Samba Percussion Ensemble

This class is an invitation to explore writing for theater, film, and television by creating ten scripts over the 10-week term. Edward Albee told Andrea that a play is as long as it is. To that end, like a short story, the short form allows for the creation of numerous stories, testing of form and structure, experimentation, failure, and success. Scripts can range from 1 page to 10 pages or longer if need be. This writing workshop will be fast-paced and inquiry-driven. We will use class time to do writing exercises, ask and answer questions, discuss the craft of scriptwriting, and share and critique our own and one another’s work. Students will be expected to create ten scripts, re-draft 5 of those scripts, and select their favorite script to further refine and finalize as their final project.

Evaluation is based on the quality of written work and participation in class discussions. Work will be evaluated for quality, engagement, effectiveness, on-time delivery, and commitment to the workshop collective. Students are expected to bring in new plays each week and to contribute their best work to an end-of-class public reading.

This class is an invitation to explore writing for theater, film, and television by creating ten scripts over the 10-week term. Edward Albee told Andrea that a play is as long as it is. To that end, like a short story, the short form allows for the creation of numerous stories, testing of form and structure, experimentation, failure, and success. Scripts can range from 1 page to 10 pages or longer if need be. This writing workshop will be fast-paced and inquiry-driven. We will use class time to do writing exercises, ask and answer questions, discuss the craft of scriptwriting, and share and critique our own and one another’s work. Students will be expected to create ten scripts, re-draft 5 of those scripts, and select their favorite script to further refine and finalize as their final project.

Evaluation is based on the quality of written work and participation in class discussions. Work will be evaluated for quality, engagement, effectiveness, on-time delivery, and commitment to the workshop collective. Students are expected to bring in new plays each week and to contribute their best work to an end-of-class public reading.

This course is geared toward students with or without performance experience. Together we will establish a common language to define the most important tools for an actor. Through a series of games and exercises, students develop new skills and practice making bolder, clearer choices within improvised, devised or established scenes. The goals are to create confidence in any sort of performance situation and to find ways of applying acting skills to other academic and outside experiences. Evaluation is based on participation in class activities and discussion, successful completion of all performance projects, including productive rehearsal time and an organized portfolio of written responses. There will be at least one field trip. Default grading option for this course is CR/NC.

This course is geared toward students with or without performance experience. Together we will establish a common language to define the most important tools for an actor. Through a series of games and exercises, students develop new skills and practice making bolder, clearer choices within improvised, devised or established scenes. The goals are to create confidence in any sort of performance situation and to find ways of applying acting skills to other academic and outside experiences. Evaluation is based on participation in class activities and discussion, successful completion of all performance projects, including productive rehearsal time and an organized portfolio of written responses. There will be at least one field trip. Default grading option for this course is CR/NC.

This course will look closely at a small selection of plays adapted from other works. At its core this is a dramaturgical practice and methods course. Students will investigate impulses and processes for re-envisioning, re-working, re-purposing another’s text. We will read and discuss some theories of adaptation (mostly, but not exclusively, as they pertain to collaborative art making practices) as well as a sampling of contemporary criticism. A central goal of the course will be to better understand how the term adaptation is understood across disciplines and to fuel a complex discussion about what might make a theatrical adaptation feel relevant or effective in a given context. We will also look closely at moments in history that have instigated a serious 'looking back', spurring a collective creative impulse to re-visit and re-invent previously established works. One could argue that we are currently living in such a cultural moment. Please note: this course requires a significant reading load. Students will be required to close read/view all adapted texts, all original source materials and a variety of supporting texts (as described above). We will also draw from film, visual art and music for this study. Evaluation will be based on a sequence of short practical assignments and demonstrated engagement with the course materials through live discussion and a shared class blog.

This course will look closely at a small selection of plays adapted from other works. At its core this is a dramaturgical practice and methods course. Students will investigate impulses and processes for re-envisioning, re-working, re-purposing another’s text. We will read and discuss some theories of adaptation (mostly, but not exclusively, as they pertain to collaborative art making practices) as well as a sampling of contemporary criticism. A central goal of the course will be to better understand how the term adaptation is understood across disciplines and to fuel a complex discussion about what might make a theatrical adaptation feel relevant or effective in a given context. We will also look closely at moments in history that have instigated a serious 'looking back', spurring a collective creative impulse to re-visit and re-invent previously established works. One could argue that we are currently living in such a cultural moment. Please note: this course requires a significant reading load. Students will be required to close read/view all adapted texts, all original source materials and a variety of supporting texts (as described above). We will also draw from film, visual art and music for this study. Evaluation will be based on a sequence of short practical assignments and demonstrated engagement with the course materials through live discussion and a shared class blog.