Chamber Theatre Technique, Whichis an Integral Part of Many of the Units in This Sequence, Is Inclu Ed
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CURRICULUM VITAE NAME Staniunas, John F. Website Http
CURRICULUM VITAE NAME Staniunas, John F. Website http://staniunas.faculty.ku.edu/ EDUCATION M.F.A. University of Arizona, Tucson, 1984. Acting and Directing Thesis: Reviewing the Rules of Musical Revue: The Direction and Choreography of Rodgers and Hart's: Sing For Your Supper. Advisor Richard T. Hanson. B.A. University of Arizona, Tucson,1982. Dramatic Theory (Minor: Musical Theatre) EMPLOYMENT HISTORY University of Kansas Chair, Department of Theatre, 2009-present Chair, Department of Theatre and Film, 2006-2009 Artistic Director for the University Theatre, 2001-2006 Acting Artistic Director, 2008-2009 and Spring 2012 Associate Professor 2001-present Assistant Professor, 1998-2001 Visiting Assistant Professor 1997-98 University of Wisconsin-Madison Visiting Assistant Professor, 1996-1997 Assistant Professor, University of Wisconsin-Madison, Advisor and Head of Acting Specialist Program, 1990-1996 University of California at Davis Instructor, 1988-1990 Southern Illinois University at Carbondale Visiting Instructor, 1987-1988 University of Florida at Gainesville Assistant Professor, 1985-1986 Visiting Instructor, 1984-1985 University of Arizona Graduate Teaching Assistant, 1982-1984 RESEARCH RECORD Artistic Performance Professional Direction and Choreography Elfu Teatras, Vilnius, Lithuania. No Way to Treat a Lady, Director and Choreographer, 2010. Metropolitan Ensemble Theatre, AEA, Kansas City, MO. The Light in the Piazza, Director and Choreographer, 2010. No Way to Treat a Lady, Director and Choreographer, 2009. A Little Comedy from Romance, Romance, Director and Choreographer, 2006. Theatre League, Kansas City New Musicals Festival, Overland Park, KS. The Wild Goat, Director (Staged Reading), 2007. Overture Center for the Arts, Madison, WI. Grand Opening Gala Performance with Andre de Shields, Ethan Steifel, Tracy Nelson, Ben Sidron and others. -
English Song Booklet
English Song Booklet SONG NUMBER SONG TITLE SINGER SONG NUMBER SONG TITLE SINGER 100002 1 & 1 BEYONCE 100003 10 SECONDS JAZMINE SULLIVAN 100007 18 INCHES LAUREN ALAINA 100008 19 AND CRAZY BOMSHEL 100012 2 IN THE MORNING 100013 2 REASONS TREY SONGZ,TI 100014 2 UNLIMITED NO LIMIT 100015 2012 IT AIN'T THE END JAY SEAN,NICKI MINAJ 100017 2012PRADA ENGLISH DJ 100018 21 GUNS GREEN DAY 100019 21 QUESTIONS 5 CENT 100021 21ST CENTURY BREAKDOWN GREEN DAY 100022 21ST CENTURY GIRL WILLOW SMITH 100023 22 (ORIGINAL) TAYLOR SWIFT 100027 25 MINUTES 100028 2PAC CALIFORNIA LOVE 100030 3 WAY LADY GAGA 100031 365 DAYS ZZ WARD 100033 3AM MATCHBOX 2 100035 4 MINUTES MADONNA,JUSTIN TIMBERLAKE 100034 4 MINUTES(LIVE) MADONNA 100036 4 MY TOWN LIL WAYNE,DRAKE 100037 40 DAYS BLESSTHEFALL 100038 455 ROCKET KATHY MATTEA 100039 4EVER THE VERONICAS 100040 4H55 (REMIX) LYNDA TRANG DAI 100043 4TH OF JULY KELIS 100042 4TH OF JULY BRIAN MCKNIGHT 100041 4TH OF JULY FIREWORKS KELIS 100044 5 O'CLOCK T PAIN 100046 50 WAYS TO SAY GOODBYE TRAIN 100045 50 WAYS TO SAY GOODBYE TRAIN 100047 6 FOOT 7 FOOT LIL WAYNE 100048 7 DAYS CRAIG DAVID 100049 7 THINGS MILEY CYRUS 100050 9 PIECE RICK ROSS,LIL WAYNE 100051 93 MILLION MILES JASON MRAZ 100052 A BABY CHANGES EVERYTHING FAITH HILL 100053 A BEAUTIFUL LIE 3 SECONDS TO MARS 100054 A DIFFERENT CORNER GEORGE MICHAEL 100055 A DIFFERENT SIDE OF ME ALLSTAR WEEKEND 100056 A FACE LIKE THAT PET SHOP BOYS 100057 A HOLLY JOLLY CHRISTMAS LADY ANTEBELLUM 500164 A KIND OF HUSH HERMAN'S HERMITS 500165 A KISS IS A TERRIBLE THING (TO WASTE) MEAT LOAF 500166 A KISS TO BUILD A DREAM ON LOUIS ARMSTRONG 100058 A KISS WITH A FIST FLORENCE 100059 A LIGHT THAT NEVER COMES LINKIN PARK 500167 A LITTLE BIT LONGER JONAS BROTHERS 500168 A LITTLE BIT ME, A LITTLE BIT YOU THE MONKEES 500170 A LITTLE BIT MORE DR. -
Theater Arts (THEA) 1
Theater Arts (THEA) 1 THEA 142 INTRODUCTION TO THEATRE DESIGN (3) THEATER ARTS (THEA) Creative aspects of theatrical design from concept to realization. Core: Creativity & Creative Development. Lab/Class fee will be assessed. THEA 100 INTRODUCTION TO THEATRE (3) Theatrical experience through study of the various types, styles and THEA 201 SCENIC DESIGN I (3) production processes of the theatre. Theatre as a public art and its Influence of acting, directing, audience and aesthetics on the relationship to Western and other cultures. Core: Arts and Humanities. development of scenic design. Lab/Class fee will be assessed. THEA 101 ACTING I (3) THEA 202 ACTING II (3) Development of imagination through improvisation, exercise, and simple Technique and practice of scene study: analyzing a script, rehearsing a scenes. Core: Creativity & Creative Development. scene and playing an action. May be repeated for a maximum of 6 units. Prerequisite: THEA 110, THEA 105 and THEA 111 or consent of instructor. THEA 102 HONORS ACTING I (3) Development of imagination through improvisation, exercise, and THEA 204 CREATING COMMUNITIES OF ACTION (3) simple scenes. Honors College course. Students who have successfully Explorations and exercises in structured and improisational theatre completed the non-honors version of this course will not receive games to empower students as facilitators in a variety of fields to build additional credit for this course. Core: Creativity & Creative Development. classroom, work-related and community-based ensembles for enhanced learning and productivity outcomes. Class is repeatable for a maximum THEA 103 INTRODUCTION TO AMERICAN THEATRE (3) of six units. Prerequisite: Towson Seminar. Core: Creativity. -
Drama/Theatre Framework for California Public Theatre
4 0- DOCUMENT RESUME ED 113 765, CS 561.134 TITLE Drama/Theatre Framework for California Public Schools; A Process - Concept Framework for a Program in Theatre Arts for All Students, Kindergarten through Grade Twelve. INSTITUTION California State Dept. of Education, Sacramento. PUB DATE 74 NOTE 90p, EDRS PRICE MF-$0.76 HC-$4.43 Plus Postage DESCRIPTORS Acting; Communication Skills; CreativqDxamatics; *Curriculum Guides; Dance; *Drama; Elementary Secondary Educationr*Guidelines; Oral Communication; Pantomime; Playwritingi Production Techniques; *Theater Atts IDENTIFIERS *California 4-BST17ACT The material in this publication outlines iayd in Which drama/theatre may be used to help students develop their imagination and their communication skills. This framework presents a process-concept organization which spans the grade levels fron kindergarten through twelfth grade and which provides guidelines for- determining expectancies for student achievement, devising strategies for realizing expectancies, and implementing the progaQ (information on teachef training, resources, and instructional materials) . Chapters explore the following topics: drama/theatre ap education; componentd of the curriculum; continuum of expectancies and strategies; sensory and emotional awareness; rhythm and movement; 'pantomime; oral communication; improvisation; playmaking/playwriting; formal acting; designing; directing;\managing; executing technical elements; viewing; reviewing; and training; materials, and sources. 0111 Documents acquiredby ERIC ,include many informal unpublished * * materiald not available from other sources. ERIC makes every effort * * to obtain' the best copy available. Nevertheless, items of marginal * * reproducibility are often encountered and this affects the quality * * of the microfiche and hardcopy reproductions ERIC makes available * * via the ERIC Document Reproduction Service (EDRS). EDRS is not * responsible tor the quality of the original document. -
Communication Arts BFA Theatre – Musical Theatre Track
Department of Communication Arts BFA Theatre – Musical Theatre Track The B.F.A. with a major in Theatre prepares students for a broad range of opportunities including performance, teaching, arts administration, and many non-arts based careers such as sales, training and development, and management. The Theatre program at VSU offers numerous productions throughout the year, providing students with significant performance experience. Theatre graduates learn a host of life skills including collaboration, working to deadlines, self-discipline, patience, perseverance, analytical skills, and critical thinking. Valdosta State University is an accredited institutional member of the National Association of Schools of Theatre. University Core (Areas A to E) ...............................................................................42 hours Core curriculum Area F .............................................................................................18 hours DANC 1500 Introduction to Dance (3 hours) THEA 1000 Voice and Diction (3 hours) THEA 1100 Theatre Appreciation (3 hours) THEA 1120 Introduction to Theatrical Design (3 hours) THEA 2750 Basic Technical Theatre and Stage Lighting (3 hours) THEA 2800 Fundamentals of Acting (3 hours) Senior Core Curriculum.............................................................................................28 hours THEA 2730 Theatrical and Film Makeup THEA 2810 Basic Stage Movement THEA 3700 Play Analysis for Production THEA 3710 Theatre Performance THEA 3720 Theatre Production THEA 3740 Theatre -
Theatre (THEATRE) 1
Theatre (THEATRE) 1 THEATRE 376-0 Intro to Acting for the Screen (1 Unit) THEATRE (THEATRE) THEATRE 402-0 Graduate Colloquium (1 Unit) Advanced graduate study. Topics vary with instructor. THEATRE 310-0 Special Topics in Directing (1 Unit) Studies wih Directing Faculty on special topics related to directing and THEATRE 420-1 Collaboration: American Realism (1 Unit) theatrical forms. First in a series exploring collaboration between stage director and Prerequisite: consent of instructor. designers for production. Focus: collaborative process; realistic and naturalistic American drama. THEATRE 312-0 Text Analysis (1 Unit) Prerequisite: Permission of instructor. Seminar in analysis of dramatic texts as related to the problems of realized theatrical production. THEATRE 420-2 Collaboration: Contemporary Drama (1 Unit) Prerequisite: consent of instructor. Second in a series exploring collaboration between stage director and designers for production. Focus: contemporary drama. THEATRE 313-0 History of Directing (1 Unit) Prerequisites: THEATRE 420-1 and permission of instructor. THEATRE 320-0 Special Topics in Theatre Design (1 Unit) THEATRE 420-3 Collaboration: Shakespeare in the 21st Century (1 Unit) THEATRE 333-2 Advanced Creative Drama (1 Unit) Third in a series exploring collaboration between stage director and Explores improvised drama as a teaching method and a means of designers for production. Focus: Shakespeare. learning for the elementary school child. Theory and practice through Prerequisites: THEATRE 420-1, THEATRE 420-2, and permission of reading, discussion, films, and observation. Course culminates in instructor. extended teaching projects with children from local schools. THEATRE 434-0 Workshop in Drama-Oriented Teaching Techniques (1 Prerequisites: THEATRE 333-1 (or equivalent) and consent of instructor. -
A STUDY of COHTEMPORAHY VERSE DRAMA Uith ESPECIAL Mprasis
A study of contemporary verse drama with especial emphasis on Maxwell Anderson Item Type text; Thesis-Reproduction (electronic) Authors Reveaux, Edward Charles, 1910- Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 06/10/2021 05:10:21 Link to Item http://hdl.handle.net/10150/553386 A STUDY OF COHTEMPORAHY VERSE DRAMA uITH ESPECIAL mPRASIS OH HAXV/ELL A1IBERSOII Dy Edr/ard Rcvcaux A The3la submitted to the faculty of the Department of English in partial fulfillment of the requirements for the degree of Master of Arts in the Graduate College University of Arizona 1 9 3 8 Approved: (e Major Professor ate i/BR a BI £ 9 7 9 J ■'93X S 3 d2^> „ 2- TABLE OF CONTENTS Page INTRODUCTION ....................................... ill Chapter I. A BRIEF SUI'VLY OF VERSE DRAMA IN AMERICA AND, TO SOMi EXTENT, ENGLAND FROM 1767-1930 1 II. THE VERSE PLAYS OF MAXWELL ANDERSON . 18 III. THE VERSE PLAYS OF T. S. ELIOT AND ARCHIBALD NACBBISH .................... 80 CONCLUSION................................... 100 BIBLIOGRAPHY................................. 102 xitiviu ii INTRODUCTION In 1935 Clayton Hamilton writes, "If any actor in a contemporary play speaks a line which falls easily into a pattern of verse, or even into a pattern of formal prose, and if the audience detects any ’literary* intention In the writing of the dialogue, this audience will grow ' . -
Stage Design 1
Stage Design 1 THEATRE 320-0 Special Topics in Theatre Design (1 Unit) STAGE DESIGN THEATRE 333-2 Advanced Creative Drama (1 Unit) Explores improvised drama as a teaching method and a means of Degree Types: MFA learning for the elementary school child. Theory and practice through The Master of Fine Arts in Stage Design program (https:// reading, discussion, films, and observation. Course culminates in communication.northwestern.edu/grad-professional/mfa-in-stage- extended teaching projects with children from local schools. design/) at Northwestern University prepares a select group of scenery, Prerequisites: THEATRE 333-1 (or equivalent) and consent of instructor. costume, and lighting designers for professional careers in the American THEATRE 340-0 Special Topics in Advanced Theatre Studies (1 Unit) Theatre, international theater and related design fields. Central to this Content varies. Advanced study of individual playwrights, practitioners, three-year program of study is an emphasis on intensive collaboration regional theatres, historical periods, performance practices, or theoretical between designers and directors, rigorous analysis of texts, thorough inquiries. research and a fervent effort to nurture unique artistic voices. It is our Prerequisite: THEATRE 140-1, THEATRE 140-2 or consent of instructor. belief that passionate, insightful artists immersed in a team-based THEATRE 341-0 Theatre and Social Change (1 Unit) environment, will generate bold, compelling theatrical works. Prerequisite: THEATRE 140-1, THEATRE 140-2 or consent of instructor. The first year of study emphasizes the importance of skills, training, and THEATRE 342-0 Dramaturgy (1 Unit) design process. The second year prioritizes collaboration, research, and Seminar in creative dramaturgical research as it relates to the problems imagination and serves as a transition from the activities and points of realized theatrical production. -
Student, Player, Spect-Actor: Learning from Viola Spolin and Augusto Boal: Theatre Practice As Non-Traditional Pedagogy
STUDENT, PLAYER, SPECT-ACTOR: LEARNING FROM VIOLA SPOLIN AND AUGUSTO BOAL: THEATRE PRACTICE AS NON-TRADITIONAL PEDAGOGY by EMILY GAMMON B.A., University of Maine, Orono, 2006 M.A., University of Colorado at Boulder, 2012 Advisor: Dr. Bud Coleman A thesis submitted to the Faculty of the Graduate School of the University of Colorado in partial fulfillment of the requirement for the degree of Master of Arts Department of Theatre 2012 This thesis entitled: Student, Player, Spect-actor: Learning from Viola Spolin and Augusto Boal: Theatre Practice as Non-Traditional Pedagogy written by Emily Gammon has been approved for the Department of Theatre and Dance Bud Coleman Oliver Gerland Date The final copy of this thesis has been examined by the signatories, and we find that both the content and the form meet acceptable presentation standards of scholarly work in the above mentioned discipline. Gammon, Emily (M.A., Theatre) Student, Player, Spect-actor: Learning from Viola Spolin and Augusto Boal: Theatre Practice as Non-Traditional Pedagogy Thesis directed by Dr. Bud Coleman This thesis explores the possibility that by adapting a model of disciplined improvisation, the secondary classroom will become an engaging learning environment where a wider variety of student learning preferences and styles will be honored and cultivated. I believe that effective pedagogical theory and structure aligns with that of improvisational theatre models and by examining these models more closely and by comparing them with the theories of predominant educational theorists and psychologists, we will find both commonalities and effective teaching models and strategies. The theory and practice of Viola Spolin and Augusto Boal, supported by the theory of Lev Vygotsky and of Paulo Freire, respectively, provide two examples of non - traditional pedagogy for the secondary classroom. -
Drennan Barbara Phd 1995.Pdf
PERFORMED NEGOTIATIONS: The Historical Significance of the Second Wave Alternate Theatre in English Canada and Its Relationship to the Popular Tradition by Barbara Drennan B.F^., University of Windsor, 1973 A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY in the Department of Theatre We accept this dissertation as conforming to the required standard Michael R. Booth, Supervisor (Department of Theatre) Juliapa M. Saxton (Department of Theatre) Murray D. Edwards (Department of Theatre) Stephen A.C. Scobie (Department of English) Dr. Malcolm Page, External Examiner (Department of English, Simon Fraser University) © Barbara Drennan, 1995 University of Victoria All rights reserved. This dissertation may not be reproduced in whole or in part, by photocopying or other means, without the permission of the author. Supervisor: Michael R. Booth ABSTRACT This doctoral project began in the early 1980s when 1 became involved in making a community theatre event on Salt Spring Island with a group of artists accomplished in disciplines other than theatre. The production was marked by an oiientation toward creating stage images rather than a literary text and by the playful exploitation of theatricality. This experiment in theatrical performance challenged my received ideas about theatre and drama. As a result of this experience, I began to see differences in original, small-venue productions which were considered part of the English-Canadian alternate theatre scene. I deter mined that the practitioners who created these events could be considered a second generation to the Alternate Theatre Movement of the 70s and settled on identifying their practice as Second Wave. -
Theatre (THEA) 1
Theatre (THEA) 1 Theatre (THEA) THEA 1000. Voice and Diction. 3 Hours. Application of the International Phonetic Alphabet's vowel and consonant symbolization for production of Standard American Speech with emphasis on resonance, breath control, vocal relaxation, and posture using a variety of contemporary approaches to vocal training. THEA 1100. Theatre Appreciation. 3 Hours. Survey and appreciation of theatre as a performing art; in- troduction to and improvement of critical and aesthetic evaluation of theatrical performances, including the con- tributions of the playwright, the actor, the director, the designer, and the audience member. THEA 1120. Introduction to Theatrical Design. 3 Hours. Introduction to the theatrical design process, including basic elements of theatrical design, rendering, and collaboration techniques. THEA 1710. Improvisation. 1 Hour. Application of the principles of improvisation both as an actor-training approach and as a rehearsal technique. THEA 2020. Musical Theatre Vocal Techniques. 1 Hour. An introduction to the principles and application of musical theatre singing through the use of traditional and contemporary musical theatre repertoire, implementing musical theatre vocal colors and styles. THEA 2110. Stage Dialects. 3 Hours. Prerequisite: THEA 1000. An exploration of dialect frequently used in performance, based on an understanding and usage of the International Phonetic Alphabet. THEA 2730. Theatrical and Film Makeup. 2 Hours. An introduction to design principles and color theory, with practical experience in makeup mixing, design, and applica- tion. THEA 2750. Basic Technical Theatre and Stage Lighting. 3 Hours. An introduction to stagecraft and stage lighting, including the tools, materials, equipment, and techniques used for the construction of scenery, properties, and basic lighting for the stage. -
Producer / Writer / Remixer Danton Supple
August 2016 Andy Bradfield – Producer / Mix Engineer * Sandra Van Nieuwland – ‘Breaking New Ground’ Album / Singles (Mixed) * Above and Beyond – We Are All We Need – Album (Mixed) * Far From The Madding Crowd – Movie / Soundtrack (Mixed) * Snowdon – Movie / Soundtrack (Mixed) * Miguel Bose – Papito / Papitwo (Grammy nominated Albums – Mixed) • The Great Gatsby – Movie / Soundtrack (Grammy nominated Film / Album – mix) • Halo 4 OST (Game and accompanying Soundtrack Album - Mixed) • Rufus Wainwright – Want 1 / Want 2 / Release The Stars (Albums - Mixed) Currently working with – Sing Street (Universal)/Maria Mena (Sony)/Miguel Bose (Warners)/The Answer Anu Pillai –Producer / Writer / Remixer • Holychild – Running Behind / 2015 Apple Watch Advert (Single – Co-written) • Markus Feehily – Cut You Out – Single (Produced) • Roisin Murphy – Leviathan – Single (Co-Written / Produced / Mixed) • Esther Rimbaud – Forthcoming Tracks (Co-Written / Produced) • Ladyhawke – Paris Is Burning (Single - Co-written / Produced) • Freeform Five- No More Conversations (UK Top 10 single – Co-written/Produced) • Cheryl Cole – Ghetto Baby (Single – Co-Written / Produced) Currently working with – Dakota (Virgin) No Frills Twins (Universal Australia) Beverley Knight (Warners) / X & Y / Dan Owen (Atlantic) / Rationale (Warners) K Stewart (Warners) James Cherry Danton Supple – Producer / Mix Engineer * Norma Jean Martine – Forthcoming Album and Singles (Album – Produced & Mixed) * Dave Gahan & Soulsavers – Angels & Ghosts (Album – Mixed) • Coldplay – X&Y – (Album –