Students may complete a minor in Creative Writing, Dance or Theater and 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 at Haverford College. English majors may complete a concentration in Creative Writing.
David Brick, Lecturer in Dance
Madeline Cantor, Senior Lecturer and Associate Director of Dance
Nancy Doyne, Lecturer in Creative Writing
Linda Caruso-Haviland, Associate Professor and Director of Dance
Tom Ferrick, Jr., Lecturer in Creative Writing
Amy Herzog, Lecturer in Creative Writing
Hiroshi Iwasaki, Senior Lecturer and Designer/Technical Director of Theater
Karl Kirchwey, Associate Professor, Director of Creative Writing Program (on leave semester I)
Mark Lord, Associate Professor and Director of Theater, Chair of Arts Program
Catherine Murdock, Lecturer in Creative Writing
J.C. Todd, Lecturer in Creative Writing
Daniel Torday, Lecturer in Creative Writing, Acting Director of Creative Writing Program, semester I
Courses in the arts are designed to prepare students who might wish to pursue advanced training in their fields and are also for those who want to broaden their academic studies with work in the arts that is conducted at a serious and disciplined level. Courses are offered at introductory as well as advanced levels.
Arts in Education
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 will investigate underlying theories. The praxis component will allow 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. Prerequisite: at least an intermediate level of experience in an art form. This course counts toward the minor in Dance or in Theater. (Cantor, Division III; cross-listed as EDUC B251) Not offered in 2008-09.
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, prose fiction and nonfiction, playwriting, screenwriting, etc.) 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, exceptionally well-qualified students with a GPA of 3.7 or higher in Creative Writing courses completed in the Tri-College curriculum may consider submitting an application to major in Creative Writing through the independent major program after meeting with the Creative Writing Program director (see page 22). When approved, the independent major in Creative Writing is often pursued as a double major with another academic major subject.
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 ARTW 159, 231, 236, 240, 251, 260, 261, 262, 263, 264, 265, 266, 268, 269) and three electives, including at least one course at the 300 level (ARTW 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 several genres of creative writing. Students should consult with the Creative Writing Program director by the end of their sophomore year 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 (see page 140). Students interested in the concentration must meet with the Creative Writing Program director by the end of their sophomore year to submit a plan for the concentration and must also confirm the concentration with the chair of the English Department.
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 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. (Todd, Division III)
Takes the poem off the printed page from poetry to performance and considers poetry form, style, theory, and techniques of “Spoken Word” artistry. Performance theory will be coupled with cutting-edge work in the anthropology of performance. Students will maintain a poetry journal, write and edit original poetry, complete syllabus readings, write weekly response papers and participate in discussions and performances. The course culminates in a radio broadcast and a full-length performance piece. (staff, Division III) Not offered in 2008-09.
Surveys the work of literary writers reading in the Creative Writing Program Reading Series. Students will read and discuss at least one work by each of the authors appearing, and whenever possible will meet individually with the authors in class as well as attending their public readings. Authors represented have included poets Lucille Clifton, Derek Walcott and Richard Wilbur, fiction writers E.L. Doctorow and James Salter, and memoirist Patricia Hampl. This is a half-credit course; students may receive credit for either or both semesters. Approximately 15 pages of critical prose writing will be required for each half-credit. (Kirchwey, Division III; cross-listed as ENGL B236) Not offered in 2008-09.
Open to creative writing students and students of literature, the syllabus includes some theoretical readings, but the emphasis is practical and analytical, considering parallel translations of certain enduring literary texts as well as books and essays about the art of translation. Literary translation will be considered as a spectrum ranging from Dryden’s “metaphrase” (word-for-word translation) all the way through imitation and adaptation. The course will include class visits by working literary translators. The Italian verbs for “to translate” and “to betray” are neighbors; throughout, the course concerns the impossibility and importance of literary translation. (Kirchwey, Division III; cross-listed as COML B240)
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) Not offered in 2008-09.
An introduction to fiction writing, focusing on the short story. Students will consider fundamental elements of fiction and the relationship of narrative structure, style and content, 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. Weekly readings and 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 controlled, and more absorbing. (Torday, Division III)
This course will provide a survey of craft resources available to students wishing to write print-based (as opposed to spoken-word) poems in English: figure, line, measure, meter, rhyme and rhythm. In concert with close reading of model poems, students will gain experience writing in a variety of verse forms, including haiku, Anglo-Saxon accentual verse, sonnet, free verse and prose poem. The course objective will be to provide students with the skills to explore poetic form, both received and invented, and to develop a voice with which to express themselves on the printed page. (Todd, Division III)
An introduction to playwriting through a combination of reading assignments, writing exercises, discussions about craft and ultimately the creation of a complete one-act play. Students will work to discover and develop their own unique voices as they learn the technical aspects of the craft of playwriting. Readings will include work by Maria Irene Fornes, John Guare, Tony Kushner, Suzan-Lori Parks, Sam Shepard, Paula Vogel and others. Short writing assignments will complement each reading assignment. The final assignment will be to write an original one-act play. (Herzog, Division III; cross-listed as ARTT B262) Not offered in 2008-09.
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. Writing assignments and in-class discussion of syllabus readings explore the range of memoirs available for use as models (excerpts by writers including James Baldwin, Lorene Cary, Annie Dillard, Arthur Koestler, Rick Moody, Lorrie Moore, and Tim O’Brien) and elements such as voice and perspective, tone, plot, characterization and symbolic and figurative language. (Kirchwey, Division III) Not offered in 2008-09.
Students in this class will learn how to develop, report, write, edit and revise a variety of news stories, beginning with the basics of reporting and writing the news and advancing to longer-form stories, including personality profiles, news features and trend stories, and concluding with point-of-view journalism (columns, criticism, reported essays). The course will focus heavily on work published in The Philadelphia Inquirer and The New York Times. Several working journalists will participate as guest speakers to explain their craft. Students will write stories that will be posted on the class blog, the English House Gazette. (Ferrick, Division III)
This course will explore the literary expressions of nonfiction writing by focusing on the skills, process and craft techniques necessary to the generation and revision of literary nonfiction. Using the information-gathering tools of a journalist, the analytical tools of an essayist and the technical tools of a fiction writer, students will produce pieces that will incorporate both factual information and first person experience. Readings will include a broad group of writers ranging from E.B. White to Joseph Mitchell, George Orwell to David Foster Wallace, David Sedaris to Dave Eggers, Joan Didion to John Edgar Wideman, among many others. (Torday, Division III)
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)
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 2008-09.
This class explores the vast and intoxicating world of children’s literature. Teaching in sequence, six well known children’s authors (Paul Acampora, Jen Bryant, Elizabeth Mosier, Catherine Murdock, Alexander Stadler, and David Wiesner) will examine the specific requirements of such genres as picture books, chapter books and young adult novels, the creation of compelling characters and voice, the roles of illustration and page composition in story narration, and the ever-evolving fairy tale. In-class discussion and peer review augment students’ own writing and their analysis of an abundance of published work. (Murdock, staff, Division III)
An exploration of approaches to writing short fiction designed to strengthen skills of experienced student writers as practitioners and critics. Requires writing at least five pages each week, workshopping student pieces, and reading texts ranging from realist stories to metafictional experiments and one-page stories to the short novella, to explore how writers can work within tight confines. Prerequisite: ARTW 260 or work demonstrating equivalent expertise in writing short fiction. A writing sample of 5-10 pages in length (prose fiction) must be submitted to the English Department by the end of the Fall 2008 semester to be considered for this course. (Torday, Division III)
This course presumes that reading and writing are inextricably linked, and that the only way to write intelligent and interesting poetry is to read as much of it as possible. Writing assignments will be closely connected to syllabus reading, and may include working in forms such as ecphrastic poems, dramatic monologues, prose poems, translations, imitations and parodies. Prerequisite: ARTW 261 or work demonstrating equivalent familiarity with the basic forms of poetry in English. A writing sample of 5-7 poems must be submitted to the English Department to be considered for this course. (staff, Division III) Not offered in 2008-09.
This course challenges students of playwriting to further develop their unique voices and improve their technical skills in writing for the stage. We will examine how great playwrights captivate a live audience through their mastery of character, story and structure. Students will complete bi-weekly playwriting assignments of 10-12 pages and, ultimately, a one-act play of 30-40 pages. Readings include plays by Beckett, Chekhov, Lorraine Hansberry, Ibsen, Arthur Miller, Tennessee Williams, August Wilson and others. Prerequisite: ARTW 262; or suitable experience in directing, acting or playwriting; or submission of a work sample of 10 pages of dialogue. (Herzog, Division III; cross-listed as ARTT B362)
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: ARTW 260 or proof of interest and ability. (Torday, Division III) Not offered in 2008-09.
This course will enable students to complete one or two longer memoirs in the semester. The syllabus readings will focus on book-length memoirs by authors such as Frank Conroy, Patricia Hampl, Kathryn Harrison, Mary McCarthy, Vikram Seth, John Edgar Wideman and Tobias Wolff. Discussions of syllabus reading (part of the syllabus reading will be selected by the students) will alternate with discussions of weekly student writing assignments. Prerequisite: ARTW 263 or work demonstrating equivalent expertise. A memoir or personal essay of 5-10 pages in length must be submitted to the English Department to be considered for this course. (Kirchwey, Division III) Not offered in 2008-09.
Four leading contemporary poets who are also accomplished teachers will each conduct a three-week-long unit in this course. Students will have their poems reviewed by each of the visiting poets, who will also present a public reading of their work. Poet-teachers will include Cornelius Eady, Marilyn Hacker, Mary Jo Salter and Gerald Stern. Prerequisite: ARTW B231 or ART W B261 (ARTW B361 is also strongly recommended) or equivalent proficiency in writing text-based verse. A writing sample of 5-7 poems must be submitted to the English Department by the end of the Fall 2008 semester to be considered for this course. (Kirchwey, staff, Division III)
Students who have completed beginning-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)
Haverford College currently offers the following courses in creative writing:
ENGL H291 Poetry Writing: A Practical Workshop
ENGL H292 Poetry Writing II: Contemporary Voices
ENGL H293 Fiction Writing: From the Conventional to the Experimental
ENGL H294 Fiction Writing
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 perspectives extending beyond this theatrical or social tradition. Students can minor in dance or submit an application to major through the independent major program (see page 22).
Requirements for the dance minor are six units of coursework, three required (ARTD 140, 142, and one credit which may be distributed among the following: 230, 231, 330, 331, 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.
This course introduces students to dance as a multi-layered, significant and enduring behavior that ranges from art to play to ritual to politics and beyond. It engages students in the creative, critical and conceptual processes that emerge in response to the study of dance. It also explores the research potential that arises when other areas of academic inquiry, including criticism, ethnology, history and philosophy, interact with dance and dance scholarship. Lectures, discussion, film, video and guest speakers are included. (Caruso-Haviland, Division III)
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 practice of making dance studies, starting with simple solo phrases and moving towards complex and interactive group forms and processes. Students will be expected to develop and broaden their understanding of dance as an art form and their abilities to see and critique dances. Readings and viewings pertaining to the choreographic process will be assigned. Concurrent attendance in any level technique course is required. (Brick, Division III)
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) Not offered in 2008-09.
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. (Caruso-Haviland, Division III) Not offered in 2008-09.
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 some opportunity to revise and expand work. Readings and viewings will be assigned and related production problems will be considered. Concurrent attendance in any level technique course is required. (Cantor, Division III)
Social and theatrical dance in Latin America, focusing on salsa, tango and ballet as samples of native, imported and exported forms practiced on the continent. Highlights how dance embodies issues of nationality, class and gender relevant to Latin American countries. Readings, visual media, class discussions and presentations, guest lectures, field trip, and some instruction in salsa/tango. Prerequisite: a Dance academic course or a course in Anthropolgy, Sociology or Hispanic-American Studies, or permission of the instructor. (Tome, Division III) Not offered in 2008-09.
Explores the shifts in sexuality and gender construction of Indian women from national to trans-national symbols through the dance sequences in Bollywood. Examines the place of erotic in reconstructing gender and sexuality from past notions of romantic love to desires for commodity. Primary focus will be on approaches to the body from anthropology and sociology to performance, dance and media studies. (Chakravorty, Division I or III; cross-listed as ANTH B266) Not offered in 2008-09.
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.
(Segarra, Division III)
(Laico, Division III)
(Caruso-Haviland, Malcolm-Naib, Division III)
(Mintzer, Division III)
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 Ensembles (modern, ballet, jazz, and African) 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 academic credit. Concurrent attendance in any level technique course is required. 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.
Dance ensemble offers course sections in African, ballet, jazz and modern dance. (staff, Division III)
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 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 on page 161.
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 on page 239.
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 (page 239).
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 (MUSC 215). See Music at Haverford on page 239. 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 are six units of course work, three required (ARTT 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 (see page 22).
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.
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, Lord, Division III) Not offered in 2008-09.
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)
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. (staff, Division III)
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 2008-09.
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)
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)
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 2008-09.
(staff, Division III) Not offered in 2008-09.
(Herzog, Division III; cross-listed as ARTW B262) Not offered in 2008-09.
Students in this course will investigate the notion of theatrical landscape and its relation to plays and to the worlds that those landscapes refer. Through readings in contemporary drama and performance and through the construction and evaluation performances, the class will explore the relationship between human beings and the environments they imagine, and will study the ways in which those relationships impact how we think about our relationship to the world in which we live. The course will culminate in a series of public performances. (Lord, Division III; cross-listed as COML B269) Not offered in 2008-09.
(Taylor, Division III; cross-listed as ENGL B296) Not offered in 2008-09.
A workshop for those who have completed either Fundamentals of Theater Design, Costume Design or Technical Theater Production or have an equivalent experience, for students to explore their specific area of interest. The focus is on translating the theories into concrete designs. Prerequisite: ARTT 252, 254 or 255 or equivalent experience. (Iwasaki, Division III)
Builds on the methods learned in ARTT 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 2008-09.
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)
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, Division III; cross-listed as ENGL B356)
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 2008-09.
(Herzog, Division III; cross-listed as ARTW B362)