Theatre

What Will Studying Theatre Look Like in Fall 2020?

周围的人聚集戏剧与表演艺术中心,共享的空间,和文化的创建/批评/破坏。所有这些行动的仍然是我们的社会至关重要即使covid-19大流行期间,我们不能一起物理。许多在我们的领域与社会隔离的这种新的可能的扩展模式转变挣扎。在bt365体育在线剧场节目是著名的实验和创新,我们已经创建了网上的相处,即使在春季学期结束的短期反应周期的新途径。从表演,导演,设计,剧本创作,技术和管理,以创建和改造数字空间和平台,为我们的学生排练和展示他们的作品,以同学,教师,员工,校友和家长调整我们的基本组成部分。我们正在创造排练,发展研讨会,朗诵,表演,以及保持稳健在讨论存在,活跃度和关键接近他们的核心辩证法。

很多人都在问bt365体育戏剧和表演为现场将如何应对社会距离,但在当代戏剧中,我们一直生活在存在和不存在和活跃的结构性问题的争议空间的工作在过去的50个左右年份。我们在双事件或三事件的奥秘工作。与他们的生活经验和传记双打的演员为角色,然后,更多的时候,这些天(即使在百老汇),再次进入双打现场介导的图像的表示。这是这个问题的活跃度是我们当代作品的核心。这个秋季学期我们将继续教我们的戏剧和表演制作的基础,新的重点在于开拓创新,拥抱关键的接近和团结的同步在线框​​架。

We are planning to hold hybrid FYS classes and our graduate students will be hybrid with access to our studios and workshops. Our undergrad students who will be on campus or have access to campus will also have the ability to schedule time in our workshops and studios for solo work or working with approved social distancing practices. We are currently assessing which of our components can have hybrid possibilities. The majority of components will be taught online and any hybrid components will follow the requirements of social distancing and wearing a mask at all times.

We have a full fall season planned and will be innovating ways to present the work LIVE online. Last semester we presented work via Zoom and this fall semester we will work with (and teach) techniques, programs, and approaches that can help our students’ work thrive during this time. At the moment the risk is too high to have a live audience so there will be no in-person audiences. Our online live presentations will be dynamic and innovative incorporating new formats and frameworks.


在bt365体育在线戏剧课程是谁的价值多元化的,有意的,和严谨的研究,工艺,和创造慷慨和参与的艺术家群落。我们认为对方和自己负责负责任地挑战自我和相互促进我们的成长作为个人和协作的艺术家。我们支持创新的技术,我们不仅生产中,而且在系统中,我们使学习,共享和创造。通过优先平等,关怀和实验的跨学科课程,我们的目标是创造快乐沉浸在以预想的艺术环境,共建美好未来。这是一个开放和包容的社会,每个人都欢迎。

The theatre program is focused on deep collaboration, community building, and interdisciplinarity. We support performance and theatre artists through a curriculum crossing the boundaries of design, acting, directing, management, performing, writing, technology,  producing, voice, movement, and much more. Classes are taught by working professionals, with the advantage of additional classes in the music and dance programs. 

We encourage students to bring their own histories, experiences, and stories into the ecosystem of the program to share in the development of new questions, political urgencies, and social engagement. Together, we will research and practice theatre and performance to expand the possibilities of critical togetherness through body, story, and experience. 

 

Curriculum

Students create an individualized Theatre Third with the guidance of their don and the theatre faculty. Components are chosen to extend skills and interests, to explore new areas of the art, and to develop performing and/or practical experience. Students are encouraged to find the links between their academic and arts courses, creating a holistic educational process.  

学生有很多机会在影院程序赛季参加合成他们的学习。学生的书面和/或创建工作是一个主要焦点,同时还鼓励出版戏剧和经典文本的制作。为学生指导的,-written和-devised戏剧节目赛季的生产进度表内开展工作的建议系统强调学生艺术家的发展。也有由前台(戏剧节目组成)主办的季节和项目,并通过独立的,学生管理公司的机会。对于faculty-,以学生和来宾指导生产试镜开放给整个社会的SLC。

 

Practicum

类提供了一个严格的学术和实践框架,学生不断地从事研究和创造戏剧的过程。戏剧节目帮助,同时鼓励发现和发展个人的艺术学生的自我构建基于既定的方法了坚实的技术。学生可以从中赚取实习或实地考察学分在纽约市的许多剧院和剧院组织。剧院和公民参与的程序是一个培训计划,利用文字,戏剧技巧,音乐和视觉艺术来体现社会和社区问题。公民参与的课程已经在课程一个充满活力的组成部分超过三个十年,鼓励与当地合作机构,社区和邻居包括性创建原始材料的发展。一些影院组件包括一个开放的,一流的表现或性能除了在整个学年都为学生提供多种性能,设计和生产的机会。该学院的表演场地包括苏珊·维尔纳·赖特戏剧作品和弗朗西丝安炮作坊影院,以及工作在学生管理的前台剧院。车间,读数和生产也安装在PAC状开敞戏剧,电影观看室,雷米剧场室外阶段,整个校园各种其他性能的空间。

 

2020-2021 Courses

Theatre

First-Year Studies: Theatre in Action, the ’60s Thru Tomorrow

Open , FYS—Year

本课程探讨戏剧的更大的作用,在我们的文化,特别是影院响应塑造我们的生活,即使他们发生的事件和动作如何。我们将看看如何影院框架政治话语,以及它在这个国家的社会行动,在过去50年来独特的作用。学生将阅读和讨论各种剧目,重点对望一眼,在这些戏写的背景下,为什么他们今天仍然共鸣。讨论将范围从像布莱希特和塞缪尔·贝克特中期的20世纪戏剧艺术家的有影响力的作品和创新,政治戏剧团体,如舞台剧和El剧院上世纪60年代的坎波,越南战争和民权时代的宣传鼓动戏剧活动,而在20世纪80个年代艾滋病危机对当代戏剧生产商和艺术家喜欢安娜·迪弗·史密斯,年轻的李秀娟形式弯曲技术行动起来,成龙sibbles德鲁里,布兰登·雅各布斯·詹金斯,安妮·贝克,托尼·库什纳,dominque morriseau,奎佳拉·阿莱格里亚·哈兹,和酷儿,女,和反式剧作家在戏剧,在许多其他的kilroys列表集合。学生将在课堂戏剧,纪录片研究朗读,看看在纽约市制作和放映在这一年的过程中。客人艺术家将参加指定课程。学生与教师制定会议计划为他们的特殊利益满足。项目的范围可以写在期间的事件的风格原创话剧和戏剧,我们学习或排练或上演一幕幕从公布的剧目设计类戏剧介绍,其他选项。除了会议项目每学期,经常要求学生提交的评论文章,并在讨论充分参与。影院中的行动将交替具有小组会议/会议个别会议包括放映,实地考察,表演,和讲习班。学生就读于FYS在影院可以选择,但不是必需的,拿在戏剧,舞蹈或音乐节目一个额外的组件包含在其第三战区的一部分。所有的学生就读于影院加入战区程序社区,欣赏戏剧的会议,和完整的技术支持小时(高科技学分)的FYS。

Faculty

Writing for Diversity

Open , Lecture—Year

This course may also be taken as a yearlong component.

Each week, students will be asked to research and write a 10-minute play given "diverse" characters and various other prompts. In class, we will read and discuss the work. What did we find? How were we challenged? Do the scenarios feel “real” and “authentic”? Is there offense? What scared you? We will also read and discuss great plays/articles/events that grapple with race/gender sexuality/culture. Students should have some experience in playwriting.

Faculty

Historic Survey of Formal Aesthetics for Contemporary Performance Practice

Open , Lecture—Year

曾几何时,在排练,编剧说,“我只是觉得这是这部戏中最立体派的时刻。”每个人都在房间里陷入了沉默和不舒服长大......因为,在赫克那么她的意思了?而不是我们已经应该知道吗?这种互动讲座课程全境进行调查的历史美学运动,教你跟踪他们对你的工作的影响。每个运动背后的思想有关的检查,以它们发生的历史性的时刻,在他们的整个视觉艺术,音乐,建筑和性能学科正式的表现。每个学生则放置,随后发现正式审美话语定位隐藏的影响力,使有意识,有目的的政治共鸣的更广泛的范围内,他/她自己的工作。鼓励学生发现,承认一个携带一个人的工作对世界的影响,并开始使用像“后现代主义”和“未来学家”的信心方面的责任的方式。

Faculty

History and Histrionics: A History of Western Theatre

Open , Lecture—Year

您将浏览2500年对西方戏剧发现想法如何类戏剧可以从他们的起源于十五世纪的希腊可以追溯到20世纪的尼日利亚,在两者之间几站。我们会试着去了解一个游戏是如何构建的,而不是简单地写和每个随后的时期如何既具有接受和拒绝前什么来的呢,为了打造自己独特的身份。我们将研究对西方戏剧,包括的古典戏剧结构的想法,伊丽莎白戏剧,新古典主义,现实主义,自然主义,表现主义,喜剧,音乐剧,残酷的戏剧,和存在的主要流派。我们将着眼于社会,文化,建筑,和传记方面更好地了解如何以及为什么他们写的,因为他们是。课堂讨论每星期将集中在新的玩法。

Faculty

The Broadway Musical: Something Great Is Coming

Open , Lecture—Year

对于一些60年来,大约1920至80年,百老汇音乐剧是它的黄金时代。受测者对于成年人来说,歌词是为识字,和音乐有表达的丰富性和深度从来没有因为美国组成望其项背。音乐演变而来三个独立的股犹太人,非洲和欧洲和歌剧作品弹簧从一个伟大的充满活力的炖,包括杂技,滑稽,歌剧,吟游诗人表演,音乐喜剧,闹剧和音乐盛会。我们将研究这些广泛不同形式如何开始凝聚在20世纪20年代进入典型的傲慢,脚趾攻,泡腾片百老汇称为形式“音乐喜剧”。然后我们将眼睁睁地看着奥斯卡·汉默斯坦二世配对一个新的合作者,理查德·罗杰斯,彻底改变与所谓的形式“综合音乐剧。”以。。。开始 Oklahoma!, R&H (as they were universally known) insisted on putting the story first and making the songs—along with everything else—serve that story. The inevitable apotheosis of their efforts is the musical play of the 1950s, and we’ll end this section by looking at several of them. Finally, the musical showed yet another face: the “concept musical,” Broadway’s answer to Cubist painting. It took a subject and looked at it from every conceivable angle except one: a plot. We’ll end the year by looking at, among others, Stephen Sondheim’s masterpiece, Company.

Faculty

Home as a Metaphor for Survival: Theatre in the African Diaspora

Open , Lecture—Year

All those forgotten in the construction of, say, national groups return to disturb and haunt such holistic ways of thinking...[when] these figures return as disruptive, “unhomely” presences....It is this uncanny presence which...[has] the power to disrupt the exclusive binary logic upon which a range of discourses—nationalist, colonialist, patriarchal—depend. —Homi K. Bhabha, Location of Culture

本次讲座课程将集中在非洲移民社群的性能。我们将在散居性能黑体历史面貌。因为这涉及到创作的戏剧空间的类将涉及读剧本,批判理论,以及与批判理论的文章,​​涉及到杂糅,模仿,新殖民主义,凝视的概念,并表示/收视的政治。研究的某些领域,我们将讨论将包括:在南非抗议剧院(gcina mhlophe,阿索尔富加德萨克斯·马达,约翰·卡尼,博杰尼·杰马);口头传统;令牌化(Death and the King’s Horseman is not the only African play); the nexus of religion and performance in African diaspora performance; the legacy of minstrelsy; “The Black Acting Method” (hybridity vs. mimicry); representation of black bodies in American theatre; the ethics and moral responsibilities in touring work pertaining to blackness in the diaspora; blackness on stage—Tyler Perry vs. Jeremy O. Harris and Branden Jacob-Jenkins.

Faculty

Contemporary Scene Study

Advanced , Component—Year

This class meets twice a week.

在这个过程中,专为高级影院的学生,我们将探讨从当代剧作家(如林恩·诺蒂奇,卢卡斯·纳,安妮·贝克,特丽萨·勒贝克,多米尼克·莫里索,肯尼斯·罗纳根,斯蒂芬adley guirgis,黄哲伦,布兰登雅各布场面和独白-jenkins,萨拉·鲁尔,和许多其他人)。有着强烈的重点放在剧本分析,故事结构,和人物一起工作,学生将学会一套行事工具,这将帮助他们,使他们的工作令人难以置信的松散,自发的,真实的。场面和独白将通过与学生合作的教练来选择。

Faculty

Breaking the Code

Advanced , Component—Year

This class meets twice a week.

A specific, text-driven approach to acting, Breaking The Code provides a context for the most vital performances based upon a way of dissecting a play and determining a character’s behavior. Students will act scenes from contemporary plays and adaptations. Open to both actors and directors.

Faculty

Acting Shakespeare

Intermediate , Component—Year

This class meets once a week for three hours.

Those actors rooted in the tradition of playing Shakespeare find themselves equipped with a skill set that enables them to successfully work on a wide range of texts and within an array of performance modalities. The objectives of this class are to learn to identify, personalize, and embody the structural elements of Shakespeare’s language as the primary means of bringing his characters to life. Students will study a representative arc of Shakespeare’s plays, as well as the sonnets.

Faculty

TBA

Creating Your Own Comedy

Intermediate , Component—Year

这个类将单口相声的经典结构的探索开始。设置和冲头,作用出来,提高文字游戏的概念将被采用。从你自己的过去,新闻,和当前的社会环境创造,并成为漫画人物的技术将被用来制作一个漫画程序。发现什么是可识别逗观众是漫画大师的劳动。创意喜剧精神的竞技和上围绕着你是第一个学期的首要目标世界你自己的个人观点。我们还将通过柏格森(哲学家),约翰赖特(主任)和克里斯托弗·弗莱(剧作家)的著作研究喜剧的理论。第二学期将被设计为通过即兴技术协作;长篇即兴游戏(哈罗德),以及相声小品的写作和小组工作表现技法;和练习,发展艺术家的自由和信任协作组设置。乐团将学习,因为他们写作,表演,创造情景,共同信任的自发反应和自己的漫画疯狂。在第二学期结束后,将有在年内制定喜剧的形式呈现。

Faculty

Dramatic Improvisation: Finding Spontaneity in Performance

Intermediate , Component—Year

In this class, we will be developing scenarios and situations that heighten your ability to invent, give you a physical freedom, and improve the emotional truth in your work. We will be creating monologues and characters in the moment. Techniques for film improvisations, TV commercials, and theatre auditions will be used to develop the artist’s creativity. Acting—whether experimental, classical, or modern—begins with the actor’s own personal experience. At the end of the semester, we will work on self-taping for auditions and crafting material for an actor’s reel and website.

Faculty

Actor’s Workshop: The Actor’s Process—Introduction to Craft

Open , Component—Year

这个类是演员实验室。它是专为演员谁愿意搜索步骤将充分参与演出。在第一学期,我们将探索激励每一个参与者的想象力人物和独白。文本的分析,定义图像,并探索演员的情感选择后,我们会自我盘带我们的工作试镜工作。第二学期将专门用于现场工作,该技术用于开发与场景的合作伙伴,并听取和你在排练室对你的脚的工作中找自己的冲动的重要性提高连接。我们将观察工作和阅读的德克兰·唐奈伦的理论 The Actor and the Target and Stephen Wangh’s An Acrobat of the Heart.

Faculty

Singing Workshop

Open , Component—Year

This class meets once a week. Audition required.

我们将探讨演员的与各种风格的流行音乐,音乐,戏剧,歌舞表演,并与观众和材料选择原来的工作,强调沟通的歌曲表演。人声演绎和风格的力度也将进行审查。学生每星期在课堂上进行新的或退回材料,并已经计划以音乐总监安排和排练他们的物质之外的上课时间。学生参加与在亚历山大技术类或自己选择的其他运动课程,音乐课程和招生院系声乐课这门课程也有优先配售。

Faculty

Actor’s Workshop

Open , Component—Year

This class meets twice a week.

Through group exercise (viewpoints), improvisations, monologues, and scene studies, this class, eclectic in style, will help you trust your instincts, expand your expressive capabilities, hone your imagination, and ultimately develop your acting potential. You will acquire the tools necessary for developing a character, as well as for showing confidence in an audition. Previous theatre study is not required, but attendance and active participation is paramount! Show up eager and ready to work, as well as willing to put in time outside of class to work on material.  

Faculty

Actor’s Workshop

Open , Component—Year

This class meets twice a week.

在这种理论和实践课上,学生将学习的主要作用的方法,如布莱希特,梅耶荷德,斯坦尼斯拉夫斯基,斯特拉·阿德勒和社会历史语境哈根,然后参加讲习班在每个这样的方法。通过一系列的练习和各种表演技巧,学生们将探讨演技,创造性的表达,和协作在影院的基本要素。这些演习将包括声乐和体力热身,放松,注意力集中,感官认识,倾听,沟通,团队合作,和自发性。学员将学习各种方法来创建一个角色,并表示通过语音,身体,想象一个人的情感。技能开发出可作为一个整体,并在关系到人,物,场所和工作。最终,通过一流的现场演示,表演的学生将努力传达反映重要的故事,思想,情感和挑衅性的问题或挑战人性。一些剧作家,从他们的工作,我们可以工作,包括:萨拉·鲁尔,特丽萨·勒贝克,玛丽亚·伊雷内·福恩斯,苏·洛丽·帕克斯,萨特,欧仁·尤内斯库,年轻的李秀娟,乔斯林bioh,布兰登·雅各布斯·詹金斯,托里桑普森,查理·辛普森evon,贝克特,王尔德,让热,林恩·诺蒂奇,香取慎堂,阿索尔富加德,约翰·卡尼,乔斯林bioh和杰基·锡布斯·德鲁里。 

Faculty

Directing, Devising, and Performance

Intermediate , Component—Fall

This class meets once a week for two hours.

通过大众媒体的创造性重用,本课程旨在向学生介绍的是由合成材料现有的实验表演实践性能的策略。从原来的情况下剥离发现媒体的材料和新的方式安排他们,与会者将探讨绩效工作的方法和拨款的政治。然后通过延伸的那些技术成体现做法,学生将实验用来自这些源材料中提取的运动,文本,和意图的各种方法。上的文字,声音,并以协作的格式视频操纵双周讲习班将与在各种艺术形式的历史使用拨款的性能的组合物的实验和讲座交替。参与者应具备的性能和性能技术的兴趣,但在任何经验不是一个先决条件。课程的高潮在排练和演出期间。

Faculty

Songwriting for a New Musical Theatre

Open , Component—Year

This course grew out of the final months of last semester’s New Musical Theatre Lab during its transition to remote learning and has been designed to work as well in person as it has remotely. The course teaches a unique approach to musical theatre making forged during the making of the Obie- and Tony-award winning musical, Passing Strange。炖的方法治疗的歌,不是故事,如在节目后面的种子全部。学生们被教导要变戏法故事,会出现他们的歌曲了,而不是跟踪歌曲到预先存在的故事。个人传记作为源材料与发明小说的意义还强调,与独奏的结合和使用视频一起。着重于在矩通过歌曲创作过程的神秘色彩创造不断启发学生上进,一起度过创造比盯着屏幕更多的时间。学生们经常给词曲创作提示和邀请参加一次从屏幕上移开,以撰写任何事情从一首诗到一个成熟的歌曲,与独奏表演片段或视频一起。学生将朝着建设工作,在学期结束的时候,最后的节目所有,他们已经写的歌曲。学生们将学习,改变着歌曲创作的“神奇”到通信的一种反射行为的技术,提供给任何人,有或无词曲创作经验。写歌的基本面教训,介绍了各种音乐软件应用程序,视频编辑,并打开卧室和地下室进入表演空间的DIY方法一起。 

Faculty

Digital Devising: Creating Theatre in a Post-Digital World

Open , Component—Year

This class meets once a week.

这类探索的历史,方法和合奏及合着的性能创造期货为重点的新的技术和数字化和后互联网的概念。历史制订公司,艺术家,观念和策略的概述后,我们将开发技能和框架使用的数字和后期网络性能的形式方面在实验室环境创建工作。一些包括在框架的是数字时间;身形和双事件;体现和在不可思议的谷代表性策略;分期数字化工具,接口和结构;连通性,政治和经济方面的;互联网后的重要性;并使用代码来生成和控制性能和文本的创作。

Faculty

Contemporary New Works: An Exploration of the American Playwright

Intermediate , Component—Year

This class meets twice a week.

这将是戏剧艺术家的研讨会。该课程将探讨当代剧作家的作品。 3名剧作家将被选择的组,我们将阅读,研究和剧作家他们的工作。正如我们在他们的世界埋头,班会从戏剧场面指挥对方。我们会选择从作家布兰登·雅各布斯 - 詹金斯,安妮·贝克,林恩·诺蒂奇,戴维·阿德杰米,安妮·沃什伯恩,萨拉·鲁尔,萨穆埃尔猎人,和香取慎堂。这些作家都创造了“这已经为21世纪的演员场景,让声音对现代经验大胆的作品。”他们是当今美国戏剧的一个重要部分,在塑造和发展的演员和导演的工作的影响力。第二个学期,我们会编织一个或全部作品的一个项目或简报,或选择三个新的当代剧作家进行调查。

Faculty

Directing, Devising, and Performance

Intermediate , Component—Spring

This class meets once a week for two hours.

通过大众媒体的创造性重用,本课程旨在向学生介绍的是由合成材料现有的实验表演实践性能的策略。从原来的情况下剥离发现媒体的材料和新的方式安排他们,与会者将探讨绩效工作的方法和拨款的政治。然后通过延伸的那些技术成体现做法,学生将实验用来自这些源材料中提取的运动,文本,和意图的各种方法。上的文字,声音,并以协作的格式视频操纵双周讲习班将与在各种艺术形式的历史使用拨款的性能的组合物的实验和讲座交替。参与者应具备的性能和性能技术的兴趣,但在任何经验不是一个先决条件。课程的高潮在排练和演出期间。

Faculty

Acting for Camera

Intermediate , Component—Year

This class meets once a week for three hours.

这种全面的,一步一步的课程着重发展所需的技能和工具,以便在电影和电视的快节奏的世界工作的青年演员需求的同时,也学习如何写,直接,编辑,并出示他/她自己的银幕作品。第一学期将集中在屏幕上演戏。通过激烈的现场研究和脚本分析,我们将扩大情绪,智力,体力和声音表现相机的每一个表演者的范围。焦点也将需要演员给“框架内的”最强性能,同时保持自发性和真实性的一个高层次的技术技能放。学生将采取行动,分配和影视剧本自己选择的场景。第二学期,学生将学习编剧,摄影的基础知识,创建布局规划和镜头列表,音响,灯光,导演,和编辑。那个学期的目标是让学生学习电影制作的基础知识,让他们没有一个庞大的预算和船员的限制创建自己的工作。这门课程,学生必须有自己的,或访问,相机(iPhone,iPad或其他相机),并与编辑软件(例如,iMovie中,Final Cut Pro中的Adobe Premiere)的计算机。

Faculty

Puppet, Spectacle, and Parade

Intermediate , Component—Year

This class meets once a week.

Drawing from various puppetry techniques alongside the practices of Jacques Lecoq, we will explore and experiment with puppetry and performance. Throughout the course, we will work in collaborative groups to create puppetry performance, including building the puppets and devising works that utilize puppets and objects. We will explore large-scale, processional-style puppets, puppets as objects and materials, puppeteering the performance space, and the role/relationship of the puppeteer/performer to puppet.

Faculty

Shosholoza: Working to Make Way for Each Other

Open , Component—Year

This class meets once a week.

肖肖洛扎是团结的南部非洲国歌。从历史上看,在约翰内斯堡的农民矿工演唱的歌曲,以保持他们的精神并保持其工作的工作节奏取得进展。肖肖洛扎作为一种文化能指指向一个合作的过程的想法。肖肖洛扎被调用和响应和传唱,它唱的任何时间,包括和谁牵连是在房间里。这个类是有关学习是有爱心的合作者谁给,并采取空间创作过程。学生将被分配旨在促进慷慨的工作空间,同时开发,执行和全年的群体设计项目任务。 

Faculty

Lighting Design I

Open , Component—Year

This class meets once a week.

Lighting Design I will introduce the student to the basic elements of stage lighting, including tools and equipment, color theory, reading scripts for design elements, operation of lighting consoles and construction of lighting cues, and basic elements of lighting drawings and schedules. Students will be offered hands-on experience in hanging and focusing lighting instruments and will be invited to attend technical rehearsals. They will have opportunities to design productions and to assist other designers as a way of developing a greater understanding of the design process.

Faculty

Lighting Design II

Intermediate , Component—Year

This class meets once a week.

Lighting Design II will build on the basics introduced in Lighting Design I to help develop the students’ abilities in designing complex productions. The course will focus primarily on CAD and other computer programs related to lighting design, script analysis, advanced console operation, and communication with directors and other designers. Students will be expected to design actual productions and in-class projects for evaluation and discussion and will be offered the opportunity to increase their experience in design by assisting Mr. MacPherson and others, when possible.

Faculty

Advanced Media Design

Open , Component—Year

Prerequisites: Intro to Media Design, Sound 1, Intro to Projection, or instructor consent. This class will meet once a week.

本课程将帮助学生解决在视频,声音问题,及多媒体设计的舞台剧和性能。我们将着眼于创造性地使用实时视频和音频播放和处理,多声道声音和交互性能的系统。通过创建致力于校园戏剧作品工作的设计师群体,当然会起到指导,故障排除和批判性地分析舞台设计。学生将有望合作对戏剧或舞蹈作品或自己的独奏作品的设计。学生也将被要求在一年中参加更多的技术会议/排练和制作设计。

Faculty

Intro to Media Design

Open , Component—Year

Two sections of this class. This class meets once a week.

This course serves as an introduction to theatrical sound and video design that explores the theory of sound, basic design principles, editing and playback software, content creation, and basic system design. The course examines the function and execution of video and sound in theatre, dance, and interdisciplinary forms. Exercises in sampling, nonlinear editing, and designing sequences in performance software will provide students with the basic tools needed to execute sound and projection designs in performance.

Faculty

Puppet Theatre

Open , Component—Year

This class meets once a week.

本课程将探讨各种木偶技术,包括文乐风格,提线木偶,皮影戏,和玩具剧场。我们将与通过个人和集体研究项目的形式详细看看开始。那么学生将必须开发自己的木偶操纵技巧,以及获得对如何准备木偶的身体性能的了解的机会。我们将进一步与动手处于不同的建造技术,学习我们的探索。该类将与创建和自己制作的木偶片呈现高潮。

Faculty

Advanced Costume Conference

Advanced , Component—Year

Prerequisites: Costume Design l, Costume Design ll, and permission of the instructor. This class meets once a week.

This course is designed for students who have completed Costume Design l and Costume Design ll and would like to further explore any aspect of designing costumes by researching and realizing a special costume design project of their own choosing.

Faculty

Costume Design I

Open , Component—Year

This class meets once a week. There is a $20 materials fee.

本课程将介绍服装设计的基本知识,并会涵盖各种概念和想法:衣服的语言,文字分析,设计,色彩理论,时尚的历史,人物绘画的元素。我们将努力在不同的理论设计项目,同时探索如何开发设计理念。这当然也包括各种设计室的缝纫技术,以及衣柜技师职务的基本知识。学生将成为熟悉所有的各种工具和设备,在服饰店和衣柜领域。学生也将有机会以帮助服装设计LL学生在一个部门的生产制作服装时,促进他们的设计过程的理解。不必需要有之前的经验;各类演员,导演,编舞家,舞蹈家,戏剧和决策者的欢迎。

Faculty

Costume Design II

Intermediate , Component—Year

This class meets once a week.

本课程扩展了的思想和观念,以阐明在服装设计l至磨练和推动学生的现有技能。学生将进一步发展其设计和建设能力,因为他们研究和各种理论设计项目意识到的设计理念,以及通过课堂讨论和演示文稿发展他们的沟通技巧。学生还必须设计服装的生产部门,由服装L系设计的学生协助可能的机会。这样的设计机会,允许一个独特的学习经验,为学生与导演和创作团队产生完全实现戏剧生产合作。 

Faculty

Scenography I

Open , Component—Year

This class meets once a week. There is a $50 course fee. 

This course introduces basic elements of scenic design, including developing a design concept, drafting, and practical techniques for creating theatrical space. Students will develop tools to communicate their visual ideas through research, sketches, and models. The class will discuss examples of design from theatre, dance, and contemporary performance. Student projects will include both conceptual designs and production work in the department.

Faculty

TBA

Scenography II

Open , Component—Year

This class meets once a week. There is a $50 course fee.

This course will build upon the basics introduced in Scenography I to help develop the students’ abilities in designing full productions. Students will further develop tools to communicate their visual ideas with directors, artistic leaders, and fellow designers through research, sketches, CAD, and other computer programs related to scenic design. Students will design or assistant design actual productions and in-class projects for evaluation and discussion.

Faculty

TBA

Directing Brechting

Open , Component—Year

This class meets twice a week.

这动手指挥类报价董事工作根据辩证戏剧布莱希特的理论的一个重要的技术和方法。布莱希特是一个社会活动家。他用戏剧来影响改变。布莱希特的戏剧和技术改变了我们看戏剧和看待世界的方式。他的做法继续塑造董事的方式解剖文本,集生产要素,创造动态的戏剧作品。学生在指导brechting将当代戏剧制造商使用布莱希特的戏剧和戏剧,他的影响很深,像拉里·克莱默,莫伊塞斯考夫曼,安娜·迪弗·史密斯和苏珊洛里,公园等等,用于在一个广阔的布莱希特模型建立了一个个性化的指导技术。学生将直接从选择的戏剧场景和创建和安装自己的原创作品;他们将通过他们的同学执导的课堂演示场景行事。类是受到了严重的导演,演员,设计师,作家,诗人等谁有兴趣开发一种方法来工作,是植根于激进主义和社会变革剧院。

Faculty

Directing Workshop

Open , Component—Spring

This class meets twice a week.

Directors will study the processes necessary to bring a written text to life, along with the methods and goals used in working with actors to focus and strengthen their performances. Scene work and short plays will be performed in class, and the student’s work will be analyzed and evaluated. Common directing problems will be addressed, and the directors will become familiar with the conceptual process that allows them to think creatively. The workshop is open to beginning directors and any interested student.

Faculty

Internship Conference

Intermediate , Component—Year

For students who wish to pursue a professional internship as part of their program, all areas of producing and administration are possible: production, marketing, advertising, casting, development, etc. Students must have at least one day each week to devote to the internship. Through individual meetings, we will best determine each student’s placement to meet individual academic and artistic goals.

Faculty

Alexander Technique

Open , Component—Year

This class meets once a week. Interviews required. Four sections of this class.

The Alexander Technique is a neuromuscular system that enables the student to identify and change poor and inefficient habits that may be causing stress and fatigue. With gentle, hands-on guidance and verbal instruction, the student learns to replace faulty habits with improved coordination by locating and releasing undue muscular tensions. This includes easing of the breath and the effect of coordinated breathing on the voice. It is an invaluable technique that connects the actor to his or her resources for dramatic intent.

Faculty

Movement for Performance

Open , Component—Spring

This class meets twice a week.

这个类将探讨表演的全部工具;即,人的身体。每天热身打开身体较大的运动范围,同时向学生介绍一个更好的功能定位,高效的肌肉和能源利用,充分呼吸,清晰的重心转移,并提高了认识,同时通过空间旅行。即兴,接触即兴组短语,并在课堂作业创建短的组合,基于移动的片将用于探索更大范围的关节运动的身体揭示不管所说舞台上的话。在各方面,这个类的目标是使学生勇敢与他们的身体自我,更加明确自己的身体,更亲自表现力的表现。没有要求,只是运动背景的好奇心和勇气,一个健康的组合。除了偶尔阅读讲义,将有机会参加排练和专业的戏剧表演和舞蹈在纽约市。请穿着宽松,舒适的衣服。

Faculty

Voice and Speech I: Vocal Practice

Open , Component—Year

This class meets once a week.

This course will focus on awakening the young artist to the expressive range of the human voice, as well as to the intricacies of developing greater clarity of speech and playing with sound. A thorough warmup will be developed to bring power, flexibility, and range to the actor’s voice and speech. Exercises and text work will be explored, with the goal of uniting body, breath, voice, and speech into an expressive whole when acting.

Faculty

Creative Impulse: The Process of Writing for the Stage

Advanced , Component—Year

This class meets once a week for three hours.

在这个过程中,纯粹的创作冲动当道过写作的过程中的载体阶段,我们写自己陷入未知的领域。鼓励学生到一边接收的一组和先入为主的概念是什么意思,写剧本或者成为一个作家,用一个什么样的游戏是“应该”或“应当”的样子,为了找到自己真实的方式的想法一起看到的,使。换句话说,解除理性,这是植根于最终产品的概念,并授权混乱,空间,联想是把我们直接正式接触与我们的直接经验,展示次数,以及对现实的认知过程中的判断性思维。注重细节,质感和连续性将受到青睐在更广泛的接受,可靠,但有时限制亚里士多德的结构和连续性的美德在有意义的现场表演制作。读数将量身定做合适之类的想法。我们可能会看到格特鲁德·斯泰因,乔治·斯坦纳,马克·韦尔曼,玛丽亚·伊雷内·福恩斯,阿德里安娜·肯尼迪,米尔恰·伊利亚德,克里斯汀·科斯马斯,理查德·马克斯韦尔和罗兰·巴特的理论和文学创作,以及工作跨越到视觉艺术领域和激进的科学思想从物理学家玻姆和f。大卫泥炭。课程将在研讨会的方式进行,着重强调了跟踪和过程的记录。

Faculty

Playwright’s Workshop

Advanced , Component—Year

This class meets twice a week.

Who are you as a writer? What do you write about, and why? Are you writing the play that you want to write or the play that you need 来写?哪里是材料的非晶,潜意识源泉和形式,将实时在现场观众面前发挥的严格要求之间的关系?该课程是专为剧作谁拥有戏剧结构的坚实的知识和自己的创造性的理解学生的过程,和谁准备创建任意长度的一个完整的戏剧作品。 (如爱德华阿尔比观察到,“所有的戏剧是全长戏剧。”)的学生将免费工作的主题,主题和风格的选择。工作将朗读并每周在课堂上讨论。课程要求学生进入,至少,剧中的想法,他们计划在工作;理想情况下,他们将在部分草案,甚至已完成的草稿,他们希望修改带来的。我们将看到一些存在的文本,时间允许。

Faculty

Playwriting Techniques

Open , Component—Year

This course meets once a week. Two sections of this course.

You will investigate the mystery of how to release your creative process while also discovering the fundamentals of dramatic structure that will help you tell the story of your play. Each week in the first term, you will write a short scene taken from The Playwright’s Guidebook, which we will use as a basic text. At the end of the first term, you will write a short but complete play based on one of these short assignments. In the second term, you’ll go on to adapt a short story of your choice and then write a play based on a historical character, event, or period. The focus in all instances is on the writer’s deepest connection to the material—where the drama lies. Work will be read aloud in class and discussed in class each week. Students will also read and discuss plays that mirror the challenges presented by their own assignments.

Faculty

Experiments in Theatrical Writing

Intermediate , Component—Year

This class meets once a week for four hours (with breaks).

在这个过程中,我们将探讨,讨论和建立实验戏剧文本,使用的技术,如手机,电脑,铅笔,等等。什么推挤戏剧传统和定向向外朝新的和不熟悉的是我们会想到的是实验性的。实验,我们将在我们的为期一年的旅途遇到包括时间,地点,升级,结构,人物,人物塑造,语言和风格的领域。实验中的概念,即从戏剧出发约定向是如何改变的观众响应的举动,并在一出戏 - 这,反过来,如何改变观众察觉其行为在世界上反映发现的目的。我们将探讨当代实验戏剧文本,演出和戏剧的外观,感觉和声音如何各项工作讨论。我们将讨论作品的文化,历史和个人背景。我们会寻找在这些上下文可能激发并告知我们自己的写作方式。我们将使用这些作品为出发点,在不同的到达目的地的意图产生我们自己的实验作品。我们会从大脑的不同部位写,从深深的潜意识的深刻分析。我们会考察现代技术可辅助或阻碍,我们讲故事的方式。

Faculty

Developing the Dramatic Idea

Intermediate , Component—Year

This class meets once a week.

它从来没有停止给我带来惊喜:现场演员带来的话生活,导致笑声,宣泄,并在最好的,改造真棒仪式。这种神奇的开始你的剧作家。发展你的想法戏剧性提供了机会,探讨什么玩法都可以和它可能意味着写剧本。你将调查的潜力,并通过现有的剧本分析剧作,写作和workshopping自己的戏剧在进步,提供建设性的反馈意见,以你的同学,并有效地修正自己的工作所面临的挑战。您将开发的技能和词汇来谈论戏剧和认识结构,讲故事,和内容的挑战。到今年年底,你将不得不看到剧本,读了一些bt365体育剧本创作剧本和散文。你已经写了几个场景,短剧,和独幕剧。

Faculty

Writing for Diversity

Open , Component—Year

See full course description under One-Credit Lectures.

Faculty

DownStage

Intermediate , Component—Year

This class meets twice a week.

前台是一个密集的,动手创意舞台制作发布会。作为SLC戏剧课程中的前台组件的一部分,学生生产管理金融和运行一个独立的戏剧公司的基础上,非营利性剧院模型。同时,学生们制定一个任务说明,然后收录并支持这一使命的生产季节。学生负责生产的各个环节,确定预算和销售全季节事件和生产的,无论是在人与在线。学生填写技术和艺术的立场和坐下如运作剧院组织的董事会。除了自己的义务上课,指定的制作,前台生产者预计将定期举行办公时间。之前生产的经验并不是必需的。

Faculty

Production Workshop

Intermediate , Component—Fall and Spring

This course is required for directing, assistant directing, and playwriting students whose productions are included in the fall 2020 and spring 2021 theatre program seasons. This class meets once a week.

The creative director of the theatre program will lead a discussion group for all of the directors, assistant directors, and playwrights participating in the fall theatre season (including readings, workshops, and productions). This is an opportunity for students to discuss with their peers the process, problems, and pleasures of making theatre at Sarah Lawrence College (and beyond). This workshop is part problem-solving and part support group, with the emphasis on problem-solving.

Faculty

Stage Management

Open , Component—Year

This class meets once a week during fall semester; spring semester is devoted to mentored production practicums.

This course is a hands-on laboratory class in the skills, practices, and attitudes that help a stage manager organize an environment in which a theatrical team can work together productively and with minimum stress. Classroom exercises and discussion augment the mentored production work that is assigned to each student. Script analysis, blocking notation, prop management, and cue writing/calling are among the topics covered. Knowledge of, and practice in, stage management are essential tools for directors and useful supplements for actors and designers.

Faculty

Tools of the Trade

Open , Component—Year

This class meets once a week.

This is a stagehand course that focuses on the nuts and bolts of light-board and sound-board operation and projection technology, as well as the use of basic stage carpentry. This is not a design class but, rather, a class about reading and drafting light plots, assembly and troubleshooting, and basic electrical repair. Students who take this course will be eligible for additional paid work as technical assistants in the theatre department.

Faculty

Theatre and Civic Engagement: Methods of Civic Engagement

Open , Component—Year

This class meets once a week.

用音乐和戏剧的媒体,这门课程对学生的新社区工作将呈现所需剧院的社区扩展的结构开发独创的,面向问题的戏剧性的材料。性能和教学团队将与小剧场,学校,资深公民团体,博物馆,中心和庇护所工作。制作和一流的计划将与各组织和我们的旅游团体协商后作出。我们将与儿童剧场,观众的参与和教育戏剧工作。教学和演奏技巧将专注于过去和现在的口述历史和跨文化材料的用途。社会学和心理学的动力将被研究作为戏剧的作用及其对学习的连接的探索的一部分。每个学生都会有一个服务学习团队的位置。特殊项目的评价和主题将包括开发新类型的课外活动,风格和社区的形式使用影院的现场表演,媒体技术谁教艺术家和作品与bt365体育在线人类遗传学计划。这门课程继续成功的过程为中心的目标和长期建立的SLC影院推广方案的成熟的社区建设技术和原理。

Faculty

Theatre and Civic Engagement: Teaching Artist Pedagogy Conference Course

Advanced , Component—Year

This class meets once a week.

I believe that education, therefore, is a process of living and not a preparation for future living. —John Dewey

这周的会议过程中,为研究生和本科生有广泛社会经验,探讨了实践教学的艺术家的体验视角,通过每周一次,为期一年的社区安置开发教学技能和技巧。该课程探讨教学理论和学科课程影院之间进行连接和跨接的走向变革的实践线索。当然读数将探索弗莱雷,男的著作。 C。理查兹,钟挂钩,等等。这门课程继续成功的过程为中心的目标和长期建立的SLC影院推广方案的成熟的社区建设技术和原理。

Faculty

Theatre and Civic Engagement: The Theatre and the Community

Intermediate , Component—Year

This class meets once a week.

本课程将提供从探索和社区延伸,教学和剧院制作技艺的强大基础。兴趣是需要探索的个人表现材料和扩大和发展的技能。学生们会发现体验式学习,通过每周一次的SLC影院推广放置构建教学技能的实用方法。这种安排,在学校,图书馆,博物馆,社区中心,无家可归者收容所,通常是在反映利益,故事,和各个参与者的经验的过程为中心的,非正式的演讲长达一年,通常达到高潮。我们将探索社区工作的当代社会政治和艺术问题的应用程序。课堂阅读和讨论将探讨有关戏剧制作和艺术教育工作者在社区工作作为社会变革和社会公正剂的政治作用的理论和实际应用。当然是开放给谁想要通过社会政治镜头,并通过使有志于应对我们这个时代的疯狂的政治学生探索个人材料的所有学生的差异,但它们也可以,或大或小,通过戏剧技巧共享。课程是开放的呼风唤雨,剧作家,演员,设计师和视觉艺术家。在城市地区扩展类项目可能包括在公共场所表演,创建网站特有的视频,记录社区的口述历史,和旅行车。教育家约翰·保罗·莱德拉克要求与“道德想象”诚,能够连接艺术家“留在此地接地,其所有的暴力和不公正,而静态成像和向更肯定生命的世界而努力。”这门课程继续成功的过程为中心的目标和长期建立的SLC影院推广方案的成熟的社区建设技术和原理。

Faculty

Theatre and Civic Engagement: Curriculum Lab

Open , Component—Year

This class meets one a week.

这是一个需要每周课程谁是分享他们的戏剧和创作技巧在周六饭盒戏剧课程的学生。课程实验室将通过18通过这个每周实验室探究儿童六岁的创建和跨学科课程教学的发展,直接连接到周六午餐盒剧院,学生将深入了解儿童发展的原则,课程规划技能,课堂管理策略。通过探究和反思,学生将扩大他们的批判性思维的过程,同时也利用实际的教学方法,适用于多种学习类型和级别的技术。这门课程继续成功的过程为中心的目标和长期建立的SLC影院推广方案的成熟的社区建设技术和原理。

Faculty

Dramaturgy

Open , Component—Year

This class meets twice a week.

Dramaturgy is a term that refers both to the study of dramatic theory as well as to the practical job of working with the creative team of a production to provide background and information on the play in question. This class will address both of these aspects of dramaturgy. Students will spend roughly half the time studying dramaturgical theory while simultaneously learning how to do the necessary research, which they will then distill into a concise form that can be easily digested by the director, actors, and designers.

Faculty

Performance Research

Advanced , Component—Year

Open only to seniors. This class meets once a week.

我们如何,作为艺术家,从事与加速,破碎,技术注入世界?我们如何,作为创作者,生产我们在目前的经济压力,工作的?现代的做法是一个为期一年的课程,着重于艺术家和处理这些问题,并期待思想家我们如何宅院我们的实践领域。学生将调查进行护理,现代舞蹈,戏剧投机,沉浸式影院,共存,性能歌舞表演,postdigital策略,社会,从事艺术,混合现实表现,更加当前和新兴的做法。课程将围绕每周的实地调研,阅读,讨论,演讲,体现实验室,创意/专业发展的结构。我们将建立一个技能,网络和知识基础的阐明和支持我们的工作,并与合作者,组织,和观众参与。 

Faculty

Anatomy

Component—Year

Prior experience in dance and/or athletics is necessary. Students who wish to join this yearlong class in the second semester may do so with permission of the instructor.

How is it possible for us to move in the countless ways that we do? Learn to develop your X-ray vision of human beings in motion through functional anatomical study that combines movement practice, drawing, lecture, and problem-solving. In this course, movement is a powerful vehicle for experiencing, in detail, our profoundly adaptable musculoskeletal anatomy. We will learn Irene Dowd’s Spirals©—a comprehensive warm-up/cool-down for dancing that coordinates all joints and muscles through their fullest range of motion, facilitating study of the entire musculoskeletal system. In addition to movement practice, drawings are made as part of each week’s lecture (drawing materials provided), and three short assignments are submitted each semester. Insights and skills developed in this course can provide tremendous inspiration in the process of movement invention and composition.

Faculty

Anatomy Research Seminar

Component—Year

这是谁已经完成解剖研究的全年在SLC舞蹈节目追求功能解剖研究更深入地为学生提供了机会。在期间主题班会与老师公开协商,每个学生接合在自主研发,开发的查询一行或多行利用功能解剖学观点和文本作为一个组织框架。近年来的研究主题包括电机和体验式学习,以解决特定的个人技术问题,研成动能的经验和它的语言表达独特的热身顺序发展的调查,膝关节解剖学的详细研究,以及研究运动学和膝伤的康复。该类满足双周讨论进展情况,问题和报告撰写,并提出研究,交流与每周工作室/练习个人和/或集体研究磋商方法。

Faculty

Ballet

Component—Spring

Students may enter this yearlong course in the second semester with permission of the instructor.

Ballet students at all levels will be guided toward creative and expressive freedom in their dancing, enhancing the qualities of ease, grace, musicality, and symmetry that define this form. We will explore alignment, with an emphasis on anatomical principles; we will cultivate awareness of how to enlist the appropriate neuromuscular effort for efficient movement; and we will coordinate all aspects of body, mind, and spirit, integrating them harmoniously.

Faculty

TBA

Butoh

Component—Spring

This class is open to dance, theatre, and any other students who are curious and interested in discovering alternative approaches to body and movement practices.

In this class, students will engage in a series of somatic, improvisational movement and vocalization practices that reflect principles of butoh, Zen, and Noguchi Taiso (Water Body Movement). Through engaging in those practices, we will explore a way to liberate our body from a sense of self and from existing concepts of a body in order to realize unprecedented transformation and evolution of the body. Students will be descending a ladder into a well that is hidden deep inside the body and will keep digging the well until the water splashes out.

Faculty

TBA

Composition

Component—Spring

组合物的字面意思是将材料(即,生物,既生命和无生命),动作,行动,声音,词语,光等彼此。组合物是创建关系,两种材料之间和时间和空间内的过程。各种教职员工带来不同的方法,以艺术创作和组成的当代实践。这当然是教和通过舞蹈的具体化的做法,但原理可普遍适用于任何的艺术形式。学生将被要求建立并执行研究,直接彼此,分享和讨论与同龄人的想法和解决方案。学生不需要做成品,而是在挑战和严格的发挥自己的快乐参与。这当然是最适合谁已经完成开始即兴的学生。

Faculty

TBA

Conditioning for Dancers

Component—Fall

Open to all students taking a Dance Third.

这个班给学生的工具来开发实践,在移动身体支撑的寿命。每周一次的解剖学和运动学的讨论之后,将根植于普拉提动作练习,瑜伽原理,体重训练,心血管训练,释放的方法和物理治疗的练习,所有专为舞蹈演员的需求。我们将研究这些模式如何支持体和现代舞蹈的做法,从而建设更多的范围和机会在体内。班级是一个空间,让学生探讨个人的运动模式和开发工具,以支持他们的个人舞蹈的做法。

Faculty

Guest Artist Lab

Component—Spring

This course is an experimental laboratory that aims to expose students to a diverse set of current voices and approaches to contemporary dance making. Each guest artist will lead a module of three-to-seven class sessions. These mini-workshops will introduce students to that artist and his/her creative process. Guests will present emergent, as well as established, voices and a wide-range of approaches to contemporary artistic practice.

Faculty

TBA

Hip-Hop

Component—Year

An open-level course teaching and facilitating the practice of hip-hop/urban dance technique and performance, the class will examine the theory, technique, and vocabulary of hip-hop dance. The course will facilitate the student’s development and ability to execute and perform hip-hop/urban dance steps.

Faculty

Hula

Component—Fall

This beginning-level dance class is designed to introduce students to Hawaiian hula dance through percussion, song, and dance. Through demonstrations and movement participation, students will explore a variety of movements and learn basic hula terminology from the distinct and unique culture of the Polynesian islands. Students will design a storyline through the hula movements learned over the course of the semester.

Faculty

Lighting in Life and Art

Component—Year

光的电磁辐射的形式,让我们看到。光的质量及其与空间的互动产生深远影响的经验影响。我们都知道,一个盛夏的下午的感觉是不一样的,一个阴天,灰色午后或地铁车厢或日落或与满月的夜晚。什么光的质量产生这些不同的感受?各具特色的光的技术和实践是该组件的主题。我们将研究光在多个设置的理论和实践方面。这将注意到我们可能通常会忽略的做法开始。从那里,我们将接近学习如何制作的光主要条件,但不是唯一,一个戏剧性的环境中。了解历史惯例剧院特别是那些在美国戏剧舞蹈的状态,将提供一个出发点,开始觉得超出历史惯例。重点将放在学习基本技能的照明,包括舞台艺术。学生将与合作,并为原来的照明设计,当这种需求是适合于艺术的提议基于时间的艺术作品。

Faculty

Movement Studio Practice

Component—Year

This course will be taught by various faculty, and there will be various levels of the course. Level 1 will be taught by Peggy Gould. Level 2 will be taught by Jodi Melnick and Angie Pittman. Level 3 will be taught by John Jasperse and Angie Pittman.

In these classes, emphasis will be on the steady development of movement skills, energy use, strength, and articulation relevant to the particular style of each teacher. At all levels, attention will be given to sharpening each student’s awareness of time and energy and to training rhythmically, precisely, and in accordance with sound anatomical principles. Degrees of complexity in movement patterns will vary within the leveled class structure. All students will investigate sensory experience and the various demands of performance.

Faculty

Music for Dancers: The Logic of Interaction

Component—Spring

该组件将学生提供来自世界各地的玩打击乐器全阵列机会:非洲djembes,巴西zurdos,阿根廷邦博,秘鲁卡洪和基哈达,印度塔布拉,传统的陷阱,等等。学生们也将能够编写和执行电子鼓,如wavedrum和handsonic。重点将是加强对舞者的音乐的全部知识普遍,但拓宽编舞,演员和作曲家的词汇,也是如此。该组件的目的是给予学生在音乐,舞蹈的关系的理解,需要充分沉浸在自己的工具,和表演艺术。学生将扩大他们的术语和执行方面的知识,将能够学习符号的基本雏形。我们将分析从两个视知识和文化点音乐的互动。我们将学习如何扫描乐谱不同程度的复杂性和探索已通过时间,通过不同的地理和社会条件发展的不同节奏的风格。班会由乐队演奏的。所有的仪器将提供和实践提供。

Faculty

TBA

Performance Project: Rosas danst Rosas

Component—Fall

Fumiyo Ikeda, assisted by John Jasperse

In 1983, Anne Teresa De Keersmaeker had her international breakthrough with Rosas danst Rosas, a performance that has since become a benchmark in the history of postmodern dance. Rosas danst Rosas builds upon the minimalism initiated in Fase (1982): Abstract movements constitute the basis of a layered choreographic structure in which repetition plays the lead role. The fierceness of these movements is countered by small, everyday gestures. Rosas danst Rosas, originally created in 1983, is unequivocally feminine: Four female dancers dance themselves, again and again. While the choreography will remain the same, this restaging in 2020 will be framed with a contemporary viewpoint on gender; students of any gender identity are welcome. The exhaustion and perseverance that come with it create an emotional tension that contrasts sharply with the rigorous structure of the choreography. The repetitive, “maximalistic” music by Thierry De Mey and Peter Vermeersch was created concurrently with the choreography. This restaging of Rosas danst Rosas will focus primarily on the 2nd movement. The Fall 2020 Dance Program Performance Project, Rosas danst Rosas (1983) by Anne Teresa De Keersmaeker, is made possible with the generous support of the Barbara Bray Ketchum Artist-in-Residence Fund.

Faculty

Time-Based Art

Component—Year

在这个类中,研究生和高年级与创造跨越不同学科直接个别项目基于时间的艺术作品将设计和特殊的兴趣和经验的本科生。学生和教师将每周召开一次会议,查看作品在进步,并讨论相关的艺术性和实用性的问题,无论是在课堂上和正在发生的第二天下午的会议。跨越艺术创作的多学科的工作属性将作为工作积分和相互依赖的元件进行讨论。参与指导的关键响应反馈会议与您同行是课程的一个重要方面。随着时间的媒体的参与,的演示文稿的制约工程无论是在作品在进步和事件的共享程序,以及需要尊重舞蹈工作室的课堂和展示空间将被处以的约束学生的艺术建议。同时,通常,许多这类作品可能包括可能属于舞蹈的纪律下具体化的行动,这当然是开放给谁是有兴趣在跨越传统学科的艺术界限培养话语任何学生,无论是在开发工作的进程,并演示的情况下向公众开放。作为这样的现场表演列入不是必需的。朝学期,冬春基于时间的艺术活动范围内结束,这当然将在展览,放映,和作品的表演达到高潮在一个共享的程序与所有在校学生。表演,放映,和展览将发生在贝西·施贝格歌舞剧院或其他地方在校园中的特定站点的情况下工作。

Faculty

West African Dance

Component—Year

Students may enter this yearlong course in the second semester with permission of the instructor.

这个为期一年的过程将使用物理实施例为了解和理解非洲流散文化的模式。除了身体的做法,大师班率领视为非洲流散舞蹈和音乐,以补充学习材料沿领域大师的艺术家和教师,将被用于探索的广度,多样性,历史和技术舞蹈衍生物在非裔。黑人海天,西非,Orisha的舞蹈(lucumi,非洲裔古巴)和交谊舞一些流派,将进行探讨。年终看房的参与将提供学生在表演方面应用研究的机会。

2D Animation: Short Narratives

Open , Seminar—Year

Instructor: Robin Starbuck, fall; Scott Duce, spring.

在这个课上,学生通过重点打造的动画练习和短裤的过程中发展一帧一帧动画和短讲故事的技巧。指令包括故事发展,可视化,字符,连续性,定时,数字抽选,的rotoscoping,和合成。所有填写一份简短所需的生产步骤,动画电影的示范和应用,在秋季,通过练习,旨在生产最终短的,每个学生或学生团队的动画电影,在春季学期。与会者将制定并通过针对翻译理念融入运动图像的故事设计和动画基础练习完善自己的个人风格。数字式绘制的图像(具有包括真人和照片的选项)将在同步被组装到声音。合成练习覆盖大范围的运动图形的功能,包括:绿色屏幕,关键帧,时间轴特效,二维和三维空间,分层,和照明。在一帧一帧动画的工作,学生将提供和谐的总理,一个创意,高效,数字化的影视动漫产业所使用软件的丰富的工作经验。学生工作的方法,包括学生自己的计算机或数字平板电脑上的数字图。教学系统,这是一个在线课程包括小(3-4名学生)的在线小组会议,与教授单对一个人会议的会议交替。这个系统可以让学生形成社区团体,同时还提供每个人有按照自己的创作兴趣进步的机会。如果类在校园里遇到,我们将继续与类别股东会议和个别会议。学生必须能够访问互联网连接和可靠的计算机能够处理媒体软件。当然要求:(分钟)1吨媒体外部硬盘驱动器和数字绘图板。软件和在线会议系统TBA。事先没有图纸或动画的经验是必要的。 

Faculty

Sarah Lawrence Virtually Live: Creating the Prerecorded Comedy-Variety Show

Advanced , Small seminar—Year

In this yearlong advanced course, writers and performers of the “Sarah Lawrence Live” ensemble project will develop, write, and virtually record 10 20-minute segments of a comedy variety show to be screened for the campus on a schedule throughout the year. The episodes will also be posted online on an SLC live website. Using the recent inspirational platform of the virtual Saturday Night Live 显示,该类将犁提前进入了前所未有的创造力和bt365体育在线的能力和完成它。剧组成员将充当主机和引进节目,引导观众通过节目。每个段将展示SLC喜剧和戏剧小品,电影短片,并通过SLC校友,在校学生,以及音乐节目创作的原创音乐剧的演出。历史和当前的电视节目将探讨以供参考和启示。使用即兴技巧,写作提示和戏剧练习,虚表,读取,和小组讨论将建立一个有凝聚力,协作,共同创作团队。该节目的编辑将是一个动手的项目集合中的创意和技术合作。

Faculty

Shakespeare and the Semiotics of Performance

Open , Lecture—Year

一出戏的演出是涉及远远超过其所接地的文学文本复杂的文化活动。首先,有戏剧本身,某个城市的某个邻域内具有一定形状和公用事业的建设。在舞台上,我们有演员和他们的训练,姿势,分期,音乐,舞蹈,服饰,可能布景和灯光。台下,我们有观众,它的妆容,和它的反应;谁运行剧场,为什么他们这样做的原因的人;最后是社会环境中的影院存在。在这个过程中,我们研究了所有这些元素作为传达意思(符号学)的意义-a世界,其寿命是几个小时,但其意义是永恒的符号系统。莎士比亚的戏剧是我们的文本。在伊丽莎白的英格兰重建这些剧目的演出我和詹姆斯一世是我们的起点。看到如何将这些戏剧有过接洽,并重新设想了几个世纪是我们的旅程。跟踪他们的难以捉摸的含义 - 从莎士比亚的木制Ø内他们在适应当代电影是我们的工作。

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Japanese Literature: Translations, Adaptations, and Visual Storytelling

Open , Small Lecture—Spring

No previous background in Japanese studies, literature, art history, or film history is required for this course.

This lecture course is an introduction to Japanese literature from the 10th century to contemporary fiction, and we will explore the connections between and among literary texts, translations, and visual adaptations—paintings, hand scrolls, performing arts, film, and manga. We will read selected works of Japanese literature in English translation(s), including early Japanese tales such as The Tale of the Bamboo Cutter, The Tale of Genji, Life of an Amorous Woman, and modern novels and short stories by writers such as Shimazaki Toson, Hayashi Fumiko, Ota Yoko, Nakagami Kenji, and Murakami Haruki. With each text, we will examine other texts that are in conversation with these literary works and explore the content and forms of those conversations. In addition to the lectures, there will be weekly group conferences and regularly scheduled film screenings throughout the semester.

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Forms and Logic of Comedy

Open , Seminar—Year

Comedy is a startlingly various form that operates with a variety of logics. Comedy can be politically conservative or starkly radical, savage or gentle, optimistic or despairing. In this course, we will explore some comic modes—from philosophical comedy to modern film—and examine a few theories of comedy. A tentative reading list for the first semester includes a Platonic dialogue (the Protagoras), Aristophanes, Plautus, Juvenal, Lucian, Shakespeare, Molière, some Restoration comedy, and Fielding. In the second semester, we may read Jane Austen, Stendhal, Dickens, Mark Twain, Oscar Wilde, Kingsley Amis, Philip Roth, and Tom Stoppard. We will also look at film and cartoons. Both semesters’ reading lists are subject to revision.

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Imagining War

Open , Seminar—Year

This is an interdisciplinary course.

War is one of the great themes in European literature. The greatest works of Greco-Roman antiquity are meditations on war; and as an organizing metaphor, war pervades our attempts to represent politics, economics and sexuality. Efforts to comprehend war were the genesis of the disciplines of history and political science; and the disaster of the Peloponnesian War forms the critical, if concealed, background to first great works of Western philosophy. We’ll begin the first semester with readings from the Iliad, Thucydides, Plato, and Augustine and go on to study the Aeneid, Machiavelli, Shakespeare’s Second Tetralogy, and Hobbes. In the second semester, we’ll look at the origins of political economy, among other things a discipline that sought to transcend the military metaphor; at Marxism, which remilitarized the language of political economy; at Byron’s mock epic, Don Juan; and at two 19th-century novelists, Stendhal and Tolstoy—one of whom described war directly, and the other used it as an organizing metaphor for erotic, economic, and political life. We’ll conclude with a look at some 20th-century literary, artistic, historical, and critical attempts to represent war with an allegedly unprecedented accuracy.

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Interrogating God: Tragedy and Divinity

Open , Seminar—Fall

希腊众神出席狄奥尼索斯古剧场,这既承认和挑战他们在人类事务中参与演出。神圣的在场启用了民间机构,城市,宇宙之一,谈话其主题是bt365体育经验的本质和其可能的意义共享的故事进入到对话:悲剧。神威大约是在后期playgoing少相投,但它似乎已经借给悲剧既要脱胎换骨的动力,并解决宇宙甚至基督教,启蒙运动,浪漫主义确定,并在工业时代重新构想了。在这个过程中,我们应阅读必不可少的西方文本中人类苦难的不断面临和神的质疑,即使他们改变自己的形状。我们的作家中是埃斯库罗斯,莎士比亚,歌德,拜伦,易卜生,贝克特,格拉斯贝尔独,和奥古斯特·威尔逊。

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The World According to Ariyoshi Sawako

Open , Seminar—Fall

No previous background in Japanese studies or literature is required for this course.

In this seminar, we will read a variety of works by Ariyoshi Sawako (1931-1984), one of Japan’s most talented storytellers in the last century. Ariyoshi’s novels vividly portray the lives of women in different historical moments, such as the dancer Okuni, the originator of kabuki theatre, in Kabuki Dancer; the wife and mother of Hanako Seishu, the first surgeon to perform surgery using general anesthesia, in The Doctor’s Wife; and a mother, daughter, and granddaughter whose lives reflect changes in modern Japan in The River Ki. Many of Ariyoshi’s works also expose social issues, such as The Twilight Years, her immensely popular novel on the challenges of caring for aging parents, and Compound Pollution,她带来了更大的公众关注化肥和杀虫剂的有害影响的环境小说。在她的写作生涯的早期,有吉获得了洛克菲勒基金会的奖学金,以研究在bt365体育在线,我们也将考虑她的bt365体育如何体验可能影响她继承了母亲以后的写作方向。有吉文学将为我们提供一个镜头要考虑各种专题,如日本的表演艺术,历史,性别,社会问题,和翻译。除了这些读数,我们将看到有吉的文学作品的一些电影改编。

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Theory for Reading

Open , Large seminar—Fall

In this introductory class, we will deepen our understanding of how the acts of writing and reading have been understood in the Western tradition since antiquity and what they mean for us today. Each week, we will pair a piece of fiction or poetry with a philosophical or theoretical commentary. We will thus read Homer in the context of Plato and Aristotle’s understanding of poetry and fiction but with also in mind Nietzsche’s criticism of Platonism in The Birth of Tragedy. In the same spirit, Walter Benjamin’s use of Marxist theory will help us read E. A. Poe’s fiction and Baudelaire’s poetry in the context of mid-19th century Paris. We will also discuss Shakespeare’s Hamlet in light of its psychoanalytical readings by Freud and Lacan and analyze Kafka’s Metamorphosis alongside Deleuze and Guattari’s theorization of marginal forms of writing. Feminist and gender theory with Beauvoir and Butler, linguistics with Barthes, works by Foucault and Baldwin will also be discussed. Students will be encouraged to apply the material of this course to other texts of their choice. There are no conferences associated with this seminar, but students will have the option of developing a small personal research project.

Faculty

Wilde and Shaw

Open , Seminar—Spring

向19世纪末,王尔德一再表示,他是“爱尔兰人” - 和,因此,超越善恶由绅士的定义代码,而萧伯纳认为民族主义的忠诚荒谬和(预言,鉴于战争20世纪)致死。在他们的立场,我们就可以开始看到的复杂性和爱尔兰的身份民族边缘化,宗教狂热(世俗),语言游戏,知道的矛盾如何笑声告知他们的最终自定义世界公民,从而他们能够时装独特挑战着艺术。它也是毫不夸张地说,每一个离开并不像他发现它的英文语言。王尔德的一生是短暂的,我们将看他的作品的一个很好的协议:他的童话,他的戏剧,他的小说,他的许多诗歌,他的很多论文。 Shaw的寿命很长,我们将专注于他的戏剧第一次世界大战以前写的,有两个出色的痛苦战后作品一起: Heartbreak House and Saint Joan. And, in both, we shall see how revolution can come disguised in conventional forms, as both playwrights transform drawing-room comedy into political commentary whose implications have yet to be resolved.

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Advanced Interdisciplinary Studio: Our Nine Senses

Advanced , Seminar—Year

本课程是针对那些有兴趣在跨学科和更深入地追求自己的艺术创作过程工作先进视觉艺术的学生。让学生在工作和整个油画,素描,雕塑,录像,摄影,声音,新的风格和性能的支持。学生将保持自己的工作室空间,将有望独立,创造性地开展工作,挑战自己和同伴去探索思维和制作的新途径。秋季开学期间,学生将可根据九级人的感官(视觉,听觉,嗅觉,味觉,触觉,平衡,温度,本体感觉和疼痛)从他们将被要求实验如何开放式的,探索性的提示他们做工作,并鼓励中新的媒介工作。在春季学期,学生将专注于自己的利益,将有望开发出配上两个群展独立工作的一个复杂的,有凝聚力的身体。我们会定期的批评,阅读,图片讨论,并前往画廊和艺术家工作室,并在视觉艺术系列讲座将整体参与。这将是热衷于制造工作在一个跨学科的环境艺术处分学生身临其境工作室课程。

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Performance Art

Open , Seminar—Spring

自20世纪早期,艺术家已经探索行为艺术作为一种表达自由基手段。在形式和功能,性能先进推动当代技术的界限。通过这种形式表达的,艺术家们制作bt365体育身体和性别,性倾向和种族政治力量的作品。这门课程的调查行为艺术作为一种多孔性,跨学科中开放给所有学科,包括油画,素描,版画,摄影,雕塑,影像,电影,戏剧,舞蹈,音乐,创意写作,以及数字艺术系的学生。学生将学习有关的行为艺术的历史和探讨一些用于创建的政绩工程的概念和审美策略。历史和重要文本,艺术家的作品,录像放映,及幻灯片讲座绘画,学生将使用一系列简单的提示,以帮助塑造自己的表演。在此类调查的艺术家和艺术运动包括达达,发生的事情,激浪,维也纳行动主义,具体美术协会,ACT-起来,约瑟夫·博伊斯,贾德森教堂,全日空门迭塔,吉娜窗格,Helio公司奥蒂,杰克·史密斯,利·鲍厄里,雷切尔·罗森塔尔,JO斯彭斯,克里斯负担,维托阿肯锡,巴斯·贾恩·阿德,特里·阿德金斯和独狼演奏团,卡罗利·施奈曼,玛尔塔·威尔逊,阿德里安派,玛尔塔·罗斯勒,洛兰·奥格雷迪,琼乔纳斯,格伦·芬利,贾尼娜·安东尼,张怡, PAPO结肠,保罗·麦卡锡,马修·巴尼,润·阿西,ORLAN,吉列尔莫戈麦斯拿,纳西西斯特,安妮洒,阴道戴维斯,克里斯灰色,卡洛斯马尔蒂耶,秋骑士,阿曼达Alfieri的,轩尼诗扬曼,草原努普,肖恩莱昂纳多,弗朗西斯阿吕思,安德烈·弗雷泽,塔尼亚·布鲁格拉,张洹,里贾纳何加林,AKI sasamoto,pope.l,等等。

Faculty

Senior Exhibition

Advanced , Concept—Spring

Requirements: To be eligible for a senior exhibition, you must have at least 20 credits in the visual and studio arts by the end of your fall semester as a senior. Interested students are encouraged to attend an informational meeting in the fall semester of their senior year (date and time TBA).

本课程是针对那些希望展示他们的作品在一个单独的资深展览的学生。通过小组会议和一对一的一个参观工作室的组合,我们将讨论你的工作的发展,一般概念和安装一个个展,并在安装自己的作品中演出的过程中固有的各种实际考虑。学生将有望参观画廊和博物馆展示研究和再创造,并在学期中安装自己的个展,并伴有少量印刷目录记录他们的表演。所有学生必须参加开幕酒会(时间待定),我们将参观展会各为一组给予反馈和批评。其他类将覆盖写一个艺术家陈述,记录你的工作,专业实践,等等。

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The Episode: A Course in Connections

Open , Seminar—Spring

这将是在情节的课程,组建内容虚构或非虚构,在这个世界上或者其他的灵活方式。情节,我们知道最好的在线流媒体。我们也看了他们,往往没有注意到他们的形式。他们是来自章节或短篇小说不同。我们将通过介绍对方给我们的收藏开始。然后我们会做足够的练习,以赶上我们自己做正确的事情,并继续下去,直到我们有六分集连接,不一定传统。这些都将得到支持和小团体批评,而每周锻炼得到呈现给大家。这当然是偷偷摸摸的方式让人们编写和修订东西长一段时间。学生可以写小说或纪实,成人或儿童,以及包括诗歌,歌曲,或图纸在他们的工作。 

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Writing About the Arts

Open , Seminar—Fall

这个类将检查并产生了一系列的工作,从新闻到关键的,从实用到神秘,艺术写作的广阔景观。我们会写五线谱音符,目录拷贝的画廊展示,短的评论,长的评论,批评文章,并在我们的艺术家的经验和他们的工作深和主观内饰冥想。我们将跨越时间可能包括广泛的阅读,但不限于,塞缪尔·约翰逊在理查德·萨维奇,华兹华斯和柯勒律治自己,瓦格纳尼采,阿米里·巴拉卡在比利假日,在托马斯·哈代弗吉尼亚·伍尔夫,对莎士比亚托马斯德昆西,詹姆斯鲍德温对理查德·赖特,古尔德在芭芭拉·史翠珊。爱德华料斗标记链上尼古拉斯射线,波林凯尔上SAM佩金帕戈达尔。学生应该感到自己有一个或两个艺术形式熟悉自信,广义地理解,而且应该想到,与一起阅读,写一些小和两个大(8-12页)件。会议的工作将包括对那些艺术家或艺术作品,或两者的研究项目,该类的成员,与导师协商,决定为他们的特殊省。

Faculty

Ecopoetry

Open , Seminar—Year

在诗歌和生活的这个诗歌类了为期一年的学世界,我们会考虑的巨大有机体盖亚,这对我们是一个组成部分。我们将阅读和每周写诗。我们会问的问题:我们什么时候开始认为大自然远离我们?为什么我们开始将动物的发言,因为如果我们不也是动物吗?什么是已经确定了我们对我们是什么,我们认为态度故事和神话?我们会读一些故事和神话(创世神话;伊甸园,失去花园)。我们将通过禅僧和华兹华斯,并通过斯奈德一直到彻底当代诗人现在写读悠久而丰富的传统诗歌的解决本身这个问题上,从早期的土著民族。我们将阅读书籍和让我们对其他动物和生活的实体,我们称之为植物和树木行星和星系的文章。每个学生将研究生活世界的一个方面,并教导我们其余的所学。我们将编写整合知识的诗。我们会吟诗的书也看电影,采取实地考察,并会见班每周日的诗歌外彼此。在课程结束时,我的希望是,我们每个人都会有一个更深入的了解伟大的生物,我们称之为地球,将创建一个参与的问题,我们的类引发的诗集:是什么时候?什么是死亡?什么是伊甸园?这里是花园呢?谁是其他生物?怎么会有我们作为一个物种,影响了其他生物?是如何影响我们的海洋,大地,空气?如何才能诗歌地址的全球性的危机?为此需要等级:求知欲,同情,并观察世界,要注意,和写诗的事项的意愿。这是一个有经验的作家一类,以及为那些谁要给写诗一试。欢迎各界人士。

Faculty

Poetry: On and Off the Page

Open , Seminar—Spring

我们将每周从20世纪后期以及更近的课文读了一本诗集,作品的混合。我们会花每一类的半讨论每周阅读和每个班级讨论学生工作的另一半。在学期结束时,学生将转向的投资组合的诗,与每首诗至少两个初稿。除了阅读和写作类,学生将有两个大型会议项目。春假前,每个学生将通过戏剧死诗人呈现的一首诗。这不仅仅是记忆和背诵一首诗;这是知道一首诗这么好,你可以说出来,好像是这几个字是从你雨后春笋。在以后进行,学生将选择一个位置,在校园里,然后,戏剧性地出现在特定的位置自己的一首诗。这两个会议的项目将需要更多的排练时间超出了上课时间。

Faculty

Poetry Workshop: Wearing a Mask: Persona Poems

Open , Seminar—Spring

When I state myself, as the representative of the verse, it does not mean me, but a supposed person.—Emily Dickinson, in a letter to Thomas Wentworth Higginson.

几个世纪以来,诗人们在其他人的声音说话。从早期的希腊人到莎士比亚,从惠特曼对艾米莉·狄金森,弗罗斯特,普拉斯,罗伯特·海登,露西尔克利夫顿,路易斯·格鲁克,帕特里夏·史密斯,尼克·弗林,乔丽·格雷厄姆,泰欣巴·杰斯等什么是可能的,当一个说话在人物的声音,是不是自己?通过人物在一个古老的故事或神话说话的时候什么是可能的?什么是可能的,当一个给声音一个字都不像自己?谁胆敢在花的声音说话?的蜜蜂?风暴?之星吗?如果一个给一个人的意识中的声音,声音的片段?在这个类中,我们将在那里读了诗人在不同的舌头说话或磨损别人或别的东西的面具诗。每个参与者将每星期预计深读指定的集合,与在每周日的诗歌另一名学生见面,并每星期在一个新的角色诗带来。我希望我们会发现,个人故事的范围之外是对同情,修订,难怪,指导,并找到另一种方式可能性的宇宙:倾斜。

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