DRM Drama Program Courses
An introduction to the study of dramatic literature, with particular reference to the realization of plays upon the stage. Plays from a variety of periods and countries are studied in terms of the use of theatrical space, plot and generic structure, characterization, theme, and language.
Emphasis is initially on ensemble, non-verbal, and improvisational work. Students proceed to the application of their acquired skills to scripted material.
A voice and movement component, taken in conjunction with DRM200Y1: Introduction to Performance. Work consists of both theory and practice of voice and movement as they relate to the development of the actor.
The work of selected theorists and practitioners of the 20th century and their contrasting ideas on the kind of expression and communication possible through the medium of the theatre. A study of how the interrelationship between director, actor, playwright and text influences the style of performance and the nature of audience response.
A detailed analysis of the production element of theatre: the conceptual and practical problems of design, production personnel and organization, production facilities, business management, publicity, sound and lighting equipment.
The physical structures of the Greek and Roman theatre and the major conventions of production and staging, based on the evidence of art, archaeology, and the texts of the plays themselves, from the origins and development of the drama at Athens in the 6th century B.C. to the decline of stage drama in Rome in the 1st century B.C. (Offered in alternate years)
Modes of theatrical presentation in the Middle Ages: passion plays, mysteries, moralities, court plays, carnival and popular performances of medieval entertainers. Theatre in China from its early forms to the Peking Opera. Drama and performances of the Noh theatre in the Japanese Middle Ages and of the Kabuki theatre in the Edo Epoch (1600- 1868). (Offered in alternate years)
The principal figures and movements in the development of European and North American theatre and theatre in selected non-western regions and countries including their cultural context. Changing styles and modes of acting, staging, costuming, and theatre architecture, and their relation to audiences, critics, and popular tastes. (Offered in alternate years)
A survey from the origins to the present, including performance rituals of native people; theatrical performances during the colonial period; the development of National and Regional forms of theatre; Festival and alternative theatres; trends in Canadian playwriting and their relationship to theatre history. (Offered every three years)
Credit course for supervised participation in faculty research project. See page 40 for details.
Continuation of DRM200Y1, concentrating upon scene study. Scenes are developed through analysis of text and sub-text, the establishing of scene objectives, improvisation, and physical action.
A voice and movement component, taken in conjunction with DRM300Y1: Performance I. Work consists of both theory and practice of voice and movement as they relate to the development of the actor.
American dramas of the last 50 years. Structural, historical, and thematic approaches to self-consciously theatrical works and to the idea of America itself. Authors include Miller, Williams, Albee, Baraka, Kennedy, Hansberry, Shepard, Fornes, Mamet, Kushner, and performance artists such as Karen Finley and Laurie Anderson.
A hands-on study of the craft of dramatic writing. The class examines the basic elements of playwriting such as plot, structure, theme, character, dialogue, setting, with an emphasis on storymaking. Attention is given to the development of students’ own work through written assignments and in-class exercises.
A detailed exploration of theatrical stage and costume design, historical and contemporary, theatrical and practical.
Modes of theatre in selected periods and cultures in Early Modern Europe from the Renaissance to the end of the 18th century. Constitution of the audience and of acting companies; the relationship between the plays, the players, and the audience. The development of theatre theory, criticism and dramaturgy in their historical and cultural context. (Offered in alternate years)
A topic chosen by the individual student. The student must work out details with a member of faculty who is willing to act as supervisor. A written proposal, signed by both student and instructor, must then be submitted for approval to the Drama Program Committee prior to registration and normally by May 31 of the preceding academic year. Open to advanced Specialist and Major students in the program.
An instructor-supervised group project in an off-campus setting. See page 40 for details.
This course tests Brecht’s idea of theatrical two-way communication by addressing three topics: what did Brecht mean; how can theatre communicate; how far did Brecht, Robert Wilson and Robert LePage move in their direction.
A voice and movement component to be taken with DRM400Y1: Performance II. Work consists of both theory and practice of voice and movement as they relate to the development of the actor.
Techniques of rehearsal process; staging. The role of the director in its varying relationships to text, actor and audience.
An in-depth study on a theoretical and practical level of a specific play which is presented to the public. This involves an intensive exploration of character in rehearsal and its discovery in performance.
An upper level seminar in Theatre History. Topics vary from year to year.
The 19th century produced some 60 dramatic versions of the Francesca story, first told by Dante. This course explores how four playwrights (Pellico, Boker, Crawford and D’Annunzio) reshaped and transformed the basic story according to their dramatic aims, sensitivity to characterization, and concern for practical staging.
A play is chosen from a specific period. A textual analysis of the selected play is followed by a study of the most significant productions of the work in terms of differing text interpretations, use of theatrical conventions, set and costume designs, and acting style. Students are introduced to various aspects of dramaturgical work.
A scholarly project chosen by the individual student. The student must work out details with a member of faculty who is willing to act as supervisor. A written proposal, signed by both student and instructor, must then be submitted for approval to the Drama Program Committee before registration and normally by May 31 of the preceding academic year. Open to advanced Specialist and Major students in the program.
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