Undergraduate certificate Theater

Princeton University

Bachelor's degree

In Princeton (USA)

Price on request

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Description

  • Type

    Bachelor's degree

  • Location

    Princeton (USA)

The Program in Theater
(link is external)
, part of the Lewis Center for the Arts,
(link is external)
offers students the opportunity to work with artists, critics and scholars in the the rehearsal room, the theater and the classroom. Students can familiarize themselves with theatrical collaboration and with all the practical skills of theater making; and gain an understanding of the role theater has played and continues to play in many cultures throughout history. The program offers courses in playwriting, acting, directing, design, dramaturgy, performance history, and criticism. The program offers a full season of theatrical productions and explorations, chosen by the students and produced, in collaboration with professional artists and technicians, in order to support our students growth as artists. Visiting guest artists offer workshops, participate in play readings and explorations, and collaborate on student productions.

Facilities

Location

Start date

Princeton (USA)
See map
08544

Start date

On request

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Subjects

  • Dance
  • Play
  • Directing
  • Shakespeare
  • Writing
  • Technology
  • Art
  • Design
  • Lighting
  • Costume Design
  • Acting
  • Approach
  • Staff

Course programme

THR 101 Introduction to Theater Making Fall LA Introduction to Theatre Making is a working laboratory, which gives students hands-on experience with theatre's fundamental building blocks - writing, design, acting, directing, and producing. Throughout the semester, students read, watch and discuss five different plays and ensemble theater works. We will analyze how these plays are constructed and investigate their social and political implications. In-class artistic responses provide hands-on exploration as students work in groups to create and rehearse six different performances inspired by our course texts. E. Araoz, A. Landsman

THR 201 Beginning Studies in Acting Fall/Spring LA Designed to guide students in developing roles and exploring texts and characters. Work will begin with exercises and proceed to consideration of scenes, short sections of plays, and specific roles. Y. Kim, E. Araoz, G. deGannes

THR 205 Introductory Playwriting Fall LA A workshop on the fundamentals of writing plays. Emphasis will be on solving problems of structure, plot development, and character through various writing exercises and theater improvisations. Ongoing work of students and instructor is read and discussed. N. Davis

THR 210 Power, Structure, and the Human Body (See DAN 210)

THR 210A Storytelling with Technology for Performance (also

STC 210A

) Fall LA Telling stories through performance is human nature, but how can we use technology to enhance, frame, or reveal new perspectives on stories told? Students will learn about tools and techniques from design professionals, and will engage directly and collaboratively with technology to design experiences focused around live performance. Areas covered may include projections and multimedia, lighting, interactivity, and programming for creative applications. This class hopes to bring together students with arts and STEM backgrounds, and does not require prior experience. D. Bengali, S. De La Cruz

THR 210B Storytelling with Technology for Performance (also

STC 210B

) Fall QR Telling stories through performance is human nature, but how can we use technology to enhance, frame, or reveal new perspectives on stories told? Students will learn about tools and techniques from design professionals, and will engage directly and collaboratively with technology to design experiences focused around live performance. Areas covered will include projections and multimedia, lighting, interactivity, and programming for creative applications. This class hopes to bring together students with arts and STEM backgrounds, and does not require prior experience D. Bengali, S. De La Cruz

THR 211 French Theater Workshop (See FRE 211)

THR 212 Learning Shakespeare by Doing (See COM 212)

THR 213 Introduction to Set and Costume Design (also

MTD 213

/

VIS 210

) Spring LA This course introduces students to set and costume design for performance, exploring theater as a visual medium. Students will develop their ability to think about the physical environment (including clothing) as key components of story-telling and our understanding of human experience. Students will expand their vocabulary for discussing the visual world and work on their collaborative skills. We'll spend half the semester focusing on costuming and half focusing of the scenic environment, both in a practical, on your feet studio class taught by professional theater practitioners. Absolutely no experience required. Staff

THR 214 The Art of Speaking Spring LA As a working laboratory with daily practice, we study the art of confidence and charisma, the anatomy of vocal production, how breath and articulation express action and emotion, how language and punctuation are a roadmap to communication, dispelling fears, and the strengths of vocal idiosyncrasies. This class provides necessary training for all artists: actors who must embody characters, movers who use text, writers and creators who speak about their work. With explorations in dialects, using microphones and filling large venues, we work toward performances which are clear, grounded, healthy, emotionally free and which draw attention. E. Araoz

THR 215 Being and Doing: Dance for Every Body (See DAN 214)

THR 216 Uncertainty (See DAN 216)

THR 218 Acting and Directing Workshop - Acting Fall LA This course develops basic acting technique which focuses on the pursuit of objectives, given circumstances, conflict, public solitude and living truthfully under imagined circumstances. Practical skills are established through scenes performed for classroom analysis. This is a working laboratory where we will approach an acting method of identifying conflicts, defining objectives and pursuing actions. Our goal is to leave the semester with confidence in our acting technique, stronger stage presence, firmer groundedness, and a means whereby to continue working and improving. E. Araoz

THR 221 Performing in the Ancient World (See CLA 221)

THR 225 Sound Art (See VIS 225)

THR 228 Introduction to Irish Studies (See ENG 228)

THR 237 Comedy (See COM 237)

THR 242 Greek Tragedy from Ancient Athens to Ferguson (See CLA 242)

THR 300 Acting, Being, Doing, and Making: Introduction to Performance Studies (also

COM 359

/

ENG 373

/

ANT 359

) Not offered this year LA The place of performance--for example, Greek tragedy, Noh drama, modern dance, opera, performance art, crossdressing--within the social, political, cultural, and religious structures it has served. Perspectives from theater and dance history, classical and contemporary theory, and ancient and modern practice. Prerequisite: fulfillment of writing requirement. Two 90-minute seminars. J. Dolan, S. Wolf

THR 301 Intermediate Studies in Acting - Scene Study Fall LA A continuation and extension of 201. Prerequisite: 201. M. Nelson

THR 303 Ethnographic Playwriting (also

AMS 330

/

SOC 350

) Fall LA This course delves into a collaborative, ethnographic approach to making theater. We will read, watch and discuss the work of subculture theorists, theater-makers and other artists and thinkers, all of whom use staged conversations as the basis for characters, scenes and entire works. We will hash out ethics and responsibilities for those of us who engage communities outside our own.What does it mean to take responsibility for someone else's words, write them down, and give them back? What is it like to put the words of a stranger in your mouth? Finally, we will make theatrical material using this approach for an end of semester showing. Staff

THR 304 Christopher Durang: My Life in Art Fall LA This course will focus on the lifetime achievement of one of the nation's greatest playwrights, Christopher Durang, who will be participating in the class as the inaugural Roger S. Berlind '52 Playwright-in-Residence. We'll focus on Durang's writing and rehearsal process, the writers who have meant most to him, the joys and pains of theatrical collaboration, and the perils of writing comedy with a satiric edge. M. Cadden, C. Durang

THR 305 Playwriting II: Intermediate Playwriting Spring LA A continuation of work begun in Introductory Playwriting, focusing on the writing of a major play. Prerequisite: 205. Staff

THR 311 Intermediate Studies in Acting: Creating Character and Text Not offered this year LA Creation of an original theater piece in collaboration with a guest artist, leading to a public performance. Will include improvisations, exercises, study of dramatic texts, and scene study. Special attention will be given to the creation of character, both in dramatic texts and in improvisation. Prerequisite: 201. Staff

THR 314 Creating Collaborative Theater (also

VIS 314

) Spring LA How are directors and actors the co-authors of a live performance, and how can anyone contribute text to a work that seeks its own unified vision? How can design play as integral a role as text? This class is open to people who are seasoned performers, writers, directors, composers, filmmakers and designers, as well as those who appreciate a good risk and are willing to take one now. Over the semester, we will work together to make something new, look at examples from theater and other disciplines of real collaborations and partnerships, and present in-progress what we have at the end of the semester. A. Landsman

THR 315 In the Room Where It Happens: New Play Collaboration Techniques Spring LA This workshop, open to playwrights, actors, directors, dramaturgs, designers, stage managers, or enthusiastic observers, aims to provide practical and theoretical techniques for collaboration on the development of new plays. Students will develop a toolbox of methods rooted in mutual respect and shared goals, as we focus on creating positive, fruitful working relationships via readings and hands-on exercises. The culmination of the course will be an evening of ten-minute plays written and developed by the class. S. Agins

THR 317 Costume Design (also

VIS 372

) Not offered this year LA An exploration of the various aspects of costume design. Emphasis will depend to some degree on instructor's area of interest and/or student interest. Studio projects will be designed to coincide with other theater and dance courses and currently scheduled productions. Critical discussion will explore the relationship between dramatic texts and design ideas. Two three-hour seminars or studio sessions. A. Yavich

THR 318 Lighting Design (also

VIS 318

) Spring LA An introduction to the art and craft of lighting design for live performance and an exploration of light as a medium for expression. Students will develop an ability to observe lighting in the world and on the stage; to learn to make lighting choices based on text, space, research, and their own responses; to practice being creative, responsive and communicative under pressure and in company; to prepare well to create under pressure using the designer's visual toolbox; and to play well with others-working creatively and communicating with directors, writers, performers, fellow designers, the crew and others. J. Cox

THR 321 Special Topics in Contemporary Practice (See DAN 304)

THR 323 The Arts of Urban Transition (See DAN 310)

THR 326 Criticism Workshop (also

ENG 314

) Not offered this year LA A workshop devoted to the development of the student's critical sensibility. Through extensive in-class analysis of their own reviews of professional theater and dance productions and through the study of past and present models, students will learn what makes a good critic of the performing arts. One three-hour seminar. Staff

THR 328 Dance in Education: Dance/Theater Pedagogy (See DAN 316)

THR 330 Special Topics in Performance Practice (also

ENG 336

/

MTD 330

/

MUS 328

) Fall LA A special topics course designed to build upon and/or enhance existing program courses, taking into consideration the strengths and interests of program concentrators and the availability of appropriate instructors. Topics, prerequisites, and formats will vary from year to year. Staff

THR 331 Special Topics in Performance History and Theory (also

COM 311

) Spring LA Designed to provide students with an opportunity to study theater and/or dance from a historical or theoretical perspective. Topics, prerequisites, and formats will vary from year to year. Staff

THR 338 Comedies of Error (also

ENG 301

) Spring LA This course examines one of the most popular of all theatrical genres -- the comedy of mistaken identity. We'll begin with Plautus, who provided the template for the mayhem to follow - a heritage of long-lost children (and their parents), twins (of the same or opposite sexes), disguise, crossdressing, and love and/or sex at first sight. Central to our project will be the question of how and why writers use these and other conventions to explore and explode the mysteries of identity and why the theater is the best venue for their explorations and explosions. M. Cadden

THR 341 Acting and Directing in Musical Theater (See MTD 341)

THR 343 Some Contemporary Shakespearean Afterlives (also

ENG 304

/

HUM 343

) Fall LA 2016 marks the 400th anniversary of Shakespeare's death. In conjunction with an exhibition at the University Art Museum, this course will largely focus on Shakespeare's "afterlives" since WWII. Although his reputation rests on his work, Shakespeare was invented in the 18th century as something beyond a "mere" playwright. We'll take a brief look at the start of this phenomenon with the 1623 Folio and David Garrick's Stratford Jubilee in 1769, then study some recent manifestations in theater, film, fiction, dance, television, comic books, actor autobiographies, and Shakespearean institutions and festivals from many nations and cultures. M. Cadden

THR 346 Contemporary Opera and MusicTheater (See MUS 325)

THR 347 Gender Crossings in American Musical Theater (See GSS 337)

THR 348 Bernard Shaw: Theater, Sex and Celebrity (also

ENG 448

) Spring LA In 2016, Bob Dylan became the second person to win both an Oscar and a Nobel Prize. The first was Bernard Shaw, arguably the first private individual in history to create a global personal brand: GBS was instantly recognizable from Shanghai to New York. He did this while using plays, speeches and polemics to attack orthodox ideas about sex, money and power and show gender and social class as performances. In this course, we follow Shaw's career as the creator of Pygmalion, Man and Superman, Major Barbara and St Joan, see and review My Fair Lady on Broadway and explore his use of celebrity to unsettle and challenge his audiences. F. O'Toole

THR 349 How to Think With Performance: Dance and Performance Studies Theory (See DAN 349)

THR 350 Playing Dead: Corpses in Theater and Cinema (also

ENG 449

) Spring LA What happens when there is a dead body on stage? Why do corpses star in so many movies? Reverence for the dead is one of the markers of humanity, bound up with the development of societies and cultures. But we also play with dead bodies, spinning stories around them that can be austere or grotesque, tragic or farcical, haunting or hilarious. Dramas and films use dead bodies to explore fear, sex, greed, guilt, innocence and grief. In this course, we contemplate corpses from Antigone to Alfred Hitchcock and from Shakespeare¿s tragedies to Stand By Me and Weekend at Bernie's and bring the dead to life. F. O'Toole

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  • Princeton University Undergraduate Degrees

Undergraduate certificate Theater

Price on request

The best Other Science courses

See all

See all