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2005-06 and 2006-07

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Arts Program

Students may complete a minor in creative writing, dance or theater. English majors may complete a concentration in creative writing. Students may submit an application to major in creative writing, dance or theater through the independent major program. Students may complete a major in fine arts or a major or minor in music through Haverford College.

Faculty

Glenda Adams, Lecturer in Creative Writing
David Brick, Lecturer in Dance
Madeline Cantor, Senior Lecturer and Associate Director of Dance (on leave semester I)
Linda Caruso-Haviland, Associate Professor and Director of Dance
Benjamin Downing, Lecturer in Creative Writing
Hiroshi Iwasaki, Senior Lecturer and Designer/Technical Director of Theater (on leave semester II)
Karl Kirchwey, Associate Professor, Director of Creative Writing and Chair of the Arts Program
Ann Kjellberg, Lecturer in Creative Writing
Marc Lapadula, Lecturer in Creative Writing
Mark Lord, Associate Professor and Director of Theater
Elizabeth Mosier, Lecturer in Creative Writing
Rachel Simon, Lecturer in Creative Writing

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 ARTD B256, EDUC B251 and ARTT B256)

Creative Writing

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, playwriting, screenwriting and journalism) and for those intending to pursue studies in creative writing at the graduate level. Any English 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, students may submit an application to major in creative writing through the independent major program.

Minor Requirements

Requirements for the minor in creative writing are six units of course work, generally including three beginning/intermediate courses in at least three different genres of creative writing (chosen from 159, 260, 261, 262, 263, 264, 265, 266, 268, 269) and three electives, including at least one course at the 300 level (360, 361, 362, 364, 366, 367, 371, 373, 382), allowing for advanced work in one or more genres of creative writing which are of particular interest to the student. The objective of the minor in creative writing is to provide both depth and range, through exposure to the genres of creative writing. Students should consult with the Creative Writing Program director to submit a plan for the minor in order 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 for students who wish to experiment with three genres of creative writing: short fiction, poetry and drama. Priority will be given to interested first-year students; additional spaces will be made available to upper-year students with little or no 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 class time will be spent discussing student work and half will be spent discussing syllabus readings. (Mosier, Division III)

ARTW B251 Travel Writing

This course introduces students to a genre that is too rarely studied or attempted. The first purpose of the course is to introduce students to masterpieces of travel writing in order to broaden students' understanding of the genre and the world. The second is to give students a chance to experiment with travel writing. Finally, the course seeks to sensitize students to the nuances of style (diction, syntax, etc.) that affect the tone and texture of a writer's prose. While students need not have traveled extensively in order to take this course, passionate curiosity about the world is a must. (Downing, Division III)

ARTW B260 Writing Short Fiction I

This course offers an introduction to fiction writing, focusing on the short story. Students will consider fundamental elements of fiction and the relationship of structure, style and subject matter, exploring these elements in their own work and in the assigned readings in order to develop an understanding of the range of possibilities open to the fiction writer. Writing exercises are designed to encourage students to explore the material and styles that most interest them, and to push their fiction to a new level of craft, so that over the semester their writing becomes clearer, more absorbing, and more sophisticated. (Mosier, Simon, 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 print-based (as opposed to spoken-word) poems in English, beginning with syllabic verse, accentual verse and accentual-syllabic (metered) verse, as well as free verse. Students in this course will gain experience writing in a variety of verse forms (including cinquains, Anglo-Saxon accentual verse, and sonnets). The objective of the course will be to provide students with a sense of poetic identity and with the skills to find a form and a voice with which to express themselves on the printed page. (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 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 act in and direct it. Students will have individual meetings with the instructor at least biweekly to discuss and defend their dramatic efforts. (Lapadula, Division III; cross-listed as ARTT B262)

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 the range of memoirs available for use as models (excerpts by writers including Elizabeth Bishop, Jacques Casanova, Annie Dillard, Frederick Douglass, Maxine Hong Kingston, Tim O'Brien) and elements such as voice and perspective, tone, plot, characterization and symbolic and figurative language. (Kirchwey, Division III) Not offered in 2005-06.

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) Not offered in 2005-06.

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) Not offered in 2005-06.

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: theme, dramatic structure, image and sound. The course will be an exploration 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? Through written exercises, close analysis of texts and the screening of film, we will come to better understand the tools and dictates of film writing. (Doyne, Division III) Not offered in 2005-06.

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. (Kjellberg, Division III)

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) Not offered in 2005-06.

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. (staff, Division III) Not offered in 2005-06.

ARTW B361 Writing Poetry II

This course is intended for students of poetry as a continuation of Creative Writing 261. This course will continue the survey of the forms of English and American print-based poetry and will include exercises in writing the following: sestinas, villanelles, ballads, ekphrastic poems (about works of art) and dramatic monologues. Several book-length collections of poems will be discussed for their strategies and architecture. Each student will be responsible for rendering into English a poem from a foreign language with which she is familiar. Prerequisite: Creative Writing 261 or work demonstrating equivalent familiarity with the basic forms of poetry in English. (staff, Division III) Not offered in 2005-06.

ARTW B362 Playwriting II

This course focuses on the development of a project (a 30-plus-page one-act play) from conception to production-ready script. Students should have proposals (1-2 pages) for at least two possible projects prior to the first class meeting. The workshop process begins with a thorough examination of the student's accepted proposal followed by a series of drafts, aided by project-specific exercises aimed at isolating and strengthening the play's dramatic elements: character, dialogue, setting and spectacle. Prerequisite: Creative Writing 262; or suitable experience in directing, acting or playwriting; or submission of a work sample including two short plays or an acceptable equivalent. (staff, Division III) Not offered 2005-06.

ARTW B364 Approaches to the Novel

An advanced workshop for students with a strong background in fiction writing who want to write a novel. Students are expected to write intensively, taking advantage of the structure and support of the class to complete the first draft of a (25,000-30,000 word) novel/novella. Students will examine elements of fiction in their work and in novels on the reading list, exploring strategies for sustaining the writing of a long work. Prerequisite: Creative Writing 260 or proof of interest and ability. A writing sample of 10 double-spaced pages should be submitted to the instructor by the end of the fall semester. (Adams, Division III)

ARTW B366 Writing Memoir II

This course will enable students to complete one or two longer memoirs in the semester. The syllabus readings for the course will focus on book-length memoirs (by authors such as James Baldwin, Paula Fox, Vivian Gornick, Primo Levi, Mary McCarthy, 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 discussions of weekly student writing assignments. Prerequisite: Creative Writing 263 or work demonstrating equivalent expertise. (Kirchwey, Division III) Not offered in 2005-06.

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. Prerequisite: Creative Writing 260, 263 or 265, or work demonstrating equivalent mastery of fiction or nonfiction prose. (staff, Division III) Not offered in 2005-06.

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. 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. Prerequisite: an intermediate-level fiction course or work demonstrating comparable mastery of the elements of fiction writing. (staff, Division III) Not offered in 2005-06.

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, Jürgen Habermas, Susanna Moore, Mary Shelley, Jeanette Winterson and Mary Wollstonecraft. (staff, Division III) Not offered in 2005-06.

ARTW B382 Poetry Master Class

This course is intended for students who have completed Creative Writing 261 (Creative Writing 361 is strongly recommended) or who can demonstrate equivalent proficiency in writing verse. Four major contemporary poets - Frank Bidart (Wellesley College), Paul Muldoon (Princeton University), Carol Muske-Dukes (University of Southern California) and Sonia Sanchez (Temple University) - will each teach a three-week-long unit in this course. Discussions of syllabus reading will alternate with discussions of student poems. Students will have a chance to have their poems reviewed by each of the visiting poets, who will also present a public reading of their work. Prerequisite: Creative Writing 261. (Kirchwey, Division III)

ARTW B403 Supervised Work

Students who have completed beginning or intermediate and advanced-level courses in a particular genre of creative writing and who wish to pursue further work on a tutorial basis may meet with the Creative Writing Program director to propose completing a one-semester-long independent study course with a member of the Creative Writing Program faculty. (staff, Division III)

Haverford College currently offers the following English courses in creative writing:

ENGL H291A Poetry Writing: A Practical Workshop
ENGL H292B Poetry Writing II
ENGL H293A Fiction Writing: From the Conventional to the Experimental
ENGL H294B Fiction Writing: States of Mind

Dance

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 African 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.

Minor Requirements

Requirements for the dance minor are six units of coursework, three required (140, 142, 343 or 344 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.

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) Not offered in 2005-06.

ARTD B142 Dance Composition I

An introduction to the process of making dances that explores basic elements including space, time, rhythm, energy, dynamics, qualities of movement and gesture, and both traditional and postmodern structures. Compositional theory will be approached through the experience and practice of making dance studies starting with simple solo phrases and moving towards more complex and interactive group forms and processes. While primarily a studio course, students will be expected to begin to develop and broaden their understanding of dance as an art form and their abilities to see and critique dances Readings pertaining to the choreographic process will be assigned. (Brick, Division III)

ARTD B223 Anthropology of Dance

(Chakravorty, Division I or III; cross-listed as ANTH B223) Not offered in 2005-06.

ARTD B240 Dance History I: Roots of Western Theater Dance

This course investigates the historic and cultural forces affecting the development and functions of pre-20th-century dance as well as its relationship to and impact on the development of Western Culture. It will consider nontheatrical forms and applications, but will give special emphasis to the development of theatre dance forms. It will also introduce students to the varied forms of the historic documentation of dance and to a view of history not only as a linear progression of events but also as process, change and cultural shift. Lecture, discussion and audiovisual materials. (Caruso-Haviland, Division III)

ARTD B241 Dance History II: A History of Contemporary Western Theater 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 2005-06.

ARTD B242 Dance Composition II

The goal of this course is to build on work accomplished in Composition I and to develop an understanding of and skill in the theory and craft of choreography. This includes deepening movement invention skills; exploring form and structure; investigating sources for sound, music, text and language; developing group design; and broadening critical understanding. Students will work on a selected number of projects and will have opportunities to revise and expand work. Readings will be assigned and related production problems will be 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 2005-06.

ARTD B252 Africanisms in American Culture: Dance and Other Contexts

This course explores the African-based, or Africanist, traditions and attitudes that pervade our daily lives from basketball to ballet. It interrogates the sometimes complementary, sometimes oppositional relationship between Africanist and Europeanist worldviews as they are manifested in the aesthetic and philosophical choices that dictate our lifestyles. It examines broad fundamentals and specific examples that comprise both Africanist and Europeanist aesthetics in dance, music, literature and daily life through readings, discussion, video screenings and two to three studio experiences. Readings are drawn from linguistics, literary criticism and performance studies. (Dixon-Gottschild) Not offered 2005-06.

ARTD B256 Arts Teaching in Educational and Community Settings

(Cantor, Division III; cross-listed as ARTA B251, EDUC B251 and ARTT B256)

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)

Dance Technique 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 some intermediate and advanced level courses for academic credit. (staff, Division III)

ARTD B231 Intermediate Dance Technique: Modern
ARTD B331 Advanced Technique: Modern

ARTD B232 Intermediate Dance Technique: Ballet
ARTD B332 Advanced Dance Technique: Ballet

Dance Performance

Dance Ensembles (modern, ballet and jazz) are designed to offer students significant opportunities to develop dance technique, particularly in relationship to dance as performance art. Original works or reconstructions from the historic or contemporary repertory choreographed by faculty or guest choreographers are rehearsed and performed. This course, open to intermediate- and advanced-level dancers by audition or permission of instructor, may be taken for physical education credit or, in some cases, academic credit. Students who 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.

ARTD B345 Dance Ensemble: Modern (001); Ballet (002); Jazz (003)

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)

Fine Arts

Fine arts courses at Bryn Mawr are offered through the Department of Fine Arts 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. For major program requirements and course descriptions, see Fine Arts at Haverford College.

Music

The Department of Music is located at Haverford and offers well-qualified students a major and minor in music. For a list of requirements and courses offered, see Music at Haverford.

Music Performance

The following organizations are open to all students by audition. For information on academic credit for these groups, and for private vocal or instrumental instruction, see Music at Haverford.

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.

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.

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. 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.

Theater

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.

Minor Requirements

Requirements for the minor in theater 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 may submit an application to major in theater through the independent major program.

Theater Performance

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.

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) Not offered in 2005-06.

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) Not offered in 2005-06.

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)

ARTT B256 Arts Teaching in Educational and Community Settings

(Cantor, Division III; cross-listed as ARTA B251, ARTD B256 and EDUC B251)

ARTT B262 Playwriting I

(Lapadula, Division III; cross-listed as ARTW B262)

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 2005-06.

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 2005-06.

ARTT B356 Endgames: Theater of Samuel Beckett

An exploration of Beckett's theater work conducted through both reading and practical exercises in performance techniques. Points of special interest include the monologue form of the early novels and its translation into theater, Beckett's influences (particularly silent film) and collaborations, and the relationship between the texts of the major dramatic works and the development of both modern and postmodern performance techniques. (Lord)

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 2005-06.

ARTT B403 Supervised Work (staff)

 
     
 
Bryn Mawr College · 101 North Merion Ave · Bryn Mawr · PA · 19010-2899 · Tel 610-526-5000