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Drama, Theatre and Performance Studies (Centre for)

Faculty

The undergraduate programs (Specialist, Major, Minor) of the Centre for Drama, Theatre and Performance Studies offer students the opportunity to combine high standards of practical theatre training with a rich and rigorous academic environment. It offers courses in dramatic literature, dramaturgy, theatre and performance theory and history, acting, production, design, directing, and playwriting, and places a strong emphasis on the interrelation between the academic and practical aspects of theatre studies. Working towards an Honours Bachelor of Arts degree, students are required to take a complementary combination of courses, taught by both university faculty and theatre professionals, resulting in a broad knowledge of the field as a whole. A Major or Minor may be valuably combined with programs in a wide variety of other disciplines, including Languages and Literatures, Anthropology, Canadian Studies, Cinema Studies, Classics, Commerce, Art, History, Music, Political Science, Psychology, Religion, Sociology and Women & Gender Studies.  Besides providing instruction in drama, theatre and performance studies, the Centre's undergraduate programs have mounted international theatrical events and conferences, organized its students to tour Europe and Asia, forged links with leading Canadian theatres and maintained regular contact with world-renowned international theatre artists.

The majority of the Drama Centre’s undergraduate programs are housed in the Union Building at University College, which includes the Helen Gardiner Phelan Playhouse; the Centre's full list of facilities includes three theatres and a number of related venues. More details, including application and ballot forms, can be found on the website at: http://dramacentre.utoronto.ca/

The Centre’s Director, Associate Director (Undergraduate) and Undergraduate Administrative Coordinator are also available for consultation. For enquiries or an appointment call the Undergraduate Drama Coordinator at 416-978-8099 or send an e-mail to uc.drama@utoronto.ca.

Please note: Some courses are restricted to students in a Drama Specialist, Major or Minor program; some are open to all students of the University.  Some courses require audition or the submission of a portfolio.  See below for details.

Drama, Theatre and Performance Studies (Centre for) Programs

Consult the Undergraduate Drama Coordinator, Room 302, 79 St. George Street

Enrolment in the Specialist and Major programs is, with few exceptions, contingent upon personal interview and audition. Admission to the Major must be simultaneous with either DRM200Y1 (taken concurrently with DRM201H1 and DRM211H1), DRM228H1 or DRM254Y1, and to the Specialist only after enrolment in an additional course from Group B. Audition and interview Applications are due early March. Please see website for details. Enrolment in the Minor program is unrestricted. Students who Minor in Drama may not enrol in practical courses.

Enrolment in the Specialist and Major programs is limited and selection is normally made after a personal interview and audition. Students will be admitted to the Major only after they have been admitted to either DRM200Y1 (with DRM201H1 and DRM211H1), DRM228H1 or DRM254Y1, and to the Specialist only after they have been admitted to an additional course from Group B.

(12 full courses or their equivalent, including at least four 300+ series with at least one 400 level)

1.    DRM100Y1 (to be taken in first year)
2.    DRM230Y1
3.    From Group A: 1 course equivalent
4.    From Group B: 2 full-course equivalents (entry points: DRM200Y1 or DRM254Y1 or DRM228H1)
5.    From Group C: 1.5 full-course equivalents
6.    From Group D: 0.5 full-course equivalents
7.    From Group A, B, C, D or Other: 5 full-course equivalents to make up the total of 12 courses

Enrolment in the Specialist and Major programs is limited and selection is normally made after a personal interview and audition. Students will be admitted to the Major only after they have been admitted to either DRM200Y1 (with DRM201H1 and DRM211H1), DRM228H1 or DRM254Y1, and to the Specialist only after they have been admitted to an additional course from Group B.

(8 full courses or their equivalent including at least two 300+ series courses with at least 0.5 at the 400 level)

1.    DRM100Y1 (to be taken in first year)
2.    DRM230Y1
3.    From Group A: 1 full-course equivalent
4.    From Group B: 2 full-course equivalents (entry points: DRM200Y1 or DRM254Y1 or DRM228H1)
5.    From Group C: 1 full-course equivalent
6.    From Group A, B, C, D or Other: 2 full-course equivalents to make up the total of 8 courses

Note:
Students taking DRM200Y1, DRM300Y1, DRM400Y1 and DRM403Y1 must take the appropriate Voice co-requisite (DRM201H1, DRM301H1 and DRM401H1), Movement co-requisite (DRM211H1, DRM311H1 and DRM411H1) and academic co-requisite (DRM100Y1, DRM230Y1 or a course from Group A or D)

Enrolment in this program requires the completion of 4.0 courses.

Students in the Minor program may only take academic courses.

(4 full courses or their equivalent including at least one 300+ series course)

1.    DRM100Y1 (to be taken in first year)
2.    From Group A: 1 full-course equivalent
3.    From Group C: 1 full-course equivalent
4.    From Groups A, C, D or Other (when eligible): 1 full-course equivalent

Note:
Students in the Minor program are not eligible for DRM230Y1 and practical courses

Group A: Theatre History & Theory
DRM264H1, DRM268H1, DRM310H1, DRM342H1, DRM362H1; JDC400Y1, JDC410H1; JIA400H1

Group B: Practical
DRM200Y1, DRM201H1, DRM211H1, DRM228H1, DRM254Y1, DRM300Y1, DRM301H1, DRM302H1, DRM311H1, DRM328H1, DRM354Y1, DRM368H1, DRM400Y1, DRM401H1, DRM402H1, DRM403Y1, DRM411H1, DRM454H1

Note: Students taking a practical course (Group B) are required to take an academic co-requisite (Groups A, C, D or Other)

Group C: Theatre Studies in English & Other Languages
ABS302H1; ABS341H1; CLA382H1, CLA383H1; EAS233H1; ENG220Y1, ENG330H1, ENG331H1, ENG335H1, ENG336H1, ENG337H1, ENG340H1, ENG341H1, ENG352H1, ENG448H1; FRE310H1; GER240H1, GER340H1; GRK351H1, GRK352H1, GRK451H1, GRK452H1; ITA390H1, ITA409H1, ITA410H1, ITA415H1; LAT351H1/LAT451H1; MUS206H1, MUS209H1; SLA367H1, SLA406H1, SLA418H1, SLA424H1, SLA475H1, SLA476H1, SLA477H1; SPA452H1: UNI202H1; VIC304H1, VIC347H1; VIS208H1; WGS271Y1; WGS463H1

Group D: Dramaturgy & Theatre Criticism
DRM231H1, DRM331H1, DRM431H1, DRM432H1

Other: Special Topics, Seminars & Independent Studies
DRM286H1, DRM299Y1, DRM385H1, DRM385Y1, DRM386H1,  DRM387H1, DRM388H1, DRM390Y1/DRM391H1, DRM399Y1, DRM485H1, DRM485Y1, DRM486H1, DRM487H1, DRM488H1, DRM490Y1/DRM491H1 

Drama, Theatre and Performance Studies (Centre for) Courses

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 can be found at www.artsci.utoronto.ca/current/course/.

An introduction to the study of dramatic literature, with particular reference to its staging history and practices. This course brings to life diverse texts from different periods and traditions and invites students to analyze them in terms of theatrical space, plot and generic structure, characterization, theme, and language.

Emphasis is initially placed on ensemble, non-verbal, and improvisational work. Students proceed to the application of their acquired skills to scripted material. Students may apply in their first or second year of University.

An introduction to the dynamics of voice and effective communication as they relate to the development of the actor.  Work brings theory into physical practice. Taken in conjunction with DRM200Y1: Introduction to Performance and DRM211H1: Introduction to Movement for the Actor.

An introduction to movement for the actor focusing on body awareness and skill development, ensemble sensibility and stagecraft as it pertains to actor training. Taken in conjunction with DRM200Y1: Introduction to Performance and DRM201H1: Introduction to Voice for the Actor.

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.

An introduction to the shifting landscapes of European theatre theory, history and practice in the late 19th century and their repercussions throughout the 20th and 21st centuries. The course focuses on the developments of modern and postdramatic theatre. It also includes critical analysis of the annual Drama Resource Show and current Canadian theatre.

Introduction to the history, theory, and practice of theatre criticism. The course examines 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 develop their individual critical voices through regular attendance of chosen productions and practice writing criticism in a variety of forms.

A practical introduction to various areas of theatre production including lighting, sound, projections, stage management, and set construction. Working extensively in the Helen Gardiner Phelan Playhouse, the students form the core of the production team for Drama productions. By the completion of the course, the students should have a comprehensive overview of the organization, skills, and discipline necessary to mount a theatrical production in a professional manner.

An exploration of themes, forms, and historical conditions that characterize Early Modern European drama and theatre from the Renaissance to approximately 1900. Studying plays in a variety of European contexts, we will consider how theatre theory, criticism, and dramaturgy inform diverse kinds of playwriting, critical reception, and contemporary interpretation.

A survey of Canadian theatre history with an emphasis on developments since the 1950s including the regional and alternative theatre movements; trends in Canadian playwriting and their relationship to theatre history; cultural diversity and native voices in contemporary Canadian theatre.

An in-depth examination of selected issues in the theatre. Content may vary depending on instructor and therefore may be counted towards different Groups (A, B, D or Other). Selected topics have included/may include: An Introduction to Effective Communication. Please consult the Undergraduate Drama office and check the drama website for more details.

Credit course for supervised participation in faculty research project. Details at http://www.artsci.utoronto.ca/current/course/rop.

Building upon the work of DRM200Y1, students concentrate on scene study and the development of ensemble work. Active practices include analysis of text and sub-text, the establishing of scene objectives, improvisation, storytelling and self-scripting and dynamic explorations of physical space.

Builds on skills learned in DRM201H1 (Intro to Voice) as they relate to the development of acting abilities. The course investigates the relationship between theory and physical practice of voice training.  Taken in conjunction with DRM300Y1: Performance I and DRM311H1: Movement for the Actor I.

An introduction to major concepts and artistic practices in directing. The course focuses on different styles, ideas, and goals of theatre directors in their relations to actors, audiences, and broad cultural and political contexts. A major component will be the practical application of basic directing techniques.

American drama since World War II. Structural, historical, and thematic approaches to self-consciously theatrical works and to the idea of America itself. Authors may include Miller, Williams, Albee, Baraka, Hansberry, Shepard, Fornes, Mamet, Kushner, and performance artists such as Karen Finley and Laurie Anderson.

A continuation of previous training through a more concentrated study of the relationship between objective, impulse and action using the principles of Viewpoints, Laban, and Contact Improvisation. Taken in conjunction with DRM300Y1: Performance I and DRM301H1: Voice for the Actor I.

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.

An introduction to applied dramaturgical theory and to historical and contemporary interpretations of the dramaturges function in the creation of theatre. Using examples from Canada and beyond, students apply this knowledge to theatre practice.

This course chronicles the development of historical avant-garde theatre from the late 19th-century through 20th-century and 21st-century innovations, paying particular attention to resonances between the historical and contemporary. Offering a critical engagement with foundational artists, works, and theorists from Symbolism, Expressionism, Futurism, Dada, Surrealism, Happenings, Environmental Theatre, and Performance Art, this course spends equal time considering parallel shifts in related performing arts, including music, visual art, and dance, so as to situate theatre’s aesthetic development within a broader interdisciplinary and historical context.

A detailed exploration of theatrical stage and costume design, historical and contemporary, theatrical and practical.

An intercultural, post-colonial and comparative analysis of innovative processes in the national and cross-cultural theatre around the world. Focusing on selected periods and cultures, the course explores the cultural backgrounds of key turning points in pre-modern and modern theatre and their impact on the developments of the post-modern theatre in a globalizing world.

A hands-on exploration of fundamental building blocks of collective creation, or ‘devised theatre,’ examining techniques and exercises by its leading practitioners. 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.

An in-depth examination of selected issues in drama, theatre and performance studies. Content may vary depending on instructor and therefore may be counted towards different Groups (A, B, D or Other). Please consult the Undergraduate Drama office and check the website for more details.

An in-depth examination of selected issues in drama, theatre and performance studies. Content may vary depending on instructor and therefore may be counted towards different Groups (A, B, D or Other). Please consult the Undergraduate Drama office and check the website for more details.

An in-depth examination of selected issues in drama, theatre and performance studies. Content may vary depending on instructor and therefore may be counted towards different Groups (A, B, D or Other). Selected topics have included/may include: History of Popular Theatre in Europe from 1600 to 1900; Collective Creations; Performance and Research; and Performance and Reality. Please consult the Undergraduate Drama office and check the website for more details.

An in-depth examination of selected issues in drama, theatre and performance studies. Content may vary depending on instructor and therefore may be counted towards different Groups (A, B, D or Other).  Please consult the Undergraduate Drama office and check the website for more details.

An examination of the major writers who have influenced the art of the actor in the twentieth century, with a focus on theories of actor training and the preparation for performance, the ways in which audiences assess acting as an art form, and the rise of the actor as an artist of equal status in North American and European theatre.  Writers include Konstantin Stanislavsky, his followers and interpreters in America (including the Actors Studio and Lee Strasberg), along with alternatives to his 'System,' including Expressionism, Epic Theatre and the teachings of Michael Chekhov.

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. Ineligible for CR/NCR.

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. Ineligible for CR/NCR.

Credit course for supervised participation in faculty research project. Details here.

Continuation of DRM300Y1, concentrating on advanced performance techniques.

The final year of voice training refines the skills and concepts developed thus far, focusing on performance.  Techniques of articulation, speech and rhetoric are studied. Taken in conjunction with DRM400Y1: Performance II and DRM411H1: Movement for the Actor II.

An exploration of advanced directing for the theatre. The class is centered on student directed productions, which are publically presented at the end of term. Students work in one of three areas: directing, design, or production. Emphasis is placed on the development of strong central concepts and realizing the production with imagination, collaboration and creativity.

An in-depth study on theoretical and practical levels of a specific play which is presented to the public. This involves an intensive exploration of character in rehearsal and its discovery in performance.

The final year of movement training refines the skills and concepts developed thus far, focusing on performance.  Techniques of folk, period and social dance are studied. Taken in conjunction with DRM400Y1: Performance II and DRM401H1: Voice for the Actor II.

Following Introduction to Dramaturgy, students apply theoretical and historical knowledge to theatre practice with an emphasis on research, reflection and experimentation. Students are involved in the practice of performance dramaturgy and its conceptionalizing potential through well-informed creative processes. Students may work directly on the annual undergraduate Drama Directors’ Shows and Resource Show, as well as projects initiated by the Centre's PhD candidates.

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 UC Drama productions in senior creative and leadership roles. Focus also includes the integration of digital technology into theatrical performance.

An in-depth examination of selected issues in the theatre at the 400 level. Content may vary depending on instructor and therefore may be counted towards different Groups (A, B, C, D or Other). Please consult the UC Drama office and check the program’s website for more details.

An in-depth examination of selected issues in the theatre at the 400 level. Content may vary depending on instructor and therefore may be counted towards different Groups (A, B, C, D or Other). Please consult the UC Drama office and check the program’s website for more details.

A continuation of DRM328H1, concentrating upon the in-depth knowledge and practice of playwriting with an emphasis on advanced style and technique of writing for the stage. Students develop their own longer work through in-class exercises, one major written assignment, and the final public presentation.

This course is inspired by and rooted in practice-based research projects and events of the Digital Dramaturgy Lab (DDL), which was founded in April 2012 in Toronto. The DDL is a networking platform for multi-disciplinary artists, creative programmers, technicians and designers with conceptual/ dramaturgical interest in dynamic/queering relationships between digital technology and live performance, the complexities of real and virtual bodies, multi-disciplinary  linguality/terminology, as well as aesthetical and technological literacy in collaborative rehearsal processes in theatre, performance art and interactive installations.

Prerequisite:  DRM230Y1, or by permission of the instructor
Distribution Requirement Status: This is a Humanities course
Breadth Requirement: Creative and Cultural Representations (1)

DRM488H1    Senior Seminar: Experimental Music-Theatre [36L]
A genre that emerged in the 1960s and fell out of favor shortly after, “music-theatre” comprises, broadly, productions in which “spectacle and dramatic impact are emphasized over purely musical factors.” We’ll be engaging this definition of music-theatre (and noting the distinction from musical theatre) through its historical precedents in Richard Wagner’s epic music-dramas, Antonin Artaud’s Theatre of Cruelty, Bertolt Brecht’s collaborations with Kurt Weill, Samuel Beckett’s engagement with breath and utterance, and John Cage’s filled silences, as well as challenging it through the experimental music-theatre of such contemporary artists as Amiri Baraka, Cynthia Hopkins, DJ Spooky, Juliet Palmer, Olga Neuwirth, Julio Estrada, Michel van der Aa, and even the singular Lady Gaga. As well, through close analysis of specific pieces and productions, we will reconsider modes we employ in perceiving the dramatic body onstage and query how it is that we determine genre in performance.

Prerequisite:  DRM230Y1, or by permission of the instructor
Distribution Requirement Status: This is a Humanities course
Breadth Requirement: Creative and Cultural Representations (1)

DRM490Y1    Independent Studies in Drama, Theatre and Performance Studies[TBA]

A scholarly project at the 400 level chosen by the individual student. The student must work out details with a member of faculty who is willing to act as supervisor. Ineligible for CR/NCR.

A scholarly project at the 400 level chosen by the individual student. The student must work out details with a member of faculty who is willing to act as supervisor. Ineligible for CR/NCR.

Articulates a cultural approach to achieving Human Security. This course examines 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.

The main focus of the course will be the study of Bertolt Brecht’s theory and practice and their relationship to theatre semiotics and feminist theory. We will investigate if Brecht can be seen as one of the first semioticians of theatre and how valid Brecht’s theatre is as a model for “ways of feminist seeing”.

Prerequisite: For undergraduate: need to be 4th year/ senior students; DRM230Y1 and permission of the instructor.
Distribution Requirement Status: This is a Humanities course
Breadth Requirement: Creative and Cultural Representations (1)

JIA400H1 Interdisciplinary Practice for the Arts: The Architecture of Creativity [144P]

While examining the interconnectedness of the arts, students are required to meet between sessions and develop projects connected to their study. These projects involve a range of media, including theatre, film, music and visual art (installation). Limited to fourth-year students. 

Distribution Requirement Status: This is a Humanities course
Breadth Requirement: Creative and Cultural Representations (1)