DEPARTMENT OF DRAMA
249 Drama Building;
(949) 824-6614
Eli Simon, Department Chair
Lonnie Alcaraz, M.F.A. University of California, Irvine, Associate Professor of Drama and Head of Design (lighting design, digital imaging)
Keith Bangs, M.F.A. Yale University, Lecturer in Drama (technical production)
Stephen Barker, Ph.D. University of Arizona, Professor of Drama (post-modern theatre, Beckett, critical theory)
Cynthia Bassham, M.F.A. American Conservatory Theatre, Lecturer with Potential Security of Employment, Drama (voice, speech for actors, acting)
Richard Brestoff, M.F.A. New York University, Assistant Professor of Drama (film and television acting)
Daniel Gary Busby, D.M.A. University of California, Los Angeles, Assistant Professor of Drama (music theatre, singing, conducting)
Dennis Castellano, M.F.A. University of California, Irvine, Senior Lecturer with Security of Employment and Head of Music Theatre (music theatre)
Robert Cohen, D.F.A. Yale University, Claire Trevor Professor of Drama (acting theory, acting, directing)
Myrona DeLaney, M.F.A. University of California, Irvine, Lecturer with Potential Security of Employment, Drama (music theatre, singing, acting)
Clifford Faulkner, M.A. California State University, Long Beach, Lecturer with Potential Security of Employment, Drama (scenery design, history of design, gay theatre)
Keith Fowler, D.F.A. Yale University, Professor of Drama and Head of Directing (directing, acting)
Clayton Garrison, Ph.D. Stanford University, Professor Emeritus of Drama (opera, musical theatre, movement, dramatic literature)
Douglas-Scott Goheen, Ph.D. University of Denver; M.F.A. Yale University, Professor of Drama (scenery design, digital imaging)
Cameron Harvey, M.F.A. University of California, Irvine, Professor Emeritus of Drama (artistic direction, producing, lighting design)
Don Hill, M.F. A. University of Southern California, Lecturer with Potential Security of Employment, Director of Production, and Head of Stage Management (stage management, directing, acting)
Michael Hooker, M.F.A. California Institute of the Arts, Professor of Drama (sound design)
Dudley Knight, M.F.A. Yale University, Professor Emeritus of Drama (voice, speech for actors, acting)
Madeline Ann Kozlowski, M.F.A. Brandeis University, Professor Emerita of Drama (costume design)
Anthony Kubiak, Ph.D. University of Wisconsin, Milwaukee, Professor of Drama (American and modern drama, modern poetry, critical theory, philosophy)
Daphne Pi-Wei Lei, Ph.D. Tufts University, Assistant Professor of Drama (Asian theatre, Asian American theatre, intercultural theatre, gender theory, performance theory)
Annie Loui, Associate Professor of Drama (movement, directing, acting)
David McDonald, Ph.D. Stanford University, Professor Emeritus of Drama (dramatic theory, Irish drama, theatre history, playwriting)
Ian Munro, Ph.D. Harvard University, Associate Professor of Drama (European drama and performance, early modern popular culture, theatrical performance of wit)
Bill Rauch, B.A. Harvard University, Claire Trevor Professor of Drama (directing, acting, community-based theatre)
Janelle Reinelt, Ph.D. Stanford University, Professor Emerita of Drama (British theatre, political theory, performance)
Bryan Reynolds, Ph.D. Harvard University, UCI Chancellor's Fellow, Professor of Drama, and Head of Doctoral Studies (Shakespeare, Renaissance drama, critical theory, feminist theory, performance theory, cultural studies)
Thomas Ruzika, M.F.A. University of California, Irvine, Lecturer in Drama (lighting design)
Eli Simon, M.F.A. Brandeis University, Department Chair and Professor of Drama (acting, directing)
Phil Thompson, M.F.A. University of California, Irvine, Associate Professor of Drama and Head of Acting (voice, speech for actors, acting)
Bill Tomlinson, Ph.D. Massachusetts Institute of Technology; M.F.A. California Institute of the Arts, Assistant Professor of Informatics and Drama (autonomous characters, computational social behavior, interactive media, real-time animation)
Richard Triplett, Otis Art Institute, Professor Emeritus of Drama (scenery and costume design, history of design)
Christopher Villa, Lecturer in Drama (stage combat)
Robert Weimann, Ph.D. Humbolt University (Germany), Professor Emeritus of Drama (theory, criticism, literature)
Frank B. Wilderson III, Ph.D. University of California, Berkeley, Assistant Professor of African American Studies and Drama (film theory, Marxism, dramaturgy, black political theory)
Shigeru Yaji, M.F.A. California State University, Long Beach, Lecturer in Drama (costume design)
Students should especially note the division of upper-level literature courses into the following clusters—Theory and Criticism (103-109), Periods and Genre (110-119), and Performance and Culture (121-129). These clusters describe differing approaches to the material being presented, whether, for example, analysis and discussion is weighted toward a more strictly defined theoretical and philosophical context, a more traditional historical approach, or an approach that more emphasizes cultural frameworks and issues.
The program is designed for students who, while not necessarily planning to make the theatre their vocation, have a serious interest in the literature, theory, and practice of drama, as well as for students preparing to work professionally in the theatre, often after more specialized training at the graduate level.
The Department of Drama is a member of the University/Resident Theatre Association (U/RTA).
CAREERS FOR THE DRAMA MAJOR
A degree in Drama may or may not lead to professional employment in theatre or film.
Graduates in Drama at UCI have performed in Broadway plays, regional and summer theatres, and in films and television. They serve as artistic directors, designers, art directors, business managers, and performers at more than 100 theatre companies, and as faculty at more than 75 institutions of higher learning.
Not all Drama students become professional theatre artists. Many embark upon careers in law, business, arts management, advertising, and teaching; others pursue further study at UCI or elsewhere.
REQUIREMENTS FOR THE BACHELOR'S DEGREE
University Requirements: See pages 57-62.
School Requirements: None.
Departmental Requirements for the Major
An introductory course in production theory (Drama 10); Performance Now (Drama 15); one year in acting (Drama 30A-B-C); one year survey in the development of drama (Drama 40A, B, C); three different courses in design (chosen from Drama 50A, B, C, D); one year in the development of theatre (Drama 120A, B, C); in addition to the Drama 120 series, four more upper-division courses, which must include three courses from Drama 103-129; eight units of theatre production (Drama 101) of which four units must be completed during the first year of residence at UCI.
Students are strongly encouraged to take Performance Now (Drama 15) during their first year of residency at UCI.
Students are required to take Drama 40A, B, C in their sophomore year, after completion of the lower-division writing requirement.
Students entering the Department as freshman must complete the design requirements (three courses chosen from Drama 50 A, B, C, D) by the end of their junior year. All other students must complete these courses within one year of entering the major.
Sample Program for Freshmen
Fall |
Winter |
Spring |
Drama 30A |
Drama 30B |
Drama 30C |
Drama 50 |
Drama 50 or 10 |
Drama 50 or 10 |
Drama 101 (2 units) |
Drama 101 (2 units) |
Writing 39C |
Writing 39A |
Writing 39B |
Elective |
Departmental Requirements for the Minor
Drama 10 (Introduction to Production Theory); Drama 30A-B-C (Acting); Drama 40A, B, C (Development of Drama); seven upper-division courses in Drama, each of which must be taken at UCI, including Drama 120A, B, C (Development of Theatre) and one course in Drama 101 (Theatre Production).
Honors in Acting Program
Admission to the Honors in Acting Program requires both eligibility and a special audition. The eligibility requirements for sophomore-level transfer students and native UCI students are: (1) at least one year in good standing as a UCI Drama major; (2) completion of Drama 130A-B and at least one section of either Drama 135 or Drama 142, all at UCI; (3) honors students must possess and maintain an overall GPA of at least 3.2, with a GPA of 3.4 or higher in all acting courses; (4) performance in at least three official Drama at UCI productions (including mainstage, stage 2, stage 3, workshop, or cabaret); (5) completion of all Drama 101 (Theatre Production) assignments; and (6) completion of the eligibility form.
The eligibility requirements for junior-level transfer students are: (1) one year in good standing as a UCI Drama major; (2) completion of Drama 130A-B at UCI; (3) honors students must possess and maintain an overall GPA of at least 3.2, with a GPA of 3.4 or higher in all acting courses; (4) completed performance in at least one official Drama at UCI production (including mainstage, stage 2, stage 3, workshop, or cabaret); (5) completion of four out of eight units of Drama 101; and (6) completion of eligibility form.
A student's audition will determine final admission to the Honors in Acting program. Only truly exceptional students, no more than 10 to 20 percent of those eligible, will be admitted. The Honors auditions, for eligible candidates only, are held at the end of fall quarter and by special arrangement. Auditions will consist of a standard presentation.
Honors in Acting Program students receive: (1) the "Honors in Acting" notation on their official transcript; (2) nomination and recommendation for national University/Resident Theatre Association (U/RTA) auditions; (3) eligibility, on a space available basis, for South Coast Repertory Theatre internships, currently available only to M.F.A. students; and (4) eligibility to audition at UCI-screened Shakespearean Festivals.
Honors in Design Program
The Honors in Design Program provides the opportunity for Drama majors to concentrate on the study and practice of scenery, costume, or lighting design. Honors in Design students study basic and advanced design techniques, participate in classes with graduate design students, serve as an assistant designer to a graduate student or faculty designer, and possibly design a production at UCI.
Eligibility requirements are: (1) at least one year in good standing at UCI as a Drama major; (2) completion of Drama 50A, B, C, D or equivalent courses; (3) completion of at least two upper-division studio courses selected from Drama 150-162, 167-169, 171, including at least one from the design area in which the student is applying for honors; (4) possess and maintain an overall GPA of at least 3.2, with a GPA of 3.4 or higher in all design and production technique courses; (5) completion of four out of eight units of Drama 101 (Theatre Production); and (6) completion of the eligibility form.
Admission to the Honors in Design Program is competitive. Students may be admitted as early as the winter quarter of their sophomore year but no later than the spring quarter of their junior year. Upon completion of eligibility requirements, the student will schedule an informal portfolio review with a member of the design faculty appropriate to the student's specialty area(s).
The selected faculty mentor may recommend that: (1) the student is ready to proceed with a formal portfolio review and presentation to the Design faculty via the Head of Design; (2) the student rework the content and/or presentation of the material for reconsideration by the faculty mentor; (3) the student is not ready or able to proceed with Honors in Design. Only truly exceptional students (no more than 10 to 20 percent of those eligible) will be admitted to Honors in Design as determined by the Design faculty via the Head of Design.
Honors in Design students receive: (1) the "Honors in Design" notation on their official transcript; (2) nomination and recommendation for national University/Resident Theatre Association (U/RTA) interviews; (3) an assistant designer assignment with a graduate student or faculty designer; and (4) special consideration to design a budgeted and technically supported production.
Honors candidates meet with their faculty mentor at the beginning of every quarter to evaluate their progress and with the Head of Design to check that all grade and course requirements are being satisfied.
Honors in Directing Program
The Honors in Directing Program provides the opportunity for Drama majors to concentrate on the study and practice of stage direction. Honors in Directing students study basic and advanced directing techniques, participate in the Directing Laboratory with graduate Directing students, take a course in directorial themes and/or the history of directing, and direct two full plays in the Drama Workshop series. Honors students also have the opportunity to receive credit as the assistant director of a Stage 1 or Stage 2 Department show; as a production internship with a professional theatre company; or for production/direction responsibility with the Playwright's Workshop.
Admission to the Honors in Directing Program is competitive. Candidates must first complete Drama 170 (Directing) and receive instructor approval to enroll in Drama 185 (Advanced Directing). Candidates must apply, as a director, for Drama 198 (Drama Workshop) by submitting a proposal to direct a play in the Drama Workshop series. If the proposal is accepted, the candidate must declare to the Head of Directing that the production is to be counted as an audition for admission to the Honors in Directing Program. A committee of three Drama faculty members, including the Head of Directing, will then see and evaluate the production for clarity of interpretation, unity of style, strength of acting, and ensemble performance, and will examine the candidate's self-evaluation and the evaluations of the director by members of the cast. The Head of Directing will inform the candidate of the committee's decision as to whether or not the candidate is admitted to the Honors Program.
Undergraduate Drama majors can be admitted into the program as early as the winter quarter of their freshman year but no later than the spring quarter of their junior year. Students may be admitted to the program retroactively if all the requirements for Directing Honors have been met by their final year, but only if a faculty committee of three has seen their workshops and agrees to admit the candidate.
To achieve the Honors in Directing distinction, students must fulfill all the courses required of the regular Drama major, with an overall GPA of 3.2 or higher. In addition, students must complete the following courses with a GPA of 3.4 or higher:
1. Drama 170 (Directing).
2. Two courses in Drama 185 (Advanced Directing). In this course, undergraduate Directing students present work in the Directing Laboratory along with graduate Directing students.
3. Two Drama Workshops, one of which must be taken as Drama 198 (Drama Workshop) with the candidate serving as director. The candidate must stage a second Drama Workshop as Drama 199 (Projects in Theater), for which a letter grade is earned.
4. Four additional units to be satisfied by any of the following: Drama 199 (as a summer internship, approved by the Head of Directing, with the candidate serving a professional theatre company as director, assistant director, or production assistant); Drama 199 (as a production/directing project for Playwright's Workshop); Drama 100 (as assistant director to a faculty director); or Drama 199 (as assistant director to a graduate director's thesis production).
Honors candidates meet with the Head of Directing at the beginning of every quarter to evaluate their progress and to check that all grade and course requirements are being satisfied. Successful graduating seniors will receive the "Honors in Directing" notation on their official transcript and will receive a nomination and recommendation for national University/Resident Theatre Association (U/RTA) interviews.
NOTE: All of the above courses are open to all students even though they may not qualify for the Honors Program.
Honors in Dramatic Literature, History, and Theory Program
The Honors in Dramatic Literature, History, and Theory Program is designed to challenge superior students beyond the scholarly requirements of the Drama major. It provides them with the opportunity to advance their knowledge of dramatic literature, history, and theory and to further develop their writing, analytical, and research skills. An additional purpose of the program is to better prepare students for graduate study in not only dramatic literature, history, and theory, but in all fields in the humanities and social sciences, as well as in law.
Eligibility requirements are: (1) completion of Drama 40A, B, C and two courses selected from Drama 103-129 (for upper-division writing credit), or equivalents to these courses from other institutions; (2) possess and maintain an overall GPA of at least 3.2, with a GPA of 3.4 or higher in all dramatic literature, history, and theory courses; and (3) completion of the eligibility form.
Admission to the Honors in Dramatic Literature, History, and Theory Program is competitive. Students must apply to the program prior to the spring quarter of their junior year. Upon completion of eligibility requirements, applicants must submit at least two critical essays, most likely written previously for courses, totaling no more than 30 pages. These essays will be used by the Honors Committee (comprised of the Head of Dramatic Literature, History, and Theory and two additional members of the Drama faculty) to determine admission. Only truly exceptional students (no more than 10 to 20 percent of those eligible) will be admitted.
Beyond fulfilling the regular requirements of the Drama major, honors students must take three additional upper-division courses in dramatic literature, history, and/or theory, one of which must be focused on theory. Upper-division courses in other departments may be used to fulfill these requirements, as long as the Honors Committee approves them.
Honors students must also write an honors thesis, a 30-40 page research paper written under the supervision of a faculty member on a topic chosen by the student. In consultation with the student, the adviser for this project is selected before the end of the fall quarter of the student's senior year. Students develop their projects until the spring quarter when they enter the writing phase. It is only during the spring quarter that students achieve full course credit for their work on the thesis, in the form of an independent study course with their advisor. This independent study is the final course of the program.
Successful graduating seniors will receive the "Honors in Dramatic Literature, History, and Theory" notation on their official transcript.
Honors in Music Theatre Program
The Honors in Music Theatre Program provides special recognition to the music theatre student who has not only taken full advantage of all music theatre course offerings, but has done so with superior achievement and professional aptitude. Students are selected for this distinction by the music theatre faculty based on their admission into Drama 144 (Music Theatre Workshop IV), grade point average (see below), and exceptional talent. Drama 144 is offered every fall, winter, and spring quarters by audition.
Students in the Honors in Music Theatre Program must fulfill all the courses required of the regular Drama major with the following qualifications and additions:
1. The two upper-division courses in Dramatic Literature must be satisfied with Drama 148A, B (History of American Musical Theatre).
2. The three upper-division courses in Drama must be satisfied with Drama 143A, B, C (Music Theatre Workshop III).
3. The two Dance classes must be satisfied by taking two quarters of ballet, any level. (May be taken Pass/Not Pass.)
4. Additional required courses: Drama 35 (Speech for the Theatre); Drama 100 (University Theatre; specifically, a fully produced, musical production); Drama 130A (Intermediate Acting); Drama 144 (Music Theatre Workshop IV); Drama 145 (Music Theatre Singing); Drama 146A-B (New York Satellite Program); Drama 147 (Music Theatre Dance); Drama 149 (Music Proficiency for Actors—this course is waived if the student already possesses basic keyboard reading skills); Drama 176 (Script and Score); one quarter of tap and one quarter of jazz (Dance Department).
(NOTE: Drama 148A, B and Drama 176 are offered every other year on a rotating basis. Drama 148A, B are prerequisites for 176; junior transfers may enroll in 176 before taking 148A, B since they may only be on campus for two years.)
5. Honors candidates must possess and maintain an overall GPA of 3.2 or higher, with an overall GPA of 3.4 or higher in the above courses.
Honors candidates will meet with the head of the Music Theatre Program at the beginning of every quarter to evaluate their progress and to check that all grade and course requirements are being satisfied. Successful graduating seniors will receive the "Honors in Music Theatre" notation on their official transcript.
Honors in Stage Management Program
The Honors in Stage Management Program provides the opportunity for Drama majors to concentrate on the study and practice of stage management. Honors students study basic and advanced stage management techniques, participate in classes with graduate stage management students, work as assistant stage managers with graduate student stage managers on graduate student-directed and faculty-directed productions, and stage manage a graduate student-directed or faculty-directed production at UCI.
Eligibility requirements are: (1) at least one year in good standing at UCI as a Drama major; (2) completion of Drama 50A, B, C, D or equivalent courses; (3) completion of Drama 163 and one course in production techniques selected from Drama 150-162; (4) possess and maintain an overall GPA of at least 3.2, with a GPA of 3.4 or higher in all stage management and production technique courses; (5) completion of eight units of Drama 101 (Theatre Production); and (6) completion of the eligibility form.
Admission to the Honors in Stage Management Program is competitive. Students may be admitted as early as the winter quarter of their sophomore year but no later than the spring quarter of their junior year. Upon completion of eligibility requirements, the student will submit to the Honors Committee (comprised of the Head of Stage Management and two additional members of the Drama faculty): (1) two prompt books; (2) a resume including all stage management and production experience; (3) letters of reference from two directors with whom the student has worked; and (4) a written paper on the subject of stage management. Only truly exceptional students (no more than 10 to 20 percent of those eligible) will be admitted as determined by the Honors Committee.
Honors in Stage Management students receive: (1) the "Honors in Stage Management" notation on their official transcript; (2) nomination and recommendation for national University/Resident Theatre Association (U/RTA) interviews; (3) assistant stage manager assignments working with graduate student stage managers on graduate student-directed or faculty-directed productions; and (4) a stage management assignment on a graduate student-directed or faculty-directed production.
Honors candidates meet with the Head of Stage Management at the beginning of every quarter to evaluate their progress and to check that all grade and course requirements are being satisfied.
Degree Offered
M.F.A. in Drama, with emphasis in Acting, Directing, Design, or Stage Management.
A graduate emphasis in Feminist Studies also is available. Refer to the Women's Studies section of the Catalogue for information.
Admission
Applicants for admission to the degree program must meet the general requirements for admission to graduate study and hold a B.A., B.F.A., or higher degree.
Applicants must submit dossiers of biographical information and theatrical experience, together with photographs, essays, reviews, production books, and portfolios, as appropriate.
Normally an audition is required for all applicants who intend to follow the curriculum in Acting. UCI coordinates its auditions with the University/Resident Theatre Association (U/RTA), and conducts auditions, both for U/RTA finalists and UCI applicants, in New York, Chicago, San Francisco, and Irvine during February. Interviews for applicants in Directing, in Design, and in Stage Management also are required.
General Degree Requirements
Normally three years of residence is required. Each candidate must enroll for three courses each quarter for nine quarters, exclusive of summer sessions.
During the first year of residence each candidate will prepare, for credit, two graduate projects, in either acting, directing, design, stage management, theatrical research, or a combination of two of these. Satisfactory completion of these projects, as determined by the faculty, is prerequisite to entering the second year of the program.
The required thesis normally consists of directing, designing, stage managing, or playing a principal role in a major production, and collecting in essay form the evidences of research, analysis, and judgments which formed a part of the production experience.
Each graduate student is expected to participate in productions throughout residence at UCI.
A total of 108 quarter units in graduate or approved upper-division undergraduate courses must be completed with a grade of at least B in each course. Specific course requirements must be satisfied in one of the following three areas:
Acting
Nine graduate studios in acting (Drama 200), taken in tandem with nine graduate studios in voice (Drama 201), stage speech (Drama 202), stage movement (Drama 203) or dance (Dance 231, 241, 251, 150, or 151), and Voice/Movement Dynamics (Drama 206); three master classes in acting (selected from various topics offered in Drama 219); one seminar in script analysis and research (Drama 235); three courses in development of theatre (Drama 120A, B, C)-faculty program head may approve substitutions depending on student's prior academic experience; two seminars in dramatic literature, performance theory, criticism, history of theatre, or contemporary theatre (Drama 220-225, or 230); six graduate projects, of which two may be professional internships (Drama 240 or 295).
Design
Nine graduate studios in design, one of which is the thesis (Drama 255); seven courses in graduate projects, one of which may be a professional internship (Drama 295); two elective courses; three courses in development of theatre (Drama 120A, B, C)—faculty program head may approve substitutions depending on student's prior academic experience; two courses in production techniques (Drama 150-162, 167-171, 260-280); one course in conceptualization and collaboration (Drama 245, must be taken the first quarter in residence); one seminar in script analysis and research (Drama 235); two courses in dramatic literature, performance theory, criticism, contemporary theatre, or history of music theatre (Drama 220, 221, 223, 230, or 248).
Directing
Nine graduate studios in directing (Drama 211); three courses in development of theatre (Drama 120A, B, C)—faculty program head may approve substitutions depending on student's prior academic experience; two courses in acting (Drama 200); one seminar in script analysis and research (Drama 235); one course in conceptualization and collaboration (Drama 245); two seminars in dramatic literature, performance theory, criticism, theatre history (Drama 220-223, 248); seven projects, of which one is the thesis, one is a project in theatre production, one may be a professional internship, and three must be directed (non-thesis) productions; two or three electives.
Stage Management
Nine graduate studios in stage management, one of which is the thesis (Drama 254); seven courses in graduate projects, one of which may be a professional internship (Drama 295); two elective courses; three courses in development of theatre (Drama 120A, B, C)—faculty program head may approve substitutions depending on student's prior academic experience; two courses in production techniques (Drama 150-162, 167-171, 260-280); one course in conceptualization and collaboration (Drama 245, must be taken the first quarter in residence); one seminar in script analysis and research (Drama 235); two courses in dramatic literature, performance theory, criticism, contemporary theatre, or history of music theatre (Drama 220, 221, 223, 230, or 248).
DOCTORAL DEGREE PROGRAM
Degree Offered
Ph.D. in Drama and Theatre.
This is a joint program offered by the UCI Department of Drama and the UCSD Department of Theatre and Dance.
Preparation
Students with a B.A. (minimum GPA of 3.5), M.A., or M.F.A. degree in Drama and Theatre are eligible for admission to the doctoral program. Students with training in literature (or another area in the humanities) will also be considered, provided they can demonstrate a background in drama or theatre. Experience in one of the creative activities of theatre (acting, directing, playwriting, design, dramaturgy) enhances a student's chances of admission.
All applicants are required to take the Graduate Record Examination and to submit samples of their critical writing.
While not required for admission, a working knowledge of a second language is highly desirable (see Language Requirement).
Course of Study
Students are required to take a minimum of 144 units, which is equivalent to four years of full-time study (full-time students must enroll for a minimum of 12 units each quarter). Forty of these units are taken in required seminars; the balance is made up of elective seminars, independent study and research projects (including preparing the three qualifying papers), and dissertation research. Students must take a minimum of one seminar per year in the UCSD Department of Theatre and Dance. The program of study makes it possible for students to take a significant number of elective courses and independent studies both with faculty in Drama and Theatre and in other departments.
Required Courses
Students must take a minimum of 12 units (three seminars) each of Drama 290 (Dramatic Literature and Theatre History Prior to 1900) and 291 (Dramatic Literature and Theatre History, 1900 to Present), and 16 units (four seminars) of 292 (Cultural and Critical Theory).
All graduate courses may be repeated when the topic varies. Descriptions of the topics to be treated in a given academic year are published by the Department in the fall. Enrollment in each course requires the consent of the instructor. The courses are limited to registered doctoral students.
These 10 required seminars must be completed by all students, including those who have an M.A. or an M.F.A. degree, before the end of the third year. In addition, students must pass comprehensive examinations at the end of their first and second years.
Drama 293 (Directed Studies) and 294 (Dissertation Research) are also required.
Comprehensive Examinations
In the first year, students prepare for the Written Comprehensive Examination, which is based on a reading list of approximately 150 titles ranging from the Ancient Greeks to the present. Students take this examination at the beginning of the fall quarter of their second year. (Comprehensive examinations are scheduled at the beginning of fall quarter in order to allow students the summer to prepare.) Students who fail the Written Comprehensive may retake it no later than the first week of winter quarter of their second year. Students who fail the Written Comprehensive for a second time are dismissed from the program.
In their second year, students prepare for the Oral Comprehensive Examination. The reading list for this examination is designed to permit students to acquire a knowledge of their dissertation subject area, broadly conceived. The reading list is compiled by the student and the dissertation advisor, in consultation with other members of the faculty, as appropriate; the reading list must be established by the end of winter quarter of the second year. Students take the Oral Comprehensive at the beginning of the fall quarter of their third year. Students also submit a dissertation prospectus (approximately five pages) when they take this examination. Students who fail the Oral Comprehensive may retake it no later than the first week of winter quarter of their third year. Students who fail the Oral Comprehensive for a second time are dismissed from the program.
Advancement to Candidacy: Three Qualifying Papers
Students normally select a dissertation advisor during their second year and must do so before the end of spring quarter of that year. In consultation with the dissertation advisor and other faculty members, students develop topics for three qualifying papers, which are written during their third year. The three qualifying papers—one long (approximately 50 pages) and two short (approximately 30 pages each)—must be completed by the end of the third year; these completed papers provide the basis for the Oral Qualifying Examination. Students write the long paper under the direction of their dissertation advisor; it is understood that the long paper is preparatory to the dissertation. The short papers deal with other related topics, subject to the approval of the student's advisors; the two short papers are understood as engaging in exploring the larger contexts of the dissertation. The normative time for students to pass the Qualifying Examination and advance to candidacy is at the end of their third year; students must advance to candidacy no later than the end of fall quarter of their fourth year. Once advanced to candidacy, students write their dissertation which, upon completion, is defended in a final oral examination.
Students may select a dissertation advisor from either the UCI Department of Drama or the UCSD Department of Theatre and Dance. All UCI doctoral dissertation committees must include at least one faculty member from UCSD.
Language Requirement
Students are required to complete an advanced research project using primary and secondary material in a second language (materials may include live and/or recorded performance; interviews with artists, critics, and scholars; and other non-documentary sources, as well as more conventional textual sources). This requirement may be satisfied by writing a seminar paper or a qualifying paper (see Advancement to Candidacy above) that makes extensive use of materials in a second language. The second-language requirement must be satisfied before the end of the third year. This requirement will not be waived for students who are bi- or multilingual; all students are required to do research-level work in more than one language.
It is assumed that students will have acquired a second language before entering the doctoral program, although second-language proficiency is not a requirement for admission. While students may study one or more second languages while at UCI or UCSD, language courses may not be counted toward doctoral program requirements.
Teaching
Students are required to teach a minimum of four quarters. No more than eight units of apprentice teaching may be counted toward the required 144 units.
Departmental Ph.D. Time-Limit Policies
Students must advance to candidacy by the end of the fall quarter of their fourth year. Departmental normative time for completion of the degree is five years; total registered time in the Ph.D. program at UCI or UCSD cannot exceed seven years.
Financial Support
Ph.D. students entering the program with a B.A. may be supported (either by teaching assignments or fellowships) for five years. Students who have an M.A. and have been given transfer credit may be supported for four years. Such support depends upon the funds available, the number of students eligible, and the student's rate of progress.
LOWER-DIVISION
10 Introduction to Production Theory (4). An introduction to modern production techniques as practiced in realizing scenic designs. Equipment, theories, techniques, and history of production practices in the technical theatre; class instruction integrated with practical applications.
15 Performance Now (4). Exposes students to what is most current in the world of performance and theatre. Begins with a series of lectures on the idea of performance, and the various theories that frame it.
30A-B-C Acting (4-4-4). A one-year course in basic acting technique and discipline. (NOTE: All acting classes require strict adherence to stage discipline; unexcused class absences, for example, are not permitted.) 30A: Stage technique and stage discipline. Freeing vocal and physical movement and liberating emotional power. Elementary stage movement and voice. Elimination of regionalisms in speech. Overcoming stage fright. Readings in acting theory. 30B: Improvisations and scenes. Rehearsal and presentation of at least two scenes with different partners. Developing stage contact with tactics in a "play" situation. Prerequisite: Drama 30A. 30C: Characterization, scenes and auditioning. Development of character in at least three rehearsed scenes from different plays. Script analysis and performance technique. Preparation of audition pieces. The profession of acting. Prerequisites: Drama 30A-B.
34 Movement for Actors (4). Introduces the basics of stage movement for actors: the theory and practical application of physical relaxation, centering, focus, and balance. The body is trained to express a wide range of creative impulses for performance. May be taken for credit three times.
35 Speech for the Theatre (4). A course aimed at (1) improving natural, clear, unaffected speech and (2) eliminating negative habits and regional accents: exercises for physical tension, vocal support, tone production, vocal quality, and articulation. Open only to Arts majors. May be repeated for credit.
40A, B, C Development of Drama (4, 4, 4). A one-year lecture-discussion course (each quarter may be taken independently) in the development of Western Drama, concentrating on the drama's intellectual, social, and artistic foundations. About 10 plays and supplementary critical material are read each quarter. 40A: Greek Drama through Shakespeare. Readings from Aeschylus, Sophocles, Euripides, Aristophanes, Marlowe, Shakespeare, and the anonymous playwrights of the medieval theatre. 40B: Restoration Drama through Ibsen. Readings from Neoclassic, Romantic, and Naturalistic European playwrights in the eighteenth and nineteenth centuries. Molière, Racine, Congreve, Goethe, Ibsen, and Chekhov are included. 40C: Contemporary Drama. Post Naturalistic theatre: Expressionism, Epic Theatre, Theatre of the Absurd, and Contemporary American Theatre. Among the playwrights studied are Stein, Shaw, Pirandello, Ionesco, Beckett, Williams, Brecht, Weiss, Albee, Churchill, and Duras. Same as Comparative Literature CL 40A, B, C. (IV, VII-B)
50A Introduction to Costume Design (4). An introduction to the process and procedures employed by the costume designer for the theatre. The elements of design are discussed in the context of character development, historical period, and style. Exercises extend to drawing, rendering, and investigation of human proportions.
50B Introduction to Scenic Design (4). Introduction to the principles and practice of scenic design. Weekly problems include research into various periods and styles of production with an emphasis on the conceptual idea. Perspective drawing, rendering, and model building are covered in studio exercises and assignments. Prerequisite: Drama 10.
50C Introduction to Lighting Design (4). Introduction to the principles, theories, and equipment employed by the lighting designer for the stage. Areas of investigation include history, technology, and script analysis. Detailed studio attention is given to the theory and practice of design.
50D Introduction to Sound Design (4). Principles, theories, equipment use, and terminology employed by the sound designer for the stage. Areas of study include history, technology, and script analysis. Focuses on the theory and practice of design.
65 Music Theatre Workshop I (2) F, W. For students new to singing or musical theatre. Basic vocal technique, characterization, and physicalization of music and lyrics introduced. May be taken for credit three times.
UPPER-DIVISION
100 University Theatre (4). Rehearsal and performance in a faculty-directed production. By audition only. May be repeated for credit.
101 Theatre Production. The production courses are offered to give students the opportunity to participate in departmental productions. Students engage in the production and construction of designed work as well as its applied execution during performance. Prerequisite: consent of instructor. May be taken for credit for a maximum of 24 units provided productions change.
101A Theatre Production: Costume (1 to 6). Pass/Not Pass only.
101B Theatre Production: Scenic (1 to 6). Pass/Not Pass only.
101C Theatre Production: Lighting (1 to 6). Pass/Not Pass only.
101D Theatre Production: Stage Management (2 to 8)
101E Theatre Production: Audio (1 to 6). Pass/Not Pass only.
103-109: THEORY AND CRITICISM
103 Lectures in Dramatic Literature (4). Courses include Medieval and Tudor Drama, Elizabethan and Jacobean Drama, Shakespeare, Restoration and Eighteenth-Century Drama, Modern British Drama, Modern American Drama, Tragedy, and Comedy. Prerequisite when offered for upper-division writing: satisfactory completion of the lower-division writing requirement. May be repeated, provided topic changes.
105 Introduction to Theory and Criticism (4). Discusses the approaches and methodologies of critical and performance theory. Students are introduced to major figures in the field of philosophical and theoretical discourse. Prerequisite: satisfactory completion of the lower-division writing requirement.
109 Special Topics in Theory and Criticism (4). Discussion of recent major trends and ideas in critical theory, concentrating on in-depth readings and lectures in particular facets of theory and criticism: Derrida, Butler, Lacan, Deleuze, and others. Prerequisite: satisfactory completion of the lower-division writing requirement. May be repeated for credit as topics vary.
110-119: PERIODS AND GENRES
110 Special Topics in Classical Dramas (4). Designed to introduce students to various classical traditions—early Greek and Roman theatres, to be sure, but also, by way of comparison, the classical traditions of non-European cultures. Prerequisites: Drama 40A, B, C and satisfactory completion of the lower-division writing requirement. May be repeated for credit as topics vary.
112 Special Topics in Early Modern and Neoclassical Theatre (4). Investigates aspects of European theatre and culture in the sixteenth, seventeenth, and eighteenth centuries; individual courses may focus on specific topics within this broad expanse. Prerequisite: satisfactory completion of the lower-division writing requirement. May be repeated for credit as topics vary.
116 Special Topics in Nineteenth-Century Dramas (4). Looks at the various trends and conventions of theatres in the nineteenth century, both Euro-American and beyond, paying special attention to the culture and political milieu within which these various traditions appeared. Prerequisites: Drama 40A, B, C and satisfactory completion of the lower-division writing requirement. May be repeated for credit as topics vary.
118 Special Topics in Modern and Contemporary Drama (4). An investigation into the many forms and permutations of modern (1880-1945), and contemporary (since 1945) drama, paying special attention to the historical and philosophical interpretations of text and performance. Prerequisites: Drama 40A, B, C and satisfactory completion of the lower-division writing requirement. May be repeated for credit as topics vary.
120A, B, C Development of Theatre (4, 4, 4). A one-year lecture course concentrating on the development of world theatre from a visual point of view, from the earliest storytelling rituals through international stage development to contemporary theatrical forms. Prerequisite or corequisite: Drama 40A, B, C. (VII-B)
121-129: PERFORMANCE AND CULTURE
121 Introduction to Asian Theatre (4) W. An introduction to some of the major traditional theatrical forms and dramatic texts from India, China, and Japan. Other than dramatic texts (in English translation), attention is also paid to theory, history, and performance styles of traditional Asian theatre. Formerly Drama 140.
122 Asian American Theatre (4). An introduction to the history and development of Asian American theatre and drama. Besides play analysis, special attention is also paid to the history and politics of Asian American identity and experience, as well as to aspects of theatrical performance. Prerequisites: Drama 40A, B, C and 120A, B, C. Formerly Drama 141.
123 Multicultural Theatres (4). A study of the history, culture, aesthetics, and literature of various traditional performing arts and their connections to the contemporary multicultural society. May be repeated for credit as topics vary.
126 African American Film and Drama (4). A critical investigation of films and plays written by African Americans, with emphasis on dramaturgical and cinematic strategies, individual and collective representation, and the legacy of African American political struggle. Prerequisite: satisfactory completion of the lower-division writing requirement.
129 Advanced Topics in Performance (4). Addresses particular issues in theatre and performance that typically lie outside of regular course offerings. May address such issues as the theatre of the Avant Garde, performing gender, transversality and performance, body art, installation and performance art, among other possible topics. Prerequisite: satisfactory completion of the lower-division writing requirement. May be repeated for credit as topics vary.
130A-B Intermediate Acting (4-4). 130A: Rehearsal and presentation of at least five scenes from contemporary material. Exercises in developing relationship communication and character-to-character contact. Prerequisite: Drama 30A-B-C with a grade of B or better; for transfer students: one year of beginning acting with a grade of B or better. May be repeated for credit as topics vary. 130B: Rehearsal and performance of four scenes developing characters in depth; examination of the credibility and theatricality of characterization and style. Prerequisite: Drama 130A. May be repeated for credit as topics vary.
132A-B-C Writing for Performance (4-4-4). 132A: Completion of a full-length play or its equivalent; discussion of student writing and of relevant literary texts. Prerequisite: satisfactory completion of the lower-division writing requirement. May be repeated for credit as topics vary. Formerly Drama 132. 132B: Development of student work beyond what is normally produced in Drama 132A. The goal is to produce a polished, high-quality, stage-ready work through workshop exercises, revision, and rewriting. Prerequisites: Drama 132A, portfolio, and consent of instructor. 132C: The goal is to produce work previously written in Drama 132A-B, under the supervision of instructor. Students, working under "real-life" conditions, may not rely on departmental resources to produce their work. Prerequisites: Drama 132B, portfolio, and consent of instructor.
135 Master Classes in Acting (1 to 4). Advanced acting in specialized areas including acting for the camera: film, situation comedy, commercials; auditioning and industry preparation; Shakespeare; Moliere; Chekov; improvisation; movement for the actor; self-starting; stage combat; repertory acting, singing; comedy; clowning; and masks. Prerequisites: Drama 30A-B-C (or equivalent transfer courses) and Drama 130A with a grade of B or better; Drama 130B. May be repeated for credit.
142 Music Theatre Workshop II (4) F, W, S. A workshop in audition technique and song interpretation. Admission by audition only. May be taken for credit six times. Formerly Drama 165.
143A, B, C Music Theatre Workshop III (4, 4, 4) F, W, S. Scene study and song repertoire examined by era for the advanced music theatre student. 143A: 1900s-1930s: operetta, revue, and musical comedy. 143B: 1940s-1960s: book musicals. 143C: 1970s-present: new forms and Broadway opera. Prerequisites: Drama 142 and audition. May be taken for credit six times. Formerly Drama 166A, B, C.
144 Music Theatre Workshop IV (4) F, W, S. A performance class concentrating on role building and how an actor prepares for that role. Work culminates with an in-class performance of two abbreviated musicals from different time periods. Prerequisites: audition, Drama 143A, B, C, Drama 148A, B, or consent of instructor. May be taken for credit six times. Formerly Drama 174.
145 Music Theatre Singing (1) F, W, S. Private weekly voice lessons for the advanced musical theatre student. Corequisite: Drama 143 or 144. May be taken for credit nine times.
146A-B New York Satellite Program (4-4) W, S. An immersion experience in New York City for the musical theatre performer. 146A: Class preparation. 146B: Master class in New York. Prerequisites: Drama 30A and audition. May be taken for credit three times.
147 Music Theatre Dance (4) F, W. An exploration of various dance styles from different eras of the musical theatre stage. Prerequisite: Drama 65 or 142. May be taken for credit six times.
148A, B History of American Musical Theatre (4, 4) F, W. Discusses the composers, librettists, directors, choreographers, and performers in the American musical theatre. 148A: 1700s-1940s: ballad opera, minstrels, vaudeville, burlesque, operetta, revues, and musical comedy. 148B: 1940s-present: book musicals, concept musicals, Broadway opera, and new forms. Concurrent with Drama 248A, B.
149 Music Proficiency for Actors (2) F, S. A musicianship class introducing basic musical terminology, theory, and keyboard concepts. May be taken for credit twice.
150 Costume Production Techniques (4). Studio instruction in pattern making, draping, millinery, and construction techniques. Prerequisite: Drama 50A. May be repeated for credit.
155 Lighting Systems (4). A study of basic electrical practice used in theatrical lighting. Areas of investigation include control system design, system wiring, maintenance of equipment, and new developments in the field of lighting and illumination. Prerequisite: Drama 50C.
157 Lighting Composition (4). Provides an opportunity for students to pursue stage lighting composition in a studio atmosphere. Laboratory practice includes weekly exercises in style and genre. Emphasis is placed on the realization of conceptual ideas. Prerequisite: Drama 50C. May be repeated for credit.
158 Studio in Theatre Design (4). Examines the various functions of scenery and costume: locale, historical period, mood, and atmosphere, with special assignments in each area. Discussion of problems in scenic metaphors and visualization, with emphasis on techniques of planning and presentation (e.g., floor plans, models, and rendering). Prerequisite: Drama 50A or 50B, or consent of instructor. May be repeated for credit.
159 Proseminar in Theatre Design (4). Content varies. Prerequisite: consent of instructor. May be repeated for credit.
160 Light Plotting Techniques (4). A study of the development of theatrical lighting plots from initial conceptualization through final documentation. Areas of emphasis include script analysis, visual approaches, equipment selection and compositional qualities of light. Prerequisite: Drama 50C.
162 History of Stage Lighting (4). A historical study of lighting design methods, techniques, and innovation. Areas of emphasis include the development of light sources, equipment, and design styles.
163 Introduction to Stage Management (4). A basic study of theatrical, dance, and opera stage management practices, forms, and methods, from first script reading to closing night. Opportunity to observe professionals at work in regional and touring situations as available.
164A-B History of Costume (4-4). A study of the development of dress and the influence of cultural factors on clothing. 164A: From the time of Egyptians to Early Baroque. 164B: From late Baroque to World War I.
167 Fabric Modification Techniques (4). Exploration of various dying, printing, painting, and texture modification techniques. Prerequisite: Drama 50A. Offered every other year.
168 Theatrical Mask Techniques (4). Design and construction of theatrical masks including paper mache, leather, plastics, and latex. Projects employ traditional and contemporary techniques. Prerequisite: Drama 50A.
169 Costume Rendering Techniques (4). Development of costume rendering skills and techniques. Explores collage, pastel, and ink and emphasizes watercolor. Prerequisite: Drama 50A.
170 Directing (4). The principles of stage directing, covering the director's functions in the areas of interpretation, composition, coaching, and styling a theatrical production. Directing exercises and projects; the final project is the preparation of a hypothetical proposal for a play production. May be repeated for credit.
171 Production Management (4). An examination of stage and production management. Areas of study include production organization, management practices, production scheduling, rehearsal and performance duties, union regulations, and production touring.
173A Theatre Orchestra (2)
175 Staging Shakespeare (4). A seminar in Shakespearean staging practice, both Elizabethan and contemporary. Students prepare a hypothetical production book for an assigned play as it could have been produced at the Globe Theatre in 1610, and a proposal to produce the same play in a contemporary manner today. Prerequisites: Drama 170 and consent of instructor. May be repeated for credit.
176 Script and Score (4). A form and analysis seminar discussing the libretto and score of landmark musicals. Prerequisites: Drama 148A, B. May be taken twice for credit.
179 Intermediate Sound Design (4). Sound design in the theatre. A project-based analysis of the principles of design and how they affect an audience.
180 Contemporary Dramatic Criticism and Theory (4). Reading and analysis of theories and critical approaches to contemporary theatre: Brecht, Artaud, and others who have contributed to the form and idea of the modern theatre. Writing of assigned exercises in dramatic criticism. Prerequisite when offered for upper-division writing: satisfactory completion of the lower-division writing requirement. May be repeated for credit as topics vary.
181 Acting Theory (4). A study of the theory of acting, with readings in Plato, Aristotle, Quintilian, Shakespeare, Diderot, Stanislavsky, Brecht, Strasberg, Meisner, Grotowski, and other theorists, ancient to contemporary. Prerequisites: Drama 130A-B and junior standing. Concurrent with Drama 224.
185 Advanced Directing (4). A seminar in directorial organization and research. Student prepares a textual and dramaturgical analysis, a production timetable, and a hypothetical production book of an assigned play. Prerequisites: Drama 170 and consent of instructor. May be repeated for credit.
188 Showcase Performance (4). Rehearsal and public performance in departmentally sponsored acting showcase in New York and Los Angeles. Prerequisites: Drama 130A and 135; senior standing; audition and consent of instructor.
190 Studio in Acting (4). May be repeated for credit.
198 Drama Workshop (4). By audition or accepted proposal only. Consists of directing or acting in a regularly scheduled Drama Workshop production and submitting a final evaluation of all work performed. Workshop productions must be proposed by directors on departmental forms, and each project must be approved by the Workshop Committee. Pass/Not Pass only. May be repeated for credit.
199 Project in Theatre (1 to 4). Prerequisite: consent of instructor. May be repeated for credit.
GRADUATE
200 Graduate Studio: Acting (2) F, W, S. Work in graduate studio taken in tandem with graduate studios in stage voice (Drama 201), stage speech (Drama 202), and stage movement (Drama 203). May be repeated for credit.
201 Graduate Studio: Voice (1) F, W, S. Graduate studio in vocal production for actors. May be repeated for credit.
202 Graduate Studio: Speech (1). Graduate studio in speech for actors. May be repeated for credit.
203 Graduate Studio: Movement (2). Work in graduate studio: stage movement taken in tandem with nine graduate studios in acting (Drama 200), voice (Drama 201), speech (Drama 202), and voice/movement dynamics (Drama 206). May be repeated for credit.
206 Graduate Studio: Voice/Movement Dynamics (2) F, W, S. Daily conditioning exercises. May be repeated for credit.
211 Graduate Studio: Directing (4) F, W, S. May be repeated for credit.
212 Graduate Studio: Playwriting (4). Completion of a full-length play or its equivalent and production of a staged reading of the play at the end of the spring quarter. Discussion of relevant literary texts and student writings. May be repeated for credit.
219 Graduate Master Class (1 to 4) F, W, S. Various topics such as Shakespeare, comedy, Molière, improvisation, Kabuki, television acting. May be repeated for credit.
220 Seminar in Dramatic Literature (4) F, W, S. May be repeated for credit.
221 Seminar in Criticism (4). May be repeated for credit.
223 Seminar in Performance Theory (4). A study of major performance theories since Diderot's Paradox of Acting. May be repeated for credit.
224 Acting Theory (4). A study of the theory of acting, with readings in Plato, Aristotle, Quintilian, Shakespeare, Diderot, Stanislavsky, Brecht, Strasberg, Meisner, Grotowski, and other theorists, ancient to contemporary. Concurrent with Drama 181.
225 Seminar on Theatre Pedagogy (4) F, W, S. A seminar on the major teaching systems in the dramatic arts with particular attention to professional arts training. Graduate students in Drama only; required prior to applying for Teaching Assistantships in studio areas. May be repeated for credit.
230 Seminar in Contemporary Theatre (4)
235 Script Analysis and Research (4) F. Analysis of dramatic scripts. Examination of dramaturgic structure, character intentions and interactions, historical and literary milieu, and potentials for theatrical realization. May be repeated for credit.
240 Graduate Projects (1 to 4) F, W, S, Summer. Various projects depending on student's concentration (acting, design, musical theatre, directing). May be repeated for credit.
245 Conceptualization and Collaboration (4) F. A study of the potential for directorial conceptualization and collaboration with designers in the areas of scenery, costume, lighting, and sound. May be repeated for credit.
248A, B History of American Musical Theatre (4, 4) F, W. Discusses the composers, librettists, directors, choreographers, and performers in the American musical theatre. 248A: 1700s-1940s: ballad opera, minstrels, vaudeville, burlesque, operetta, revues, and musical comedy. 248B: 1940s-present: book musicals, concept musicals, Broadway opera, and new forms. Concurrent with Drama 148A, B.
254 Graduate Stage Management (4). F, W, S. Studio exercises and projects in stage management. Open only to graduate students in the Stage Management emphasis. May be repeated for credit as topics vary.
255 Graduate Design (4) F, W, S. Student exercises and projects in costume, scenery, lighting, and sound design. Open only to graduate students in the Design emphasis. May be repeated for credit as topics vary.
260 Digital Design: Image Compositing/Rendering (4) F. A studio course in scenic or costume rendering for the theatre using computer image manipulation and compositing techniques. May be taken for credit twice.
261 Digital Design: Drawing/Painting/Rendering (4) W. A studio course in scenic or costume rendering for the theatre using the computer for drawing/ painting through the use of the digital pen/tablet. May be taken for credit twice.
262 Digital Design: 2D/3D Modeling (4) W. A studio course in CAD's 2D and 3D modeling capabilities for theatrical design. Instruction in state-of-the-art software for 2D and 3D object creation and theatrical presentation conventions.
263 Digital Design: 3D Rendering (4) S. A studio course in theatrical design through 3D modeling on the computer and use of state-of-the-art rendering software. Instruction emphasizes collaborative design process through the use of scenic designer/lighting designer teams for all projects. Prerequisite: Drama 262.
264 Lighting Graphics (4) S. A studio course in the various graphic methods employed by lighting designers in the theatre. Projects include manual and CAD techniques for Light Plot and Paperwork creation. Prerequisite: Drama 262.
265 Digital Design: 2D CAD (4) S. A studio course in theatrical design and architectural lighting design on the computer. Instruction in state-of-the-art software for 2D object creation. Theatrical and architectural standards implemented in performance design. Prerequisite: Drama 262.
266 Digital Design: Digital Audio Systems (4) F. Comprehensive tutorial on digital audio including hard disk recording, editing, data compression, and ethernet audio distribution. Focus is on recording, editing, and delivery of audio as used by the sound designer in the digital domain. Prerequisite: Drama M.F.A. students only, or consent of instructor.
267 Digital Design: Creating Sounds from Scratch (4) S. The process of analyzing sounds for their core timbral components and using that data to create new sounds—from realistic to fantastic—by means of digital manipulation. Prerequisites: Drama 266; Drama M.F.A. Sound Design students only, or consent of instructor.
271 Conceptual Sound Design (4) W. An intensive, project-based seminar for exploring relationships between sound and sight. Synesthesia, creative intent vs. audience perception, and sound/movement are typical of the many topics to be explored. A series of creative projects are assigned and critiqued in peer review. Prerequisites: Drama 266; Drama M.F.A. Sound Design students only, or consent of instructor.
272 Musical Theatre Sound/Concert Sound (4) S. A concept-to-opening study of the process of designing sound systems for musicals and live/touring sound. Special attention given to the paperwork and documentation required to package, build, and mix these shows. Prerequisite: Drama M.F.A. Sound Design students only, or consent of instructor.
277 Critical Listening (4) F. Exploration of the many variables that affect (and effect) the audio chain. Perceiving and understanding these parameters unlocks the art of controlling sound and stylizing cues. Also includes the process of equalizing/aligning sound systems and the art of audio mastering. Prerequisites: Drama 266; Drama M.F.A. Sound Design students only, or consent of instructor.
290 Dramatic Literature and Theatre History Prior to 1900 (4) F, W, S. Prerequisite: consent of instructor. May be repeated for credit.
291 Dramatic Literature and Theatre History, 1900 to Present (4) F, W, S. Prerequisite: consent of instructor. May be repeated for credit.
292 Cultural and Critical Theory (4). F, W, S. Prerequisite: consent of instructor. May be repeated for credit.
293 Directed Studies (4 to 12). F, W, S. Prerequisite: consent of instructor. May be repeated for credit.
294 Dissertation Research (4 to 12) F, W, S. Prerequisite: consent of instructor. Satisfactory/Unsatisfactory. May be repeated for credit.
295 Professional Internship (1 to 8) F, W, S, (1 to 12) Summer. An arranged internship at the South Coast Repertory Theatre, or other equity theatre company, for qualifying M.F.A. students in acting and directing. A stipend and equity points are provided by the theatre company. May be repeated for credit.
399 University Teaching (4) F, W, S. Limited to Teaching Assistants.