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Drama Courses For Distribution Requirement purposes, all DRM courses are classified as HUMANITIES courses. |
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DRM100Y1 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. DRM200Y1 Emphasis is initially on ensemble, non-verbal, and improvisational work. Students proceed to the application of their acquired skills to scripted material. DRM201Y1 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. DRM230Y1 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. DRM254Y1 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. DRM260H1 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) DRM262H1 An intercultural and comparative analysis of innovative processes within world theatre. Focusing on selected periods, the course explores the cultural backgrounds of key events or turning points in pre-modern and modern theatre and their indications for post-modern theatre developments in a globalized world. DRM266H1 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) DRM268H1 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) DRM281H1 The course aims to give students a panoramic view of the theatre of social criticism in Latin America. Students will read representative work written or staged from 1950-70, seen through the lens of Pedro Bravo-Elizondo, a critic of poverty and abuse in Latin America. DRM299Y1 Credit course for supervised participation in faculty research project. See page 45 for details. DRM300Y1 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. DRM301Y1 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. DRM310H1 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. DRM328H1 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. DRM354Y1 A detailed exploration of theatrical stage and costume design, historical and contemporary, theatrical and practical. DRM364H1 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) DRM385Y1/386H1 An in-depth examination of selected issues in the Theatre. Content may vary depending on instructor. See Undergraduate Handbook or the UC Drama Program website for more details. DRM390Y1/391H1 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. DRM400Y1 Continuation of DRM300Y1, concentrating on advanced performance techniques.
This course will examine different versions of Salome to explore the
interconnectedness of the arts. Between sessions, students will be required
to meet and develop
projects connected to their study that will involve a range of media, including
theatre, film, music and visual art (installation). JDC400H1 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. DRM401H1 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. DRM402Y1 Techniques of rehearsal process; staging. The role of the director in its varying relationships to text, actor and audience. DRM403Y1 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. JDC410H1 An upper level seminar in Theatre History. Topics vary from year to year. DRM430H1 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. DRM431Y1 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. DRM485Y1/486H1 An in-depth examination of selected issues in the Theatre. Content may vary depending on instructor. See Undergraduate Handbook or the UC Drama Program website for more details. DRM486H1 A half-credit practical course in staged violence for the theatre, resulting in a Basic Level certification with Fight Directors Canada in: unarmed combat, single sword and quarter staff (students will have the choice to take the certification exam). DRM490Y1/491H1 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. |
JIA400H1