THEATRE ARTS PROGRAM REVIEW November, 2011
I. Program Description
A. The Theatre Arts Program
A.1. The Program and It's Components
The Theatre Arts Program, part of the Division of Humanities and Social Sciences, offers transferable courses which provide GE credit, meet the General Education Breadth Requirement Area C1 and E1, and IGETC Area 3A. With the exception of four workshop classes, all courses are transferable as lower division requirements for either Drama/Theatre Arts majors with an Acting, Directing, or Design emphasis or Film Studies majors.
Theatre Courses at San Jose City College are open curriculum courses which provide equal access to students of all ages, ethnicities, cultural backgrounds, physical and mental abilities. The only course with a prerequisite is Intermediate Acting, the prerequisite for which is a Beginning Acting course.
Twenty years ago the Drama and Dance Programs were a combined department with two full- time Drama instructors, one full-time Dance instructor, a full-time Technical Director, a full- time Assistant Technical Director, and a 68% time Costumer. Dance became a separate program about 17 years ago. Through retirement and lay-offs over the last 15 years, the Theatre Arts Program has been reduced to one full-time instructor with no staff support.
A.2. Theatre Arts Program Mission and Alignment with the College Mission
The mission of the Theatre Arts program at San Jose City College is to provide students of all ages and backgrounds with equal opportunities to find and to share their voices through artistic expression. The Program offers lower-division transfer courses for general education credit and required courses for Theatre Arts and Film majors. Working together cooperatively in groups of diverse peers, students develop oral and non-verbal communication skills which prepare them for participation in a global society. Students participate in exercises and projects which help them gain the poise, adaptability, and self-confidence needed for careers which require interaction with the public. Written and oral analysis of films, plays, and literature develop the students' critical thinking skills.
The Theatre Arts Program Mission echoes the College Mission's focus on open and equitable access for a diverse student population, preparation for participation in a global society, and lower-division classes for general education credit and transfer.
A.3. Program Goals
1. To prepare the student for careers as performers and technicians in live theatre, and careers that require live or recorded speaking or presentations such as business, sales, teaching, law, and other careers requiring confident interaction with the public. 2. To foster the students’ ability to work in teams. 3. To enhance the students' ability to think critically. 4. To develop the students skills in communication including reading, writing, speaking, and listening. 5. To build the students' self-esteem, confidence in public, and appreciation of the arts. 6. To increase the students' visual literacy.
A.4. Alignment of the Theatre Arts Program Mission with the College Mission
Through analysis of dramatic literature, theatre history and world cinema, the Theatre Arts discipline fosters the ability to evaluate verbal content, to develop visual literacy, to think critically, and to understand and to value diversity. Participation in class activities and projects develop students' ability to contribute responsibly in a creative community. The Program provides opportunities for students to develop civility and respect for the work of their peers, to develop compassionate understanding of differing cultures, to communicate in public with clarity and confidence, and to develop awareness of ethical and cultural issues. Performances by Theatre Arts students provide cultural enrichment for students in other classes and for the College and community at large. The program administers the budget and maintains the facilities and equipment of College Theatre as a performance and meeting venue for the College and the community.
B. Program –Level SLOs
1. Students will find and share their voices through artistic expression. 2. Students will develop their ability to evaluate verbal content. 3. Students will increase their visual literacy. 4. Students will employ critical thinking. 5. Students will better understand and appreciate diversity in their fellows. 6. Students will collaborate effectively in groups and will respect and support the contributions of others. 7. Students will respond to suggestions non-defensively. 8. Students will have compassionate understanding of differing cultures. 9. Students will communicate in public with clarity and confidence. 10. Students will develop awareness of ethical and cultural issues. 11. Students will participate in activities that provide cultural enrichment for the students, staff, and faculty of the College and the community. 12. Students will be capable of carrying out basic operations and maintenance of a theatre facility, and theatrical systems and equipment. 13. Students will demonstrate the ability to sustain a commitment. 14. Students will communicate in writing with clarity and confidence.
C. Theatre Arts Enrollment Trends - Fall 2006 to Fall 2011
C.1. a. Theatre Arts Enrollment and Productivity
DATE FTEF WSCH Productivity # of sections Student Seat Count Seat Count to Headcount Head Count Ratio F 2006 27.4 956 Theatre Arts: 708.3 9 138 171 81%
S 2007 28.9 870 Theatre Arts: 576.4 10 187 209 90%
F 2007 25.7 832 Theatre Arts: 616.4 9 141 153 92%
S 2008 28.8 980 Theatre Arts: 560.1 10 173 182 95%
F 2008 18.7 604 Theatre Arts: 447.0 9 109 128 85%
S 2009 24.2 787 Theatre Arts: 521.5 10 158 180 88%
F 2009 25.9 826 Theatre Arts: 611.9 9 158 175 90%
S 2010 34.7 958 Theatre Arts: 635.0 8 231 240 96%
F 2010 22.4 692 Theatre Arts: 648.6 7 137 157 87%
S2011 22.2 806 Theatre Arts: 636.3 7 159 171 93%
F2011 21.1 699 Theatre Arts: 665.9 5 141 148 95%
Averages Theatre Arts: 602.5 90%
Enrollment in Theatre Arts classes has averaged between a low of 81% of capacity to a high of 96% of capacity. The average productivity of Theatre Arts classes over the study period is 602.5.
C.1.b.1. Theatre Arts Student Ethnicity - Fall 2006 to Fall 2011
Ethnicity F '06 S '07 F '07 S '08 F '08 S '09 F '09 S '10 F '10 S '11 F '11 Theatre Arts Average African 9% 12% 18% 12% 9% 11% 10% 11% 15% 10% 10% 8.8% American
Asian 4% 3% 2% 3% 5% 4% 3% 4% 2% 2% 1% 3.3% (all other)
Asian 0% 0% 1% 0% 0% 0% 0% 0% 1% 0% 0% .2% Cambodian
Asian 0% 3% 1% 1% 1% 2% 0% 0% 0% 1% 1% .9% Chinese
Asian 1% 1% 1% 1% 0% 0% 2% 1% 0% 2% 0% .8% Indian
Asian 1% 1% 6% 4% 4% 4% 5% 1% 1% 4% 8% 3.6% Vietnamese
Filipino 2% 2% 1% 4% 6% 6% 5% 1% 0% 2% 2% 3.1%
Latina/o 40% 29% 26% 40% 40% 39% 29% 28% 29% 24% 26% 31.8%
Native 1% 1% 1% 0% 0% 1% 1% 1% 3% 1% 0% .9% American
Pacific 4% 5% 5% 2% 3% 2% 5% 3% 3% 3% 0% 3.2% Islander
White 32% 33% 28% 26% 23% 20% 18% 18% 12% 10% 5% 20.5%
Other/ 8% 9% 9% 7% 9% 12% 23% 30% 36% 42% 47% 21.1% Unknown
Ethnicity data indicate consistent levels across the eleven semesters of the study with the following exceptions: 1. The number of students indicating their ethnicity as Vietnamese has increased slightly. This trend has been evident in Acting classes in particular. 2. The number of students indicating their ethnicity as Latino has decreased somewhat. This trend has not been evident in class composition. 3. The number of students indicating their ethnicity as White as decreased significantly. This trend has not been evident in class composition. 4. The number of students indicating their ethnicity as Other/Unknown has increased significantly. 5. The decreased ratio of White and Latino students and increase in the Other/Unknown category suggests that there may be a trend among students of Latino and White ethnicity to select Other/Unknown rather than to specify a specific ethnicity.
C.1.b.2. Theatre Arts Students by Age and Gender - Fall 2006 - Fall 2011
Age F '06 S '07 F '07 S '08 F '08 S '09 F '09 S '10 F '10 S '11 F '11 Theatre Arts Average <18 5% 5% 2% 21% 1% 1% 1% 5% 2% 2% 4% 4.5%
18-19 40% 25% 38% 19% 28% 19% 23% 24% 21% 19% 18% 25%
20-22 30% 29% 28% 20% 30% 29% 27% 32% 36% 38% 30% 30%
23-24 7% 6% 9% 8% 13% 6% 7% 7% 10% 6% 11% 8.9%
25-29 7% 8% 14% 11% 10% 14% 16% 10% 11% 14% 18% 13.1%
30-39 7% 6% 6% 11% 8% 10% 15% 8% 11% 14% 8% 9.5%
40-49 3% 3% 1% 6% 6% 9% 5% 7% 4% 5% 6% 5%
50> 1% 2% 1% 3% 4% 3% 6% 6% 5% 4% 6% 3.7%
Male 62% 58% 50% 47% 48% 51% 56% 60% 61% 56% 45% 54%
Female 38% 40% 48% 52% 52% 49% 44% 40% 39% 44% 55% 46%
Unreported 0% 2% 2% 1% 0% 0% 0% 0% 0% 0% 0% .5%
Age and gender data over the 11 semester study indicate that about half of Theatre Arts students are between the ages of 18 and 22.
Approximate a third of the students are between 23 and 29, and the remaining students are either under 18 or over 40. Exceptions can be seen in the 18 to 19 population in the Fall semesters of 2006 and 2007, and the under 18 population in the Spring semester of 2008. The anomalous nature of these data do not indicate a consistent trend.
Over the eleven semester study, there is a consistent although slight increase in the over 50 age group.
C.1.b. 3. Theatre Arts Students by Units Attempted - Fall 2006 to Fall 2011
units F '06 S '07 F '07 S '08 F '08 S '09 F '09 S '10 F '10 S '11 F '11 .5 - 5.5 7% 25% 7% 30% 6% 22% 16% 30% 13% 13% 6%
6 - 8.5 14% 21% 14% 20% 17% 15% 17% 9% 11% 14% 17%
9 - 11.5 20% 16% 21% 16% 18% 17% 18% 16% 18% 18% 22%
12 - 14.5 27% 27% 23% 20% 29% 31% 32% 29% 33% 36% 40%
15 - 17.5 12% 10% 16% 7% 17% 13% 13% 14% 18% 15% 13%
18 + 20% 3% 18% 8% 12% 3% 3% 1% 7% 4% 2%
C.2. Day and Evening Sections
The one evening section, Introduction to Film section 102, has a slightly lower enrollment percentage than the daytime sections of Theatre Arts classes.
C. 3. Staffing
Prior to this academic year, there has been one section taught by an adjust faculty member per year. All other classes were taught by the one full time instructor.
C.4.1. Theatre Arts Students by Retention, Success Rate, Persistence
F '06 S '07 F '07 S'08 F '08 S '09 F '09 S '10 F '10 S '11 Average
African 80% 69% 75% 82% 92% 85% 88% 68% 61% 76% 70.5% Retention American 80% 50% 61% 55% 83% 50% 65% 56% 57% 76% 57.5% Success 86% 57% 50% 70% 83% 50% 76% 44% 62% 21% 54.5% Persistence
Asian 100% 83% 67% 67% 86% 71% 100% 75% 67% 100% 81.6% Retention (all other) 83% 83% 67% 67% 86% 71% 100% 50% 67% 25% 79.9% Success 50% 17% 100% 83% 100% 57% 75% 50% 67% 75% 67.4% Persistence
Asian NA NA 100% NA NA NA NA NA 100% NA 100% Retention Cambodi 100% 100% 100% Success an 100% 100% 100% Persistence
Asian NA 83% 100% 50% 0% 75% NA 100% NA 100% 84.7% Retention Chinese 83% 100% 50% 0% 75% 100% 50% 65.4% Success 50% 100% 50% 100% 25% 0% 50% 57% Persistence
Asian 100% 100% 50% 100% NA NA 100% 50% NA 100% 85.7% Retention Indian 100% 100% 50% 100% 67% 0% 67% 69.1% Success 100% 100% 50% 0% 67% 100% 50% 66.7% Persistence
Asian 100% 100% 89% 86% 80% 86% 100% 100% 100% 83% 92.4% Retention Vietname 0% 100% 89% 86% 60% 86% 100% 100% 100% 83% 80.4% Success se 0% 100% 75% 43% 33% 100% 100% 33% 100% 83% 66.7% Persistence
Filipino 100% 100% 100% 86% 75% 80% 100% 100% NA 100% 93.4% Retention 100% 80% 100% 71% 63% 70% 88% 100% 100% 85.8% Success 100% 40% 50% 57% 67% 75% 67% 57% 67% 64.4% Persistence
Latina/o 87% 89% 78% 94% 90% 68% 73% 80% 78% 78% 81.5% Retention 75% 69% 65% 79% 78% 62% 63% 67% 67% 59% 75.1% Success 76% 62% 68% 50% 82% 56% 65% 48% 76% 58% 64.1% Persistence
Native 100% 100% 100% NA NA 0% 100% 67% 75% NA 77.4% Retention American 100% 67% 100% 0% 100% 67% 75% 72.7% Success 0% 33% 50% 0% 100% 0% 100% 40.4 Persistence
Pacific 50% 70% 75% 100% 75% 33% 100% 78% 40% 80% 70.1% Retention Islander 50% 30% 50% 25% 25% 33% 89% 78% 20% 80% 48% Success 100% 44% 57% 0% 100% 100% 86% 71% 100% 50% 70.8% Persistence
White 91% 90% 86% 87% 83% 75% 84% 86% 84% 82% 84.8% Retention 64% 74% 70% 79% 72% 56% 74% 79% 84% 76% 72.8% Success 79% 48% 74% 43% 63% 56% 66% 43% 67% 53% 59.2% Persistence
Other/ 79% 89% 64% 69% 82% 71% 88% 88% 86% 75% 79.1% Retention Unknown 64% 72% 64% 69% 73% 62% 76% 64% 71% 61% 67.6% Success 45% 50% 67% 38% 90% 41% 77% 41% 71% 59% 57.9 Persistence
C.4.2. Average GPA and Grade Distribution by Ethnicity and Gender units F '06 S '07 F '07 S '08 F '08 S '09 F '09 S '10 F '10 S '11 Average
African M M M M M M M M M M M American 2.78 2.27 2.33 2.00 2.67 2.10 2.86 1.88 2.55 2.80 2.4 F F F F F F F F F F F 3.67 1.86 2.44 2.80 2.40 1.43 2.00 3.11 3.00 3.00 2.57 Asian M M M M M M M M M M M (all other) 3.00 3.25 2.00 4.00 3.50 4.00 3.50 2.00 2.00 1.33 2.86 F F F F F F F F F F 2.00 3.00 3.00 3.33 3.75 3.25 3.67 3.50 4.00 3.28 Asian M M M Cambodian 4.00 2.00 3.00
Asian M M M M M M M Chinese 2.67 3.00 4.00 4.00 4.00 2.00 3.28 F F 4.00 4.00 Asian M/F M M M M Indian 2.00 1.00 0.00 1.00 F F F F F F 3.50 4.00 3.50 2.00 3.50 3.3 Asian M/F M M M M M M M M M Vietnamese 1.00 3.00 3.33 3.40 3.60 3.33 4.00 2.50 3.52 F F F F F F F F 3.50 3.00 3.00 3.25 4.00 3.00 4.00 3.39 Filipino M/F M M M M M M M M M M 2.00 3.67 2.00 3.00 3.00 3.00 2.71 2.67 3.00 2.78 F F F F F F F F F 4.00 3.00 2.25 3.50 2.75 2.00 3.25 4.00 3.34 Latino M M M M M M M M M M M M/F 2.89 2.78 2.31 2.36 3.31 3.21 2.83 3.00 2.69 2.60 2.8 F F F F F F F F F F F 2.52 2.14 3.00 2.68 2.67 2.88 2.42 3.04 2.82 2.47 2.66 Native M M M F M M M American 2.00 3.00 1.00 3.50 4.00 3.67 2.86 M/F F F F F 4.00 1.00 2.00 2.33 Pacific M M M M F M M M M M M Islander 3.00 1.57 1.75 1.33 1.67 4.00 3.25 3.14 2.50 3.00 2.52 M/F F F F F F F 2.00 2.00 1.00 3.00 4.00 2.6 White M/F M M M M M M M M M M M 2.07 2.57 2.79 3.18 2.69 2.67 2.78 3.19 3.86 2.67 2.85 F F F F F F F F F F F 3.13 3.14 2.41 3.00 3.25 2.47 2.75 3.47 3.56 3.13 3.03 Other/ M M M M M M M M M M M Unknown 3.00 2.71 3.75 3.50 2.80 2.40 3.23 2.70 2.79 2.68 2.96 M/F F F F F F F F F F F F 2.57 3.25 4.00 3.20 3.00 3.60 2.50 2.55 2.67 2.71 3.01
C.5. Student Goals
I am in the process of collecting data regarding students' goals, using the following survey. SURVEY OF STUDENTS' GOALS -- THEATRE ARTS
How important was each of the following reasons in your decision to take this class? Very Somewhat Slightly Not Important Important Important Important To earn an Arts credit for transfer or graduation. To fulfill a requirement for my major or future major. To develop skills I'll need for a future career . To build my self confidence. To work with other students interested in this subject.
To improve my understanding of the subject of this course.
To improve my ability as a performer.
To improve my ability as a writer.
To improve my ability as a speaker.
Other
Check the Theatre Arts classes you've taken including classes in which you're now enrolled.
Beginning Acting _____ Intermediate Acting _____ Voice Skills ______Introduction to Theatre_____ Introduction to Film______Theatre Workshop - Studio Production_____ Theatre Workshop - Major Production _____ Film Production Workshop _____ Technical Theatre Workshop_____
How satisfied are you with the classes you've taken in Theatre Arts at San Jose City College? Put an X on the appropriate place on the satisfaction continuum below.) ______Very Somewhat Neutral Somewhat Very Satisfied Satisfied Unsatisfied Unsatisfied
Do you plan to earn an AA degree at a Community College? Yes Maybe No
Do you plan to transfer to a 4-year Institution? Yes Maybe No
Would you take Film or Theatre Arts classes at a 4-year College? Yes Maybe No
In the future will you try to find a job in Theatre Arts or Film? Yes Maybe No
In the future will Theatre Arts or Film be a hobby? Yes Maybe No
D. Equity and Student Success
D.1. - D.3. Analysis of Retention Rates, Success Rates, and Persistence Rates
Although there are fluctuations in the data on retention, success, and persistence, no significant pattern of change is indicated. (Refer to Table C.4.1.)
Retention Rates Success Rates Persistence Rates
Cambodian 100% Cambodian 100% Cambodian 100% Filipino 93.4% Filipino 86% Pacific Isl. 70.8% Vietnamese 92.4% Vietnamese 80% Asian Other 67.4% Indian 85.7% Asian-Other 80% Indian 66.7 White 84.8% Latino 85% Vietnamese 66.7 Chinese 84.7% Native Am. 73% Filipino 64.4 Asian-Other 81.6% White 72% Latino 64.1 Latino 81.5% Indian 69% White 59.2 Other 79/1% Chinese 65% Other 57.9 Native. Am. 77.4% Other 68% Chinese 57 African Am. 70.5% African Am. 58% African Am. 54.5 Pacific Isl. 70.1% Pacific Isl. 48% Native Am. 40.4
African American, Pacific Islander ethnicities rank low for retention and success.
Cambodian and Filipino ethnicities rank high for retention and success.
African American and Native American ethnicities rank low for persistence.
Cambodian and Pacific Islander ethnicities rank high for persistence.
D.4. Average GPA Ranking by Ethnicity and Gender
Chinese Female 4.0 Female 3.09 Vietnamese Male 3.52 Male 2.98 Vietnamese Female 3.39 Filipino Female 3.34 Indian Female 3.3 Chinese Male 3.28 Asian 3.07 White Female 3.03 Chinese Asian - Other Female 3.28 Vietnamese Other Female 3.1 Filipino African American Female 3.0 Indian Cambodian Male 3.0 Other Other Male 2.96 Cambodian White Male 2.85 Filipino Male 2.78 African American 2.7 Asian - Other Male 2.86 Native American Male 2.86 White 2.94 Latino Male 2.8 Latina - Female 2.66 Latino 2.73 Pacific Islander Male 2.6 Pacific Islander Female 2.52 Other 2.58 African American Male 2.4 Pacific Islander Native American Female 2.33 Native American Indian Male 1.0
II. Program Content and General Characteristics
A. The curriculum offered by the Theatre Arts program includes performance classes, academic classes, and practicum classes.
Performance Courses: Beginning Acting, Intermediate Acting, Voice Skills
Academic Courses: Introduction to Theatre, Introduction to Film
Practicum Courses: Theatre Workshop -- Major Production, Theatre Workshop -- Studio Production, Technical Theatre Workshop, Film Production Workshop
Performance courses, Beginning and Intermediate Acting, Voice Skills, are designed to build self-esteem and confidence in public and to prepare the student for careers that require live or recorded speaking or presentations such as business, sales, teaching, law, and careers in media, film, or live theatre. Class activities and homework foster the students’ ability to work in teams, to think critically, and to express themselves orally, non-verbally, and in writing.
Academic classes, Introduction to Theatre and Introduction to Film, focus on analysis of film and literature, critical thinking, and communication orally and in writing. They increase the student’s visual literacy and appreciation of the arts.
Workshop courses provide opportunities for students to apply performance skills and to gain experience with theatre and film technologies. Students work closely in teams which enhances their ability to communicate verbally and non-verbally, to practice interpersonal skills in a diverse community, and to develop their ability to sustain commitments and work under pressure.
1. Course outlines, Program SLOs, Pre/Corequisites, and Advisories for all courses were revised and approved in the Spring Semester, 2011. The effectiveness of the new SLOs and evaluation methods are currently under review by the Program Faculty.
2. The program offers an average of 16 sections in an academic year, thirteen of which are taught by one full-time instructor, and one of which has been taught at Willow Glen High School by an adjunct instructor, although that course is not being offered this year.
The only sequential courses offered in Theatre Arts are Beginning Acting followed by Intermediate Acting. Voice Skills, Introduction to Theatre, Introduction to Film, and three workshop classes are not organized in a sequence.
Beginning and Intermediate Acting are offered every semester. Voice Skills and Introduction to Theatre are offered once a year in alternate semesters. Two sections of Introduction to Film are offered each semester. Until this year, two to three different workshop classes have been offered each semester. Faculty loading for all of the workshop classes has been concurrent although they actually meet at different times. Major Production and Studio Production have been offered in alternating semesters and Technical Theatre every semester. Since the 2008-2009 academic year, Film Production Workshop has also been offered every semester. In the 2011-2012 academic, I volunteered to put the Workshop classes are on hiatus to provide funding for classes in other programs.
3. Theatre Arts Courses Alignment with Program-Level SLOs
Course SLO SLO SLO SLO SLO SLO SLO SLO SLO SLO SLO SLO SLO SLO Number #1 #2 #3 #4 #5 #6 #7 #8 #9 #10 #11 #12 #13 #14
02 X X X X X X X X X
03 X X X X X X X X X
05 X X X X X X X
20 X X X X X X X
30 X X X X X X X X X X
31 X X X X X X X X X X
32 X X X X X X X X X
33 X X X X X X X
40 X X X X X X
SLOS AND EVALUATION METHODS FOR THEATRE ARTS CLASSES
THEAT 02 – Beginning Acting
Offered every semester, this is basic acting class for development of mental and physical resources for performance and public presentations. Subjects include allieviating performance anxiety, movement, improvisation, techniques for rehearsal and performance, analysis of text, creating characters, and working with scene partners. It is the first in a two course sequence which includes Intermediate Acting. At transfer institutions it is a requirement for Drama Majors specializing in Acting or Directing. This is an open curriculum course with no prerequisite, co-requisite, or advisory level.
SLOs
1. Control tension and performance anxiety when performing in public. 2. Maintain focus and stay in character during a performance or public appearance. 3. Respond to stage directions correctly. 4. Stand and move on stage with poise and confidence. 5. Analyze a scene identifying the characters’ intentions, obstacles, given circumstances, and back-story. 6. Build a character based on scene analysis with appropriate subtext, emotion, and physical character. 7. Perform in a comic style and a dramatic style. 8. Demonstrate the ability to work creatively with other actors while rehearsing and performing scenes.
Methods of evaluation and examination used in this course:
Individual and group performance evaluation, scene analysis
THEAT 03 – Intermediate Acting
Offered every semester concurrently with Beginning Acting, this is an intermediate acting class required for the major in Theatre Arts/Drama with an Acting emphasis at transfer institutions. The class is also appropriate for non-majors wishing to advance their acting skills. Activities include reviewing basic acting skills, intermediate level character study and acting techniques, and extensive scene work in classical and modern styles. Intermediate actors focus on characterization, emotion, developing detailed subtext, and exploring styles of theatre.
This is an open curriculum course with no prerequisite, co-requisite, or advisory level.
SLOs
A student who completes this course successfully will be able to: 1. Create and sustain a physical and vocal characterization in a performance. 2. Create and sustain the subtext and emotions of a complex character in a performance. 3. Integrate physical, emotional, and psychological aspects of a character in a performance. 4. Use stage directions correctly in describing the staging of a scene orally or in writing. 5. Analyze scripted characters’ personalities, backgrounds, and intentions from a variety of periods and genres, and truthfully enact the characters in memorized and fully staged scenes. 6. Perform a scene on camera using appropriate physical and vocal techniques for tight framing, microphone amplification, and camera movement.
7. Adapt a performance for the size of the performing space.
Evaluation and Examination Methods
Individual and group performance evaluation, written and oral scene analysis
THEAT 05 – Voice Skills
Offered once each academic year, this is a basic vocal skills course in which students learn techniques for performing, public speaking, and self expression. Class exercises and presentations focus on alleviating performance anxiety and improving vocal tone, projection, articulation, and vocal expressiveness.
This is an open curriculum course with no prerequisite, co-requisite, or advisory level.
SLOs
A student who completes this course successfully will be able to:
1. Control performance anxiety and speak in public with appropriate energy, relaxation, and poise. 2. Speak without significant tonal flaws. 3. Analyze projection requirements accurately and demonstrate the ability to adapt the voice to these requirements. 4. Speak Standard American English. 5. Recognize and use symbols of the International Phonetic Alphabet. 6. Interpret written material with vocal variety and expressiveness. 7. Demonstrate effective vocal technique for a selected performance or professional application.
Evaluation and Examination Methods
In-class presentation evaluation, quizzes, and analysis of plays, poems, and essays
THEAT 20 – Introduction to Theatre Arts
Offered once each academic year, this is a survey course in which students are introduced to the history and art of the Theatre. Activities include reading plays and watching performances from a variety of periods and world cultures, and completing projects in stagecraft, play writing, theatrical design, and performance
This is an open curriculum course with no prerequisite, co-requisite, or advisory level.
SLOs 1. Identify key elements in the development of theatre in world cultures. 2. Analyze the viability of a script for live production identifying its genre, style, themes, and staging requirements 3. Appraise the viability of a venue for the live production of a play including stage features and equipment, acoustics, and house facilities 4. Evaluate the playwright's use of conflict, plot structure, through-line of action, thought, dialog, characterization, and spectacle. 5. Explain the responsibilities of the artists involved in the production of a play including the director, designers, stage manager, actors, and crews. 6. Evaluate the quality of the script, the set, the lighting, the costume and sound designs, the director's staging, and the actor's performances. Written and oral play analysis, quizzes/exam, writing assignments, oral presentation, and projects.
Methods of evaluation and examination used in this course:
Written and oral play analyses, quizzes/exams, writing assignments, oral presentations, and projects.
THEAT 30 – Theatre Workshop - Studio Production
Offered once each academic year, this is a live performance workshop in which the student participates in rehearsals and public performances as an actor in a studio theatre production.
This is an open curriculum course with no prerequisite, co-requisite, or advisory level.
SLOs
A student who completes this course successfully will be able to: 1. Analyze the actions and words of a character and interpret them through acting the thoughts and emotions of the character. 2. Demonstrate an understanding of the principals of blocking and staging for a small-scale production. 3. Utilize appropriate gestures, facial expressions and movements for intimate staging. 4. Create a vocal characterization and project the voice appropriately for a small audience. 5. Design and execute makeup for a character in close proximity to the audience. 6 Recognize cues and respond to directions from managers, crew, and fellow actors. 7. Assess strengths and weaknesses of the characterization in performance and adapt the performance to ameliorate problems.
Evaluation and Examination Methods
Performance evaluation, skills demonstration
THEAT 31 – Theatre Workshop - Major Production
Offered once each academic year, this is a live performance workshop in which the student participates in rehearsals and public performances as an actor in a large-scale theatre production featuring complex staging, a distant audience, and the visual and acoustical requirements of a large house
This is an open curriculum course with no prerequisite, co-requisite, or advisory level.
SLOs
The student who completes this course successfully will be able to: 1. Analyze the actions and words of a character to identify the thoughts and emotions of the character. 2. Apply the principles of blocking and movement for a large-scale production. 3. Self-assess performance strengths and weaknesses. 4. Respond to direction by adapting the physical, psychological or emotional qualities of the character. 5. Analyze the character's back-story and motivations justifying choices by reference to the dialog and action in the script and to historical and cultural research. 6. Demonstrate the ability to work creatively and cooperatively with members of the company. 7. Demonstrate the personal discipline and behavior required of a performer by meeting call times, memorizing lines and blocking efficiently, and showing respect and support for all members of the production. 8. Use movement, voice, and inner resources effectively during performances in a large theater
Evaluation and Examination Methods
Skills demonstration, play analysis THEAT 32 – Film Production Workshop
Offered each semester, this is a variable unit workshop in which students participate as directors, actors, managers, and technicians in the writing, production, and post- production of one or more short films.
This is an open curriculum course with no prerequisite, co-requisite, or advisory level.
SLOs
Depending on the units undertaken, the student who completes this course successfully will be able to utilize a selection of skills as follows:
1. Create and evaluate a story idea for a short film. 2. Visualize a scripted scene as a list of shots. 3. Solve technical issues, shooting issues, and personnel issues and contribute to creative decisions as part of a production team. 4. Operate selected film equipment. 6. Execute appropriate camera and audio setups for a variety of shots. 7. Analyze and discuss the effectiveness of an on-camera performance and implement ways to improve the performance. 9. Recognize flaws and correct technical errors. 10. Respond to directions from technical and performance staff members.
Evaluation and Examination Methods
Skills demonstration, writing assignments, and oral presentation
THEAT 33 – Technical Theatre Workshop
Offered each semester, this is a variable unit workshop in which students learn practical applications of technical theater techniques by serving as apprentices during the design, construction, and running of live theatre performances, and maintenance of The College Theatre equipment and facilities.
This is an open curriculum course with no prerequisite, co-requisite, or advisory level.
SLOs
Depending on the units undertaken and the student’s choice of crew positions, the student who completes this course successfully will be able to utilize a selection of skills as
1. Analyze the technical demands of a script in one or more of the following areas: sets, properties, lights, sound, costumes, makeup, stage management, house management, public relations. 2. Demonstrate the correct use of equipment and supplies for a theatrical production. 3. Organize procedures and materials during a production in one or more of the above areas: sets, properties, lights, special effects, sound, costumes, makeup, hair, stage management, house management, public relations. 4. Communicate clearly with crew members, performers and management personnel. 5. Participate as a member of the running crews for a production in one of the following roles: stage hand, light operator, sound operator, stage manager, assistant stage manager, house manager, dresser, property master.
Evaluation and Examination Methods
1. Design and technical requirements of the play
2. Demonstration of the use of equipment required in tasks
3. Following of directions including utilizing correct terminology
4. Completion of tasks in a timely manner
5. Ability to work cooperatively with other technicians, actors, and director
THEAT 40 – Introduction to Film
Three sections of this course are offered each semester. The full-time instructor teaches two sections at San Jose City College, and an adjunct insructor teaches one section at Willow Glen High School. Students view films, learn about their historical and cultural contexts, and study the work of the artists who create them.
This is an open curriculum course with no prerequisite, co-requisite, or advisory level.
Course SLOs 1. Identify the purpose, focus, and major themes of a film in its historical and cultural context. 2. Evaluate the quality of a film's story. 3. Illustrate the screen writer's use of exposition, conflict, rising action, climax and resolution in the film’s plot. 4. Identify the contributions of the screen writer, the director, the actor, and the designers to characterization and character interaction in a film. 5. Correlate aspects of visual design and lighting with character, setting, mood, and genre of a film. 6. Analyze how cinematography affects film content and style 7. Identify how editing is used to organize film content. 8. Explain the contribution of sound design to the film. 9. Evaluate acting and directing techniques in films. 10. Make qualitative judgments about the aesthetic, social, and cultural achievements of films.
Methods of evaluation and examination used in this course:
1. Complete written analysis and evaluation of films
2. Seminar discussions of films
3. Midterm exam
4. Final exam
B. The Theatre Arts program has one full time faculty member who reviews and revises curriculum and SLOs. Course outlines for all Theatre Arts classes were updated and approved in April, 2011.
C. Program Completion
The Theatre Arts curriculum at San Jose City College serves several purposes. Approximately 50% of students who take Theatre Arts classes do so to earn GE credit toward an AA degree, or to meet the C1 or IGETC Area 3A requirement. These students usually take only one Theatre Arts class, usually Introduction to Film, Introduction to Theatre, or Beginning Acting.
Approximately 5% of the students in Theatre Arts classes are completing lower division classes prerequisite to transfer into a program offering a BA degree in Theatre Arts or Drama. These students take all the performance related Theatre Arts courses: Beginning Acting, Intermediate Acting, Voice Skills, Introduction to Theatre, and Script Analysis. Students wishing to transfer to Theatrical Design or Technical Theatre programs take Introduction to Theatre, Script Analysis, and Technical Theatre Workshop. Most also take the two Theatre Production Workshops, often multiple times, to gain practical experience in the field, even though the courses do not articulate for transfer because four year Theatre Arts programs inevitably require their majors to take performance and technical theatre courses at their institution. Students preparing to transfer to Film Studies programs take Introduction to Film, Film Production Workshop, and sometimes Technical Theatre Workshop.
About 10% of students in Theatre Arts classes are exploring the discipline to access the possibility of seeking employment in the entertainment industry, motion picture industry, radio, television, and related fields. These students take a selection of courses depending on their area of interest. Students focusing on film production or technical theatre take Introduction to Film, Film Production Workshop, and Technical Theatre Workshop. Students wishing to pursue careers as performers or directors take the Beginning and Intermediate Acting courses, Voice Skills, and the two Theatre Production workshops.
The remaining students - approximately 35% - take Theatre Arts classes for personal growth or to gain skills for jobs in fields requiring live or taped presentation skills, confidence and poise in front of audiences, vocal strength and control, social skills, nonverbal communication skills and personal behavior control and flexibility. These students usually take one or two classes which relate to their personal needs.
Data concerning where students go after they complete the Theatre Arts program, historical degree completion, and historical transfer rates to four year institutions for the last five years are not available. Scores on licensure exams are not applicable to the Theatre Arts program.
III. Program Instructional Improvement
A. Evaluation of Teaching
A.1. Improving Teaching and Learning
Teaching effectiveness in Theatre Arts courses is continuously evaluated on the basis of the standards listed for each course in the course description summaries above. In addition, student evaluations, oral and written comments by students, meetings with students to discuss their work, and periodic peer review are utilized.
The Theatre Arts program attains successful and equitable outcomes for most students regardless of different learning styles. In Acting, Voice, Theatre Production Workshops and Film Production Workshop, students are given individual tuition from with the instructor who directs class scenes and rehearsals of studio and major productions, and works with each Voice student in a weekly tutorial or small group intensive. The purpose of this personal attention is to allow the instructor can accommodate varying learning styles and adjust the difficulty of performance material to suit each student’s needs, ability, and interest.
Introduction to Theatre and Introduction to Film classes are organized so that the student can choose how to complete assignments based on his or her learning style, available time, and educational goals. For example, in Introduction to Film, each week the student watches a film in class or, if he or she chooses, selects a film from a list to watch at home or in the Library. The film list for each assignment includes a variety of films selected to reflect the interests, cultural backgrounds, sensitivity to film ratings, ages, and tastes of a diverse group of students. For example, ESL students can choose a film which has subtitles in their language, select films in their native language when available, or change the sound track to the language which is easiest for them to understand. Students can stop the film and return to scenes which are of particular interest to them. Each week's assignment offers three tracks from which the student can choose. The Basic Track assignment is a short essay correlating the film to information from the text. The Advanced assignment is a longer, more complex essay and has a higher point value than the Basic assignment. If the student feels more comfortable with oral expression than essay writing, he or she can choose the Seminar track in which students watch the same film in class and, afterward, participate in a graded group discussion.
In Acting and Voice class there is never a distinction made between students on the basis of gender, age, or ethnicity. DSL students often enroll in these classes because class activities are always adapted to the ability of each student. ESL students, many of whom speak and understand very little English, are as successful in performance classes as native English speakers because accommodation is made for them. For example, in Acting classes, nonverbal teaching and demonstration techniques can be used to illustrate verbal instructions.
A partial list of activities carried out by the single faculty member in the discipline to improve the teaching/learning environment for students includes:
1. writing a textbook for Introduction to Film, and distributing it on disk to every student free of charge
2. developing class exercises for acting and voice classes
3. producing CD’s of vocal exercises and warm-ups, relaxation routines, song accompaniments, and dialect training for acting and voice students
4. writing original scripts, scenarios, and dialogues for acting classes
5. cutting and adapting scenes from plays for use by student actors
6. meeting with Voice and Acting students outside of class time and office hours to work on scenes, monologues, voice and movement technique,
7. adapting classroom procedures, assignments, and activities so that ESL students, students in wheelchairs, autistic students, deaf students, and visually impaired students can participate in all Theatre Arts classes including Acting, Voice Skills, and performance classes.
8. changing the long-standing custom at San Jose City College of casting experienced community actors in leading roles in College productions and, instead, casting students with little or no experience and bringing their performing abilities up to public performance standards through training during the rehearsal process
9. collecting scenes for classroom exercises by playwrights of diverse cultures, featuring roles for African-American, Latino, and Asian actors.
10. rewriting roles to change the gender, age, race, body type, and movement requirements of characters to broaden the casting possibilities to include all students.
11. purchasing materials for sets, lights, sound, properties, makeup, wigs, and costume elements for two to five shows a year
12. scene design, construction, set decoration, costume design, and sound design for performance workshops
13. lighting design, light instrument maintenance and rigging, programming the light board for performance workshops
14. preparing prompt books for productions
15. creating a film production workshop: purchasing and learning to use a digital video camera and equipment, editing software, and a digital audio recorder; purchasing DV and audio tapes, microphones, and properties; building a microphone boom and slate board; adapting equipment for use as a monitor system; purchasing a library for filmmaking.
16. purchasing audio playback equipment, amplifiers, DVD players, and LCD projectors for Introduction to Film and performance classes.
17. purchasing copies of plays, books on technical theatre, monologue and scene collections, and DVDs
18. purchase and production of properties, costumes, and special effects for performance workshops
19. finding and creating sound cues, recording and digitizing them, producing audio CDs for performances
20. cleaning and maintenance of the College Scene Shop, basement and stage level storage rooms, the beams above the College Theatre House
21. purchase of hardware, tools, shop supplies, safety equipment, lighting supplies and equipment, sound supplies and equipment, video supplies and equipment, paint, cleaning supplies, and first aid supplies for performance classes and College and community events in the Theatre.
22. production, copying and distribution of posters, notices, and programs for play.
A.2. Assessment of SLO Achievement
Because I am the only instructor in my discipline, all assessment procedures are conducted by me through on-going observation and evaluation of student success. I meet with each student individually to discuss his or her progress in the class, to adjust class requirements to suit individual needs, and to discuss the student’s concerns and issues.
I know to what degree my students have attained the program learning outcomes because I work individually with each student. In Acting and performance workshops I watch each student perform at every class. Voice Skills students meet with me for a private or small group tutorials. Each Introduction to Film student does a weekly written or oral assignment which keeps me constantly aware of his or her progress. Introduction to Theatre students are assigned individual and group projects which I supervise actively, and they participate in class activities under my direction.
Periodically I review the SLOs for each course, the Theatre Arts Program Mission and Goals, the Program-Level Outcomes, and the College and District Mission Statements and Goals to assess whether Discipline SLO’s are consistent with institutional and District SLO’s. I also verify that course SLO’s are being met. If there are SLO’s that I have overlooked or have not met, I adjust class content or procedures to achieve them more completely.
B. Program Assessment of Institutional SLOs
B1. Theatre Arts Program SLOs Alignment with Institutional SLOs
Program SLO SLO SLO SLO SLO SLO SLO SLO SLO SLO SLO SLO SLO SLO SLOs #1 #2 #3 #4 #5 #6 #7 #8 #9 #10 #11 #12 #13 #14
Institutional SLOs
Communication X X X X X X X X X X X X
Critical and X X X X X Analytical Thinking
Global Awareness X X X X X X Social Justice
Personal Ethics X X X X X X Responsibility Civility
Technology X X
Aesthetics X X X X X X X X X X Creativity
B.2. SLO Assessment
Theatre Arts is a discipline that encourages self-examination and open communication, giving me insight into my students’ needs and challenges. I have relied principally on this intuitive approach rather than statistical data to make judgments about my students’ success and satisfaction in my classes. I evaluate their psychological, emotional, and physical reaction to the work, their willingness to work creatively with others, their ability to open up and to take risks, to try new things. I ask them for direct verbal feedback about class work. Since I have been the sole instructor in Theatre Arts at San Jose City College for many years, I have not needed to devise methods for finding consensus with colleagues.
To conform to institutional and State requirements for verifiable evidence of student persistence and success, I am now developing methods to measure each students’ achievements for courses in which I do not already do so. This will entail a survey at the first of each semester to establish a base value for each student’s understanding of the subject, skill level, and personal goals. An exit survey will collect data about how much improvement there has been in each student’s ability to use the skills and knowledge covered in the course, the degree to which the student feels that the course has met his or her needs, and assessment of the progress the student has made toward the goals he or she stated at the first of the course. One class will be evaluated each semester; Voice Skills is being assessed in the Fall semester, 2011.
B3. Assessment Consistency
Because I am the only instructor of Theatre Arts, it is simple for me to be sure that all sections of my courses are being assessed consistently.
C. Integration of College goals and Institutional SLO into the Theatre Arts Program
1. Evaluation of Theatre Arts Program's Effectiveness in Meeting the SJCC Institutional Mission
The Theatre Arts Program provides open and equitable access to all SJCC students. Productivity, Retention, Success, and Persistence data offer evidence that the Program is successful in contributing to the Institutional Mission of helping student achieve their education and life-long learning goals.
2. Student success, persistence, and retention data help the faculty to identify students who need special encouragement and support to achieve their goals, so that the Program can meet it's goals. (Refer to Section IV.A.1 below.)
3. At the last program review, which was in the mid 1990's, Theatre Arts productivity was not high due to low class sizes. When course description were revised as a result of that program review, class sizes were increased. In addition, loading for Workshop classes was lowered and Workshops were scheduled concurrently. When one of the two full-time faculty retired, he was not replaced, increasing enrollment in the remaining Theatre Arts classes. Classes were revised to better meet student's goals and interests, giving them a more multi-cultural orientation. Class content was focused on developing skills applicable to a broader range of professions and personal goals, particularly in Voice Skills and Acting. Participation of students from a wider range of backgrounds and ages has been increased by disregarding age, ethnicity, and often gender in casting for workshop classes and in performance classes.
4. The Theatre Arts Program has responded to changing ethnic demographics by incorporating subject matter and media from a wider range of cultures. For example, movie selection for Introduction to Film has been changed from exclusively mid-20th Century Hollywood classics with themes, stories, and characters principally from White American culture, to modern films from both American and international motion picture industries which feature multi-cultural characters, settings, and issues.
The fact that students increasingly struggle with erratic work schedules and poverty has caused me to create options so that class attendance and assignments are more flexible. Introduction to Film has informally become a hybrid class that gives students the ability to select how they do their assignments. Instead of requiring the purchase of expensive texts, I have written and compiled class materials which I distribute to students on CDs without charge in Introduction to Film and Voice Skills. I am preparing CDs for Introduction to Theatre and Acting classes which will be ready by Fall, 2012.
I created Film Production Workshop, THEAT 032, in response to the availability of affordable digital video equipment. The Workshop teaches students the skills necessary to produce and publish their own films, which is now the fastest growing mode of artistic self-expression.
When I was preparing to update the course descriptions for Theatre Arts last Fall, I reviewed the lower division requirements for Theatre Arts and Film majors at transfer institutions. The new course descriptions and SLOs closely match courses offered by regional CSU and UC programs.
IV. PROGRAM ASSESSMENT
A.1 Assessment of Program Data
To assess the significance of productivity, retention, success, and persistence data for the Theatre Arts Program, I compared them with the data for the College. The tables and lists below show the results.
Theatre Arts Productivity compared with City College Productivity
DATE Theatre Arts Productivity College Productivity F 2006 Theatre Arts: 708.3 College 539.9
S 2007 Theatre Arts: 576.4 College: 502.2
F 2007 Theatre Arts: 616.4 College: 515.2
S 2008 Theatre Arts: 560.1 College: 497.0
F 2008 Theatre Arts: 447.0 College: 640.5
S 2009 Theatre Arts: 521.5 College: 665.0
F 2009 Theatre Arts: 611.9 College: 591.4
S 2010 Theatre Arts: 635.0 College: 607.4
F 2010 Theatre Arts: 648.6 College: 609.2
S2011 Theatre Arts: 636.3 College: 586.7
F2011 Theatre Arts: 665.9 College: 539.5
Averages Theatre Arts: 602.5 College: 572.2
WSCH/FTEF data indicate that the productivity of the Theatre Arts Program has been higher than the overall College productivity in nine of the eleven semesters in the self-study.
Theatre Arts Retention, Success, and Persistence Data Compared with College Data Fall, 2007 to Spring 2011
Ethnicity College Theatre % College Theatre % College Theatre Arts % Average Arts differ- Average Arts differ- Average Average diffe- Retention Average ence Success Average ence Persistence Persistence ence Retention Success African 72% 70.5% 1.5% 53.6% 57.5% 4.5% 55.5% 54.5% 1.0% American
Asian 82.7% 81.6% 1.1% 72.9% 79.9% 7.0% 57.2% 67.4% 10.2% (all other)
Asian 76.9% 100% 23.1% 60.6% 100% 39.4% 64.9% 100% 35.1% Cambodian
Asian 85.5% 84.7% 0.8% 68.9% 65.4% 3.9% 63.1% 57% 6.1% Chinese
Asian 80.8% 85.7% 4.9% 64.3% 69.1% 3.8% 54.6% 66.7% 12.1% Indian
Asian 84.1% 92.4% 8.3% 75.6% 80.4% 4.8% 67.2% 66.7% 0.5% Vietnamese
Filipino 78.7% 93.4% 14.4% 66.2% 85.8% 19.6% 52.2% 64.4% 12.2%
Latina/o 75% 81.5 6.5% 57.4% 75.1% 17.4% 58.6% 64.1% 5.5%
Native 74.1% 77.4% 3.3% 57.9% 72.7% 14.8% 51.3% 40.4% 10.5% American
Pacific 75.1% 70.1% 5.0% 57.5% 48% 9.5% 56.7% 70.8% 14.1% Islander
White 79.8% 84.8% 5.0% 68.2% 72.8% 4.6% 54.6% 59.2% 4.6%
Other/ 70.9% 79.1% 8.2% 63.6% 67.6% 4.0% 51.8% 57.9% 6.1% Unknown
Average % 77.9% 83.4% 5.5% 63.9% 64.9% 1.0% 57.3% 64% 6.7% All Groups Percentages for Theatre Arts Average retention are from the table in section C.4.1 Ethnicity % Difference ______Theatre Arts Retention Cambodian 23.1% Higher Filipino 14.4% Higher Vietnamese 8.3% Higher Other 8.2% Higher Latino 6.5% Higher White 5.0% Higher Indian 4.9% Higher Native American 3.3% Higher Chinese 0.8% Lower Other Asian 1.1% Lower African American 1.5% Lower Pacific Islander 5.5% Lower Total % Points 64.8% Points Higher Theatre Arts Success Cambodian 39.5% Higher Filipino 19.6% Higher Latino 17.4% Higher Native American 14.8% Higher Other Asian 7.0% Higher Vietnamese 4.8% Higher White 4.6% Higher African American 4.5% Higher Other 4.0% Higher Indian 3.8% Higher Chinese 3.9% Lower Pacific Islander 9.5% Lower Total % points 106.6% Points Higher Theatre Arts Persistence Cambodian 35.1% Higher Pacific Islander 14.1% Higher Filipino 12.2% Higher Indian 12.1% Higher Other Asian 10.2% Higher Other 06.1% Higher Latino 05.5% Higher White 04.6% Higher Vietnamese 00.5% Lower African American 01.0% Lower Chinese 06.1% Lower Native American 10.5% Lower Total % points 81.8 % Points Higher
The data show that the Theatre Arts Program is contributing positively to the College's data in 72% of the categories for retention, success, and persistence.
To ameliorate the deficits in 28% of the categories, I will focus more attention on the problematic groups. I usually do not factor ethnicity into my teaching, treating all students alike, but I will begin trying to identify students of these ethnicities and observe their work more closely. Hopefully, this will give me insight into how I can encourage them. As a first step, I will include more material in my classes which relate to their ethnic backgrounds and observe whether this increases their engagement in class.
A.2. Theatre Arts Program SLOs related to Theatre Arts Goals
Goal One is to prepare the student for careers as performers and technicians in live theatre, and careers that require live or recorded speaking or presentations such as business, sales, teaching, and law. All Program-Level SLOs contribute to the achievement of this goal.
Goal Two is to foster the students’ ability to work in teams. Program-Level SLOs 5, 6, 7, 8, 10, 11, 12 and 13 are oriented to behaviors and awareness which will help students achieve this goal.
Goal Three is to enhance the students' ability to think critically. Program-Level SLO 4 specifically focuses on this goal.
Goal Four is to develop the students skills in communication including reading, writing, speaking, and listening. SLOs 1, 2, 3, 4, 9, and 14 pertain to these abilities.
B. Student Data Compared with Program Goals
1. Student Goals Compared with Program Goals
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Theatre Arts Program Goals Compared with Student Goals
Program-Level Goal #1 Goal #1 Goal #2 Goal #3 Goal #4 Goal #4 Goal Career: Career: Teamwork Critical Reading Speaking Theatre Arts Speaking Thinking Writing Listening Film Presentations
Percentage of Students having this goal
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C. Student Satisfaction
I assess student satisfaction by talking with my students, and asking them questions about their experience in my classes. When students stop attending a class or are irregular in attendance or assignment completion, I try to find out why. The following are the reasons, in approximate order of their frequency, that students have told me for lateness, missed classes and assignments, and dropping classes, although not necessarily my classes.
1. Family or personal obligations which make it difficult or difficult or impossible for the student to attend class or complete assignments. 2. A change in the student’s schedule at a job the student cannot afford to leave. 3. Pressure in other classes which are more essential to the student’s graduation or transfer than the Theatre Arts class which the student is forced to drop. 4. Fear of failing the class or receiving a low grade. 5. Difficulty with English as a second language. 6. Health issues or depression, often untreated. 7. Getting a job which conflicts with the class schedule. 8. Lack of reliable transportation resulting in lateness and missed classes. 9. Lack of interest in the subject. 10. Conflict with the instructor. 11. Conflict with other students in the class. 12. Homelessness, hunger or exhaustion. 13. Passing the date at which the student has to return financial aid if classes are dropped. 14. Legal issues.
Reasons 4, 10, and 11 are issues that I consider my responsibility to try to resolve.
Reason 4 I encourage students to come to my office hours for individual instruction if they are afraid that they will fail my class, if they have fallen behind, or if they are confused about class content. If they are not free during that time, I arrange to meet them at another time. During these meetings, if their problem is with written assignments, I help them improve their writing and critical thinking skills. If they are having difficulty with performance assignments, I work with them on their scenes or presentations. I adjust due dates, create make-up assignments, and substitute assignments which the student can achieve more easily. For example, if a student in my Introduction to Film class needs to make up an assignment, I will usually assign them a film which they already have at home and which they understand and enjoy. The student and I agree on a due date for the make up work which the student can meet.
Reason 10 A sincere talk usually solves this problem. It is almost always a misunderstanding which, once identified, can be resolved with some special coaching, an adjustment of an assignment, or an apology -- usually from both the student and me. More serious issues sometimes require considerable counseling or a reference to my Dean.
Reason 11 This problem sometimes comes up in performance classes in which students work closely together on scenes and projects. I usually hear of a problem between two students from a third student. A sensitive talk with the aggrieved student is then needed to find out what issue he/she has with the offending student. Sometimes suggesting ways to deal with the offense is sufficient, but occasionally I have to talk to the offender about his/her behavior. Although this is awkward, it usually puts an end to the problem. Now and then I have had to refer issues to Counseling or Campus Police.
Judging from unsolicited student comments, responses to direct questions, routine instructor evaluation surveys done by students, and exit surveys, student satisfaction with my classes is high. The Theatre Arts Program is very limited in size and does not offer a certificate, but a number of students take multiple classes from me and even repeat classes because they like working with me and become fascinated by the subjects I teach.
V. Strategic Planning
A. Teaching and Learning
1. Both the greatest strength and the greatest weakness of the Theatre Arts Program at San Jose City College is it small size. On the positive side, its size allows me to make each student important – a significant member of a small community. Students are recognized as unique individuals rather than being faces in a crowd. I can adapt course requirements to respond to each student’s ability, interests, and goals. Varying learning styles, diverse cultural backgrounds and ages can be accommodated.
On the other hand, the number and variety of courses at City College are limited in comparison with large Theatre Arts programs at West Valley or De Anza Community Colleges. Those programs have more modern facilities, larger faculties, and more resources. They attract the kind of student who is determined to go to Hollywood or New York and to try to build a career in the industry, or who plans to transfer to a conservatory program. San Jose City College students often have no experience at all when they sign up for their first Theatre Arts class. Many have never even seen a live play. However, they have strength of character and life experiences that are invaluable to a beginning actor. They come from a rich variety of culture, and they range in age from sixteen to mid seventies. They quickly bond with one another in a supportive community in which they can safely express their fears, hopes, and dreams. While larger community college Theatre Arts programs provide greater variety in classes, San Jose Community College Theatre Arts gives students the freedom and the encouragement to recreate themselves.
One disadvantage of a small program is that the pool of actors is limited, which restricts the variety of plays that can be produced. I have been unable, for example, to produce an August Wilson play requiring an African-American cast or a play by David Henry Hwang with an Asian cast. Although I have had many fine acting students of every conceivable ethnic group, I have never had enough of the same ethnicity at the same time to cast these brilliant plays. However, I have always had an equal opportunity philosophy which has given me years of experience with "color-blind casting" -- that is, casting roles without consideration of whether they were written for a specific ethnicity. I also often change the gender of characters, particularly in Shakespearean plays, to create more roles for women.
A rich diversity of students are represented in my Acting, Voice, Film, and Intro to Theatre classes, and there is very little achievement gap between the ethnic groups. However, not enough Asian and African American actors join the Theatre Workshop classes which produce plays for the College and community. One of the responsibilities of a Theatre Arts program is to contribute to the artistic life of the institution, and I want to broaden the cultural spectrum of productions. I need to find a way to attract more culturally diverse actors into my workshop classes.
B. Course Changes
1. The Script Analysis course has was deleted from the Theatre Arts Program last Spring because, although it is still a lower division Theatre Arts major requirement at San Jose State University, it is no longer required by other transfer institutions, and enrollment in the course was so low that it has not been offered in eight years.
Over the next five years, depending on the financial wellbeing of the State and its impact on the College budget, the Theatre Arts program should build enrollment by increasing the number of sections of the courses now being offered, and adding new courses to the curriculum such as Improvisation, Film History, and History of Ethnicity in Films. Improvisation is a class which is less threatening than Acting to students with no prior experience in Theatre Arts. Class activities can be structured to apply to practical situations in the lives of students who have no interest in performing in plays. A Film History course would relieve Introduction to Film of its Film History component and allow deeper exploration of Film Aesthetics, the principal focus of the course. A number of students have expressed disappointment that there is no follow-up class to Introduction to Film, and a Film History course would satisfy this need.. The course would also articulate with similar courses at transfer institutions. An Ethnicity in Films course would attract increased enrollment by diverse student populations.
C. Regardless of the optimistic discussion in the paragraph above, I expect little change in the Theatre Arts Program in the next five years due to World/National/State/District financial hardships. In this 2011-2012 academic year I have even volunteered to put my Workshop classes on hiatus since they represent an overload assignment for me and, by tabling them for awhile, I can save other instructors' classes.
In the next five years, I expect to reestablish the live theatre production program and to build the Film Production Workshop. I will write an on-line version of Introduction to Film, an Improvisation class, a Film History course, and possibly an Ethnicity in Films class. These can be added to the curriculum without impacting the budget by alternating them with Acting, Voice Skills, and Introduction to Theatre courses. When the finances of the District permit, additional sections can be added.
D. Faculty and Support Staff.
1. I am the Theatre Arts Program's sole instructor. I no longer have any staff support. Fortunately, I have a very broad background in Theatre and Film. I am qualified to teach not only the Program's performance classes and academic classes, but I am a theatre and film director, designer and technician qualified to teach Technical Theatre, to direct plays, to write and produce films, to design and supervise sets, costumes, lights, and sound for live theatre and film.
2.a. When the Music Program moved into the Theatre Arts building to await construction of the new Arts building, the Costume Shop was adjoined to D105 for use as a large classroom. The old Faculty offices were eliminated to form a piano lab, and two new Faculty offices and four rehearsal rooms were created. After the Music Program moves to its new home, the Costume Shop should be restored to it's old space. D105 should be adapted as a flexible classroom space and make-up room as it was before the Music Department began using it. The converted Faculty Office, D108, can be retained as a classroom -- ideally a computer lab for the Arts. The Dance Instructor and I will need the two faculty office spaces since our old offices are no longer available. I am currently using a storage space as an office.
It is essential that the College hire a replacement for the Technical Director who retired eight years ago. Since his retirement, I have been taking care of the College Theatre with the help of my Technical Theatre students, including routine maintenance and cleaning, minor repairs, upkeep of storage areas such as the basement, and acquisition of supplies and equipment. I design and build sets, rig and program lights, build or adapt properties, costumes and wigs, and produce sound for my productions. Without a Technical Director, the College Theatre facilities cannot be rented to most community groups, eliminating a source of revenue for the College. No support is available for College and District groups who use the Theatre, except for media set up by the Campus Tech Support team. The absence of a Technical Director also creates opportunities for vandalism, theft, and injury in the Theatre and Scene Shop.
2.b. I will be retiring within fifteen years, and, since there is a very limited number of academics who can span as wide a curriculum as I teach, replacing me with one new instructor will not be easy. I plan to build the program by the time I retire so that at least one full time and one adjunct instructor can be hired.
By then, the College Theatre should be completely renovated. The details of this are discussed in Section G, "Facilities".
E. Library Resources
1. Library resources are adequate at the present time.
2. The Library's DVD collection should be kept up-to-date and should include more films from foreign film industries, particularly, Indian, Chinese, Vietnamese, Spanish, Mexican, and Middle Eastern cinema. The Library should replace its VHF film collection with DVD or Blu-ray copies of the films if they are available. Blu-ray players should be available to students. Since many of my students use College Library films for my Introduction to Film class, this would broaden the titles available to them and update playback technology to the current state of the art. ESL students would benefit from a collection of films in Vietnamese, Chinese, Spanish, Tagalog, and Hindi. Closed Captioning in English for hearing impaired students should be available on all films, and second audio tracks for students with impaired vision would be a useful feature.
F. Technology
1. The recently installed sound system and lighting control console for the College Theatre have improved sound and light design and operation.
2. a. The Film Production Workshop needs a Macintosh computer with a large screen and fast processor for video editing. It should be secured in a safe location. I purchased one for the Workshop with my own funds, but I took it home when several items were stolen last Spring, including the PC in my second office in the Scene Shop, the computer of a Music Faculty member, and over $500.00 of equipment from the Scene Shop. Security technology is in urgent need of an upgrade. Film editing software will need upgrades as well.
b. By the time I retire, the College needs to replace the equipment I have provided and plan to take with me. This includes the projection screen in D101, the digital audio tape recorder, some of the microphones, the microphone boom, the video monitor I use for the Film Production Workshop, and many of the DVDs I use for Introduction to Film.
The College Theatre needs extensive upgrading of lighting instruments, dimmers, the backstage monitor, Scene Shop equipment including the table saw, radial saw, and grinders, and an audience-level light and sound control area for those unable to climb the steps to the second storey control booth.
G. Facilities
The Theatre Arts building and the College Theatre are run-down. Although there have been some refurbishments in the Theatre: a new sound system, light board, and curtains, the building's infrastructure needs refurbishing. Antique and energy inefficient equipment and systems should be repaired or replaced including the theatrical lighting instruments, the work lights, the Clancy fly system, the wenches on the grid above the stage, the ventilation doors at the top of the fly space, some curtain rigging, and roof and plumbing leaks. Communications systems such as the backstage monitor and Clear Com system need upgrades. The Theatre Arts and Dance instructors have met with the Facilities Committee and architectural consultants in the hope that the Speech/Drama building will eventually be restored. Although the full Facilities Committee voted to make the renovation of the building a high priority, the need for improvements has been passed over or tabled. The following is a summary of a proposal presented to the Facilities Committee and College Administration in 2010.
The following is an analysis and report on the Theatre Arts building and the College Theatre which I wrote two years ago when plans were being made to renovate the building. The project was tabled, but urgently needs to be resuscitated.
Renovation of the Speech/Drama Building
The Speech/Drama Building home of the College Theatre is a focal point for the campus, the venue for numerous District, College, and Community events. In spite of its function as a public gathering place, it is run-down, unsightly, uncomfortable, and probably does not meet a multitude of code requirements. The following is a detailed list of needed amendments grouped by their projected costs. While the limited Facilities budget may not permit undertaking the extensive changes I’ve included, the minor
A. Overview
The following notes are suggestions for the renovation of the College Theatre Building. The Theatre was built about fifty years ago as a Drama Laboratory, and is still designated as instructional space. Currently it is in used an average of 12 hours a week during the Fall and Spring semesters for Theatre Arts classes. When a Dance or Theatre Arts production is in rehearsal or performance, the Theatre is used for many hours over a 4 to 6 week period. College, District, and student groups use the College Theatre for meetings and events. Community Arts and Lectures, the Music Division, and Lincoln High School schedule activities in the Theatre. The Theatre is rented to community and professional groups. During activities in the College Theatre auxiliary spaces such as the Scene Shop, Costume Shop, Make-up Room, and Dressing Rooms are often require
B. Minor Improvements – Low Costs
B.2. The thermostat in the College Theatre should be overhauled or replaced to give direct control to Theatre users. At this time, it is impossible to change the temperature or to turn the system on and off. Audiences are disturbed by the noisy fans, and guests at events in the Theatre begin complaining of the cold after sitting in the Theatre for more than an half an hour.
B.3 . The emergency release for the fire curtain is faulty. The curtain will only descend if it is released on both side of the proscenium; it is supposed to descend if only one side is released.
B.4. The doors from the lowered forestage into the basement do not open reliably.
B.5. A water leak is damaging costumes in the storage room next to the Technical Director's office.
B.6. A cable from a junction box on the grid to the first electric pipe must be extended . When it was repaired a few years back, the cable was cut too short. The pipe should safely descend to the stage floor for maintenance of the lights installed on it. Because of the shortened cable, if the electric pipe is lowered to the stage, the cable would rip out of the junction box and cause a short.
B.7. Electrical outlets on the stage floor should be refurbished or replaced
B.8. Repaint the stage safety railing and the front of the stage.
B.9. Refurbish aisle lights in the House.
B.10. The Speech/Drama Building sign should be removed since both the Discipline names “Speech” and “Drama” have been changed, and the Speech Communications Discipline is no longer housed in the building. The building should be renamed. Suggestions: The College Theatre Building (CT Bldg.), The Theatre Arts Building (TA Bldg.), or The Performing Arts Building (PA Bldg.).
C. Substantial Improvements – Moderate Costs
C.1. The Clancy fly system needs repair and maintenance. The computer is unreliable, two of the motors are nonfunctional, and some of the cables on the grid need to be overhauled.
C.3. The monitor system from the stage to the dressing room, scene shop, control booth, and D101 is not working
C.4. The fixed wenches on the grid need maintenance.
C.6. The LCD projector in the first beam above the audience should be replaced by a model with more candlepower so that lighting on the forestage right and left does not wash out the projected image. The projector should be more securely rigged.
C.7. A second LCD projector should be rigged on the first electric pipe to project on the cyclorama or an upstage projection screen.
C.8. The dimmer packs in the basement and the patch panel on stage should be removed and replaced by a digital dimmer system compatible with the Express light board.
C.9. The ground cloth covering the stage should be taken up, the stage floor repaired, sanded and refinished. A new ground cloth should be laid over the repaired floor.
C.10. A switch to lower and to raise the projection screen should be located off right. Currently, the only switch is in the second story control booth.
C.11. An intercom system should be installed for communication between the Scene Shop, the Stage, the Control Booth, D105 – the Makeup Room, and D101 – the Studio Theatre.
C.12. The Clear Com system and its input jacks on stage, in the cheeks, in the beams, and in the control room should be refurbished.
C.13. Audio input and output jacks on the stage should be checked and replaced as necessary.
D. Major Changes - Substantial Costs
D.1. The building’s electricity, lighting, plumbing, safety features, and equal access provisions must be brought up to code
D.2. A passageway should be created allowing direct access to the lighting beams from the control booth.
D.3. The third and fourth lighting beams above the audience should be made usable. (I was told by the retired Tech Director that they have never been used because they do not meet safety regulations.)
D.4. An auxiliary lighting and sound control area should be added at the back of the house at floor level for users who cannot climb the stairs to the control booth.
D.5. The walls enclosing the heating/cooling equipment located at the west end of the lobby should be soundproofed.
D.6. Most of the theatrical lighting instruments should be replaced with efficient, modern instruments.
D.7 . The entrance doors should be redesigned.
D.8. A reception area in the lower lobby should be designed which does not block the door to D101 or impede traffic through the lobby. To provide more room for this, the “atrium” and the existing lobby stairs should be removed. A new stairway should be built at the end of the present “atrium” location.
D.9. Permanent seats should be added along the window wall of the upper lobby.
D.10. The non-functional drinking fountain on the east exterior wall of the lobby should be removed.
D.11. Create a better area for audience members wheelchairs. There is now a level area at the back right of the house. Some easily removable seats in the front row would make it possible to accommodate wheelchairs there.
D.12. Refurbish panic bars on building and theatre house doors, some of which are difficult to lock down.
E. Scene Shop
E.1. Equipment and facilities in the Scene Shop should be modernized and reorganized for use as a work area for activities of the Dance, Music, and Arts programs as well as Theatre Arts.
E.2. Broken and out-of-date shop equipment should be replaced.
E.3. The rope and counterweight system for painting frame should be refurbished.
E.4. Stored items should be sorted and organized. Unused items should be recycled.
E.5. Technical Director’s office should be relocated on the first floor of the Scene Shop for access by disabled users. The existing office should be converted to storage.
E.6. The counter, sink, and storage cabinets, and the plumbing in painting area should be refurbished.
E.7. The loading dock should be leveled.
F. Basement Storage/Bomb Shelter - Minor Costs
F.1. Stored items should be sorted and organized to conform to fire regulations. Out-of-date or damaged units should be recycled.
F.2. Additional work lights are needed. There should be a light switch near the doors to the lift.
F.3. The air compressor should be replaced with a more efficient unit.
F.4. The vacu-form machine should be sold or scrapped. The room it is in should be used for storage.
F.5. The room in the north-west corner should be cleared.
G. D101 - The Acting Classroom/Studio Theater
Overview
D101 is the large room adjacent to the Theatre lobby. It should be redesigned to serve better as a small performance space, making the College Theatre more available for large community and College events.
G.1 Minor Improvements – Low Costs
G.1.1. Renovate ventilation system and add temperature control. The room is much too cold in the winter.
G.1.2. Remove acoustic tile, and resurface walls and ceiling.
G.1.3 Check electrical wiring and make necessary repairs.
G.1.4 Repair windows and shutters.
G.1.5 Install curtain track and floor to ceiling black drop on window and corridor walls. Include curved track around the lobby and corridor doors so light from outside can be blocked when a door is opened.
G.1.6 Replace antiquated light switches.
G.1.7 Add backstage safety lighting circuit with switch near the stage door.
G.1.8 Replace bulletin board and chalkboard with white board
G.1.9 Repair wall cabinet locks.
G.2 Major Improvements – Moderate Costs
G.2.1 Remove acoustical ceiling and existing light fixtures. Hang theatrical light pipes as high as possible with cabling and three independent circuits for each pipe.
G.2.2. Install a digital dimmer and monitor for the theatrical light system.
G.2.3 Install a new work/room light system.
G.2.4 Install a dimmable house light system.
G.2.5 Install a built-in audio/video system with mike inputs, line inputs, amplifier, cd player, DVD player, LCD projector, projection screen, sound mixer, and computer.
G.2.6 Build a movable control wagon for the audio/video and theatrical light systems.
G.2.7 Provide chairs with upholstery which can be stacked to clear the floor for activities , but which are comfortable for three or more hours sitting.
G.2.8 Provide four-tiered modular bleachers along the window and corridor walls.
G.2.9 Provide inputs to the clear com system
G.2.10 Provide inputs to the monitor system
G.2.11 Replace floor tiles with tongue and groove wooden floor.
G.2.12 Build a wall across the upstage end of the existing stage to form a backstage corridor. The wall should have openings right, center, and left which can be masked with curtains or screens
G.2.13 The storage room adjacent to D101 should be converted to an office for Theatre Arts faculty by eliminating one of the two doors which open onto D101 and installing a door opening onto the corridor.
H Restrooms, Makeup Room, Dressing Rooms, Costume Shop
Overview
In the original building design, these spaces were meant to serve as an integrated space. Activities in the Costume Shop require access to the Dressing Rooms. Performers using the College Theatre or Studio Theatre (D101) need quick access from the stage to the restrooms, dressing rooms, and makeup room. With the recent conversion of the makeup room to a classroom, this flow of activity has been blocked. D105 is now crowded with desks and tables, and classes are often scheduled so that the room is unavailable for groups using the Theatre. This forces performers to use the restrooms as makeup areas, and corridors for offstage space, which inconveniences students and audience members.
H.1 Minor Improvements – Low Costs
H.1.1 Replace desks in D105 with stackable tables and chairs so the room can be easily cleared.
H.1.2. Remove the piano and its storage box
H.1.3. Repair door handle between men’s restroom and men’s dressing room
H.1.4. Refurbish showers in both dressing rooms
H.1.5. In women’s restroom, provide soap dispensers which are within reach of all sinks and a paper dispenser in the handicapped booth than can be conveniently reached.
H.1.6. Add temperature controls in D105, dressing rooms, and Costume Shop. Renovate the ducts to the Costume Shop, which is now frigid in cold weather.
H.1.7. Add a curtain track and curtain in the Costume Shop to create a fitting room area.
H.2. Major Improvements – Substantial Costs
Overview
At this time there are only three toilets and one urinal in the building which must be shared by up to 400 people: a 330 seat audience, up to 50 performers and crew members, and students from two classrooms.
H.2.1. The existing restrooms should be extended into the area now used as dressing rooms.
H.2.2. D105, the makeup room/classroom, should be divided into dressing rooms and a smaller makeup room.
H.2.3. Replace the folding wall between D105 and the Costume Shop with a solid wall for acoustic separation. The wall should include a wide door so clothing racks can be moved from the Costume Shop to the dressing rooms.
H.2.4. Add a window and a ventilation system in the Costume Shop.
I. D107 and D108 - Minor Costs
I.1. D108, which is currently used as offices, mostly empty, should be adapted as a lab space for Digital Photography, Digital Video, Digital Sound Design, and other computer-based Arts classes and Theatre Arts 032 – Film Production Workshop.
I.2. D107 should remain a smart classroom, as it is now, or converted to a music lab. The addition of a communicating door with the Studio Theatre (D101) would add flexibility of use.
J. Aesthetics - Minor to Moderate Costs
J.1. Interior and exterior walls should be resurfaced. If possible, the blue-green wall panels should be replaced.
J.2. Acoustic ceiling and wall tiles should be replaced throughout the building
J.3. Floor tiles should be replaced.
J.4. Interior door labels such as “Scene Shop”, “Stage Door”, should be refurbished
J.5. Two glass encased notice boards should be provided outside the theatre, one to announce current activities, and one for upcoming activities.
J.6. A major improvement would be a complete redesign of the lobby entrance.
J.87 The neon “San Jose City College” sign on the theatre fly space’s north wall should be modernized.
D101 - The Acting Classroom/Studio Theater
D101, the large room adjacent to the Theatre lobby, is the main venue for all Theatre Arts classes except this year during the construction of the new Arts building. Construction noise make D101 almost unusable during the daytime, so classes are being held in the College Theatre. It should be redesigned to serve better as a small performance space, making the College Theatre more available for large community and College events. Audience seating, an improved lighting system, sound system, and communication system are required.
Install white board in D101 Install blackout curtains, door curtains, and white board curtain in D101 so that the space can be quickly converted to a space for film and live theatre showings. Install film projector in D101. Rewire theatrical light system in D101 and install control board. Install sound system and audio control board in D101. Install backstage safety lights in D101. Modular audience seating should be installed -- collapsing bleachers or platforms for folding chairs.
Scene Shop
Most of the equipment in the Scene Shop and basement is worn out, broken, or out-of-date and should be replaced. Security of equipment and supplies should be improved to avoid future theft.
D105 –Makeup Room, Dressing Rooms, Restrooms, and Costume Shop
In the original building design, these spaces were meant to serve as an integrated space. Activities in the Costume Shop require access to the Dressing Rooms. Performers using the College Theatre or Studio Theatre need quick access from the stage to the restrooms, dressing rooms, and makeup room , D105. To temporarily accommodate the Music Program, D105 and the Costume Shop have been joined to serve as a classroom. When the Music Program moves to their new building, this space along with the existing bathrooms and dressing rooms should be redesigned. The bathrooms should be expanded into what is now the dressing rooms. D105 should be divided into two small dressing rooms, a makeup room/classroom, and a costume shop with a storage space for costume and classroom supplies. A new washer and dryer should be installed and the sinks should be refurbished. A wig cabinet should be installed and the make-up console should be resurfaced.
H. Budget Use
1. The budget has been sufficient for the needs of the Theatre Arts Program which includes upkeep and supplies for the College Theatre as well as classes. In recent years, the Program has been able to use less than it's full budget, returning some funds to the general coffers.
2. If the Theatre Arts budget continues at its current level, it should be adequate depending on inflation of the cost of theatrical lamps, the largest budget item. If there are any unexpected costs like the replacement of stolen tools last Spring, the budget may not be able to handle the excess cost.
I. Priorities for the Theatre Arts Program
1. As soon as State funding will allow restoration of cancelled classes, the Theatre Arts Workshop classes should be returned to the College Class Schedule.
2. A Technical Director should be hired to supervise the College Theatre and provide support for the Theatre Arts and Dance Programs, and College, District, and Community events.
3. The Costume Shop and Makeup Room/Classroom should be restored when the Music Program vacates its space. Restrooms and dressing rooms should be redesigned.
4. The building infrastructure should be refurbished.
5. New sections and classes should be added to the Theatre Arts Program.
6. D101 should be refurbished as a performance space.