249 Drama Building; (949) 824-6614
Cameron Harvey, Department Chair
Faculty
Keith Bangs, M.F.A. Yale University, Lecturer in Drama (technical production)
Stephen Barker, Ph.D. University of Arizona, Director of Arts Interdisciplinary and Professor of Drama (theory, criticism, literature)
Dennis Castellano, M.F.A. University of California, Irvine, Lecturer in Drama and Head of Music Theatre (music theatre)
Robert Cohen, D.F.A. Yale University, Professor of Drama (acting, directing, dramatic literature)
Myrona Delaney, M.F.A. University of California, Irvine, Lecturer in Drama (music theatre, acting)
Clifford Faulkner, M.A. California State University, Long Beach, Lecturer in Drama (scenic design)
Keith Fowler, D.F.A. Yale University, Associate Professor of Drama and Head of Directing (directing, acting, and dramatic literature)
Clayton Garrison, Ph.D. Stanford University, Professor Emeritus of Drama (opera and musical theatre, movement, dramatic literature)
Douglas-Scott Goheen, Ph.D. University of Denver; M.F.A. Yale University, Professor of Drama (scenic design)
Julie Haber, M.F.A. Yale University, Lecturer in Drama (stage management)
Cameron Harvey, M.F.A. University of California, Irvine, Department Chair, Head of Theatre Design, and Professor of Drama (lighting design, production)
Dudley Knight, M.F.A. Yale University, Department Vice Chair and Associate Professor of Drama (voice, speech for actors, acting)
Madeline Ann Kozlowski, M.F.A. Brandeis University, Assistant Professor of Drama (costume design)
Annie Loui, Assistant Professor of Drama (movement)
David McDonald, Ph.D. Stanford University, M.F.A. Yale University, Associate Professor of Drama and Head of Playwriting (critical theory, dramatic literature, and playwriting)
David Pecoraro, M.F.A. Temple University, Lecturer in Drama (stage management)
Thomas Ruzika, M.F.A. University of California, Irvine, Lecturer in Drama (lighting design)
Mahlon Schanzenbach, M.A. California State University, Long Beach, Lecturer in Drama (voice)
Eli Simon, M.F.A. Brandeis University, Associate Professor of Drama and Head of Acting (acting, directing)
Richard Triplett, Otis Art Institute, Professor Emeritus of Drama (scenery and costume design, history of design)
Christopher Villa, Lecturer in Drama (stage combat)
Lynn Watson, M.F.A. University of California, Irvine, Lecturer in Drama (voice)
Robert Weimann, Ph.D. Humbolt University (Germany), Professor of Drama (theory, criticism, literature)
Shigeru Yaji, M.F.A. California State University, Long Beach, Lecturer in Drama (costume design)
The program leading to the Bachelor of Arts in Drama combines broad liberal study and comprehensive training in several subdisciplines of drama. Each Drama major studies and practices in each of several mutually related areas of the theatre: performance, literature, history, criticism, design and stage management, and production. The curriculum is structured to relate studio practices, technical resources, and production techniques to the development of dramatic literature and current critical theory.
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.
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.
University Requirements: See pages 54-58.
School Requirements: None.
Departmental Requirements for the Major
One year survey in the development of dramatic literature (Drama 40A, B, C); one year in acting (Drama 30A-B-C); three courses in design (Drama 50A, B, C); an introductory course in production theory (Drama 10); one year in the development of theatre (Drama 120A, B, C); two upper-division courses in dramatic literature; three upper-division courses in addition to the two in dramatic literature mentioned above (these may be in studio work and/or dramatic literature, playwriting, and criticism); two quarters in dance (these courses may be taken Pass/Not Pass); eight units of theatre production (Drama 101) of which four units must be completed during the first year of residence 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 freshmen must complete Drama 50A, B, C 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) | English and Comp. | |||
| English and Comp. | English and Comp. | Lit. WR39C | |||
| Lit. WR39A | Lit. WR39B | 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 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 165, all at UCI, with a combined grade point average in all acting courses of 3.2 or higher; (3) performance in at least three official Drama at UCI productions (including mainstage, stage 2, stage 3, workshop, or cabaret); (4) completion of all Drama 101 (Theatre Production) assignments; and (5) completion of the 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; (4) eligibility to audition at UCI-screened Shakespearean Festivals; and (5) eligibility to audition for the Santley Showcase Productions.
The Santley Showcase is a UCI-sponsored professional showcase production presented annually in New York and Los Angeles for casting directors, agents, directors, and producers. All travel and production funds are provided from the Santley bequest. Honors in Acting status does not guarantee final selection for the Santley Showcase, but only Honors in Acting students, third-year M.F.A. students, and alumni are eligible to audition for this presentation.
Honors in Music Theatre Program
Musical theatre performers need to possess strong and competitive skills in acting, singing, and dancing. The Honors in Music Theatre Program is a unique series of courses which provide advanced training in scene study, song interpretation, dance, voice, acting, and audition technique. Studies include the history of the American musical, and performance experiences vary from fully staged musicals to intimate revues. Honors students are introduced to Broadway performance techniques through the New York Satellite Program (a four-week intensive series of master classes held in New York during the month of May).
Admission to the Honors in Music Theatre Program is competitive. After completing the prerequisite, Drama 165 (Beginning Music Theatre Workshop), candidates may audition for Drama 166 (Advanced Music Theatre Workshop). This audition will assess the student's proficiency at singing, dancing, and acting along with music reading skills at the piano. Auditions are scheduled twice each year: once during orientation week and again during finals week of the fall quarter. If accepted into Drama 166, honors candidates must possess and maintain an overall GPA of 3.20 and a grade of B or better in all Drama course work. Undergraduate Drama majors can be admitted into the program as early as the winter quarter of their freshman year but no later than the winter quarter of their junior year.
Students in the Honors in Music Theatre Program need to 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 (The History of Music Theatre). (This course is taught during the fall and winter quarters every other academic year. Junior transfer students who enter UCI during the year in which the course is offered will need to enroll in the course during their first fall quarter before actually qualifying for the honors program).
2. The three upper-division courses in Drama must be satisfied with Drama 166A, B, C (Advanced Music Theatre Workshop). (Semi-private voice lessons will be offered in special laboratory sessions exclusively for the honors candidates.)
3. The two Dance classes must be satisfied by taking two quarters of ballet.
4. Additional required courses: Drama 35 (Speech for the Theatre); Drama 100 (University Theatre; specifically, a musical production); Drama 130A (Advanced Acting); Drama 165N (New York Music Theatre Workshop; winter and spring quarters); Drama 166M (Music Proficiency for Actors; this course is waived if the student already possesses basic keyboard reading skills); two quarters of tap and two quarters of jazz (Dance Department).
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.
NOTE: Except for Drama 166M and the voice lessons offered in the laboratories of Drama 166A, B, C, all of the above courses are open to all students even though they may not qualify for the Honors Program.
Degree Offered
M.F.A. in Drama, with emphasis in Acting, Directing, or Design and 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, and Irvine during February. Interviews for applicants in Directing and in Design and 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.
In addition, Acting students must take one Drama mainstage or two Stage 2 production running-crew assignment(s) in their first year of residence.
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, objective drama, or music theatre (Drama 219, 289, 216, or 135); 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 220-223, 225, or 230); six graduate projects, of which two may be professional internships (Drama 240 or 295).
Design and Stage Management
Nine graduate studios in design/stage management, one of which is the thesis (Drama 255); seven courses in graduate projects, two of which may be a professional internship (Drama 240, 295); two elective courses; three courses in development of theatre (Drama 120A, B, C)--faculty head may approve substitutions depending on student's prior academic experience; two courses in production techniques (Drama 150-162, 167-171); 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 130A-B, or 135 as qualified); 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.
10 Introduction to Production Theory (4) F, W, S. 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.
20 The Nature of Drama: Structure and Style (4). A general introduction to the dramatic literature of several periods, with an emphasis on dramatic form and meaning.
30A-B-C Acting (4-4-4), (30A) F, Summer, (30B) W, (30C) S. 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.
32 Beginning Playwriting (4). Writing of assigned exercises and the completion of the equivalent of a one-act play. Analysis of alternative forms: Absurdist, Brechtian, Naturalistic, and Symbolic, as well as the more traditional forms of comedy, tragedy, and melodrama. Same as English and Comparative Literature WR32.
34 Movement for Actors (4-4-4) F, W, S. 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.
35 Speech for the Theatre (4) F, W, S. 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) F, W, S. 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 English and Comparative Literature CL 40A, B, C. (IV, VII-B)
50A Introduction to Costume Design (4) F, W, S. 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) F, W, S. 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) F, W, S. 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.
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 12 times for a maximum of 24 units provided productions change.
101A Theatre Production: Costume (2 to 6) F, W, S. Pass/Not Pass only.
101B Theatre Production: Scenic (2 to 6) F, W, S. Pass/Not Pass only.
101C Theatre Production: Lighting (2 to 6) F, W, S. Pass/Not Pass only.
101D Theatre Production: Stage Management (2 to 8) F, W, S
101E Theatre Production: Audio (2 to 6) F, W, S. Pass/Not Pass only.
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. May be repeated, provided topic changes.
104 Greek Drama (4). A concentrated examination of the major works of Aeschylus, Sophocles, Euripides, and Aristophanes, with additional readings in Greek dramatic theory and theatre history.
117 Russian Stage and Film Drama (4). Development of the Russian theatre through the Symbolist drama to Futurism and the post-Revolutionary era. The innovation of twentieth-century stage directors, and masterpieces of the Soviet. Open to freshmen. Lectures, readings, and discussions in English.
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 40 A, B, C. (VII-B)
130A-B Advanced 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. May be repeated for credit. 130B: Rehearsal and performance of four scenes developing characters in depth; examination of the credibility and theatricality of characterization and style. Prerequisite for 130A: Drama 30A-B-C. Prerequisite for 130B: Drama 130A. May be repeated for credit.
132 Advanced Playwriting (4). Completion of a full-length play or its equivalent; discussion of student writing and of relevant literary texts. Prerequisites: Drama 32 and consent of instructor. May be repeated for credit as topics vary.
135 Master Classes in Acting (1 to 4). Acting in specialized areas including television acting, improvisation, movement for the actor, body language, Shakespeare, Molière restoration, theories, Kabuki, and modern Japanese theatre. Prerequisites: Drama 130A-B. May be repeated for credit.
140 Contemporary American Theatre (4). A close examination of works and trends in the American theatre since World War II, including current playwriting as represented by new plays produced in Los Angeles, New York, Chicago, and other major repertory theatre centers.
141 Contemporary British Theatre (4). A close examination of British theatre in the post-Suez (1956-on) period, with special attention to political trends in current British playwriting.
142 Contemporary Continental Drama (4). A close examination of continental European dramatic literature and theory. Readings from Camus, Sartre, Beckett, Ionesco, Genet, Mrozek, Handke, Brecht, and others.
148A-B History of Music Theatre (4-4) F, W. Discusses the composers, librettists, directors, choreographers, and performers in the American musical theatre. 148A: Early 1700-1940s: types--ballad opera, minstrels, vaudeville, burlesque, operetta, revues, early musical comedy. 148B: 1940s-present: types--musical comedy, the concept musical, the Broadway opera. Concurrent with Drama 248A-B.
150 Costume Production Techniques (4). Studio instruction in pattern making, draping, millinery, and construction techniques. Prerequisite: Drama 50A. May be repeated for credit.
151 Scenery Production Techniques (4). Theatre architecture, the physical stage and its equipment, the principles of scenery construction, and the nature and sources of scenic materials are among the lecture topics. Theatre engineering is studied as a drawing subject. Particular emphasis is given to the maintenance of design integrity in scenic execution. Prerequisite: Drama 50B.
152 Lighting Production Techniques (4). An exploration of the methods and resources used by the lighting designer in the theatre. Class tours are conducted to leading theatres and commercial suppliers to examine equipment and procedures first hand. Detailed studio attention is given to the development of stage lighting graphics and problems related to road trouping. Prerequisite: Drama 50C.
153 Makeup Production Techniques (4). A studio laboratory course in the techniques of stage makeup including projects in prosthetics and ventilation of hair. Prerequisite: consent of instructor.
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.
156 Scene Painting (4). A studio course in scenery painting. Full-scale projects in the techniques of the scenic artist will be practiced in the scenery studio. Prerequisite: Drama 50B or consent of instructor.
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.
161 Stage Lighting Graphics (4) S. A studio course in the various graphic methods employed by lighting designers in the theatre. Investigations will include manual and computer-aided techniques. Prerequisite: Drama 50C.
162 History of Stage Lighting (4) W. 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) F. 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.
165 Beginning Music Theatre Workshop (4). A workshop in audition technique and song interpretation. May be taken for credit six times. Formerly Music 165A.
165N New York Music Theatre Workshop (4). Music theatre workshop specifically for the New York Satellite Program. Prerequisite: by audition. May be taken for credit six times.
166A, B, C Advanced Music Theatre Workshop (4) F, W. Scene study and song repertoire examine works according to era. 166A: 1900s-1930s: operetta, revue, early musical comedy. 166B: 1940s-1960s: book musicals. 166C: 1970s-present: rock musicals, Broadway opera. Prerequisites: Drama 165 and audition. May be taken for credit six times.
166M Music Proficiency for Actors (0). Tutorial in basic keyboard reading skills for candidates in the Honors in Music Theatre Program. Course may be repeated until student learns a vocal line from a piano/vocal score. Pass/Not Pass only. Corequisite: Drama 166A, B, C. Open only to students in the Honors in Music Theatre Program.
167 A, B Fabric Modification Techniques (4, 4). Exploration of various dying, printing, painting, and texture modification techniques. Prerequisite: Drama 50A.
168 Theatrical Mask Techniques (4). Design and construction of theatrical masks including paper mache, leather, plastics, and latex. Projects employ traditional and contemporary techniques. Prerequisites: 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) F. 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) F. 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) W. 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.
180 Contemporary Dramatic Criticism and Theory (4). Reading and analysis of theories and critical approaches to contemporary theatre: Stanislavski, Brecht, Artaud, and others who have contributed to the form and idea of the modern theatre. Writing of assigned exercises in dramatic criticism. May be repeated for credit.
182 History of Dramatic Criticism (4). Reading and analysis of the principal theorists and critics of dramatic art, including Aristotle, Corneille, Diderot, Dryden, Lessing, Coleridge, Zola, and Nietzsche, among others.
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) F, W, S. 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) F, W, S. Prerequisite: consent of instructor. May be repeated for credit.
NOTE: All graduate courses in Drama may be repeated for credit.
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).
201 Graduate Studio: Voice (1) F, W, S. Graduate studio in vocal production for actors.
202 Graduate Studio: Speech (1). Graduate studio in speech for actors.
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).
206 Graduate Studio: Voice/Movement Dynamics (2) F, W, S. Daily conditioning exercises.
211 Graduate Studio: Directing (4) F, W, S
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.
219 Graduate Master Class (1 to 4) F, W, S. Various topics such as Shakespeare, comedy, Molière, improvisation, Kabuki, television acting.
220 Seminar in Dramatic Literature (4) F, W, S
221 Seminar in Criticism (4)
222 Seminar in Theatre History (4)
223 Seminar in Performance Theory (4). A study of major performance theories since Diderot's Paradox of Acting.
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.
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.
240 Graduate Projects (1 to 4) F, W, S, Summer. Various projects depending on student's concentration (acting, design, musical theatre, directing).
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.
248A-B History of Music Theatre (4-4) F, W. Discusses the composers, librettists, directors, choreographers and performers in the American musical theatre. 248A: Early 1700-1940s: types--ballad opera, minstrelsy, vaudeville, burlesque, operetta, revues, early musical comedy. 248B: 1940s-present: types--musical comedy, the concept musical, the Broadway opera. Must be taken in sequence. Limited to graduate students only. Concurrent with Drama 148A-B.
250 Directed Reading (4)
255 Graduate Design and Stage Management (4) F, W, S. Studio exercises and projects in costume, scenery, lighting design, and stage management. Open only to Drama graduate students pursuing the Design and Stage Management emphasis. May be repeated for credit as topic varies.
256 Designers' Presentational Techniques (4) F. A studio course in rendering techniques employed by costume and scenic designers for the stage. Projects will include graphic development for costume plates, atmospheric rendering, painters' elevations, and model building.
287 Cabaret Performance (1). Rehearsal and public performance of cabaret material. Prerequisites: audition and consent of instructor. May be taken for credit six times as performance changes.
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.
399 University Teaching (4) F, W, S. Limited to Teaching Assistants.
