File Name: introduction to theatre and performance studies .zip
Jump to Navigation. Trojanowska, MA, Ph D. Eacho, Ph D X. Gagliardi, B. The undergraduate program at the Centre for Drama, Theatre, and Performance Studies offers a unique combination of rich and rigorous scholarship with high standards of practical training.
TH Introduction to Theatre. Robert L. Yowell, PhD. Yowell nau. Course Description No Prerequisites. Introduction to Theatre is a liberal studies course that surveys Theatre from the world of the ancient Greeks to the present day.
Students gain an appreciation of the aesthetics and humanistic aspects of Theatre. One of the main goals of theatre is to examine people in conflict, to this end; this course will help students appreciate the diversity of the human condition. Students will be exposed to dramatic literature from a variety of historical periods and ethnic cultures. This diversity will also be examined in live theatre productions, a medium that allows students to understand the human experience as a performing art.
Because Theatre is a liberal studies course, it will provide students with opportunities to develop aesthetic and humanistic inquiry skills. In this course students will learn these skills by seeing live theatre.
By studying plays the student will appreciate how this performing art works by means of metaphor. In addition, this course will help students to understand the process that creative and interpretative artists go through in order to create Art.
Introduction to Theatre will show students the journey that performing artists travel as they create live theatre. The course will also require that the student critically read plays for plot, structure, character and theme.
Finally, this course will assist students in developing effective writing skills. Students will be required to see three live performances and to write a critical review of each performance that they attend. Course Objectives:. This course is designed to introduce students to the various elements of theatre and to familiarize them with the history that produces these elements.
The role of the scene designer. The role of the costume designer. The role of the lighting and sound designer. Understand the creative process that produces a live theatre experience. Evaluate talented acting. Be capable of writing effectively about a live theatre presentation:. Recognize and assess the quality of performances. Write knowledgeably and critically about the contributions of directors and designers.
Each class will consist of a combination of lecture and discussion. The course will employ video, film and dramatic literature to illustrate the many ramifications of understanding human diversity through theatre. Since theatre is an art the course will attempt to encourage students to be bold in their attempt to evaluate the human condition through theatrical experiences.
For example, students should be able to employ both oral and written communication to express their personal reasons why they like or dislike a theatre experience.
Course Content :. Lecture and class discussion on topics presented by the text including the significance of culture, gender and socio-economic status to theme. Demonstration of performance techniques. Discussion of the following plays in the anthology text:. Discussion of plot, character and theme of the live performance of three out of four plays. Theatreworks is located on N. For Tickets Call Tickets call Tickets at Student Union or call Each play will require a written student reaction paper.
Student reaction papers will be discussed in class and some may be read in whole or part to the class. Where necessary re-writes will be required. Wilson and Goldfarb, McGraw Hill.
Three Reaction papers are required. These two to three page type written papers will demonstrate whether or not students have understood a play in terms of plot, character and thematic possibilities. The written analysis of conflict relating to gender, ethnicity and socio-economic class will require students to identify and reflect on issues of prejudice and diversity presented by theatre.
Reaction papers will assist students develop skills in written communication as they discuss the ability of the art of theatre to aesthetically communicate through metaphor. Written tests during the semester will give students opportunities to underlying humanistic conflicts presented by this art form. The Midterm and Final will be multiple choice, matching and short answer essay based on reading, lectures, demonstrations, discussions, and plays attended.
In addition, the discussion and oral questioning utilized during and after class presentations on the subject of acting, directing and design will demonstrate students understanding of the creative process that the performer goes through to create a role. Students will be required to attend three plays and write an evaluation of each play as explained above. One or more of these could be included in the learning portfolio that they will be creating in conjunction with their liberal studies program.
In addition, students may also include programs, and especially program notes that attempt to discuss theatre pieces in terms of its historical importance as well as possible meaning for a contemporary audience.
While a good learning portfolio contains papers, tests, journals, etc. Course Requirements and Grading:. See guidelines below. Grading Scale:. Opt Out of Tests.
OR instead of the group report in class. Extra credit — possible 50 points. On Plagiarism and Cheating. A student guilty of plagiarism or cheating will be given a grade of ZERO F for the examination or paper associated with such plagiarism or cheating.
The instructor will recommend to the Dean of Students that the student be barred from further attendance of the class and given an F for the course. Approximately three 3 pages see guidelines. Please follow the formatting guidelines presented in an accepted style manual, such as the MLA Writers Handbook.
Please keep back-up copies of your papers. Papers are due by p. Late work will not be accepted after that, except in documented cases of a medical emergency. All papers are to be turned in at Dr.
Yowell's office CCA There are many facets of a production to consider. While this list can be considered a "springboard" for your reaction papers, it is hardly the definitive set of considerations for a theatrical production. I am confident that you will find elements in each production that will stimulate observations other than those specifically addressed below.
Elements to consider:. The Play or Concert. What do you think the author was trying to say? Tell me what you think is the theme. What was the climax of the play? Was it written in a realistic or unrealistic style? Did you believe the characters? Explain and support your conclusions to these questions with your reasons for your answers. What do you think the Director was trying to say? Was a message conveyed or just abstract images? Be specific in your support of your conclusions.
Technical - lights, sound, costumes, sets. Give your impression of each of the above. How effective were these elements? Describe the mood or feeling you think the technical aspects were intended to convey. Include details on the specific designs and the design concept. In what ways do you believe they could be improved? The Performance - actors and dancers. What did you observe about the performers as an ensemble? As individuals? Could you hear and understand the actors? Were they believable?
Were the relationships between performers characters clear?
Qty :. This is the first textbook designed for students, practitioners and scholars of the performing arts who are curious about the power of the cognitive sciences to throw light on the processes of performance. It equips readers with a clear understanding of how research in cognitive neuroscience has illuminated and expanded traditional approaches to thinking about topics such as the performer, the spectator, space and time, culture, and the text. Each chapter considers four layers of performance: conventional forms of theatre, performance art, and everyday life, offering an expansive vision of the impact of the cognitive sciences on performance in the widest sense. Written in an approachable style, An Introduction to Theatre, Performance and the Cognitive Sciences weaves together case studies of a wide range of performances with scientific evidence and post-structural theory.
All Rights Reserved. Copying is permitted for noncommercial use by academic computer centers, computer conferences, individual scholars, and libraries. This message must appear on all copied material. All commercial use requires permission. In , when I first began to research theatre sites on the internet, it was a difficult and laborious project. Sites were hard to find, search engines were underdeveloped, there were very few theatre people who had taken an interest in, or even knew about the internet. Obviously, things have changed.
Qty :. Theatre, Performance and Cognition introduces readers to the key debates, areas of research, and applications of the cognitive sciences to the humanities, and to theatre and performance in particular. It features the most exciting work being done at the intersection of theatre and cognitive science, containing both selected scientific studies that have been influential in the field, each introduced and contextualised by the editors, together with related scholarship from the field of theatre and performance that demonstrates some of the applications of the cognitive sciences to actor training, the rehearsal room and the realm of performance more generally. The three sections consider the principal areas of research and application in this interdisciplinary field, starting with a focus on language and meaning-making in which Shakespeare's work and Tom Stoppard's Arcadia are considered. In the second part which focuses on the body, chapters consider applications for actor and dance training, while the third part focuses on dynamic ecologies, of which the body is a part.
Erika Fischer-Lichte's introduction to the discipline of Theatre and Performance Studies is a strikingly authoritative and wide ranging guide to the study of theatre.
Director of undergraduate studies: Shilarna Stokes , Rm. As a branch of the humanities and as a complex cultural practice, theater claims a rich history and literature and an equally rich repertoire of embodied knowledge and theory. Theater and Performance Studies emphasizes the reciprocal relationship between practice and scholarly study. The major combines practical training with theory and history, while stressing creative critical thinking. Students are encouraged to engage intellectual and embodied approaches to explore diverse cultural forms, historical traditions, and contemporary life.
Describe the different forms of drama. Instructor: M. Students become acquainted with the history of the theatre and various significant plays.
Within the Theater and Performance Studies curriculum, we engage with performance on physical, intellectual, and aesthetic levels. It is our hope that you will not only grow as performers but also as artists, thinkers, makers, viewers, and participants in the whole of the artistic event. The practical focus of the major is to create theater of all kinds using all its art forms. Whether new to theater or seasoned with years of training and skill, all students receive an education that engages them fully. Equally important to us is the study of theater and dance performance theory, history, culture, and literature, thereby balancing the practical with the theoretical. Students engage in other upper division electives in stage management, playwriting, directing, choreography, sound design, scenic design, costume design, or lighting design, as well as a myriad of performance opportunities. The theater training and academic courses offered by our department are geared toward the student who is interested in learning about theater and performance from multiple perspectives.
TH Introduction to Theatre. Robert L.
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Он тихо выругался. Тогда почему они послали не профессионального агента, а университетского преподавателя. Выйдя из зоны видимости бармена, Беккер вылил остатки напитка в цветочный горшок. От водки у него появилось легкое головокружение. Сьюзан, подшучивая над ним, часто говорила, что напоить его не составляет никакого труда. Наполнив тяжелый хрустальный стакан водой из фонтанчика, Беккер сделал несколько жадных глотков, потянулся и расправил плечи, стараясь сбросить алкогольное оцепенение, после чего поставил стакан на столик и направился к выходу. Когда он проходил мимо лифта, дверцы открылись.
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