Academics Theater
Research Area: Theater and performance studies.
Brenda’s specific areas of interest include popular culture, gender and performance and contemporary plays and playwrights.
Research Area: Performance history, theory, performance.
Paul’s specialty area is Shakespeare in performance, from the early modern period to 21st-century inventions.
Core courses offered in theater help students develop skills in a range of theater craft areas (acting, directing, playwriting, design and technology) and cultivate knowledge of dramatic literature, theater history and performance theory and criticism. All theater courses tend to explore the subject matter from broad perspectives. For example: an acting course may consider intellectual history or behavioral psychology; readings of Shakespeare may generate inquiries into how different cultures have “appropriated” Shakespeare’s plays over the past 400 years; and investigations of stage lighting design may involve some probing of Renaissance painting and principles of physics.
Collaboratively, faculty and students develop methods of learning and skills such as the ability to read critically, to research, to analyze and interpret, to formulate ideas and visualize concepts, to test and evaluate alternative perspectives, and to rigorously question our own judgments and those of our predecessors. Faculty endeavor to create as many opportunities as possible for students to explore their expansive interests in the means and methods of artistic expression. Performance work is regarded as a craft, a discipline and a medium for social change. Students are also encouraged to explore the world of theater beyond the Marlboro campus.
Areas of Interest for Plan-level Work:
- Directing
- Plays in performance
- Theater history, criticism, performance theory
- Shakespeare in performance
- Gender and performance
Starting Points (Basic and Introductory Courses)
A SURVEY OF DRAMA: FROM SCRIPT TO STAGE TO SCREEN (CDS518)
This course will survey a variety of scripts to develop an understanding of the complex ways that plays express themselves in performance audience. Toward this end, we will examine scripts and interpretive issues through discussion and analytical exercises. A parallel objective is to cultivate a range of basic skills—from observation and analysis to interpretation and presentation. For nearly all of the scripts that we read, we will examine performance models. Students may elect, for an additional 1 credit, to complete designated writing assignments in addition to the regular class readings, viewings and exercises. Prerequisite: None Introductory | Credits: Variable
ACTING I (ART54)
Acting I is a practical theater course that explores the tools and techniques necessary for developing characters onstage. The course will consist of various exercises, monologue work and scene study. Prerequisite: None Introductory | Credits: 3
AMERICA ON STAGE AND SCREEN (ART866)
An examination of selected works of American drama with a special interest in representations of character and conflict that reflect our cultural persona. Works of O’Neill, Miller, Williams, Albee, Shepard, August Wilson and S.L. Parks will be included. Prerequisite: None Introductory | Credits: 4
FEMALE PLAYWRIGHTS (ART890)
Through critical analysis of playwrights ranging from Susan Glaspell to Suzan-Lori Parks, this course will explore creative works by 20th and 21st-century female playwrights. Emphasis will be placed both on close textual study of the works and the realities of staging productions. Course materials will include primary texts, secondary analyses and essays situating the plays in the theatrical and historical contexts in which they were written, and, where available, viewings of recorded performances. Class format will be a combination of response papers, essay exams, discussions and presentations. Prerequisite: None Introductory | Credits: 4
DECONSTRUCTING SPACE & PERFORMANCE (CDS561)
An exploration of how space participates in performance, politics, civic ritual, and as a reflection of cultural values. Readings, research projects and film viewing will inform seminar discussion of an array of topics: e.g., sacred spaces, stages, altars, political arenas, site specific performance, architectural hierarchies in space and more. Prerequisite: None Introductory | Credits: 4
PERFORMANCE BY DESIGN: SCENOGRAPHY, LIGHTING, AUDIO (ART932)
This seminar/lab will explore diverse case studies of designed settings and environments for performance (theater, film, opera, dance). We will consider compositional techniques as well as how space, materials, objects, light and sound participate in telling a story. We will examine some aspects of historical and cultural aesthetics. Our studies of the designs of others will be complemented with practical experiments in creating sets, working with light and integrating audio. Projects. Prerequisites: None Introductory | Credits: 3
SHATTERED RAINBOWS: THEATRICAL WORLD OF TENNESSEE WILLIAMS (ART909)
Cultural references to the works of Tennessee Williams run the gamut from an opera of Orpheus Descending to The Simpsons episode in which A Streetcar Named Desire is updated to a musical titled A Streetcar Named Marge. Who in the United States hasn’t seen the film clip of Marlon Brando (or bugs Bunny) wailing for “Stella?” Yet, in addition to his cultural iconicity, Williams was a writer of astonishing depth and poetic imagery, capable of critiquing human frailty even as he celebrated the grand messiness of life. Williams wrote, “Whether or not we admit it to ourselves, we are all haunted by a truly awful sense of impermanence.” Through analysis of his plays, poetry, short stories and film versions of his texts, this class will explore the theme of “impermanence” in the works of Tennessee Williams. Prerequisite: None Introductory | Credits: 4
Pursuing Interests (Intermediate and Thematic Courses)
STAGING THE APOCALYPSE (ART927)
This course will explore the ways in which contemporary playwrights portray a vision of the secular apocalyptic. Although the topic has long been a staple of the science fiction genre, the apocalyptic has historically, and increasingly, occupied the theatrical stage as a warning against isolationism and complacency. The plays that make up the content of this class ask us, through their creative constructions of an apocalyptic landscape, to consider Christopher Woodward’s deceptively simple statement, “When we
contemplate ruins, we contemplate our own future.” In addition to analyzing dramatic texts, we will also read Cormac McCarthy’s The Road and several science fiction short stories, as well as view films and film clips as a way of establishing a context for theatrical interpretations. Prerequisite: None
Introductory | Credits: 4
VISIONS & REVISIONS: EXPLORING DYNAMICS OF DRAMATIC INTERPRETATION (ART590)
Writers compose visions into words, offering interpretation of life experience in literary form. Directors, actors and designers interpret scripts—converting written words into living expression presented to audiences. Audiences interpret performance—subjectively measuring experiential references against the evocation of performance. While interpretation is always mediated by individual values, tastes, education, cultural mores and other factors, interpretive practice inevitably involves recognition of choices, making of judgments, and the application of craft, creativity and critical refinement. Visions are subjected to “re-visions”—alternative perspectives, fresh retellings, reformed messages or even total subversions. Using Tennessee Williams’ drama A Streetcar Named Desire as a seminal focal point, the class will address a wide range of questions about dynamic influences implicated in layers of interpretation. Assignments will include readings, video viewings, some analytical exercises, some research pursuits and preparations for in-class experimental stagings of scenes (no acting experiences or aptitude required). Prerequisite: None Introductory | Credits: 4
ACTING II (ART2261)
Acting II is an intermediate course designed to continue the training and development of actors with previous class/performance experience. The goal of the class is to expand knowledge and skills gained in Acting I. Exercises and scene study work will culminate in a final scene project with partners. There is significant rehearsal time outside of class. Prerequisite: Acting I Intermediate | Credits: 3
ACTING SEMINAR IN PERIOD STYLES (ART904)
Robert Barton has noted, “We perceive style in terms of our expectations.” From the expansiveness of Elizabethan and Jacobean plays to the taut control of Noel Coward’s texts, this class will give us the opportunity to interrogate our own expectations as we explore the possibilities of theatrical performance within the context of period plays. The course will result in a public performance of scenes that will require rehearsal time outside of the designated class period. Prerequisite: A college-level course in the fundamentals of acting and permission of the instructor Intermediate | Credits: 4
DIRECTING (ART53)
An examination of principles of directing from script analysis to rehearsal and staging techniques. Assignments will include reading and projects. Prerequisite: Permission of instructor and prior course work in theater. Intermediate | Credits: 4
ENCOUNTERS AND REVELATIONS: A SCRIPTWRITING WORKSHOP (ART2282)
Each participant will write a series of short scripts (3-8 pages) conceived for stage or screen that will be read and critiqued by others in the workshop each week. Initially, scripts will be written to follow prompts (a specific theme, situation, framework, etc.) supplied by the instructor. Some readings and viewing of videos outside of class will be involved. At the culmination of the semester, students will complete scripts developed from their own framing devices. Prerequisite: Permission of the instructor Intermediate | Credits: 4
EXPRESSION AND PERFORMANCE (ART667)
This is an intermediate-level acting course that will explore techniques of interpretation. Emphasis will be placed on ways of bringing text to voice. Assignments will include substantial memorization of dramatic text and poetry. Prerequisite: None Intermediate | Credits: 2
MUSIC AND DRAMA (ART903)
Studies will survey bonds between music and drama modeled in diverse examples from opera and operetta to musical comedy, from movie musicals to cinematic scores, from music for classical ballet to music for contemporary dance, from musical backgrounds for plays to music within them. Reading and research will complement analytical assessment of performances on DVD, etc. Prerequisite: None Intermediate | Credits: 4
POSTCOLONIAL DRAMATIC LITERATURE: MARGINALITY & RESISTANCE (ART2215)
The study of any dramatic literature is about asking questions. Who has the power? Why is there conflict? What premise is the play asking us to consider or reject? And why should we care? In an interview with W.J.T. Mitchell, Homi Bhabha referred to an “enunciative disturbance” that destabilizes the process of representation and interpretation. In this course we will read a variety of plays from diverse geographical regions and explore the complex negotiations between subject position and cultural gesture in the genre of postcolonial dramatic literature. We will interrogate the use of “postcolonial” as an umbrella term with multiple meanings through the reading of authors as varied as Judith Thompson, Athol Fugard and Chin Woon Ping. Intermediate | Credits: 4
PERFORMING NORMALCY (ART2232)
Employing tools of critical analysis from the fields of performance studies and disability studies, this course is an interdisciplinary exploration of the ways in which cultural images of “normal” are constituted, legitimated and even occasionally subverted in theater and popular entertainment in the United States. We will study works as diverse as Tod Browning’s film Freaks, Doug Wright’s play I am My Own Wife and the TV pageant/plastic surgery extravaganza The Swan. Intermediate | Credits: 4
PRACTICAL APPROACHES TO CREATING NEW PERFORMANCE (ART2245)
Students will study, and put into practice, a variety of theories and techniques that may be used in the creation of non-traditional performance. Areas of investigation will include adaptation for the stage, using multi-media in performance and physical theater. A collaborative final project will be the culmination of the class. Intermediate | Credits: 3
SEMINAR IN PERFORMANCE AND PRODUCTION (ART928)
This course offers a practical examination of the theatrical process through the production and performance of a full-length play. Casting will occur as soon as the fall semester begins and rehearsals will take place both in the allotted class periods and in designated evening time slots. There are opportunities for acting, stage managing, participation as running crew for lights and sound, costumes and set building. Course credit will range from 1-4 according to the required duties and necessary time obligation. A firm commitment to the rehearsal process and the production is mandatory. Prerequisite: Permission of instructor, audition and/or interview Intermediate | Credits: Variable
SHAKESPEARE IN THE MOVIES (ART843)
This seminar will explore cinematic treatments and adaptations drawn from the works of Shakespeare. Films will range from Orson Well’s Othello, to Olivier’s Hamlet, to Julie Taymor’s Titus, to Richard Loncraine’s Richard II, to Kenneth Branagh’s Much Ado About Nothing, As You Like It, and Henry V, to Baz Luhrman’s Romeo + Juliet, to Kurusawa’s Ran, to Kozintev’s King Lear, to Tim Blake Nelson’s 10 Things I Hate About You. Critical examination of films will be supplemented by readings and written exercises. Exams. Prerequisite: None Intermediate | Credits: 4
SOLO PERFORMANCE (ART2229)
This course will be a collaborative seminar designed to give intermediate and advanced students who intend to use performing as an aspect of their Plan the opportunity to workshop their ideas and scripts. Prerequisite: Permission of instructor, and the class will be capped Intermediate | Credits: 3
THE WORLD ON STAGE AND SCREEN (HUM1473)
A survey of dramatic narratives from around the globe through critical readings of scripts (in translation) and investigative viewings of films available on DVD. Seminar style discussion will require preparation of response perspectives. Assessment mechanisms will include mid-term and end of semester exams. Intermediate | Credits: 4
PERFORMANCE PRACTICES AND AESTHETICS SEMINAR/LAB (ART889)
Using a series of case studies and practical experiments, we will examine aspects of performance theories and interpretive methodologies. Investigations will address interpretive and compositional techniques employed in acting, directing, scenography, costuming and lighting as well as dramaturgical concerns related to how artists probe scripts. Readings and project exercises will prepare participants for active exchanges in the intensive seminar/lab sessions. Prerequisite: Two previous craft classes in theater/film/dance or permission of instructor Advanced | Credits: Variable
ACTOR AS THINKER (ART2259)
This course will examine ways that actors purposefully shape interpretation of scripted dramas through choices made about representation of character, modes of interaction in relationships and implementation of actions that shape performance. We will begin with studies of a few model scripts and actor interpretations, using film/video to examine performance choices and techniques. We will conclude with students’ presentations of capstone character studies. Prerequisite: Permission of the instructor Multi-Level | Credits: 4
Special Topics Courses
Topics courses offer opportunities to study a specific playwright or period of theatrical history in depth. Examples include:
- Shattered Rainbows: The Theatrical World of Tennessee Williams
- Contemporary Theatrical Performance
- Postcolonial Plays and Performances
- Staging the Apocalypse
- What’s So Funny? A Seminar on Comedy
- America on Stage and Screen
- Performing Normalcy
- Feminism and Performance
Good Foundation for Plan
By the time they graduate, students on Plan in theater will normally complete the following course work:
- At least three semesters in dramatic literature, theater history, criticism/theory
- At least two semesters in studio courses (acting, directing, playwriting)
- At least one semester design and/or technical theater
- At least two semesters of theater projects, one semester of which involves design, tech, stage or crew management
Plans in theater are usually a combination of:
- A focused area of study involving research, analysis and written critical interpretation
- An artistic project often coordinated with their research
- Other representative artistic or creative work
We welcome interdisciplinary Plans of Concentration. As a rule of thumb, new students who arrive with a clear determination to do a Plan in theater should take two theater courses in a four-course schedule, one of which should involve critical study of literature. Production work is essential. All students should try to build a broad base of experience by working in various capacities on play production, both backstage and onstage.
Sample Tutorial Topics
- Theater as an Instrument for Social Change
- Folk Elements in Early Modern Drama
- Theater of the Absurd
- Adaptations to the Stage
- Contemporary Plays and Playwrights
- (Dis)Integrating Form: Constructing a Play
- Plan Production: Pity For The Wild
- Script to Stage: Playwriting
- Embodiment and Performance
- Monologue Writing
- Women artists and absence
- Problems and Potential in Gender Performance
