Drama Courses |
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The 199Y1 and 199H1 seminars are designed to provide the opportunity to work closely with an instructor in a class of no more than twenty-four students. These interactive seminars are intended to stimulate the students’ curiosity and provide an opportunity to get to know a member of the professorial staff in a seminar environment during the first year of study. Details here. 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 Movement for the Actor I [48P, 5T] DRM228H1 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 story-making. Attention is given to the development of students’ own work through written assignments and in-class exercises. DRM230Y1 (Drama Minors are not eligible to enrol) DRM231H1 Introduction to the history, theory, and practice of theatre criticism. Through a series of case studies, we will examine the role of criticism in the relationship between theatrical production and reception, paying particular attention to the power dynamics between critics, artists, and audiences and the contexts in which they are embedded. Students will develop their individual critical voices through regular attendance of chosen productions and practice writing criticism in a variety of forms. 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. DRM264H1 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) DRM268H1 A survey of Canadian theatre history with an emphasis on developments siNCE 1950 including the Regional and alternate theatre movements; trends in Canadian playwriting and their relationship to theatre history; cultural diversity and native voices in contemporary Canadian theatre.
A dynamic, hands-on, physical course, applying methods of professional
actor training to personal and professional communication goals. Voice training
will enhance the presence, grounding, freedom, vocal range and responsiveness
of the students, whether they are actors, teachers, students, businesspersons,
clergy, storytellers or presenters who want to better meet the demands of speaking
in public. Participants will have the opportunity to explore their individual
challenges of communication and link vocal skills to a variety of texts and
rhetoric. Emphasis is on the body/voice connection, the understanding of how
habitual physical tensions affect the voice, and gaining practical tools to
proceed with confidence. 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 Movement for the Actor II [48P, 2T]
DRM302H1 This course introduces major concepts, historical figures, and artistic practices in directing. It focuses on different styles, ideas, and goals of theatre directors in their relations to literature, actors, audiences, and broad cultural and political contexts. Prerequisite: DRM230Y1, 1 course from Group A and Group B (must submit UC Drama Ballot Form in March) 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. (Not offered in 2009/2010) DRM328H1 The class is a continuation of DRM228H1, concentrating upon the in-depth knowledge and practice of playwriting with an emphasis on style and technique of writing for the stage. Students’ develop their own work through written assignments, in-class exercises, and the final public presentation. DRM331H1 An introduction to applied dramaturgical theory and to historical and contemporary interpretations of the dramaturge’s function in the creation of theatre. Using examples from Canada and beyond, students have a chance to apply this knowledge to theatre practice in the program. DRM354Y1 A detailed exploration of theatrical stage and costume design, historical and contemporary, theatrical and practical. DRM362H1 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. DRM368H1 The collective approach to the creation of plays has been one of the most significant movements in the production of theatre over the last fifty years. A hands-on exploration of its fundamental building blocks, examining techniques and exercises by leading practitioners of collective creation or ‘devised theatre.’ Combining research, improvisation and design elements, students define a topic of investigation and shape the resulting discoveries into a workshop presentation at the end of the course. DRM385Y1 DRM386H1 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 DRM391H1 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. DRM399Y1 Credit course for supervised participation in faculty research project. Details here. DRM400Y1 Continuation of DRM300Y1, concentrating on advanced performance techniques. DRM401H1 Movement for the Actor III [48P, 2T]
DRM402H1 In this seminar students apply the historical and theoretical knowledge of directing and the techniques of rehearsal process acquired in DRM302H1 to direct their chosen projects and present them as a finished theatre production at the end of term. 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. DRM430Y1 The course provides intercultural reading of Ibsen’s “A Doll’s House” (1879) and analyzes the impact of its staging on social and cultural changes. The play is analyzed interculturally in terms of its historical conditions of production, its political interpretations and aesthetic approaches (including Canada, China, Great Britain, Germany, US, Iran) as well as in different media (literature/drama, theatre, movie, TV, comic, computer game). DRM431H1 Following Introduction to Dramaturgy, this course introduces students to the process of applying theoretical knowledge to theatre practice with the emphasis on experimentation with the material and the learning process. DRM432H1 The class focuses on the production dramaturgy and is directly linked to the fourth-year Research Show. It highlights the intersections of history, theory, and practice. DRM454H1 Continues the exploration of design and production techniques. Students are given an opportunity to use their knowledge and skills from previous production courses on an advanced level. Students are expected to participate in UCDP productions in senior creative and leadership roles. Focus also includes the integration of digital technology into theatrical performance. DRM462H1 An intercultural, historical survey of traditions and practices of epic theatre from a feminist perspective. The course analyzes contemporary global(ised) theatre developments in their historical, socio-economical and cultural lines of tradition/innovation as a cultural and political medium of alternative critical discourse, and of pre-modern dramatic texts and performance cultures (i.e. pre- modern China, pre- modern Japan, pre-colonial Aboriginal people, Ancient Greece etc.). DRM468Y1 A seminar on the social constructions of gender and gender relationships in the 20th century in China. It gives an insight into the shifting identities of women in modern Chinese society and into the portrayal of women (by women and men) in literature, drama/performance and film. Themes include conflicts of tradition and modernity, colonialism, nationalism/patriotism and globalisation, individuality and the social collective. Specific strategies of artistic styles and expression are explored using a non-nationalistic, intercultural and multi-centred approach. DRM485H1 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.
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. DRM490Y1 DRM491H1 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. JDC400Y1 The goal of this course is to articulate a cultural approach to achieving Human Security. We will examine human security issues in which there is a significant cultural dimension to a security threat, and in which culture occupies an essential place in any realistic and effective solution. The work of artists to be analyzed include: Ariane Mnouchkine; Robert Lepage; Bertolt Brecht; John Greyson, Mohsen Makhmalbaf, Terry George and Daniel Barenboim JDC410H1 An upper level seminar in Theatre History. Topics vary from year to year. JIA400H1 This course will examine different versions of Salome to explore the interconnectedness of the arts. Between sessions, stu-dents will be required to meet and develop projects connected to their study that will involve a range of media, including thea-tre, film, music and visual art (installation).Limited to fourth-year students. (Not offered in 2010/2011) |
DRM286H1