discussion of classic and contemporary literature, students form standards, sharpen their voices and vision, and surpass earlier expectations of limits. One goal is for students to understand the writing process in detail. Another goal is the production of a publishable short story. Prerequisite: ART W 260 "Writing Short Fiction I" or work demonstrating equivalent expertise (staff, Division III) Not offered in 2004-05.
ARTW B361. Writing Poetry II
This course is intended for serious students of poetry. It continues the survey of English and American poetry begun in ART W 261, "Writing Poetry I" and includes exercises in writing the following: sestinas, villanelles, ballads, Sapphics and dramatic monologues. There is considerable emphasis on revision and occasional memorization requirements. Each student is responsible for a review of one book of contemporary poetry. The premise of the course is that we can become capable writers of poetry only through the close study of poetry. Half of each week's class is devoted to a workshop discussion of student poems, supplemented by individual conferences with the instructor. Prerequisite: ART W 261 "Writing Poetry I" or work demonstrating equivalent mastery of the basic forms of poetry in English. (staff, Division III) Not offered in 2004-05.
ARTW B362. Playwriting II
This course focuses on the development of a one-act play from conception to production-ready script. Students should have proposals for at least two projects prepared prior to the first class meeting. The workshop process begins with an examination of the students' proposals to determine their potential as dramatic stories. Once this framework is in place, writing of a series of drafts will commence, aided by project-specific exercises aimed at isolating and strengthening the play's dramatic elements: character, dialogue, setting and spectacle. Prerequisites: ART W 262 "Playwriting I"; suitable theatrical experience in directing, acting or playwriting; or submission of a work sample including two short plays or an acceptable equivalent. (staff, Division III; cross-listed as Theater 362) Not offered in 2004-05.
ARTW B364. Approaches to the Novel
This course will explore multiple approaches to the novel, all from the point of view of craft, including novels in stories, novels in several voices and novels within a set time period. In some cases, students will follow assignments, which involve writing and rewriting in the form currently under discussion; in other cases, students will move straight ahead with their own novelistic project with guidance from the instructor. Each student is expected to produce multiple chapters of a single novel, or several first chapters of multiple novels. Prerequisite: ART W 260 "Writing Short Fiction I" or proof of strong interest and ability. A writing sample should be submitted by the end of the previous semester by students who have not previously studied with the professor. (Simon, Division III)
ARTW B366. Writing Memoir II
This course will enable students to complete one or two longer memoirs in the course of the semester. To this end, the syllabus readings for the course will focus on book-length memoirs (by authors such as James Baldwin, Mary Karr, J.M. Coetzee, Paula Fox, Vivian Gornick, Maureen Howard, Primo Levi, Mary McCarthy, John Edgar Wideman, Tobias Wolff). Types of memoir (the memoir of childhood; the memoir of place; the memoir of illness and recovery; the memoir of war and civil unrest) will be considered as templates for the students' own writing. Discussions of syllabus reading will alternate with class discussions of weekly student writing assignments. Prerequisite: ART W 263 "Writing Memoir I" or work demonstrating equivalent expertise. (Kirchwey, Division III)
ARTW B367. Advanced Fiction/Nonfiction
This advanced workshop will allow students to further develop the skills required for writing both fiction and creative nonfiction, and will explore the dividing line between the two genres. The course will be taught in sequential three-week "modules" by four distinguished visiting instructors who are also writers known for their work both in fiction and in nonfiction. Students in this course will therefore benefit from four distinct approaches to, and perspectives on, the crafts of fiction and nonfiction. Prerequisite: Creative Writing 260, 263 or 265, or work demonstrating equivalent mastery of fiction or nonfiction prose. (staff, Division III) Not offered in 2004-05.
ARTW B371. Fiction Master Class
This course is intended to provide advanced students of fiction with the opportunity to diversify, extend and deepen their work. Students will submit three or four short stories during the semester, and will take at least one story through the revision process. The course is writing-intensive — students will submit writing every week. Class time will be divided equally between discussion of student writing and syllabus readings. Students will be responsible for careful readings of each other's work, and should be prepared to participate in constructive critical discussions of this work. Enrollment limited to 15. Prerequisite: an intermediate-level fiction course or work demonstrating comparable mastery of the basic elements of fiction writing. (staff, Division III) Not offered in 2004-05.
ARTW B373. Experimental Writing
This course will introduce advanced writing students to new forms in fiction writing. Students will examine the challenges to convention in 20th- and 21st-century fiction, including the open-ended character, experiments in time and narration, and new combinations of traditional literary and film genres — fairy tales, myth and film noir. Authors include Martin Amis, Italo Calvino, Angela Carter, Jim Crace, Don DeLillo, Michel Foucault, William Gass, J¸rgen Habermas, Susanna Moore, Mary Shelley, Jeanette Winterson and Mary Wollstonecraft. (staff, Division III) Not offered in 2004-05.
ARTW B403. Supervised Work
Haverford College currently offers the following English courses in creative writing:
210a. Reading Poetry
291a. Poetry Workshop: A Practical Course
292b. Writing Poetry: Craft the Creative Process
293a. Fiction Writing: From the Conventional to the Experimental
294b. Fiction Writing: States of Mind
Dance is not only an art and an area of creative impulse and action; it is also a significant and enduring human behavior that can serve as a core of inquiry within the humanities. The Dance Program has, accordingly, designed a curriculum that provides varied courses in technique, composition, theory and performance for students at all levels of skill, interest and commitment. A full range of technique courses in modern, ballet, jazz and Afri-can dance is offered regularly. More specialized movement forms, such as Classical Indian and Flamenco, are offered on a rotating basis. The core academic curriculum includes advanced technique courses, performance ensembles, dance composition, independent work, courses in dance research and in Western dance history as well as courses that present a perspective extending beyond this theatrical or social tradition. Students can minor in dance or submit an application to major through the independent major program.
Requirements for the dance minor are six units of coursework, three required (140, 142, 343/4 or 345) and three electives. Students may choose to emphasize one aspect of the field, but must first consult with the dance faculty regarding their course of study. Students may submit an application to major in dance through the Independent Major Program.
ARTD B140. Approaches to Dance: Themes and Perspectives
An introduction to the significance and the potential of the creative, critical and conceptual processes of dance as performance art, ritual and a humanity. In considering dance as a vital area of academic inquiry, the fields of dance history, criticism, philosophy and ethnology are reviewed. Lectures, discussion, film, video and guest speakers are included. (Caruso-Haviland, Division III)
ARTD B142. Dance Composition I
Analysis and practice of the basic elements of dance making, with reference to both traditional and post-modern choreographic approaches. This course presents compositional theory and experience in generating movement and in structuring dances, beginning with simple solo phrases and progressing to more complex organizational units. (Caruso-Haviland, Division III)
ARTD B223. Anthropology of Dance
(Chakravorty, Division I or III; cross-listed as Anthropology 223)
ARTD B240. Dance History I: Roots of Western Theater Dance
The study of the history of pre-20th century dance with particular emphasis on the development of dance as a theater art form within the broader context of Western art and culture. Lecture, discussion and audiovisual materials. (Caruso-Haviland, Division III) Not offered in 2004-05.
ARTD B241. Dance History II: A History of Contemporary Western Theatre Dance
The study of the development of contemporary forms of dance with emphasis on theater forms within the broader context of Western art and culture. Lecture, discussion and audiovisual materials. (staff, Division III) Not offered in 2004-05.
ARTD B242. Dance Composition II
A continuation of Dance Composition I with emphasis on the construction of finished choreography for solo dances and the development of group compositions. Related production problems are considered. (Cantor, Division III)
ARTD B250. Performing the Political Body
This is a combination lecture and studio course that explores how artists, activists and intellectuals perform cultural interventions in the public sphere according to particular expectations of social and political responsibilities. From this foundation, students will investigate the body as an active agent of social change and political action. Each class will focus on both theory and practice. (staff, Division III) Not offered in 2004-05.
ARTD B256. Arts Teaching in Educational and Community Settings
(Cantor, Division III; cross-listed as Arts in Education 251, Education 251 and Theater 256) Not offered in 2004-05.
ARTD B342. Advanced Choreography
Independent study in choreography under the guidance of the instructor. Students are expected to produce one major choreographic work and are responsible for all production considerations. (Cantor, Caruso-Haviland, Division III)
ARTD B343, B344. Advanced Dance Technique
For description, see Dance Technique below. (staff, Division III)
ARTD B345. Dance Ensemble
For description, see Dance Performance below. (staff, Division III)
ARTD B390. Senior Thesis/Project
ARTD B403. Supervised Work
Research in a particular topic of dance under the guidance of an instructor, resulting in a significant final paper or project. (Cantor, Caruso-Haviland, Division III)
Three levels of ballet and modern dance are offered each semester. Improvisation, African dance and jazz are offered each year. Courses in techniques developed from other cultural forms, such as hip-hop, classical Indian dance or Flamenco, are offered on a rotating basis as are conditioning techniques such as Pilates. All technique courses are offered for Physical Education credit but students may choose to register in advanced level courses for academic credit.
The Dance Ensembles (modern, ballet and jazz) are designed to offer students significant opportunities to develop dance technique, particularly in relationship to dance as a performance art. Original works or reconstructions from the historic or contemporary repertory choreographed by faculty or guest choreographers are rehearsed and performed. This course, which is open to intermediate-and advanced-level dancers by audition or permission of instructor, may in some cases be taken for academic credit or for physical education credit.
Students who elect to participate in the Dance Outreach Project, a dance performance/education program that tours Philadelphia and suburban schools and community groups, can receive Physical Education credit.
Fine arts courses at Bryn Mawr are offered through the Fine Arts Department at Haverford College. Courses on either campus are offered to students of both colleges with the approval of the respective instructors. Prospective Fine Arts majors should plan their curricula with the major instructor. Throughout their progression, these students should strive to develop a portfolio of artwork showing strength and competence and a sense of original vision and personal direction appropriate for a major or minor candidate.
The Music Department is located at Haverford and offers well-qualified students a major and minor in music.
The following organizations are open to all students by audition.
The Haverford-Bryn Mawr Orchestra, with more than 70 members, rehearses once a week, and concerts are given regularly on both campuses. The annual concerto competition affords one or more students the opportunity to perform with the orchestra in a solo capacity. Past repertoire includes Beethoven's "Symphony No. 5" and "Symphony No. 7," Prokofioff and Tchaikovsky's "Romeo and Juliet."
The chamber music program is open to all members of the Haverford-Bryn Mawr Orchestra and to pianists who have passed an audition that includes sight reading. Students rehearse once a week on their own, in addition to once-weekly coaching. Performances, rehearsals and coachings are held on both campuses depending on students' schedules and preferences. Past repertoire includes Dvorak, Schumann's piano quintets, and piano quartets by Schumann, Mozart and Brahms. String quartets and piano trios by all other major composers, including 20th-century composers, are also offered.
The Haverford-Bryn Mawr Chamber Singers is a select ensemble that demands a high level of vocal ability and musicianship. The group performs regularly on both campuses and in the Philadelphia area. Tours are planned within the United States and abroad.
The Haverford-Bryn Mawr Chorale is a large auditioned chorus that gives concerts with the Haverford-Bryn Mawr Orchestra each year. Recent repertory has included: Faure's "Requiem," Carl Orff's "Carmina Burana" and Mozart's "Requiem."
The Haverford-Bryn Mawr Women's Ensemble emphasizes music for women's voices and trebles and performs several times in the academic year.
Chamber Ensemble Groups are formed within the context of the Chamber Music Seminar (Music 215). Performances are held both on and off campus; students have the opportunity to perform in master classes with internationally known chamber musicians.
The Bryn Mawr Chamber Music Society offers extracurricular opportunities for experienced Bryn Mawr and Haverford students, faculty, and staff to perform a variety of chamber works in a series of concerts held in the Music Room.
The curricular portion of the Bryn Mawr and Haverford Colleges' theater program focuses on the point of contact between creative and analytic work. Courses combine theory (reading and discussion of dramatic literature, history and criticism) and practical work (creative exercises, scene study and performance) to provide viable theater training within a liberal-arts context.
Requirements for the minor in Theater Studies are six units of course work, three required (150, 251 and 252) and three elective. Students must consult with the theater faculty to ensure that the necessary areas in the field are covered. Students have majored in Theater through the Independent Major Program.
ARTT B150. Introduction to Theater
An exploration of a wide range of dramatic works and history of theater through research, analysis and discussion to develop understanding and foundations for a theatrical production. (Iwasaki, Division III)
ARTT B250. Twentieth-Century Theories of Acting
An introduction to 20th-century theories of acting emphasizing the intellectual, aesthetic and sociopolitical factors surrounding the emergence of each director's approach to the study of human behavior on stage. Various theoretical approaches to the task of developing a role are applied in workshop and scene study. (Lord, Division III)
ARTT B251. Fundamentals of Acting
An introduction to the fundamental elements of acting (scene analysis, characterization, improvisation, vocal and gestural presentation, and ensemble work) through the study of scenes from significant 20th-century dramatic literature. (Lord, Division III)
ARTT B252. Fundamentals of Technical Theater
A practical, hands-on workshop in the creative process of turning a concept into a tangible, workable end through the physical execution of a design. Exploring new and traditional methods of achieving a coherent synthesis of all areas of technical production. (Iwasaki, Division III)
ARTT B253. Performance Ensemble
An intensive workshop in the methodologies and aesthetics of theater performance, this course is open to students with significant experience in performance. In collaboration with the director of theater, students will explore a range of performance techniques and styles in the context of rehearsing a performance project. Admission to the class is by audition or permission of the instructor. The class is offered for a half-unit of credit. (Lord, Division III)
ARTT B254. Fundamentals of Theater Design
An introduction to the creative process of visual design for theater; exploring dramatic context and influence of cultural, social and ideological forces on theater and examining practical applications of various technical elements such as scenery, costume and lighting while emphasizing their aesthetic integration. (Iwasaki, Division III)
ARTT B255. Fundamentals of Costume Design
Hands-on practical workshop on costume design for performing arts; analysis of text, characters, movement, situations; historical and stylistic research; cultivation of initial concept through materialization and plotting to execution of design. (Iwasaki, Division III) Not offered in 2004-05.
ARTT B256. Arts Teaching in Educational and Community Settings
(Cantor, Division III; cross-listed as Arts in Education 251, Dance 256 and Education 251) Not offered in 2004-05.
ARTT B262. Playwriting I
(staff, Division III; cross-listed as Creative Writing 262) Not offered in 2004-05.
ARTT B351. Acting II: Solo Performance
Builds on the methods learned in Theater 251, with an emphasis on strategies of preparing short solo performances. In addition to intensive exercises in naturalistic and anti-naturalistic performance techniques, the course provides opportunities for exploration of principles of design, directing, dramaturgy and playwriting as they pertain to specific projects conceived by members of the class. Prerequisite: permission of instructor. (Lord, Division III) Not offered in 2004-05.
ARTT B353. Advanced Performance Ensemble
An advanced, intensive workshop in theater performance. Students explore a range of performance techniques in the context of rehearsing a performance project, and participate in weekly seminars in which the aesthetic and theatrical principles of the play and production will be developed and challenged. The course may be repeated. (Lord, Division III)
ARTT B354. Shakespeare on the Stage
An exploration of Shakespeare's texts from the point of view of the performer. A historical survey of the various approaches to producing Shakespeare from Elizabethan to contemporary times, with intensive scenework culminating in on-campus performances. (Lord, Division III) Not offered in 2004-05.
ARTT B359. Directing for the Stage
A semiotic approach to the basic concepts and methods of stage direction. Topics explored through readings, discussion and creative exercises include directorial concept, script analysis and research, stage composition and movement, and casting and actor coaching. Students rehearse and present three major scenes. (Lord, Division III) Not offered in 2004-05.
ARTT B362. Playwriting II
(staff, Division III; cross-listed as Creative Writing 362) Not offered in 2004-05.
ARTT B403. Supervised Work
Numerous opportunities exist to act, direct, design and work in technical theater. In addition to the Theater Program's mainstage productions, many student theater groups exist that are committed to musical theater, improvisation, community outreach, Shakespeare, film and video work, etc. All Theater Program productions are open and casting is routinely blind with respect to race and gender.