46 courses with the subject THEA, each shown exactly as we captured it from the college's catalog, with every element we hold. Where the wording looks broken, that is our reading of the catalog, not the college's text.
THEA 100Theatre Practicum1
Available to students working on faculty-supervised shows as designers, technicians, actors, or stage managers. One credit will be awarded for 40 to 79 hours and two credits for 80 hours or more of work overseen and evaluated by an appropriate faculty member. May be repeated as often as necessary, but not more than five credits of Theatre Practicum will count toward graduation.
Academic credit may be earned for practical experience participating in faculty-directed productions in the areas of acting, design/technology, and management. Students will be assigned roles and/or crew positions with specific responsibilities and hourly requirements (40 hours, minimum, for each earned credit).
Academic credit may be earned for practical experience participating in faculty-directed productions in the areas of acting, design/technology, and management. Students will be assigned roles and/or crew positions with specific responsibilities and hourly requirements (40 hours, minimum, for each earned credit).
Academic credit may be earned for practical experience participating in faculty-directed productions in the areas of acting, design/technology, and management. Students will be assigned roles and/or crew positions with specific responsibilities and hourly requirements (40 hours, minimum, for each earned credit).
Academic credit may be earned for practical experience participating in faculty-directed productions in the areas of acting, design/technology, costume/makeup, and management. Students will be assigned roles and/or crew positions with specific responsibilities and hourly requirements (40 hours, minimum, for each earned credit).
(same as MUSI 105) Study, rehearsal, and performance of a musical theatre piece. Students will be cast in a role or assigned a production responsibility and will be coached and directed by the staff. An emphasis will be placed on the development through the practice of skills in singing, acting, dancing, and in the designing, lighting, and running of a production. Significant time will also be given to looking at literary, thematic, and historical aspects of the piece to be produced with the intent of developing a sensitivity to the special qualities of musical theatre. Whether MUSI or THEA, this course may be taken only twice for credit.
Body training in movement technique using rhythm dynamics, space, and gesture. Learning basic dance skills including jazz, ballet, and modern. Open to all students, this course may be repeated for credit. Only 1 credit may fulfill the Physical Education requirement.
Let’s dance! Students will learn the codified technique of Ballet and Modern Dance paired with choreography styles of Hip Hop, Jazz, and Musical Theatre. This movement class will culminate in a performance and may be repeated for credit.
An introduction to playwriting, script analysis, production, and performance designed for students interested in gaining more from reading and watching plays as well as for those beginning a serious study of theatre. In addition to reading several short plays and discussing the creative steps required to mount them, students will work in small groups writing and producing their own play, will see and critique a number of local productions, and may work on a Hartwick production.
Stagecraft is the study of the techniques that are used to bring a theatrical design from concept development to the stage. Through a series of class projects students will learn design concepts and create some design elements that could be used on stage. In addition, time will also be spent on scene painting techniques, lighting design, sound design, and the tools and equipment that are used for each. Students will also learn how the theatrical world is structured and what roles are played by those that work in it. Class time will also be used to teach safe work habits for scene shops and theatres.
A study of the skills needed to fabricate costumes from a designer’s rendering. Introduction to costume shop equipment, hand and machine sewing, and other techniques related to costume construction. Projects and costume crew hours will develop basic skills and techniques used in creating costumes for the stage.
A practical investigation of the basic theories of acting as a fine art. Emphasis will be on training the actor in the use of physical and mental abilities as effective tools of dramatic expression.
A studio course in the fundamentals of theatrical makeup techniques and design skills as they relate to the creation of characters for the stage. Includes realistic and non-realistic, 2-dimensional and basic 3-dimensional makeups.
Applied Theatre in Healthcare explores how empathy is used for both character creation and healthcare providers. Through in-depth character study and collaborative learning, students hone communication and creative problem-solving skills while learning to perform realistic characters in inter-professional health care simulations.
Based in part on campus and in part in New York City. This course will allow students to see a wide variety of theatrical productions and to study the history of Broadway and off-Broadway production since 1910. In New York, students will see productions meet professionals and tour theatres. Offered in January. Fee involved.
Each student in this course will select, analyze, design, cast, rehearse, promote and present a short one-act play-gaining experiential knowledge of the roles of the producer, director, and designer. Class discussion and exercises will focus on such matters as selecting the play, budgeting, advertising, organizing the production team and calendar, developing a production concept, casting, blocking, working with actors, creating a prompt book, making a model of the set, planning costumes, props, makeup, lights, and sound, setting cues, and polishing the performance.
An introduction to the practical and theoretical aspects of play analysis. Students will gain experience in the analytical process used by directors, designers, and actors as they learn to perform dramaturgical research and develop collaborative interpretations of plays. Required of theatre majors, this course is open to all students who wish to explore the creative possibilities of interpreting plays for performance.
This class is a survey of the concepts and techniques used to design for theatre, dance, and opera. This includes the creation of costumes, properties, scenery, lighting and sound. Classroom time will be spent on lectures and discussions as well as hands-on projects. Work on technical crews for the department productions is required.
This course is a hands-on approach to learning the art of stage managing by introducing students to the skills and mechanics necessary to contribute effectively to the production process; with a focus on organization, leadership, and communication. Through this course, students will learn to work with members of the production team, run rehearsals, conduct production meetings, manage technical rehearsals, and performances.
In this course students learn about theatre by doing theatre; cultivating artistic and critical skills through engaged research, rehearsal and performance of a single dramatic text. Culminating in a faculty-directed main stage production this performance course is open to all students, regardless of major, by audition or production interview only. This course may be repeated for credit. Theatre majors are required to take Theatre Practicum in conjunction with this course.
An examination of the visual, aural, and narrative language systems used to convey meaning in this most popular of art forms. From the most concrete components of cinematic art (story structure, photographic composition, sound, etc.) to the most abstract, the course will provide a foundation for students' personal "cineliteracy."
This course gives each student a venue to daydream. We will spend most of our time in class writing, sharing our writing, and responding to each other's work. We will also work in groups and devise plays and performances. We honor and celebrate the best fruits of our daydreams. Besides learning the technical expectations and forms that a playwright follows, each student will understand the fundamental aspects of playwriting: character, conflict/dilemma, dialogue, objectives, setting, subtext, action, reversals, resolution, emotions, believability, and spontaneity. You will also learn how to rewrite effectively.
This workshop explores the fundamental elements of dramatic storytelling for stage, screen, and media. Students will learn fundamental scriptwriting principles by writing and workshopping original short scripts. Idea generation, character development, dramatic structure, immersive storytelling, and “creative agility” will be developed through the scriptwriting process.
Applied theatre, as a term and a movement, comes from the desire to transform human behavior through the medium of theatre. In this introductory course, students will learn to apply theatre techniques and practices to community-based service-learning projects in the interrelated fields of public health, social activism, and education.
Based in London and Stratford-upon-Avon, the class will attend up to 12 productions offered by the Royal Shakespeare Company, The Royal National Theatre, West End theatres, and Fringe companies. Students will also visit theatres, museums, and historic sites and will talk with a number of British theatre professionals. There will also be time for students to explore the London area on their own. Offered alternate January Terms. Fee involved.
(same as ENGL 321) Plays from the Greeks through the Medieval to the beginning of the modern era will be studied either as part of a broad survey or as representative examples of a particular time or place. Mostly European plays, but also some New World and Asian works. Shakespeare will not be included, and all plays will be in English.
(same as ENGL 322) European and American plays written after 1850 and before the last quarter of the 20th century will be studied. Genres and movements such as realism, expressionism, and the Theatre of the Absurd will be considered when reading plays by such writers as Ibsen, Strindberg, Chekhov, Shaw, O'Neill, Brecht, Ionesco, Beckett, and Williams.
(same as ENGL 323) This class will cover some of the most important and exciting theatrical voices of the past fifty years, celebrating the possibilities of America and the American theater. Our studies will send us from coast to coast and in between, revealing American drama as diverse as the peoples that make this nation. Students will come to an understanding of why these living documents are important theatrically (artistically) and socio-historically (culturally).
(same as ENGL 324) This course explores some of Britain’s key dramatic works of the past fifty years, including works associated with (post-colonialism). The students will come to an understanding of why these living documents are important theatrically (kitchen-sink realism, post-Brechtian, absurd, Angry Young Men, In-Yer-Face, farce, docudrama, state of the nation) and socio-historically (issues related to war, gender roles, sexuality, class, privilege, mental illness, race, religion, government, power, national identity, censorship, jingoism, among others).
This course is an introduction to the plays and artists that have shaped the literary canon of Theatre for Young Audiences (TYA). Students will deepen their understanding of classic and contemporary TYA plays through discussion, research, reflective writing, and creative interpretation.
Students will learn to create unified designs for costumes and scenery for the theatre. They will hone their skills in drafting and scenic model making, as well as learn to render costume designs. Emphasis will be placed on research using primary sources and putting together all appropriate paperwork to communicate with directors and stage technicians.
An intensive study of the role lighting and sound design play as an artistic component of theatre, dance, and video production. A series of hands on projects encompassing lighting and sound will be used to take students through the process of designing for the stage. These projects will also help to familiarize students with the equipment and tools that lighting and sound designers use to execute successful designs. Play analysis, historical research, collaboration and specialized industry equipment usage will also be topics of discussion.
The role of the Stage Manager is essential to the production of theatre, dance, and opera. The Stage Manager holds a key leadership and organizational role throughout the entire production process from the first meetings until the final performance. In this course students will learn about the role of the stage manager during all sequences of production. You will learn how to work with a director to run rehearsals, record actor blocking, conduct production meetings and technical rehearsals, call cues and run the actual performances before an audience. You will learn to use all the various stage management forms and create and maintain a stage management prompt script. Since theatre is a collaborative art form you will also learn the responsibilities of all the various members of the production team. Time will also be spent discussing theatre management concepts.
In consultation with the theatre faculty, each theatre major will in the spring of his or her junior year propose a significant theatre project for completion in the senior year. Normally this will involve directing and designing a play to be included in the department's production season. Major design or research projects will also be considered.
