DRAMA 10AX:
Acting Intensive
Goal is to develop physical and language creativity through an exploration of contemporary and 19th-century play texts. Language and the process of bringing dramatic literature to life on stage. Readings include contemporary playwrights as well as writers at the turn of the 19th century such as Anton Chekhov, Henrik Ibsen, and August Strindberg.
Terms: Aut
| Units: 2
DRAMA 11AX:
Set Design
How ideas in fine art, architecture, and installation inform the practice of theatre set design. Traditional techniques of stage scenery design, basic drafting and model making guide the process of designing a set for an opera or play in this hands-on workshop.
Terms: Aut
| Units: 2
DRAMA 11N:
Dramatic Tensions: Theater and the Marketplace
Preference to freshmen. Tension between artistic and commercial forces in modern theater; the conflicted state of the art form. Sources include major and emerging contemporary figures in commercial, fringe, and nonprofit theater in the U.S. and UK. Visits with writers, directors, and dramaturges.
Terms: Aut
| Units: 4
| UG Reqs: GER:DB-Hum, WAY-A-II
DRAMA 11SC:
Learning Theater: From Audience to Critic at the Oregon Shakespeare Festival
13 days and ten plays at the Oregon Shakespeare Festival in Ashland. The details of the plays, their interpretation, production, and acting, and their value as entertainment and challenge.
Terms: Aut
| Units: 2
DRAMA 12AX:
Body (Landscape) That Remembers and Forgets: Tracing the Body at Risk
Material and designs of artists include painters, sculptors, fashion photographers, and music video directors. Field trips to museums and theater productions.
Terms: Aut
| Units: 2
DRAMA 12N:
Antigone: From Ancient Democracy to Contemporary Dissent (CLASSGEN 6N)
Preference to freshmen. Tensions inherent in the democracy of ancient Athens; how the character of Antigone emerges in later drama, film, and political thought as a figure of resistance against illegitimate authority; and her relevance to contemporary struggles for women's and workers' rights and national liberation. Readings and screenings include versions of Antigone by Sophocles, Anouilh, Brecht, Fugard/Kani/Ntshona, Paulin, Glowacki, Gurney, and von Trotta.
Terms: Aut
| Units: 3-5
| UG Reqs: GER:DB-Hum, GER:EC-Gender, WAY-EDP, WAY-ER
DRAMA 15N:
Screening the Stage
Preference to freshmen. Stage plays that have been adapted for film and the differences in narrative, scene, character, the effects of star actors, audiences, and expectations in each medium. Play texts include: Look Back in Anger, A Streetcar Names Desire, A Raisin in the Sun, Who's Afraid of Virginia Woolf?, Mel Gibson's 1990 Hamlet, Closer, and Doubt.
Terms: Spr
| Units: 4
DRAMA 17N:
Salt of the Earth: The Docudrama in America (CHICANST 160N, CSRE 160N)
Preference to freshmen. Docudrama as a form of dramatic writing which provides a social critique of current or historical events through creative documentation and dramatization. Sources include Chicana/o and Latina/o texts, Brecht, Teatro Campesino, and Culture Clash. Students produce a short docudrama.
Terms: Win
| Units: 3-5
| UG Reqs: GER:DB-Hum, GER:EC-AmerCul
DRAMA 20:
Acting for Non-Majors (DRAMA 124D)
Creative play and ensemble work. Skills including group improvisation to partner work. Freeing the natural voice and physical relaxation. Emphasis is on imaginative and creative impulses. Movement improvisation, listening exercises, and theater games. How to take risks that are the essence of free and powerful performance.
Terms: Aut, Win, Spr, Sum
| Units: 2
| UG Reqs: WAY-CE, way_ce
DRAMA 22:
Scene Work
For actors who complete substantial scene work with graduate directors in the graduate workshop.
Terms: Aut, Win, Spr
| Units: 1-2
| Repeatable
for credit
DRAMA 25N:
Science-in-Theatre: A New Genre? (CHEM 25Q)
Preference to sophomores. How scientists acquire their rules, mores, and idiosyncrasies through a form of intellectual osmosis in a mentor-disciple relationship. Scientists represented as Frankensteins or nerds, rather than normal. Why more intellectually challenging plays have appeared on the Anglo-American theatre scene where scientific behavior and even science are presented accurately. Students engage in a playwriting experiment.
Terms: Win
| Units: 3
DRAMA 26:
Performing Bodies (DANCE 26)
Bodies are both concept and physical medium in live performance. How do bodies materialize onstage as spectacular and authentic? In what ways do they represent art, while recalling social and cultural information? What about the audience's bodies? Readings include Kuppers on disability, Garner on theater phenomenology, and Grosz on somatophobia. Physicality in performances by artists including Streb Extreme Action, Complicite, Pina Bausch, and Big Art Group. Written and performed assignments.
Terms: Spr
| Units: 3-5
| Repeatable
for credit
DRAMA 28:
Makeup for the Stage
Techniques of makeup application for the artist and actor: aging, prosthetics, stylization, characterization, animals, and fantasy make-up.
Terms: Aut
| Units: 2
DRAMA 29:
Theater Performance: Acting
Students cast in department productions receive credit for their participation as actors; 1-2 units for graduate directing workshop projects and 1-3 units for major productions (units determined by instructor). May be repeated for credit. Prerequisite: consent of instructor.
Terms: Aut, Win, Spr
| Units: 1-3
| Repeatable
for credit
Instructors: ;
Amarotico, K. (PI);
Apostolides, J. (PI);
Drinovan, I. (PI);
Elam, H. (PI);
Hayes, A. (PI);
Jones, D. (PI);
Kramer, T. (PI);
Melrose, R. (PI);
Moore, M. (PI);
Phelan, P. (PI);
Ramsaur, M. (PI);
Sack, D. (PI);
Witherspoon, N. (PI)
DRAMA 30:
How Theater is Designed
Team-taught. An introduction to theatrical set, costume and lighting design. Emphasis on balancing practical skill with conceptual ideas for live stage performance. Hands-on projects.
Terms: Aut
| Units: 1-4
| UG Reqs: WAY-CE
DRAMA 31:
Introduction to Lighting and Production
How light contributes to the creation of mood and atmosphere and different kinds of visibility in theatrical storytelling. The use of controllable qualities of light including color, brightness, angle, and movemen in the theatrical process of creative scenography. Hands-on laboratory time.
Terms: Win
| Units: 4
DRAMA 32F:
History of Costume and Fashion from 1500 to the Present
The evolution of fashion and costume with an emphasis on the relationship between social, cultural, and political events and clothing style. Attention to major designers and creators and their shaping of resultant fashion and artistry in clothing.
Terms: Win
| Units: 4
DRAMA 34:
Stage Management Techniques
The production process, duties, and responsibilities of a stage manager. Skills needed to stage manage a production.
Terms: Aut
| Units: 2-4
DRAMA 39:
Theatre Crew
Under faculty guidance, working backstage on Drama Department productions. Open to any student interested in gaining back stage experience. Night and weekend time required.
Terms: Aut, Win, Spr, Sum
| Units: 1-3
| Repeatable
4 times
(up to 15 units total)
DRAMA 39D:
Theater Performance: Prosser Stage Management
Terms: Aut, Win, Spr
| Units: 1-3
| Repeatable
for credit
DRAMA 101H:
How Theater Thinks: Introduction to Theater and Performance
Gateway course for majors and students considering the Drama major. Theater practices and techniques such as space, actor, language, props, and composition: what is unique about them and how they address the spectator. Sources include plays and theoretical texts.
Terms: Aut
| Units: 3-4
DRAMA 101P:
How Practice Practices (DRAMA 341)
This course explores the practical tools of theatre making. From thinking, to sketching, to composing theatre and performance, this course will serve as a general introduction to the practice of theatre.
Terms: Aut
| Units: 3-5
DRAMA 103:
Beginning Improvising
The improvisational theater techniques that teach spontaneity, cooperation, team building, and rapid problem solving, emphasizing common sense, attention to reality, and helping your partner. Based on TheatreSports by Keith Johnstone. Readings, papers, and attendance at performances of improvisational theater. Limited enrollment.
Terms: Win
| Units: 3
| UG Reqs: WAY-CE
DRAMA 110:
The Nature of Individual Art Practice: Ralph Lemon
The Nature of Individual Art Practice with Choreographer, Ralph Lemon will investigate the inner workings and questions posed in his current performance/installation project for the stage. Students will view the films Alphaville (Jean-Luc Godard) and Solaris (Andrei Tarkovsky) and will explore these faux science fiction stories in relation to the creative work of instructor, Ralph Lemon. Students will conduct research as creative collaborators, dramaturges and interrogators in this creative workshop.
Terms: Aut
| Units: 3-5
| UG Reqs: GER:DB-Hum
| Repeatable
for credit
DRAMA 110B:
Creating a Hip Hop Symphony with Visiting Artist, Geoff Gallegos (Musician and Composer)
Terms: Win
| Units: 3-5
| Repeatable
for credit
DRAMA 120A:
Fundamentals of Acting
For students who intend to begin serious actor training; 120A,B must be taken in sequence. The basic vocabulary of objective and action. Theater games and improvisation develop the ability to act with focus, intention, and energy. Basics of characterization and transformation. Outside rehearsal time required.
Terms: Aut, Win
| Units: 3
| UG Reqs: WAY-CE
DRAMA 120B:
Fundamentals of Acting
For students who intend to begin serious actor training. 120A,B must be taken in sequence. The actor's spontaneity and imagination are used to reveal the life of a play, working with dramatic texts. Approaches to the actor's craft include character biography and moment-to-moment truthful playing. Exercises including from Strasberg, Meisner, Chaikin, and Linklater. Scene and monologue work from primarily naturalistic plays. Outside rehearsal time required. Prerequisite: 120A or consent of instructor.
Terms: Spr
| Units: 3
| UG Reqs: WAY-CE
DRAMA 120V:
Vocal Production and Audition (DRAMA 210V)
The vocal mechanism with development of voice and articulation for the stage. The actor's tools of phonetics, verbal action, and text analysis. Voice in preparation for audition. Emphasis is on relaxation, selection of appropriate material, and versatility to show contrast and range.
Terms: Aut, Spr
| Units: 3
| UG Reqs: WAY-CE
DRAMA 121S:
Acting Shakespeare Project
Work on a shortened Shakespeare play leading to a studio performance project. Skills in understanding and performing Shakespeare, conducted as series of rehearsals, and culminating in group performance. Development of voice, movement, and speaking skills necessary for classical theater work. Prerequisites: DRAMA120A,B, or consent of instructor.
Terms: Win
| Units: 3
DRAMA 121W:
Actors Who Write, Writers Who Act
The development of dramatic scripts for solo performance and multi-character plays. Work happens on its feet, with writing deadlines and an informal workshop environment in which students present scripts, with support and feedback in dramaturgy, and help with performance and staging issues.
| Units: 3
DRAMA 122:
Contemporary Vernacular Dance in New Musical Theater
Emphasis for this workshop will be on the fusion of current dance and gestural styles including hip hop, contemporary modern, african and ballet as seen through the lens of new musical theater. Students will also study musicals such as Spring Awakening choreographed Bill T. Jones to inform the choreographic process .
Terms: Win
| Units: 1-2
DRAMA 122P:
Our Country's Good
Studio production of Timberlake Wertenbaker's 1988 play Our Country's Good. Project culminates in three end-of-quarter public performances in tne Nitery. Roles for 7 men and 6 women, of any ethnicity. This is a contemporary drama about the ability of the theater to dignify human lives. Attention to the history and social context of a significant work. Prerequisite: audition.
Terms: Spr
| Units: 2-9
DRAMA 122P:
Undergraduate Performance Project
By Audition: Studio Production of Timberlake Wertenbaker's 1988 play, "Our Country's Good. A significant contemporary work about the ability of art to dignify human lives, the drama is set a penal colony in New South Wales in the late 18th century. This project also involves a concentrated study of relevant historical and cultural themes.Maybe repeatable for credit.
Terms: Spr
| Units: 2-9
| UG Reqs: WAY-CE
| Repeatable
3 times
(up to 15 units total)
DRAMA 124D:
Acting for Non-Majors (DRAMA 20)
Creative play and ensemble work. Skills including group improvisation to partner work. Freeing the natural voice and physical relaxation. Emphasis is on imaginative and creative impulses. Movement improvisation, listening exercises, and theater games. How to take risks that are the essence of free and powerful performance.
Terms: Aut, Win, Spr
| Units: 2
| UG Reqs: WAY-CE, way_ce
DRAMA 12SC:
Playwriting Lab: The Art of Dramatic Writing
Workshop. Each student develops an original script which is presented in theater by the other students. How to develop, expand, and condition the creative mind. Toipcs including dramatic action, text and subtext, characterization, language, and style. Students function as a theatrical collective where each has the opportunity to participate in reading and serving the vision of each student-author.
| Units: 2
DRAMA 131:
Lighting Design
Hands-on laboratory projects in lighting and designing stage productions and other live performances. The content and format of lighting plots. Prerequisite DRAMA 31.
Terms: Spr
| Units: 4
DRAMA 132:
Costume Design
A visual analysis of the historical styles of costume design, interpreted for the modern theater and developed by the student in various presentational media. Prerequisite: 30 or consent of instructor.
Terms: Spr
| Units: 4
| UG Reqs: WAY-CE
DRAMA 133:
Stage Scenery Design
Creations of increasing complexity involve text analysis, historical and artistic style, visual research, spatial organization, drafting, sketching, model building, and director-designer collaboration. Prerequisite: 30, or consent of instructor.
Terms: Win
| Units: 3-4
| UG Reqs: WAY-CE
DRAMA 134:
Stage Management Project
For students stage managing a Department of Drama production.
Terms: Aut, Win, Spr
| Units: 2-9
| Repeatable
for credit
DRAMA 137:
Hand Drafting for Designers
Fundamentals of hand-drafting. Standard drawing conventions; the use of line weight, color, composition, and graphic style. Creation of construction documents for real-world applications.May be repeated for credit.
Terms: Spr
| Units: 3
DRAMA 140:
Projects in Theatrical Production (DRAMA 240)
Assistant directing; stage, costume, lighting, and sound design; technical production, stage managing, or other work in connection with Department of Drama productions. Prerequisite: consent of instructor.
Terms: Aut, Win, Spr
| Units: 1-4
| Repeatable
for credit
DRAMA 150T:
Racial Erotics (DRAMA 302)
Issues in postcolonial studies; the shifting erotics of race and nation; and the management of sexuality within geopolitical contexts in colonialism, nationalism, and globalization. The historicity of these categories; how race, gender, and nation continue to shape the world.
Terms: Aut
| Units: 3-5
DRAMA 151T:
Great Books: Dramatic Traditions (DRAMA 351)
The most influential and enduring texts in the dramatic canon from Sophocles to Shakepeare, Chekhov to Soyinka. Their historical and geopolitical contexts. Questions about the power dynamics involved in the formation of canons.
Terms: Spr
| Units: 3-5
DRAMA 153T:
Seminar: Irish Drama (DRAMA 253T)
An introduction to plays from and about Ireland, including works by Dion Boucicault, W.B. Yeats, Lady Gregory, John Synge, Sean O¿Casey, George Bernard Shaw, Samuel Beckett, Brian Friel, Tom Murphy, Marina Carr, and other contemporary Irish playwrights.
Terms: Spr
| Units: 3-5
DRAMA 160:
Performance, Dance, and History: The Ballerina (DANCE 160, DRAMA 260)
Transitional periods in the history of theatrical and popular dance from the 19th through the 21st centuries; how the dancing body and choreography have been constructed in relation to social, aesthetic, and cultural agendas. This year, focus is on ballet migrations and the ballerina.
Terms: Win
| Units: 4
| UG Reqs: GER:DB-Hum, GER:EC-Gender, WAY-A-II, WAY-EDP
DRAMA 161R:
Texts in History: Classics from Greece to Rome (CLASSGEN 163, HUMNTIES 161)
Priority to students in the Humanities honors program. Ancient texts situated in their intellectual and cultural contexts. Readings include Homer's Iliad and Odyssey, plays of Aeschylus, Sophocles' Antigone, Euripides' Medea, Thucydides Peloponnesian War,, Plato's Symposium, Aristotle's Poetics, Virgil's Aeneid, Seneca's Trojan Women and Agamemnon, and Augustine's On Christian Doctrine.
Terms: Aut
| Units: 3-5
| UG Reqs: GER:DB-Hum
DRAMA 164R:
The Homeric Muse: Iliad, Odyssey, and Their Epic Influence (CLASSGEN 164)
The course explores the great Homeric epics, the Iliad and Odyssey, and then turns to Derek Walcott's masterful re-working of Homer's poems, his Nobel-prize winning Omeros. Students also will attend the theatrical and cinematic adaptations that Stanford Summer Theater (SST) presents, featuring a production of The Wanderings of Odysseus, a staged reading of Walcott's Omeros, and films such as Oh Brother, Where Art Thou? Students also will also attend the SST symposium, featuring scholars from Oxford University and Stanford, who will discuss the Homeric epics and their influence.
Terms: Sum
| Units: 3-5
DRAMA 164S:
Introduction to Queer Studies (DRAMA 364, FEMST 120)
Major readings in the development of queer theory in literature, art, andnnscience. Readings include: Sedgwick, Butler, Roughgarden, Freeman, andnnFoucault. Cultural texts ranging from Mapplethorpe's photographs to "QueernnEye for the Straight Guy" will be included.
Terms: Spr
| Units: 3-5
DRAMA 165M:
Musical Theatre (DRAMA 365M, ENGLISH 265M)
Major innovations in the musical from South Pacific to High School Musical. Concentration on American classics with forays into film adaptations and licensing, marketing, and cast recordings. Attention to issues of race and gender.
Terms: Win, Sum
| Units: 3-5
DRAMA 166H:
Historiography of Theater (DRAMA 304, FRENGEN 244)
Goal is to design an undergraduate theater history class. Standard theater history textbooks, alternative models of theater history scholarship, and critical literature engaging historiography in general.
Terms: Win
| Units: 3-5
DRAMA 168:
African American Drama: Traditions and Revisions (DRAMA 268, DRAMA 304Z)
Relationships between African American performance traditions and drama. How drama as a genre calls attention to the materiality of performance, transforms cultural performances, and offers strategies for communal formations.
Terms: Spr
| Units: 3-5
| UG Reqs: GER:DB-Hum
DRAMA 170A:
Concepts of Directing (DRAMA 370)
Directorial definitions of time, space, movement, and the performer/spectator relationship. Experimentation with texts from literary and other sources, including works from the realistic tradition in drama, using a multi-form performance space.
Terms: Aut
| Units: 3-5
DRAMA 174A:
Graduate Directing Workshop: The Actor-Director Dialogue (DRAMA 374)
This course focuses on the actor-director dialogue. We will work with actors and directors developing approaches to collaboration that make the actor-director dialogue in theater.
Terms: Win
| Units: 3-5
| UG Reqs: WAY-A-II, WAY-CE
| Repeatable
for credit
DRAMA 177:
Writing for Performance: The Fundamentals (CSRE 177, DRAMA 277)
The elements of playwriting and creative experimentation for the stage. Topics include: character development, conflict and plot construction, staging and setting, and play structure. Script analysis of works by contemporary playwrights may include: Marsha Norman, Shanley, August Wilson, Paula Vogel, and Octavio Solis. Table readings of one-act length work.
Terms: Win
| Units: 5
| UG Reqs: GER:DB-Hum, WAY-CE
DRAMA 178:
Page to Stage: Playwriting and Solo Performance (DRAMA 278)
Dramatic writing: scripted and solo, and as performed by actors or by the playwright. Physical and psychological theatrical action. Development of skills in dialogue, story structure, style, and personal voice. Script readings and directed staging sessions.
Terms: Spr
| Units: 3-5
| UG Reqs: WAY-CE
DRAMA 178B:
Intensive Playwriting Workshop (DRAMA 278B)
Intermediate level study of fundamentals of playwriting through an intensive play development process. Course emphasizes visual scripting for the stage and play revision. Script analysis of works by contemporary playwrights may include: Suzan-Lori Parks, Tony Kushner, Adrienne Kennedy, Edward Albee, Maria Irene Fornes and others. Table readings of full length work required by quarter¿s end.
Terms: Spr
| Units: 5
DRAMA 180Q:
Noam Chomsky: The Drama of Resistance
Preference to sophomores. Chomsky's ideas and work which challenge the political and economic paradigms governing the U.S. Topics include his model for linguistics; cold war U.S. involvements in S.E. Asia, the Middle East, Central and S. America, the Caribbean, and Indonesia and E. Timor; the media, terrorism, ideology, and culture; student and popular movements; and the role of resistance.
Terms: Aut
| Units: 3-5
| UG Reqs: GER:DB-Hum, WAY-ER, WAY-SI
DRAMA 189Q:
Mapping and Wrapping the Body
Preference to sophomores. The concepts behind gender boundaries and clothing systems.
Terms: Aut
| Units: 3
| UG Reqs: GER:DB-Hum, GER:EC-Gender
DRAMA 190:
Special Research
Individual project on the work of a playwright, period, or genre. Prerequisite: consent of instructor.
Terms: Aut, Win, Spr, Sum
| Units: 1-5
| Repeatable
for credit
DRAMA 191:
Independent Study
Individual supervision of off-campus internship. Prerequisite: consent of instructor.
Terms: Aut, Win, Spr, Sum
| Units: 1-18
| Repeatable
for credit
DRAMA 200:
Senior Project
See "Undergraduate Programs" for description. (Staff)
Terms: Aut, Win, Spr, Sum
| Units: 2-9
| Repeatable
for credit
DRAMA 201A:
Honors Colloquium
See "Undergraduate Programs" for description.
Terms: Aut, Win, Spr, Sum
| Units: 1
DRAMA 201B:
Honors Colloquium
See "Undergraduate Programs" for description.
Terms: Aut, Win, Spr, Sum
| Units: 1
DRAMA 201C:
Honors Colloquium
See "Undergraduate Programs" for description.
Terms: Aut, Win, Spr, Sum
| Units: 1
DRAMA 201D:
Honors Colloquium
See "Undergraduate Programs" for description.
Terms: Aut, Win, Spr, Sum
| Units: 1
DRAMA 202:
Honors Thesis
See "Undergraduate Programs" for description. May be repeated for credit. (Staff)
Terms: Aut, Win, Spr, Sum
| Units: 2-9
| Repeatable
for credit
DRAMA 203:
Advanced Improvisation
Further development of improvisational skills.
Last offered: Autumn 2006
| Units: 3
| UG Reqs: WAY-CE
DRAMA 210V:
Vocal Production and Audition (DRAMA 120V)
The vocal mechanism with development of voice and articulation for the stage. The actor's tools of phonetics, verbal action, and text analysis. Voice in preparation for audition. Emphasis is on relaxation, selection of appropriate material, and versatility to show contrast and range.
Terms: Aut, Spr
| Units: 3
| UG Reqs: WAY-CE
DRAMA 213:
Stanford Improv Ensemble
By audition only, for members of the improvisation troupe. Special project work. Prerequisite: 103.
Terms: Aut, Win, Spr
| Units: 1-2
| Repeatable
for credit
DRAMA 21I:
Improv Your Life:An Introduction to Improvisation
Interested in learning how to present, perform, and live better? This class will explore some of the basics of theatrical improvisation as they pertain to performance and the real world. Through a combination of instruction in improvisation, observation of performance, readings by leaders in the field, and most importantly hands-on experience, students will gain incredible insight about how improvisation can improve your life.
| Units: 1-2
DRAMA 231:
Advanced Stage Lighting Design
Individually structured class in lighting mechanics and design through experimentation, discussions, and written reports. Prerequisite: 131 or consent of instructor.
Terms: Aut, Win, Spr, Sum
| Units: 1-5
| Repeatable
1 times
(up to 5 units total)
DRAMA 232:
Advanced Costume Design
Individually structured tutorial for costume designers. May be repeated for credit. Prerequisite: 132 or consent of instructor.
Terms: Spr
| Units: 1-5
| Repeatable
for credit
DRAMA 233:
Advanced Scene Design
Individually structured workshop. May be repeated for credit. Prerequisite: 133 or consent of instructor.
| Units: 1-5
| Repeatable
for credit
DRAMA 234:
Advanced Stage Management Project
For students stage managing a Department of Drama production. Prerequisite: 134.
Terms: Aut, Win, Spr, Sum
| Units: 2-9
DRAMA 235:
Advanced Sound Design
Individually structured tutorial for sound designers. May be repeated for credit. Prerequisite: 135 or consent of instructor. (Staff)
Terms: Win
| Units: 1-5
| Repeatable
for credit
DRAMA 240:
Projects in Theatrical Production (DRAMA 140)
Assistant directing; stage, costume, lighting, and sound design; technical production, stage managing, or other work in connection with Department of Drama productions. Prerequisite: consent of instructor.
Terms: Aut, Win, Spr
| Units: 1-4
| Repeatable
for credit
DRAMA 253T:
Seminar: Irish Drama (DRAMA 153T)
An introduction to plays from and about Ireland, including works by Dion Boucicault, W.B. Yeats, Lady Gregory, John Synge, Sean O¿Casey, George Bernard Shaw, Samuel Beckett, Brian Friel, Tom Murphy, Marina Carr, and other contemporary Irish playwrights.
Terms: Spr
| Units: 3-5
DRAMA 260:
Performance, Dance, and History: The Ballerina (DANCE 160, DRAMA 160)
Transitional periods in the history of theatrical and popular dance from the 19th through the 21st centuries; how the dancing body and choreography have been constructed in relation to social, aesthetic, and cultural agendas. This year, focus is on ballet migrations and the ballerina.
Terms: Win
| Units: 4
DRAMA 268:
African American Drama: Traditions and Revisions (DRAMA 168, DRAMA 304Z)
Relationships between African American performance traditions and drama. How drama as a genre calls attention to the materiality of performance, transforms cultural performances, and offers strategies for communal formations.
Terms: Spr
| Units: 3-5
DRAMA 277:
Writing for Performance: The Fundamentals (CSRE 177, DRAMA 177)
The elements of playwriting and creative experimentation for the stage. Topics include: character development, conflict and plot construction, staging and setting, and play structure. Script analysis of works by contemporary playwrights may include: Marsha Norman, Shanley, August Wilson, Paula Vogel, and Octavio Solis. Table readings of one-act length work.
Terms: Win
| Units: 5
DRAMA 278:
Page to Stage: Playwriting and Solo Performance (DRAMA 178)
Dramatic writing: scripted and solo, and as performed by actors or by the playwright. Physical and psychological theatrical action. Development of skills in dialogue, story structure, style, and personal voice. Script readings and directed staging sessions.
Terms: Spr
| Units: 3-5
DRAMA 278B:
Intensive Playwriting Workshop (DRAMA 178B)
Intermediate level study of fundamentals of playwriting through an intensive play development process. Course emphasizes visual scripting for the stage and play revision. Script analysis of works by contemporary playwrights may include: Suzan-Lori Parks, Tony Kushner, Adrienne Kennedy, Edward Albee, Maria Irene Fornes and others. Table readings of full length work required by quarter¿s end.
Terms: Spr
| Units: 5
DRAMA 290:
Special Research
Individual project on the work of a playwright, period, or genre.
Terms: Aut, Win, Spr, Sum
| Units: 1-5
| Repeatable
for credit
DRAMA 300A:
Critical Styles I
Literary criticism and theory, emphasizing style as evidence of historical, cultural, and ideological concerns. Assumptions about written texts by authors such as Coleridge, Bradley, and Burke. How style reveals context. Students write in the style of authors discussed.
Terms: Aut
| Units: 3-5
DRAMA 300B:
Critical Styles II
Notions of performance as they relate to gender, race, and globalization in critics such as Derrida, Butler, and Phelan. How style reveals context. Students write in the style of authors discussed.
Terms: Win
| Units: 3-5
DRAMA 301:
Performance and Performativity
Performance theory through topics including: affect/trauma, embodiment, empathy, theatricality/performativity, specularity/visibility, liveness/disappearance, belonging/abjection, and utopias and dystopias. Readings from Schechner, Phelan, Austin, Butler, Conquergood, Roach, Schneider, Silverman, Caruth, Fanon, Moten, Anzaldúa, Agamben, Freud, and Lacan. May be repeated for credit.
Terms: Win
| Units: 5
| Repeatable
for credit
DRAMA 302:
Racial Erotics (DRAMA 150T)
Issues in postcolonial studies; the shifting erotics of race and nation; and the management of sexuality within geopolitical contexts in colonialism, nationalism, and globalization. The historicity of these categories; how race, gender, and nation continue to shape the world.
Terms: Aut
| Units: 3-5
DRAMA 303:
Race and Performance
How and if race is performed. Readings from W.E.B. DuBois, Michael Rogin, Paul Gilroy, Lisa Lowe, and Richard Dyer.
Terms: Spr
| Units: 3-5
DRAMA 304:
Historiography of Theater (DRAMA 166H, FRENGEN 244)
Goal is to design an undergraduate theater history class. Standard theater history textbooks, alternative models of theater history scholarship, and critical literature engaging historiography in general.
Terms: Win
| Units: 3-5
DRAMA 304Z:
African American Drama: Traditions and Revisions (DRAMA 168, DRAMA 268)
Relationships between African American performance traditions and drama. How drama as a genre calls attention to the materiality of performance, transforms cultural performances, and offers strategies for communal formations.
Terms: Spr
| Units: 3-5
DRAMA 341:
How Practice Practices (DRAMA 101P)
This course explores the practical tools of theatre making. From thinking, to sketching, to composing theatre and performance, this course will serve as a general introduction to the practice of theatre.
Terms: Aut
| Units: 3-5
DRAMA 35:
Introduction to Sound for the Theater
Lecture/lab. The practical handling of sound equipment, acoustics, and editing. Analysis, creation, and implementation of theatrical sound effects, live and recorded.
| Units: 3-4
DRAMA 351:
Great Books: Dramatic Traditions (DRAMA 151T)
The most influential and enduring texts in the dramatic canon from Sophocles to Shakepeare, Chekhov to Soyinka. Their historical and geopolitical contexts. Questions about the power dynamics involved in the formation of canons.
Terms: Spr
| Units: 3-5
DRAMA 355M:
The Rite to Remember: Performance and Chicana Indigenous Thought (CHICANST 197, CSRE 197, NATIVEAM 197)
Indigenous technologies, philosophies, and aesthetics as expressed through performance, visual art, and the ceremonial practices of Chicana, indigenous, and African women artists and spirit practitioners in America.
Terms: Spr
| Units: 3-5
DRAMA 356T:
Intro to Psychoanalysis as a Critical Method (ENGLISH 356T)
Primary reading in Freud, Lacan, Laplanche, Irigaray and Kristeva. Secondary readings in film theory (Mulvey to Silverman), art history (Bryson, Bersani) and poststructuralism (Derrida, Foucault, Butler).
Terms: Aut
| Units: 3-5
DRAMA 364:
Introduction to Queer Studies (DRAMA 164S, FEMST 120)
Major readings in the development of queer theory in literature, art, andnnscience. Readings include: Sedgwick, Butler, Roughgarden, Freeman, andnnFoucault. Cultural texts ranging from Mapplethorpe's photographs to "QueernnEye for the Straight Guy" will be included.
Terms: Spr
| Units: 3-5
DRAMA 365M:
Musical Theatre (DRAMA 165M, ENGLISH 265M)
Major innovations in the musical from South Pacific to High School Musical. Concentration on American classics with forays into film adaptations and licensing, marketing, and cast recordings. Attention to issues of race and gender.
Terms: Win, Sum
| Units: 3-5
DRAMA 370:
Concepts of Directing (DRAMA 170A)
Directorial definitions of time, space, movement, and the performer/spectator relationship. Experimentation with texts from literary and other sources, including works from the realistic tradition in drama, using a multi-form performance space.
Terms: Aut
| Units: 3-5
DRAMA 373:
Directing and Dramaturgy
Dramaturgy, directorial methods, and visual concepts in the production of plays from the Elizabethan tradition to postmodernist texts. Work on the text is tested in the staging of scenes.
Last offered: Spring 2008
| Units: 3-5
DRAMA 374:
Graduate Directing Workshop: The Actor-Director Dialogue (DRAMA 174A)
This course focuses on the actor-director dialogue. We will work with actors and directors developing approaches to collaboration that make the actor-director dialogue in theater.
Terms: Win
| Units: 3-5
| Repeatable
for credit
DRAMA 375:
Main Stage Production
Production of a full-length play as part of the Department of Drama season. Public performance.
Terms: Aut, Win, Spr, Sum
| Units: 3-5
| Repeatable
for credit
DRAMA 377:
Graduate Directors' Staged Reading Project
Presentation of a new or newly adapted work for the stage, in a mode employed in professional theater for the development of new plays. Two to four rehearsals. Public performance.
| Units: 2
| Repeatable
for credit
DRAMA 390:
Tutorial
(Staff)
Terms: Aut, Win, Spr, Sum
| Units: 1-9
| Repeatable
for credit
DRAMA 399:
Dissertation Research
(Staff)
Terms: Aut, Win, Spr, Sum
| Units: 1-9
| Repeatable
for credit
DRAMA 801:
TGR Project
(Staff)
Terms: Aut, Win, Spr, Sum
| Units: 0
| Repeatable
for credit
DRAMA 802:
TGR Dissertation
(Staff)
Terms: Aut, Win, Spr, Sum
| Units: 0
| Repeatable
for credit
DRAMA 120D:
Studio Performance
Rehearsal and development of a studio performance project for an end of quarter presentation. Emphasis is on development of acting skills with minimal technical support. Material chosen from classic plays, American realism, world theater, or created group ensemble pieces.
| Units: 1-5
DRAMA 133P:
Scenic Painting
Techniques of painting for the stage. May be repeated for credit.
| Units: 2-3
| Repeatable
for credit
DRAMA 141A:
Stages on Screen
The interrelationship between theatre and film by looking at the role of the actor. Differences between acting on stage versus film, with attention to the role of fame and stardom in Hollywood. The evolution of film performance from the vaudeville of Chaplin and Keaton to the emergence of method acting and the rise of celebrity culture.
| Units: 3-5
DRAMA 152:
Beckett (DRAMA 358C, ENGLISH 389B)
Beckett's plays and late writing, which have been described as proto-performance art. Recent Beckett scholarship, including new work about his analysis with Bion.
| Units: 3-5
DRAMA 157T:
Performance and Ethnography (DRAMA 257T)
Performance as a mode of engagement in fieldwork, as conceptual framework, and as a mode of representing cultural data. Readings from Clifford Geertz, Smadar Lavie, Dwight Conquergood, Victor Turner, Richard Schechner, Barbara Meyerhoff, Diana Taylor, Ruth Wilson Gilmore, Antonin Artaud, Soyini Madison, E. Patrick Johnson, Renato Rosaldo, Jon van Maanan, and Diane Wolfe.
| Units: 5
DRAMA 162:
Performance and the Text (DRAMA 262)
Formal elements in Greek, Elizabethan, Noh, Restoration, romantic, realistic, and contemporary world drama; how they intersect with the history of performance styles, character, and notions of action. Emphasis is on how performance and media intervene to reproduce, historicize, or criticize the history of drama.
| Units: 5
| UG Reqs: GER:DB-Hum
DRAMA 163:
Performance and America (DRAMA 263)
Dramas by women, men, Asian Americans, Latino Americans, and African Americans are examined with regard to the role of dramatic performance within contemporary American society, and as an affective and effective arena for inducing social change.
| Units: 5
| UG Reqs: GER:DB-Hum, GER:EC-AmerCul
DRAMA 165:
Theater History: Classical to 1900 (DRAMA 265)
A dramaturgical, historical, and design approach to the study of drama, theater, and performance.
| Units: 4
| UG Reqs: GER:DB-Hum
| Repeatable
1 times
(up to 4 units total)
DRAMA 166:
Twentieth-Century Theater History: Production Research and Design (DRAMA 266)
A dramaturgical, historical, and design approach to the study of drama, theater, and performance.
| Units: 4
| UG Reqs: GER:DB-Hum
| Repeatable
2 times
(up to 8 units total)
DRAMA 167:
Avant Garde Theater (DRAMA 267)
From its origins in the early 19th century to the present.
| Units: 5
| UG Reqs: GER:DB-Hum
DRAMA 168H:
Art and Life: The Second Avant Garde (DRAMA 268H)
Experiments in the second half of the 20th century that produced new genres such as happenings and performance art, and theoretical debates that attempted to reformulate relations between art forms and their changed role in society. How these fundamentals of performance were challenged and reshaped.
| Units: 5
| UG Reqs: GER:DB-Hum
DRAMA 170B:
Advanced Directing
Deconstructing and constructing. Tools for analyzing text and developing directorial concepts, and putting them into practice. Class exercises culminate in a short theater piece written and directed by the student. Prerequisite: 170A or consent of instructor.
| Units: 4
DRAMA 171:
Undergraduate Theater Workshop
Undergraduate directors present one act plays in workshop performances. Credit available for actors and directors. Prerequisite: 170A/170B or consent of instructor.
| Units: 1-4
| Repeatable
for credit
DRAMA 172H:
Women and Theatre in 20th-Century France
Historical tools to explore the contributions of female artists in 20th-century French theatre, emphasizing perspectives and themes that were neglected or silenced in theatre. How the aesthetics and ideology of 20th-century theatre in France were broadened due to a greater participation of women.
| Units: 3-5
DRAMA 174H:
The Performance of Memory: Dark Tourism
Contemporary and historical approaches to tourism at sites of trauma including WW II memorials, prisons, cemeteries, and other sites of loss. Focus is on interrogating the practice of cultural tourism as a performative act of public remembering and the de facto transformation of urban spaces into participatory public theatres of choreographed memory.
| Units: 4
DRAMA 176P:
Wasteland Practical
Creation and development of The Wasteland Project in collaboration with writers, actors, and directors.
| Units: 1-2
DRAMA 179D:
Imagine Freedom: Dramatizing the Undocumented (DRAMA 279D)
The docudrama (plays and films) as an art practice of political transgression. Focus is on texts in which a socially marginalized community serves as the main character of the drama. Texts include Salt of the Earth; Chavez Ravine by Culture Clash; Canadian First Nation playwright Marie Clements¿ The Unnatural and Accidental Women; and Doris Pilkington Garimara¿s Rabbit Proof Fence. Script analysis and scriptwriting.
| Units: 5
| UG Reqs: GER:DB-Hum
DRAMA 181Q:
The Bacchae: Euripides, Akalaitis, Glass
Preference to sophomores who have taken IHUM 25A,B. Workshop and Stanford residency of JoAnne Akalaitis's production of Euripedes' The Bacchae. Euripides, and the context and production history of the play. The use of Philip Glass's music in the production. Rehearsals and the workshop production.
| Units: 3
DRAMA 186Q:
The Emergence of the Director
Preference to sophomores. The role of the director as it emerged in the late 19th century together with modern theater. Those who established the paradigm of the new profession including Antoine, Stanislavski, Eisenstein, and Brecht; their writings, stagings, and documentation.
| Units: 4
| UG Reqs: GER:DB-Hum
DRAMA 204:
Creating Lighting and Sound in Performance
Concepts of lighting and sound in addressing storytelling in performative projects.
| Units: 3-5
DRAMA 224:
Introduction to the Profession
Audition technique, material selection, and graduate school and MFA program guidance. Guest theater professionals. Selection and delivery of classical and contemporary audition material. Techniques for a confident approach to the audition situation.
| Units: 3-5
DRAMA 251:
Adaptation: Turning into Drama
Adaptation in theater: from script to production, from book to stage and screen, from one period and culture to another. The adaptations that a single author, Chekhov, has undergone: different productions of his plays and different dramatizations of his prose.
| Units: 4
DRAMA 257T:
Performance and Ethnography (DRAMA 157T)
Performance as a mode of engagement in fieldwork, as conceptual framework, and as a mode of representing cultural data. Readings from Clifford Geertz, Smadar Lavie, Dwight Conquergood, Victor Turner, Richard Schechner, Barbara Meyerhoff, Diana Taylor, Ruth Wilson Gilmore, Antonin Artaud, Soyini Madison, E. Patrick Johnson, Renato Rosaldo, Jon van Maanan, and Diane Wolfe.
| Units: 5
DRAMA 258T:
Performance and Resistance
Theories of cultural domination and performed resistance. Readings include Foucault, Angela Davis, James Scott, Joy James, Kimberle Crenshaw, and Dwight Conquergood. Sources include live performance, film, and visual arts from Teatro Campesino, Guillermo Gómez-Peña, Coco Fusco, Adrian Piper, William Pope.L, Christian Boltanski, and Marina Abramovic.
| Units: 5
DRAMA 262:
Performance and the Text (DRAMA 162)
Formal elements in Greek, Elizabethan, Noh, Restoration, romantic, realistic, and contemporary world drama; how they intersect with the history of performance styles, character, and notions of action. Emphasis is on how performance and media intervene to reproduce, historicize, or criticize the history of drama.
| Units: 5
DRAMA 263:
Performance and America (DRAMA 163)
Dramas by women, men, Asian Americans, Latino Americans, and African Americans are examined with regard to the role of dramatic performance within contemporary American society, and as an affective and effective arena for inducing social change.
| Units: 5
DRAMA 265:
Theater History: Classical to 1900 (DRAMA 165)
A dramaturgical, historical, and design approach to the study of drama, theater, and performance.
| Units: 4
| Repeatable
1 times
(up to 4 units total)
DRAMA 266:
Twentieth-Century Theater History: Production Research and Design (DRAMA 166)
A dramaturgical, historical, and design approach to the study of drama, theater, and performance.
| Units: 4
| Repeatable
2 times
(up to 8 units total)
DRAMA 267:
Avant Garde Theater (DRAMA 167)
From its origins in the early 19th century to the present.
| Units: 5
DRAMA 268H:
Art and Life: The Second Avant Garde (DRAMA 168H)
Experiments in the second half of the 20th century that produced new genres such as happenings and performance art, and theoretical debates that attempted to reformulate relations between art forms and their changed role in society. How these fundamentals of performance were challenged and reshaped.
| Units: 5
DRAMA 279D:
Imagine Freedom: Dramatizing the Undocumented (DRAMA 179D)
The docudrama (plays and films) as an art practice of political transgression. Focus is on texts in which a socially marginalized community serves as the main character of the drama. Texts include Salt of the Earth; Chavez Ravine by Culture Clash; Canadian First Nation playwright Marie Clements¿ The Unnatural and Accidental Women; and Doris Pilkington Garimara¿s Rabbit Proof Fence. Script analysis and scriptwriting.
| Units: 5
DRAMA 303A:
Theory/Theater
How theater has provided the ground for epistemological concerns with questions of being, events, human action, and ethics, from classical Greek thought to postcolonialism. Theoretical work including Aristotle, Artaud, Anzaldúa, Brecht, Bhabha, DuBois, and Derrida. Theater practices including perspectival staging and postmodern performance.
| Units: 3
DRAMA 316V:
Metaphysics and the Mise-en-scene
Theoretical paradigms of avant garde practices past and present.
| Units: 3-5
DRAMA 358C:
Beckett (DRAMA 152, ENGLISH 389B)
Beckett's plays and late writing, which have been described as proto-performance art. Recent Beckett scholarship, including new work about his analysis with Bion.
| Units: 3-5
DRAMA 370:
Introduction to Directing
Practices of stage composition, work with the actor, approaches to character, and techniques of storytelling. Prerequisite: consent of instructor.
| Units: 3-5
DRAMA 372:
Shakespeare Projects in Directing
Theatrical text and its transformation into performance. Textual analysis, research, evolution of a directorial concept, and its investigation in scene-work with actors. Students design and stage the production of a short play in a multi-form space. Public performance. May be repeated once for credit.
| Units: 3-5
| Repeatable
2 times
(up to 10 units total)
