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FORT LEWIS COLLEGE DEPARTMENT OF THEATRE SELF STUDY FOR PROGRAM REVIEW 2008-2009 Revised 20 February 2009 Contents of Theatre Program Review

I. Introduction A. Statement on Self-Study Process and Organization B. Time-Line for Program Review C. Review Groups

II. Program Information & Analysis A. Department Mission and Vision as Aligned with Fort Lewis Mission, Vision and Strategic Directions B. Accomplishments: Summary of Theatre Program Development Since Last Review C. Program Profile: Recruitment, Retention, Grading Practices, Graduation and Alumni Success C.1. Recruitment to Retention A.1.a) Enrollment Data A.1.b) Analysis of Enrollment Data A.1.c) Narrative on Enrollment/Recruitment A.2. Retention to Graduation A.2.a) Graduation Data A.2.b) Analysis of Graduation Data A.2.c) Narrative on Retention to Graduation A.3. Grading Practices: DFW and A Rates A.3.a) DFW and A Data A.3.b) Explanation of DFW and A Data A.4. Student Success A.4.a) Alumni Data A.4.b) Analysis of Alumni Data A.4.c) Narrative on Alumni Relationships and Successes D. Program Profile: Facilities Status and Development 1. Learning Environment

III. Curriculum Statement and Development A. Curriculum Development Statement and Status B. Statements on Student Research C. Departmental Curriculum Implementation Analysis 1. Analysis of the Four Curricular Options in Theatre 2. Analysis of Ability to Effectively Facilitate Programming and Curriculum D. Assessment E. General Education & Campus Curriculum Contributions (Outreach Responsibilities)

1 1. GT-Pathways Course Development 2. Thematic Studies and EGC Course Development 3. CBLR Course Development 4. Enrichment Course Development

IV. Production Accomplishments A. Criteria for Season Selection & Development B. Statement on Production process & Responsibilities C. Past Season Productions D. Production Accomplishments – Highlights

V. Our Future -- Program Development Possibilities, Considerations and Plans A. Program Directions Analysis A.1. Statement on Future Plans: Directions with regard to two, five, and ten year plans B. Retention and Recruitment Development Possibilities C. Statement of purpose of NAST accreditation D. The Future of our Curriculum D.1. Teacher Certification Option D.2. Dance Option D.3. Music & Performance Option E. The Future of Fort Lewis College Theatre Productions - “The Front Door to Fort Lewis College” F. Assessment Development G. Facilities Development

VI. Appendices and Other Information for Report To the Board of Trustees A. List of chair and departmental faculty and staff, including rank/title and how long each has been at Fort Lewis College B. Faculty CVs C. Evidence of Curricular accomplishments during review period 1. Course listings for the department 2. Degree Requirements for all options 3. Course Rotation plan to 2011 4. Departmental Brochure 5. Student Departmental Handbook D. Evidence of Departmental Accomplishments and Development During Review Period 1. Logistics and Initiatives Chart 2. A comparative statement: NAST Criteria and Fort Lewis College Theatre 3. Letter from External consultant on NAST Accreditation E. Evidence of Production accomplishments during review period 1. Performance reviews 2. Planning Calendars 3. Season Brochure

2 F. RMTA Materials

I. Introduction A. Statement on Self-Study Process and Organization B. Time-Line for Program Review C. Review Groups

3 Section I. Introduction The purpose of this self study is to provide a document that formalizes our efforts to analyze our operations, high quality work and future aspirations. This document will articulate our initiatives in aligning with Fort Lewis College’s mission, vision and strategic plan; clarify our incentives to develop and improve our artistic, educational, and service programming; proffer guidelines for our continuing processes in fulfilling our mission, goals and objectives; and consider our positioning with regard to the criteria set forth by the National Association of Schools of Theatre toward future accreditation. Furthermore this self-study clarifies--for ourselves, our administration and governing bodies--essentially what we want our theatre program to be: an appraisal of our future potential in light of our present conditions and accomplishments. Ultimately the goal of this self study process is a clearer understanding of what we are, what we want to be and how we can improve, rather than defend, what already exists; in other words a renewed common effort to develop and improve.

A. Statement on Self-Study Process and Organization This program review draft has been written with design ideas and contributions from every full-time member of the Department of Theatre as well as advice from Dr. Linda Schott, Dean of the School of Arts Humanities & Social Sciences. The division of labor was discussed in Theatre Department meetings and assignments were made as aligned with individual’s expressed desires as well as areas of expertise, supervision and focus. Further guidelines of this program review are the Presidential Vision and Strategic Plan for Fort Lewis College as well as the criteria and self study strategies of the National Association of Schools of Theatre (NAST).

B. Proposed Timeline for Program Review (Revised 30 January, 2009)  12 December – First Draft of Self Study Due from Responsible Persons  5 January – Revised Drafts of Self Study Due From Responsible Persons  12 January – Final Draft of Self-Study Submitted to Dean of AHSS  13 February – Final Draft of Self-Study Submitted to Internal Review Group  20 February – Comments and Recommendations for Revisions from Internal Review Group  1 March – Response and Revisions Completed by Department  1 March – Final Draft of Self-Study Submitted to External Reviewer  20 March – Comments and Recommendations from External Reviewer

Department of Theatre Program Review Timeline for Completion Date Materials to be Completed Responsible Persons 12 December First Draft to Dean AHSS Davis, Lee, Moller 5 January Revised Drafts to Dean AHSS Davis, Lee, Moller 12 January Final Document to Dean Davis, Lee, Moller 13 February Final Document to Internal Review Committee Moller 20 February Comments & Recommendations to Dean/Dept. Internal Review Committee

4 1 March Revised Documented completed Davis, Lee, Moller, (Schott) 1 March Self-Study to External Reviewer Moller/Schott 20 March Comments and Recommendations External Reviewer

C. Review Groups C.1. Internal Review Team In addition to the Dean of AHSS, Linda Schott the following people have agreed to serve as our internal program review team: Dr. Linda Mack from the Department of Music has worked with the Department of Theatre for many years and has great knowledge of past collaborations, possible future collaborations and potential interdisciplinary programming.

Charles Leslie from the Community Concert Hall is a great resource for this program review as well as our future planning. His expertise and background in Technical Theatre and Design can inform this review and our planning for departmental development especially in areas of Technical Theatre where we oftentimes are faced with challenges.

Michael Martin from the History Department has been a constant resource for our programming and departmental development. His knowledge of our departmental initiatives and efforts in collaboration with other departments such as Gen. Ed. and the Common Reading Experience will make him a great asset to this review and our future directions especially in areas of scholarly achievement.

C.2. External Review With the possibility of accreditation from the National Association of Schools of Theatre (NAST) on our horizon it would be most wise to solicit feedback from an external reviewer who can help us to best aligned with NAST criteria. We did have an external review from a non-NAST consultant, Dr. Frank Trezza from New Paltz University, to determine whether NAST Accreditation was appropriate for Fort Lewis College Theatre. The result of this visit was very positive and Dr. Trezza recommended pursuing NAST accreditation as an appropriate next step for Fort Lewis College. Further conversations with Jan Timpano at the NAST headquarters revealed that although NAST will not consider a pre-application visit as part of their review, it is strongly suggested that applicants solicit appropriate guidance in writing their Self- Study for NAST from experienced professionals. Fort Lewis College Department of Theatre is highly regarded by other Colorado and COPLAC institutions. An external consultant would help us develop this program review so that the good work done on this program review could potentially be also utilized in a Self Study toward NAST accreditation. To that end it is my understanding that the Office of the Provost & Vice- President for Academic affairs has approved our request to be reviewed by an appropriate official from another institution with NAST experience, academic theatre expertise and as well associations with appropriate professional organizations. Departmental suggestions include: Dr. James Symons, University of Colorado, Boulder & Past President of ATHE (Association for Theatre in Higher Education); Dr. Dan Koetting, Chair Theatre and Film, University of Colorado, Denver.

5 II. Program Information and Analysis

A. Department Mission and Vision as Aligned with Fort Lewis Mission, Vision and Strategic Directions B. Accomplishments: Summary of Theatre Program Development Since Last Review C. Program Profile: Recruitment, Retention, Grading Practices, Graduation and Alumni Success C.1. Recruitment to Retention A.1.a) Enrollment Data A.1.b) Analysis of Enrollment Data A.1.c) Narrative on Enrollment/Recruitment A.2. Retention to Graduation A.2.a) Graduation Data A.2.b) Analysis of Graduation Data A.2.c) Narrative on Retention to Graduation A.3. Grading Practices: DFW and A Rates A.3.a) DFW and A Data A.3.b) Explanation of DFW and A Data A.4. Student Success A.4.a) Alumni Data A.4.b) Analysis of Alumni Data A.4.c) Narrative on Alumni Relationships and Successes D. Program Profile: Facilities Status and Development 1. Learning Environment

6 Section II: Program Information and Analysis

A. Department Mission and Vision as Aligned with Fort Lewis Mission, Vision and Strategic Plan In August of 2005 all members of the Department of Theatre sat down together with the purpose of creating a departmental mission statement that reflected our values, what we strive to accomplish in our work with students at Fort Lewis College, and which could be used as a criterion in our future decision making. In creating this statement we looked closely at the Fort Lewis College Mission Statement--then newly re-written as part of the strategic initiative by President Bartel--with an attempt to not only align, but to take further those high goals and directives then initiated for the entire Fort Lewis College campus.

In creating our mission statement we considered primarily our responsibility to create programming that set us apart from other Colorado and COPLAC institutions. Therefore we wrote a mission statement that clarified our mission to capitalize on our strengths and values by contributing beyond traditional theatre programming and toward a global, multi-cultural and trans-disciplined education for our students. Furthermore, we took seriously the community based learning foundation of the FLC mission and articulated further our initiative to create “beyond the college campus” opportunities in not only regional, but national and international arenas. This Department of Theatre Mission Statement has proven to be a valuable touchstone in guiding our work.

In addition to being our touchstone, our mission statement has also given us avenues toward fulfilling the Strategic Directions as outlined by President Bartel in 2005. From 2005 to present our department initiatives and activities have been instigated with the intention to fulfill each of the five Strategic Directions in numerous ways.

7 B. Accomplishments: Summary of Program Development Since the Last Program Review Since 2001 the Fort Lewis College Department of Theatre has developed, changed, improved and pushed our potential and possibilities regarding student, faculty and overall department successes in multiple areas and in significant ways. Before 2005 our initiatives were determined by the Fort Lewis College mission statement. What we accomplished during those years is listed below. Beginning in 2005 when President Bartel initiated the college wide Strategic Plan we utilized those Strategic Directives as a guide for our activities, directions and initiatives. In this document the theatre department areas of development from 2005 and beyond are divided into sections that correlate with each specific Strategic action as well as by academic year.

2001-2004  Developed and implement High School Theatre Festival for the purpose of recruiting new students into our Theatre Program  Recruited students at San Juan College annual High School Theatre Festival  Recruited students at various regional conferences such as the Rocky Mountain Theatre Festivals which took place on the CU Boulder Campus ’02 and the Aurora Campus ‘03  Actively involved in the development of the TS2 General Education programming and contributed three courses to Gen. Ed. Programming: TS2R Performance Art; TS2R Non-Western Theatre; and TS2R Gender and Performance  Instigated extensive community outreach and awareness programming by collaborating with the Women’s Resource Center with our Domestic Violence Awareness Month initiative by developing an original work Through The Fire, a collaboration with area artists Maureen May and composer Lawrence Nass  Gave students knowledge of Italian Renaissance literature, mask-work, and commedia dell’arte techniques through the production of Mandragola  Gave students knowledge of current issues of learning impaired individuals through the production of The Boys Next Door  Instigated community outreach with greater campus and Durango area with our collaborative Dance Concert  Increased community outreach and service through the 2001 Summer—Durango Shakespeare Festival to include Merry Wives of Windsor, and The Tempest  Enhanced student experience and collaborative learning skills by mounting the musical Kiss Me Kate with students from both Theatre and Music Departments (2002)

8  Gave students knowledge of Classical Greek literature and culture through the production of Lysistrata (2002)  Gave students tools for devising and creating original work through the production of The Air Inside The Rose (three one acts) (winter 2002).  Enhanced student learning by bringing in Guest Artists Isabelle Kessler to do workshops and create an original work.  Collaborated with area musicians creating increased outreach with the production of A Christmas Memory (fall 2002)  Gave students the opportunity to work with Guest Director Michael Lawler on Our Town (winter 2003)  Increased our community outreach with the production of Alice In Wonderland which toured area schools in May 2003  Instigated extensive community outreach and awareness programming by collaborating with the PFlag, 4CGlad, PRISM and other campus and area organizations in producing The Laramie Project – (fall 2003). Outreach included pre-show discussions with area leaders such as the Mayer of Durango.  Created another original Fort Lewis College Production in our adaptation of The Hobbit (fall 2003) which gave students tools for devising and creating original work.  Enhanced student experience and collaborative learning skills by mounting the musical A... My Name Is Alice with students from both Theatre and Music Departments (winter 2004) 

In 2005 the Presidential Strategic Plan was instigated. Following please find the Department of Theatre accomplishments from 2005 to present as per each Strategic Direction.

2004-2005  Gave students the opportunity to better understand and explore the Holocaust through the production Diary of Anne Frank  Brought in professionals, guest speakers and scholars to support our productions as well as enhance our patron education: 1. Elizabeth Ingraham-skins-winter ‘05 2. Yukio Tsuji-skins-winter ‘05  Gave students the opportunity to perform alongside professional performers as part of the LaMaMa premier season featuring a two week run of the performance of the Fort Lewis College original work Skins—winter ‘05  Gave students knowledge of Elizabethan literature and culture through the production of Shakespeare’s Much Ado about Nothing

2005-2006  Gave students the opportunity to explore the issues surrounding aids and the gay community while producing both parts Angels in America – Parts I and II.  Contributions to General Education in: Thematic Studies, Proposal of three Global Citizenship courses, and continued proposals to GT-Pathways courses—winter ’06 & ’07, and in process

9  Brought in Wendie Malick and Dan Lauria to not only give Guest Artist workshops to our students, but to perform with students helping them in the production: The Guys  Site visit with consultant Dr. Frank Trezza, Chair of Theatre Arts at Suny, New Paltz external to the Theatre Department, for the purpose of providing realistic comparison to standards of NAST (National Association of Schools of Theatre) accrediting body. Our intention was to move towards NAST Accreditation—winter ‘06  This term two of our best and brightest students had the opportunity to direct other students in The Complete Works of William Shakespeare - Abridged

2006-2007  Implementation of a Guest Artist Series giving students, regardless of major, the opportunity to study extensive specified training from national and international scholars & professionals—fall ‘06  Invitation to feature Skins to the Hong Kong Performing Arts Festival for Summer ‘07  Comprehensive Curriculum Revision with four possible options of study which are interdisciplinary, in-line with student needs & disciplinary trends, & incorporates multiple service learning components—fall ‘07  Gave students the skills and knowledge of creating a devised, multi-lingual work as our American theatre students worked with our Japanese students in creating Folding Paper Cranes  Gave students the opportunity to work with renowned international theatre artists Bernardo Rey and Nube Sandoval, from Bogota, Columbia, in multiple ways o Week long theatre intensive o Week long sculpture intensive o Opportunity to assist in two professional performances: Maria Magdalena & Muysua  Gave students the opportunity to explore ideas of aging and the work of Pulitzer Prize winning playwright in the production of Three Tall Women  A few of our best and brightest acting students were given the opportunity for growth through the production of Waiting for Godot  Enhanced student experience and collaborative learning skills by mounting the musical The Wonderful Wizard of Oz with a guest director and students from both Theatre and Music Departments (winter 2004)  Continued to bring- in professionals, guest speakers and scholars to support our productions as well as enhance our patron education: 1. Enoch Brater-Waiting for Godot –winter ‘07 2. Leonard “Red” Bird-Folding Paper Cranes-fall ‘06

2007-2008  Instigation of Community Based Learning (CBLR) components to our curriculum through National & International internship possibilities –fall ‘07  Gave students the opportunity to explore real issues of human rights, in multiple departments by producing the work Speak Truth to Power which included bringing in professionals, guest speakers and scholars to support our productions as well as enhance our patron education: 1. Harry Wu-Speak Truth-fall ‘07 2. Marina Pisklakova-Speak Truth’fall ‘07 3. Michael Martin –Dante’s Inferno – winter ‘08 4. Kerry Kennedy-Speak Truth-winter ‘08

10  Performance of Speak Truth to Power at Rocky Mountain Theatre Association Festival in Denver with guest speaker Kerry Kennedy speaking for our work at Fort Lewis College—winter ‘08  Gave students--over 50 performers and 14 crew and technicians--the opportunity to work with area professional choreographers in the production of Kinetic Kaleidoscope  Gave students the opportunity to explore women’s issues in the production Win/Lose/Draw  Gave students the opportunity to be a part of the collaborative team in the creation of the original FLC production Dante’s Inferno – which explored not only the Renaissance Italian culture but the innovative digital applications using new software.

2007 Summer  Students had the opportunity to participate in new play readings with visiting playwrights: Voices in American Drama: A Summer Play Reading Series

2008-2009  Gave students the opportunity to explore ideas of psychological stability/instability in the work Raised in Captivity  Better utilized of the skills and qualities of potential adjunct faculty in production and classroom endeavors—successfully on-going  Increased affiliation with Rocky Mountain Theatre Association through the following: 1. Hosting the ’09 RMTA Festival in February ‘09 2. Representation on the RMTA Board of Directors 3. Collaborating with RMTA Board in hosting and maintaining their web-site  internships for students in national and international arenas  Continue to pursue possibilities of NAST Accreditation during  Continue to bring in high quality professionals, guest speakers and scholars to support our productions as well as enhance our patron education: 1. Dr. Beth Osnes 2. Bryan Rasmussen 3. Keri Margolis  Continue ongoing collaborative opportunities for both Music and Theatre students with the production of Chicago

2005-2006  Renovated our Departmental Web-site toward effective recruitment & retention  Renovated theatre Handbook toward effective recruitment & retention

2007-2008  Developed and implemented the bringing of Freshmen & Sophomores into our production program (Thea 100). Increased approx. 50% in fall ’06, 55% in fall ’07.  Implemented Scholarships for New and Transfer Students

11  Increased focus on the development of theatre student non-curricular activities: Orientation, Year-end ceremonies, awards, pizza parties, etcetera, toward better retention

2008-2009  Attended and auditioned potential students at the Thespian conference in Denver  Better disseminate theatre materials to Admissions Office and Officers  Develop collaborative recruitment strategies with the Admissions Office and our new Director of Admissions  Further development of scholarships, and the facilitation of these scholarships for new and transfer students

2003-2004  The original work developed at Fort Lewis College, Through the Fire, was invited to be be produced for on the female inmate performers at Lincoln Correctional Facility in Lincoln, Ill.  Fort Lewis College Faculty received congressional honors by the Governor of Illinois, Julia Flowers, for the work in the correction facility, State of Illinois.  We brought-in high quality Guest Artists/Scholars, Betsy Tobin and Tesha Buss to teach and perform for campus community as well as greater Durango Community.

2004-2005  Children’s Theatre performance of Alice in Wonderland performed for area schools by bringing school children and young adults to visit Fort Lewis College Theatre  We worked with high quality Guest Artists/Scholars Elizabeth Ingraham, Yukio Tsuji, Theresa Carson to teach and perform for campus community as well as greater Durango Community.

2005-2006  Children’s Theatre performance traveled to area schools  We brought-in high quality Guest Artists/Scholars Wendie Malick, Dan Lauria, Bernardo Rey, and Nube Sandoval to teach and perform for campus community as well as greater Durango Community.  Instigated an “Opening Night” reception toward establishing a tradition for Durango Area Community as well as FL C community through decreased ticket prices and faculty/staff reception  Collaborated more and in better ways with campus outreach in print and on the web. These collaborations can include: 1) Community Calendar on Web 2) Better distribution for FLC-Announce  Developed staged reading possibilities with L’Amour Family and Mesa Verde National Park  Increased outreach by soliciting more group sales for tickets and enhancing community awareness and participation

12 2006-2007  Continued staged reading possibilities with L’Amour Family

2007-2008

 We brought-in high quality Guest Artists/Scholars, Enoch Brater, Leonard “Red” Bird, Marge Kahn & Richard Malcolm to teach and perform for campus community as well as greater Durango Community.  Increased community outreach relationships by actively developing relationships and internship strategies with the Henry Strater theatre, The Diamond Circle Melodrama, the DAC Children’s museum, Durango Lively Arts, Durango Arts Center Performance Programs, Sandstone Productions, La MaMa International.

2008-2009  Children’s Theatre performance of Conference of the Birds will travel to area middle and high schools and as well bring young adults to visit Fort Lewis College Theatre  We brought-in high quality Guest Artists/Scholars Beth Osnes and Bryan Rasmussen to teach and perform for campus community as well as greater Durango Community.  Community Outreach through internship possibilities were solidified this year through successful student internships with: 1. La MaMa Umbria Director’s Symposium 2. Sandstone Productions 3. Durango Lively Arts Company 4. Henry Strater Theatre  Develop summer theatre outreach possibilities with summer ’09 production

Other  Increased potential High School relationships  Continue developing children’s theatre possibilities by involving more faculty and students  Continue group sales and “Opening Night” traditions.

2005-2006  We developed a campaign for patron base development for yearly season memberships as well as long-term levels of support for Theatre

2006-2007  We achieved great successes in our plan to remunerate our depleted Foundation monies (from ’98 through ’05 Foundation holdings dropped from over $60,000 to $0): through benefit fundraiser performances, and private donors--over $30,000 was been raised between 2005 and 2007.

13 2007-2008  We established a community advisory board for the purpose of building better—“Friends of the Theatre” Members included: Jim Dyer, Fritz Geisler, Beau L’Amour, Dennis Johnson, Anna “Price” Johnson, Diane Wildfang

2008-2009  “Friends of Theatre” board has not been organized or maintained, this is greatly in need of help. Felicia Meyer has agreed to be the “Friends” liaison to the department, and we are working more closely with our Dean, Linda Schott in better facilitating this board  Toward better board functioning the member ship for our “Friends of the Theatre” Members have changed to be: 1. Fritz Geisler 2. Dennis Johnson 3. Anna “Price” Johnson 4. Jane Gould 5. Laura Dear 6. Felicia Meyer 7. With honorary members a. Beau L’Amour b. Wendie Malick c. Dan Lauria 8. And ex-officio members a. Jim Foster b. Linda Schott c. Margie Dean-Gray d. Kathryn Moller  Group ticket sales have increased  We are currently developing plans to further develop our patron base through season ticket sales as well as sponsorship development Other  Need to involve entire department in fundraising activities  Explore possibilities of a bi-annual newsletter, perhaps an interdisciplinary arts newsletter with departments of Art, Music & Theatre  Instigate more donor possibilities on our Website  Explore better, more specific granting sources on federal, State and private levels  Explore possibilities for corporate sponsorships of performances or other departmental projects

2003-2004  Various improvements to our facility for safety and educational purposes include: o Installed a new grid for hanging lights

14 o Updated cyclorama for our Main Stage facility

2004-2005  Various improvements to our facility for safety purposes include: o fire safety improvements in both the scene shop and costume shop

2005-2006  Developed a functional Theatre Department office wherein multiple students and staff can work effectively, patrons can find easily, departmental operations are organized efficiently, and shows our best work  Demolished our old sound booth and re-built new sound control area  Various improvements to our facility for educational and safety purposes include: o Updated draping in our Gallery “Black-Box” space

2006-2007  Various improvements to our facility for educational and safety purposes include: o New sprung hardwood floor in our laboratory/classroom space has resulted in better learning, and more respect for facilities (Paid for by State of Colorado emergency funds) o Re-painting of our shop floor o Cleaning and updating of our backstage area including cataloging properties and supplies o Cleaning and painting storage areas 2007-2008  Various improvements to our facility for safety purposes include: o Updated some of the draping for our Main Stage facility 2008-2009

 Various improvements to our facility for safety purposes include: o Re-covering of the seats in our theatre o Theatre Draping in the Main Stage Theatre House to cover unsightly walls o Bracing and strengthening our main stage thrust o Carpeting and painting in our lobby area.

Overall  We have learned that a clean, safe, appropriate learning environment truly empowers our students to learn more effectively and better. It also helps us to recruit and retain students.  Maintenance of our facility has becoming an obstacle to our student’s learning as well as cost prohibitive as our building gets older. We have to find resources for basic facilities maintenance as we should no longer utilize departmental operating budget as well as donations for State of Colorado facility maintenance.  Our Theatre Lobby is the first space that patrons see and as such instigates the first image of not only our department, but Fort Lewis College. Our lobby will need in the near future: new carpet, permanent art, sound system, paint.  Our Theatre Laboratory/Learning facility will continue to have needed improvements to maintain a safe, clean and appropriate environment for students and patrons. These include, but cannot be limited to:

15 o updated equipment for sound facilitation o updated lighting equipment o maintenance of tools o equipment for digital/theatre interface

Clearly all of the Strategic directives instigate in some way our focus, initiatives and operations toward increased recruitment activities, higher retention rates, and attention paid to graduation and student success after graduation. We have actively pursued the highest successes in all of these areas.

C. Program Profile: Recruitment, Retention, Grading Practices, Graduation and Alumni Successes

1. Recruitment to Retention a. Enrollment Data

16 b. Analysis of Enrollment Data

The numbers of majors that we have in our department is clearly correlated to the effectiveness of the recruitment activities of the department. The number of majors that we, in the Department of Theatre have retained over the past seven years has remained fairly constant. From 2001 to 2005 the activities and initiatives toward increased student recruitment and higher levels of student retention were really quite minimal. The activities at this time included facilitating a High School day where High School groups visited our department, took master classes with our faculty and watched a performance with a pre-show discussion. These events were poorly attended, and during this time our Department’s limited recruitment/retention activity clearly explains the stasis of numbers of majors in our program. In 2003 one of our faculty members began attending our regional theatre organizational conferences including the Rocky Mountain Theatre Association (RMTA) and the American College Theatre Festival Association (ACTFA). These disciplinary organizations however, have only recently been supported and utilized by our department and Fort Lewis College as avenues to: actively recruit, audition potential students, or instigate activities to enhance retention. In 2005/2006 our department began a campaign to raise our own awareness of recruitment and retention possibilities and initiatives. We instigated activities such as: scholarship development; increased departmental involvement in making connections with High Schools; more active involvement in the RMTA Festival recruitment opportunities; and getting our name and images out to potential students through increased web presence, media materials, and overt solicitation at various theatre organizational events.

We are still learning about how to actively, effectively and successfully recruit new students. We discuss recruitment and retention efforts at our department meetings every week. I believe that over the past two years, we have been quite successful in elevating our image and getting out name out to our Colorado/Southwest region. We are starting to see results from our work in that our student numbers are slowly increasing. Over the past few years we have learned a great deal about how and where to find potential students, and how to get our program on the “list” of possibilities for potential students. Just this past year we sent a faculty member, Felicia Meyer, to the National Thespian Conference in Denver and learned that this event was the most attended event in our region where most recruitment occurs. We auditioned over 140 possible Theatre majors and offered scholarships to five outstanding students. I strongly believe that we are just now figuring out how to recruit and are instigating the right activities that will help us to get the best and brightest students in our region into the Theatre program at Fort Lewis College. Although we are still behind the curve, we have figured out how to function in the market of recruiting theatre students, and we should see in the next few years a significant increase in students coming to our theatre program.

17 Another determining factor in our recruitment and retention statistics is the professional health and behaviors of our faculty and staff. From 1994 through 2000 we experienced some un-professional behaviors among our faculty members. These behaviors resulted in polarizing and alienating students, confusing faculty members, and soiling our campus and community reputation. Many students left the program, and we lost potential theatre majors. It takes time to overcome the adverse reputation and student fears connected with inappropriate behaviors. In the above charts, our numbers of majors were fewer during the years that we experienced inappropriate faculty behaviors. Concerted efforts have been made to ameliorate faculty/staff behaviors and raise our standards of professionalism. In 2005 we began to get administrative support to instigating initiatives toward better professional behaviors. In particular the utilization of high quality adjunct faculty and the instigation of the Guest Artist series have given faculty the right kind of mentors to model. Over the past few years faculty energies have gradually shifted toward an increased focus on student and departmental successes over personal agendas. This change in behaviors will result in an increase in student majors.

c. Narrative on Enrollment/Recruitment Our curriculum revision option system was designed to answer the needs of potential students. That we have four options in theatre gives us the ability to compete with the programming at other Colorado, Southwest and COPLAC institutions. Given this strong curricular foundation we have explored various initiatives toward actively and personally recruiting students. These activities have included:

 Our Theatre Internship course gives potential students the professional experience and networking possibilities that they are looking for in a college theatre program thus helping us to recruit more successfully.  Increased number of scholarships for incoming Freshman  High School Master Classes & Performance, where high schools are invited in to take a day of workshops from our faculty culminating in attending one of our performances have been instigated for a number of years. This effort is not really working as not many High Schools attend.  High School Matinees – For most of our productions we add in a mid-week matinee solely for High School groups to attend. This effort seems to work well as many High Schools attend.  Touring productions – Occasionally we are able to take productions out to the schools to perform. This term, winter ’09, we will be taking a work to area Middle and High Schools.  Increased involvement in regional and national theatre conferences and festivals where we utilize display possibilities is an on-going effort.  Renovation of our Departmental Web-site toward effective recruitment & retention has also helped to get information about our department out.

18  Creation of a new departmental brochure is also helpful as we are able to get information and visuals into the hands of potential students.  Renovation of our Department of Theatre Handbook toward effective recruitment & retention is one of our best ways to give students information about our department so that they can make the best decision.  Effective distribution of this handbook and brochures– We have consulted with admissions to help us find the right contacts for distributing our materials.

There are two most successful efforts in our recruiting this year, ’08-’09 that are important to highlight.

1. We were represented at the National Thespian Conference in Denver. Here we auditioned over 140 students who were interested in Fort Lewis College Theatre. Thanks to the generous donations of our supporters we were able to give 5 scholarships, with 10 invitations to other potential students. We are still waiting for these particular students to be admitted. 2. This year, during February ’09, Fort Lewis College Theatre hosted the Rocky Mountain Theatre Association Festival. Over 270 potential students attended the festival, visiting our campus and into our theatre environment. We certainly took advantage of this opportunity to heavily recruit.

2. Retention to Graduation a. Graduation Data

19 Retention and Graduation Rates by Major Declared First Freshman Term 2001-2006 Cohorts School of Arts, Humanities, and Social Sciences -- Continuation Rates ------Cumulative Graduation Rates and Continuation Rates ------

Cohort Head %Continued%Continued%Graduated%Continued%Graduated%Continued%Graduated%Continued

Year Count to_2nd_Yr to_3rd_Yr in_4_Yrs to_5th_Yr in_5_Yrs to_6th_Yr in_6_Yrs to_7th_Yr FLC TOTAL 2001 1049 57% 43% 13% 24% 27% 8% 30% 4% 2002 1027 60% 45% 14% 23% 28% 8% 2003 884 62% 47% 15% 24% 2004 926 61% 45% 2005 833 57% 45% 2006 844 56% Average 927 59% 45% 14% 23% 28% 8% 30% 4% AHSS TOTAL 2001 206 67% 51% 18% 27% 32% 7% 35% 4% 2002 188 59% 46% 16% 22% 30% 8% 2003 160 66% 50% 12% 25% 2004 188 60% 43% 2005 149 63% 46% 2006 154 55% Average 174 61% 47% 15% 25% 31% 7% 35% 4% 5005-Theater Arts 2001 8 75% 38% 0% 25% 25% 0% 25% 0% 2002 14 50% 43% 0% 29% 14% 14% 2003 13 69% 38% 0% 33% 2004 9 67% 22% 2005 7 71% 43% 2006 6 83% Average 10 69% 37% 0% 29% 20% 7% 25% 0%

20 b. Analysis of Graduation Data

Regarding numbers of graduates from our program we need to unpack our effectiveness, and ineffectiveness regarding retention. I do not believe that we discussed retention in our department until a few years ago. As such, retention efforts were for the most part non-existent. This non-activity clearly explains the stasis in our graduation rates. This inactivity is no longer the case. In August of 2005 we began addressing retention issues at a department retreat. Since this retreat we have discussed retention at every department meeting. As mentioned above in this document our retention activities have increased dramatically as we are figuring out what works, how to keep students involved, connected, and invested in their education. The list of activities is quite extensive but includes:  new scholarships for incoming freshmen  increase in scholarships for continuing students  enhanced leadership responsibilities for incoming scholarship students  group advising  organizational meetings for production students every term for retention purposes  various informational and celebratory gatherings  increased involvement in honors activities  overall increased caring for our students

While these activities are fairly new to our programming, we are just beginning to see the benefits in our student’s attitudes. Most significant to our student retention has been the curricular changes, specifically the courses THEA 157/357 Guest Artist Series and THEA 460 Theatre Internships. These two courses have given our students significant high quality professional and “real world” experiences that empowering their belief in their major choice and their own work. Because our retention initiatives are new, we cannot immediately see the results. Due to our initiatives I feel confident that we will over the next few years see a significant increase in our student retention rates toward graduation.

c. Narrative on Retention to Graduation Our work with curriculum revision and instigating the four options in theatre has certainly answered the needs of many students thus keeping them at Fort Lewis College. We have also instigated many “events” designed to give students knowledge about our programming and their potential involvement in our department and our discipline. Similarly, we have also designed programming intended to give students a higher level of ownership and belonging in their departmental “family” as well as powerful tools to belong to the disciplinary family. Some of this programming includes:  The required Sophomore Seminar course is focused on student professional development and requires that students build their professional tools in disciplinary knowledge, self marketing and professional behaviors.

21  The required Theatre Internship course, also a CBLR course, sends students into various communities—regionally, nationally, and internationally-- to contribute to given communities and develop their professional knowledge and skills.  The beginning of the year reception & information meeting for all majors, minors and non-majors who want to be involved in theatre production helps them understand their possibilities and expectations.  The end of the year gathering celebrates our graduates and honors recipients.  Group Advising sessions every term before official advising and registration helps students get the right information and stay connected.  Scholarship students are empowered with high level leadership roles in our department and are organized with regular project meetings.  We strive to maintain the highest quality production standards possible.  Faculty mentoring of the most professional behaviors helps us all be successful.  Our best student retention efforts, however, lies in our exceptional teaching, mentoring, and developing personal relationships with our students. In addition to this, during the RMTA Festival over 25 current theatre students committed to volunteering as helpers to actively participate in the facilitation of this festival. Our student workers were matched with Guest Artists, Presenters and Auditors so that they had the best opportunities to learn in their areas and network. In return for their efforts their registration fees were waived. This kind of student involvement is an example of our best retention efforts to get our students networked, involved and set-up to be successful in their education as well as their future. Within the past few years the Theatre Department has restructured the Stage Production class THEA 100, 200, 300, & 400 Theatrical Production to create general meeting times for this project based class. In the past the students might have not met everyone in the class and received all the information of what the class entailed. By creating a common meeting time students were able to understand what was asked of them and they could ask question to the instructors.

All the classes that are offered by the Theatre Department have hands on approach to teaching and there are many involving projects. These courses utilize the Midpoint grading to allow students to understand their current grade and areas for improvement. This includes the theatrical productions.

The new changes in the Theatre’s curriculum offer students more specialization in their directed field of study. This allows the instructors of the courses to maintain a close mentor relationships to the majors and increases the retention of students. The involvement of the department with The Rocky Mountain Theatre Association is an added component to the retention of majors. They gain valuable feedback from informed audience members besides the feedback from the faculty at Fort Lewis College.

22 23 3. Grading Practices: DFW and A Rates a. “ D”, “ F”, “W” and “A” Data

Grade Categories A to C- and DFW by Term, Subject, Course & Section - Fall & Winter Terms Only AY 2007 to 2008 Subject Term Subject Course, A's A to C- DFW ENROLLED A's A to C- DFW Section THEA FALL THEA-100-1 19 22 22 86% 100% 0% FALL THEA-101-1 13 17 4 21 62% 81% 19% FALL THEA-126-1 13 20 1 21 62% 95% 5% FALL THEA-135-1 4 10 10 40% 100% 0% FALL THEA-156-1 2 3 3 67% 100% 0% FALL THEA-200-1 7 8 8 88% 100% 0% FALL THEA-240-1 8 13 1 14 57% 93% 7% FALL THEA-300-1 8 8 8 100% 100% 0% FALL THEA-335-1 4 7 7 57% 100% 0% FALL THEA-336-1 8 13 13 62% 100% 0% FALL THEA-356-1 1 2 2 50% 100% 0% FALL THEA-400-1 6 6 6 100% 100% 0% FALL THEA-496-1 3 3 3 100% 100% 0% WINTER THEA-100-1 9 12 3 15 60% 80% 20% WINTER THEA-101-1 4 20 4 24 17% 83% 17% WINTER THEA-166-1 5 7 7 71% 100% 0% WINTER THEA-166-2 3 7 2 9 33% 78% 22% WINTER THEA-200-1 7 8 8 88% 100% 0% WINTER THEA-230-1 4 5 5 80% 100% 0% WINTER THEA-270-1 5 10 10 50% 100% 0% WINTER THEA-272-1 3 10 1 11 27% 91% 9% WINTER THEA-274-1 5 6 4 10 50% 60% 40% WINTER THEA-300-1 5 7 1 8 63% 88% 13% WINTER THEA-340-1 5 11 3 14 36% 79% 21% WINTER THEA-342-1 8 12 3 15 53% 80% 20% WINTER THEA-366-1 3 5 5 60% 100% 0% WINTER THEA-366-2 6 7 7 86% 100% 0% WINTER THEA-400-1 9 9 9 100% 100% 0% WINTER THEA-497-1 3 6 6 50% 100% 0% THEA 18 274 27 301 60% 91% 9% Total 0

24 b. “ D”, “F”, “W” and “A” Analysis and Narrative

Regarding DFW rates: Feedback was solicited from theatre faculty teaching these courses, below please find the response that I received from them:

 Theatre 101 Introduction to Theatre 18% - Nathan Lee o Looking at the records, students not turning in writing assignments (i.e. papers) and student absences attributed to this rate. From looking at the attendance and class work, four of the students either stopped attending or withdrew from the class. I had three students that did not turn in assignments and take major exams.

 Theatre 274 Make-up & Costume Design 40% - Nathan Lee o There were two students that had poor attendance for the class. Also there were two students that did not attend the final.

Regarding simultaneous above average DFW and “A” rates:

 Dramatic literature/theory and criticism series: Kathryn Moller These three courses are the most strenuous academic theatre courses we have in our curriculum. Thea 240 Ancient and Classical Theatre, Thea 340W Modern Theatre, Thea 342 Asian Performance, reflect both higher DFW percentages and “A” rates than the average FLC class. This tendency has been constant over the years. As a department we evaluated the course content and requirements for these courses, and decided that they were not overly strenuous courses, nor too easy, and that the material was appropriate and necessary. What we have done, however, is instigate the following to help potential DFW students get through these courses with higher grades: o enhanced study guides & study groups o library and research workshops with Library Staff and Faculty o Focused individual student meetings with Learning Success Center, as well as Diane Jenkins, Student Disability Services. Additionally, to maintain an acceptable “A” ratio we have elevated expectations regarding the quality of writing and depth of thinking/contribution to course discussion.

Regarding “A” rates: I requested feedback from the theatre faculty teaching these courses, below please find the response that I received from them:

 Theatre 100/200/300/400 Theatrical Production 76%/88%/81%/100% - All Faculty o Student involvement in theatre production is intense, strenuous and incredibly time consuming and requires a great deal of commitment. The students who are involved in these courses are the type of students who give 150% of their time and energy. The students who are not able to make this kind of commitment usually end-up dropping the course. As such, there is an high percent of “A” and “A-“ grades. The department seriously considered changing the grading type for these courses to P/F. But after extensive discourse decided that it was in the best interest of the students to maintain

25 the traditional grading system so that they would get deserved credit for their hard work.

 Theatre 126 Introduction to the Dance 62% and Theatre 166/366 Dance Technique 67% - Anne Berg-Pattillo o These courses are populated by both theatre majors and students who want to dance. They are the few courses offered in Fort Lewis Curriculum where students can get dance technique combined with strenuous intellectual discourse. As such, the profile of the students in these courses reveals a much higher caliber of student, who is taking these classes because they really want to be there, and are extremely dedicated to their accomplishment. The results of this

 Theatre 156/356 Guest Artist Series 53% -Kathryn Moller o This course is populated by our theatre majors who are serious about their accomplishment and dedicated to their own improvement. Given the opportunity to work with and network with professionals from the discipline these students not only give their best but are inspired to push beyond what they think their potential might be. This has resulted in higher than average “A” ratio. I think this means that we are doing exactly what we need to do in this course.

 Theatre 230 Stage Technology 80% - Nathan Lee o This was a small class that had many projects. Attendance was good and students did learn many skills to the subject matter.

 Theatre 274 Make-up & Costume Design 50% o This was a project based course to build the skills of Make-up and Costume Design. A majority of the class did the projects and gained skills.

 Theatre 336 Styles in Acting 62% Ginny Davis o is a specialized skills course that acting students are highly motivated to learn. It is critical to their success in the "real world" and they apply themselves 110% because of this. Most students do work beyond what is required in class. Although the “A” rate appears high, there were only 7 student in the class. 4 “A” students in a class that is specific to the acting major is not unreasonable.

 Theatre 496 & 497 Senior Seminar 100% o Our Senior Seminar students take very seriously their work in this class not as a course to be accomplished, but rather as their contribution to the discipline. It is a rigorous exploration of not only their writing, but their own creative accomplishment. It would be a kudos to their accomplishment should they all receive “A”s in this class. In looking at my grade sheets, however, I gave only 50% A grades. As such, I believe there is an error in the statistic.

26 4. Student Success a. Alumni Data Alumni Survey/Office of Assessment and IR Dec 2008 Survey was sent to nearly 5000 FLC alums including 46 theatre majors 6 responses from 46 Theatre majors – 13% response rate 5 graduated since 1997 1 graduated in 1976

3 Males/3 Females

3 Have finished a graduate degree 1 is attending graduate school full time (67% have attended or are currently attending graduate school) 2 have never attended grad school

Of those who attended grad school 50% say preparation at FLC was excellent and 50% say preparation was good

4 are employed outside of Colorado 1 employed in 4 corners area 1 full time grad school

Theatre Department Alumni Data The Theatre Department maintains a database of its 46 current alumni which is informally updated as information is received (The acting assessment director recommends formalizing the process with an annual update letter or email sent to each alum). The following results have been merged with the Alumni survey discussed above. Graduate school and/or employment information is available for 32 of 46 alumni (84%) Of these Theatre Alums:  13 are attending or have attended graduate school (28%)  26 are employed in Theatre professions (63% of total and 66% not including those in grad school full time)  7 are employed in other professions  6 are in graduate school full time Following is a list of our graduates and their contact information. This was supplied to the department from the Fort Lewis College Alumni office through the office of the Dean of AHSS.

27 Fort Lewis College Department of Theatre List of Alumni Revised 12/19/08

ADDR_NAME PREF_STREET_LINE1 PREF_CITY STATE ZIP CLASS

Jessica Alley PO Box 2184 Pagosa Springs CO 81147 2001

Vina Begay 16631 N 170th Ln Surprise AZ 85388 2005

Lawson Benally PO Box 2745 Kayenta AZ 86033- 2002

Laura Brost 3934 Wabash Ave Apt 5 San Diego CA 92104- 2006

LeAnn Brubaker 2000 County Road 205 Durango CO 81301- 2002

Kathryn Cichello 2 Friendship Ln Colorado Springs CO 80904- 1997

Ben Cooper 131 McCoy Rd Wells VT 05774- 2007

Krista Draper 2145 Ardella Dr Pocatello ID 83201- 2005

Emily Flood 60 Westwood Pl Unit A11 Durango CO 81301- 2007

Tim Gittings 1043 Hannah Ave Forest Park IL 60130- 1998

Rachel Gressler 1433 Tweed St Colorado Springs CO 80909- 2008

William Hart 815 Arbor St Cortez CO 81321- 1997

Kristen Hathcock 25168 La Mayo Ave Moreno Valley CA 92557- 2004

Jennifer Havenner 2816 Armacost Ave Los Angeles CA 90064- 1998

Desiree Henderson 10400 Highway 491 Cortez CO 81321- 2007

Angel Hernandez PO Box 2 Kyle SD 57752- 1998

Nathaniel Hope 921 Bittersweet Dr Northbrook IL 60062- 1997

Ellen Hoskins 9608 Thomas Baxter Pl Lorton VA 22079- 2006

Geoffrey Johnson 1808 Forest Ave Durango CO 81301- 2008

Noah Johnson 18670 Hottle Springs Rd Seneca MO 64865- 2001

Sara Johnson -- Kimberly ID 83341 1975

Stephen Juhl 15739 E Powers Dr Centennial CO 80015- 2007

Kristina Karahalios 10689 W Quarto Dr Littleton CO 80127- 2007

William Keesen 22231 Alpine Mdw Morrison CO 80465- 1998

Haruki Koretsune 3-15 Sanno-cho Koyoen Hyogo, Japan -- 662 1998

Clayton Langan 9204 Featherbell Blvd Prospect KY 40059- 2001

28 Terrence McAlister 17680 County Road 500 Pagosa Springs CO 81147- 2008

Matt McDonald 1190 Indian Wells Rd Mesquite NV 89027- 2008

Jeremy Melton 5408 Aryshire Dr Dublin OH 43017- 2002

Victor Michalak 9216 SE 33rd Pl Mercer Island WA 98040- 1976

Michael Miles PO Box 656 Oracle AZ 85623- 1976

Mauriceo Notsinneh PO Box 1527 Sheep Springs NM 87364- 2003

Alan Ridgway PO Box 1448 Paonia CO 81428- 1976

Julia Schneider PO Box 16 Paonia CO 81428- 2007

Kolya Schweppe 3930 Westpark Ct NW Olympia WA 98502- 2000

Tara Sheehan 840 Plymouth Dr Apt 308 Durango CO 81301- 2004

Amanda Smith 24 34th St Des Moines IA 50312- 1997

Carl Smith 11312 3800 Rd Paonia CO 81428- 2003

Melissa Snyder-Notz 6084 S Fairfield St Littleton CO 80120- 2003

Darrin Stevens 1104 Greenwood Ave Wilmington NC 28403- 2003

Kristopher Thornton 6380 S Boston St Unit 295 Greenwood Vge CO 80111- 2004

Ashley Wagner PO Box 1153 Glenwood Spgs CO 81602- 2004

Andrew Wilson 405 E Tycksen Dr Farmington NM 87401- 2006

Theatre faculty, however, have been for years maintain personal relationships with our alumni and from these relationships have been able to compile significant data on the career directions, accomplishments and successes of Fort Lewis College Theatre alumni. We learned while compiling this data, that, although many of our students and alumni complete double majors at Fort Lewis College, they are not listed as alumni in both majors. As such, many theatre alumni are not on the Theatre Alumni list. We also learned that students and who major and graduate in Humanities with a primary concentration in Theatre are also not listed in the Alumni Office as Theatre alumni. We have added these important alumni into the list below, their names are in blue. And due to the scope of this study, we have limited this list to the past 11 years thereby removed from the list those who graduated before 1993.

Profes Profes sional sional No Fort Lewis College Theatre Year Pursue Complet in outside Inform Gradu Grad. ed Grad. Theatr Theatr ation Alumni Survey, Revised 12 February, 2009 ated Degree Degree e Arts e Arts

29 1. Shereen Abu Saeedi -- Shereen currently teaches in the public school system in Denver. She completed her Master’s degree in Education from X DU two years ago. She is looking to instigate a 2002 X X extracurricular theatre program for Girls in the Denver Georgia O’Keefe Arts and Leadership (GOAL) program. 2. Jessica Alley - We have not heard from Jessica X 2001 since her graduation. 3. Vina Begay – Vina is attending graduate school 2005 X full-time. 4. Lawson Benally – Beau is currently living in Kayenta and has taken over his grandfather’s trading post. He feels that this is his familial obligation. He 2002 also works with Monument High School students and is now planning to produce Frankenstein with X them in April ’09. 5. Laura Brost – Is currently a graduate student and working as a Graduate Assistant at University of 2006 X California, San Diego theatre program. 6. LeAnn Brubaker – LeAnn is currently the 2002 X Technical Director at FLC Community Concert Hall. 7. Kathryn Cichello is now Kathy Della Mia she was in Graduate School in San Francisco but is now 1997 X living in Denver and is the mother of two girls. 8. Ben Cooper – Building a business in Carbondale, 2007 X CO with his brother. 9. Krista Draper - Krista is currently a graduate student and Graduate Assistant at the University of 2005 X X Idaho Theatre program. 10. Emily Flood – Emily is currently the personal assistant to the theatre manager at the Henry Strater 2007 X Theatre, Durango CO. 11. Tim Gittings – Tim has recently completed Graduate School in Alabama and received his MFA 1998 X X X in Theatre. 12. Rachel Gressler – Rachel is currently director of 2008 X theatre at Miller Middle School, Durango, CO. 13. William Hart – Taft went on to graduate school, graduated with a MFA from Utah State, then travelled throughout Africa with Peter Brook’s 1997 X X X International theatre. Currently, Taft is living in New York City, and working as a theatre professional. 14. Kristen Hathcock – After touring with a 2004 X children’s theatre company, Kristen settled in California as a Business Development Manager for a

30 medical supplies company. 15. Jennifer Havenner – Jen is currently working at the Denver Center for Performing Arts and 1998 X X X facilitating Children’s theatre education in the Denver area. 16. Desiree Henderson – Desiree is currently free- lancing on film/theatre installations in Seattle WA. 2007 X She also works at the Cortez Cultural Center as well as publishing her own writing. 17. Angel Hernandez – The last we heard, Angel was working with Native American theatre group in 1998 X Nebraska. 18. Nathaniel Hope – Nathan has attended and completed graduate school, he is currently working 1997 X X in Illinois. 19. Kanako Hiyama – Kana currently lives in New York where she works as a professional at three off- 2002 X off Broadway Theatres. 20. Ellen Hoskins – Elle is now married & her name is Elle Fore is living in Denver and working with the 2006 X Red-Cross and attending graduate school at DU to become a social worker, 21. Geoffrey Johnson – Geoff is currently working 2008 X as a performer in regional theatre in the area. 22. Noah Johnson – Noah is employed as an Equity 2001 X stage-hand at a professional theatre in Tennessee. 23. Stephen Juhl – Stephen has been doing voice- 2007 X over work for film. 24. Kristina Karahalios – We have not heard from X 2007 Krissy since her graduation. 25. William Keesen – Bill moved to Utah to attend 1998 X graduate school. 26. Haruki Koretsune – Haruki returned to Japan X where he was from and we have not heard from him 1998 since. 27. Clayton Langan – Clayton is employed as an 2001 X actor in Southern California. 28. Terrence McAlister –Terry is very pleased with 2008 X his job, working for Omni Lighting in Tulsa, OK. 29. Matt McDonald – We have not heard from Matt X 2008 since his graduation. 30. Jeremy Melton – We have not heard from X 2002 Jeremy since his graduation. 31. Alex Oliszewski – After graduating Alex moved X to San Francisco working in the discipline, then he moved to Denver working at UCD in their media

31 laboratory. He is now applying to Graduate School and will hopefully begin in the fall. 32. Mauriceo Notsinneh – Mauriceo is currently manager of a retail clothing store in Albuquerque, 2003 X NM 33. Heather Rassmussen (2008) Heather graduated with a double major in Theatre and Psychology. She 2008 X is currently researching graduate school possibilities while working for the DSNG railroad. 34. Julia Schneider – Julia is currently working in 2007 X Durango at City Cleaners. 35. Kolya Schweppe – Kolya attended Graduate School in Germany and is still living there. He 2000 X X X teaches English and Theatre. 36. Tara Sheehan – Tara is working with film companies doing character voice-overs and cartoon 2004 X voice work. 37. Amanda Smith – The last we heard from Mandy, 1997 X she was managing a restaurant in Hawaii. 38. Carl Smith – Carl has his own performing company in Paonia, CO. He is currently pursuing 2003 X applied for acceptance at the graduate conservatory at the Denver Center for Performing Arts. 39. Melissa Snyder-Notz – We have not heard from X 2003 Melissa since graduation. 40. Glenda Tom – was a graduate in 2000 with a double major in Theatre and Psychology. She has 2000 X X X just completed graduate school in San Francisco in Drama Therapy. 41. Darrin Stevens – The last we heard, Darrin was been employed as a performer in regional film work, 2003 X and his two boys are in high school. 42. Kristopher Thornton – We have not heard from X 2004 Kris since his graduation. 43. Audrey Tebrich – Audrey is currently living in Chicago and working in a professional touring X theatre group. 44. Ashley Wagner – Ashley is currently the Director of the Durango Arts Center Children’s 2004 X Museum. 45. Andrew Wilson – Andrew works in Farmington, 2006 X NM, as a Police Officer. 46. Eagle Young – is currently working as a professional performer primarily with the historical 2005 X performing programming in the state of North Carolina.

32 Totals 13 7 26 7 7

a. Analysis of Alumni Data Over the past 15 years we have graduated 46 Theatre majors. We have recent information on 84% of all of our graduates from the past 11 years, as we have consistent contact with all except 7 alumni, or 15%. 28% of our graduates have completed, or are in the process of completing graduate school, over 50% of those have completed graduate school successfully and gone on to being employed as a professional in the field. Additionally, 56%, of our alumni, over half, are working professionals in the field. Most are working nationally, but some are involved in International professional work. b. Narrative on alumni Relationships and Successes It bodes well of our program and our current faculty that we have such strong, on-going communications with our alumni. Clearly our alumni feel connected to each other, to our faculty and to their Alma Mater. They have created a Facebook and a blog. These connections are important to our development and future possibilities. Information that we can glean from this statistics is positive. Our academic programming has been strong enough to send 30% of our graduates to graduate school. Furthermore over 50% of our graduates are active professionals in their field. As such we have prepared them appropriately toward successful careers utilizing their Theatre degree.

33 D. Program Profile: Facilities Status and Development 1. Learning Environment A functional learning environment is one of the most influential factors toward success in recruiting and retaining students to graduation. A comfortable, functional, competitively equipped learning environment will give us the advantage, when coupled with our innovative programming, to most successfully recruit and retain the best and brightest students toward graduation.

Fort Lewis College Theatre is the only collegiate academic institution in the state of Colorado that has not been renovated or replaced in the past 20 years. Maintaining a functional, effective and empowering teaching/learning environment has clearly been one of our greatest challenges over the years as our 50 year old building has not been appropriately maintained or upgraded to be current with the discipline. Catching-up with the ravages of time has become, by necessity, the responsibility of the faculty in the department rather than of any other administrative entity. At the same time our budget, designed for departmental operations, does not allow for facilities maintenance. The majority of the maintenance of our learning environment--including painting, carpeting, draping, window covering, lobby and interiors—has been facilitated by departmental faculty through funds raised from private donors and production efforts, rather than State of Colorado funding. Additionally, whether we utilize our yearly resources on teaching supplies or facilities maintenance has been a continuing issue because our teaching environment greatly informs, enhances, and enables our teaching and student learning.

In the winter of 2006 we discovered that the floor of our Black Box Theatre “Gallery” was infested with termites. Mark Gutt, project manager of the FLC Physical Plant helped us by finding State of Colorado Emergency funding to replace the floor. We were so lucky to get a new, sprung hardwood floor appropriate to the teaching/learning necessary in that space. We had never had an appropriate floor before this time. Immediately after that floor was installed, the learning and outcomes of our students increased greatly in scholarship and quality.

This “emergency” taught us an extremely important lesson that has affected all of our initiatives and activities since: a clean, safe, appropriate learning environment, not only attracts more and better students, but truly empowers our students to learn more effectively and better. To that end there has been an increasing effort to better maintain, improve and enhance the facilities that we have toward the best learning environment possible. Oftentimes utilizing our own resources, our personal time, our summers, carefully raised support, and help from the Physical Plant our efforts have successfully included:

 Installation of an updated and more secure pipe grid for light hanging and rigging for both our Main Stage and Black Box “Gallery” theatres  Building a tool storage room in the Scene-Shop  Deep-cleaning and re-organizing the Scene-Shop toward more professional standards  Demolition and rebuilding of our sound control area toward more professional standards

34  Installation of state of the art digital software, “Isadora” to be competitive with, if not set-apart from, other institutions  Deep-cleaning, painting and re-organizing our back-stage area toward more professional standards  Painting our Theatre Lobby toward better bridge-building with the over 6,000 patrons that come through that space every year  Framing our theatre posters of the past 20 years to demonstrate and archive our history of excellence  Deep-cleaning, painting and re-organizing our control both area toward more professional standards  Installation of work-space, desk, and networked computer for best stage management practices  Installation of a phone in our Scene-Shop for emergencies  Renovation of seat storage for our Black Box “Gallery” theatre  Replacement of the draping in our Black Box “Gallery” theatre  Replacement of the dry-rotted and molded draping and cyclorama in our Main Stage Theatre  Re-painting of our Black Box “Gallery” theatre  Displayed art from featured area artists as continually rotated in our lobby  Installation of a kiosk computer in our Lobby for student access as well as box-office sales  Installation of sound system in our lobby for patrons and students  Reorganization of our Department offices and faculty offices toward best professional practices  Renovation of our Theatre Department office with student work areas toward a most effective and professional working space and public space.  Fire safety upgrades in our Costume Shop

Most recently and still in process are the upgrades that are being instigated this year. We are extremely excited about these upgrades which include:  Re-upholstery of our Main Stage seating  Carpeting in our lobby and Main Stage aisles  Draping on our Main Stage walls for sound and aesthetic purposes  Renovation of our stage thrust

These efforts at facilities maintenance have positively enhanced our student learning as well as our retention and recruitment efforts. Because of this maintenance we see student improvement regarding scholarship, professionalism and pride of ownership in all that they do. Similarly, our faculty accomplishment is enhanced as they feel that their work is clearly valuable to our donors and as well our administration.

35 III. Curriculum Statement and Development A. Curriculum Development Statement and Status B. Statements on Student Research C. Departmental Curriculum Implementation Analysis 1. Analysis of the Four Curricular Options in Theatre 2. Analysis of Ability to Effectively Facilitate Programming and Curriculum D. Assessment E. General Education & Campus Curriculum Contributions (Outreach Responsibilities) 1. GT-Pathways Course Development 2. Thematic Studies and EGC Course Development 3. CBLR Course Development 4. Enrichment Course Development

36 Section III - Curriculum Statement and Development A. Curriculum Development Statement and Status

Our curriculum is the foundation of our program, it is what defines, identifies and teaches values, empowers students to be successful and can encourage (or discourage) a healthy increase in the numbers of student majors. By the millennium it became increasingly clear that the Fort Lewis College Department of Theatre curriculum was outdated and ineffective toward strong student outcomes. We needed to make an exerted effort to focus on curriculum revision to better align with not only the college mission and disciplinary trends but to better align with how our student profile was continually changing and how our students constantly move through and among major program choices. All departments have been encouraged by President Bartel to: “develop undergraduate research opportunities, expand degree offerings, create new quality undergraduate experiences, and create innovative curricular activities” (from Strategic Plan). By expanding degree possibilities in our department through a multi-option curriculum, and by updating our curriculum to include service learning, guest artist series, and other opportunities, we strengthen our program, increase student opportunities, and increase the potential and possibilities for not only our majors, but our entire student community.

A plan was introduced to the Department of Theatre in fall of 2005. We designed at first six tracks of study in collaboration with other departments, including Art, Music & English, to better serve Fort Lewis College and its students. After over a year of working: research, restructuring and bantering about these ideas, our new curriculum was submitted to the curriculum committee, the senate council, and the Provost. After consideration by these bodies, this plan was delimited to four tracks by combining Performance and Directing and eliminating the Theatre Education Track. In spring of ’06 our new curricular option system was approved and is now fully initiated in our present and future programming. Students can now receive a Bachelor of Arts Degree in Theatre in the following areas:

 Arts Administration (A collaborative design with School of Business)  Design & Technical Theatre  Performance & Directing  Theatre Generalist

In keeping with the strategies determined by the President, Provost and Dean all of the available degree options in Theatre will continue to include non-traditional learning opportunities through internships, service learning, global perspectives and sophomore seminar courses.

37 B. Statements on Student Research

In winter of 2008, we met as a department to consider and draft a statement of our disciplinary definition of student research. We then considered all our classes and compiled a list of where and how much student research occurs in each of our classes. Below please find the results of these findings.

1. Definition of Student research in the discipline of Theatre:

2. Courses offer in theatre that contain a significant portion of student research activities: 1. 50% or more  THEA 240 Ancient & Classical Theatre 60%  THEA 340 Modern Theatre 85%  THEA 322 Creative Dramatics 50%  THEA 323 Children’s Theatre 50%  THEA 336 Creating Performance: Directing 75%  THEA 335 Styles in Acting 70%  THEA 342 Asian Performance 80%  THEA 369 Playwriting 75%  THEA 496 Senior Seminar I 100%  THEA 497 Senior Seminar II 80%  THEA 299/499 Independent Study 95%  THEA 274 Make-up & Costume Design 50%  TS2R 409 Non-Western Theatre 50%

2. Less than 50%  THEA 100/200/300/400 Theatrical Production 45%  THEA 101 Introduction to Theatre 40%  THEA 126 Introduction to the Dance 30%  THEA 238 Acting Techniques II 40%  THEA 374 Lighting & Sound Design 40%  THEA 460 Internship in Theatre 45%

3. Less than 25%  THEA 135 Acting Techniques I 25%  THEA 230 Stage Technology 15%  THEA 233 Audition Techniques 20%

38  THEA 270 Acting for Camera 10%  THEA 272 Vocal & Physical Preparation 10%  THEA 156/356 Guest Artist Series 10%  THEA 372 Stage Management 20%

C. Departmental Curriculum Implementation Analysis A.1. Analysis of Four Curricular Options In Theatre In an effort to make our curriculum competitive with other schools, we created an updated curriculum designed to fulfill the needs of our current students while attracting future prospective students who cannot find what they need at other Southwest, and national institutions. In collaboration with the Business school, Art department and Education department, our curriculum now offers some unique features that will appeal to students, while still providing a solid foundation in theatre education. Care was taken when moving to the “option” system to not shift to “conservatory style” training, but to maintain the integrity of the liberal arts mission. There are several features of our newly implemented curriculum that enables us to maintain that identity. These are listed below:

a. First, each track has the same core of courses that are required of all theatre majors. Theatre majors must take: THEA 240AH1 Ancient and Classical Theatre, THEA 296 Sophomore Seminar, THEA 340 Modern Theatre, THEA 342 Asian Performance, THEA 300 & 400 Theatre Production III and IV, THEA 460 Internship in Theatre, and THEA 496/497 Senior Seminar. We are also in the process of adding the THEA 157-357 Guest Artist Series to this list. These courses were chosen with the intent of giving all students a well- rounded foundation of theatre knowledge. The addition of Sophomore Seminar and the Internship component appear to be strong additions to our curriculum. Sophomore Seminar has allowed us to move the career portion of Senior Seminar (i.e. resume, portfolio, professional theatres, unions, job interview skills, graduate schools, internships, etc.) to a more appropriate placement in the educational sequence for students. It also gives the faculty a benchmark evaluation point for students in our program. As a faculty we need to explore the evaluation requirements more thoroughly and determine how best to use that information to the students advantage. The internship component gives our students “real world” experience while providing the opportunity for the service component the college has recently added to its mission. The Internship in Theatre course has just been passed by the Faculty Senate as a CBLR designated course, thus increasing the value of this course for our students. The Asian Performance component offers our students a unique non- western perspective to the creation of theatre. The offering of this course distinguishes our theatre program from others, while offering our students a more global perspective within our discipline. The requirement for production courses reflects our commitment to the production of theatrical works as a laboratory in which our students can learn their craft. The creation of quality productions also provides an outreach from the college to our community.

b. Second, courses in all options are open to all Fort Lewis College students, including production courses. In fact, we routinely enroll students from other disciplines in

39 our courses beyond our General Education offerings. Acting I, Theatrical Production I, II, III and IV, Creative Dramatics, Children’s Theatre, and Dance Techniques serve a large non-theatre major population.

c. Finally, we require students in each track to take auxiliary course in other departments that will be beneficial to their development as theatre artists. This broadens their knowledge base and encourages thinking across disciplines. Overall, the change to a multi-option curriculum was made in an attempt to attract and retain more theatre majors to Fort Lewis College Theatre Department. There are several unique aspects to our program that should help position our program as a desirable one. First, we offer a Guest Artist series once a year. This course gives students opportunities to work with noted professionals within our discipline. We strive to bring in a variety of artists, so as to serve the students in all tracks. Past Guest Artists have included those listed below:

40 41 As mentioned earlier, THEA 342 Asian Performance distinguishes our program, as most Colorado and COPLAC programs do not offer studies in this area. Another area of distinction is the addition of THEA 336 Creating Performance: Directing to the undergraduate performance track. Very few programs provide the opportunity to take Directing courses to undergraduate students. In addition, our Theatre majors who demonstrate the appropriate skill level are oftentimes given the opportunity to design or assistant design for our Main Stage productions through either Independent Studies, or our Theatrical Production courses. This is an opportunity rarely given to undergraduate students at other institutions. The Arts Administration track offers students an additional opportunity rarely found at the undergraduate level. We have taken advantage of our exceptional Business school in the creation of this degree program. The intent is that this track will be attractive to both theatre and business students.

Since we are just beginning our third year with this curriculum, we are working out the kinks. We have discovered a few problems and are working on rectifying them. In the Performance and Directing option the way it is listed, THEA 135 Acting Techniques I can be avoided if students take THEA 237 Acting Techniques II, as students are allowed to choose from 3 of 4 courses. We have brainstormed some ideas and hope to have this situation rectified soon. We need to revisit this requirement and determine how to make that work best for students. In the Arts Administration option there are a couple of problems. First, this track was designed with business students in mind. As such, we felt that THEA 101AH1 Introduction to Theatre was an appropriate course for all majors in this option. What has unfolded, however, is that we have some students in this option who are well versed in theatre and therefore do not need this course. After discussions with the faculty, we have decided to offer them the option of taking THEA 336 Creating Performance: Directing in lieu of Theatre 101 Introduction to Theatre, as we determined that students would get the most appropriate material in this course.

The bottom line is that, as expected with any new program, we are finding a few kinks as we go along. After one complete cycle of offering courses (4 years) we should have fine- tuned these tracks to work in the student’s best interest. The first students graduating under the new tracks should be in 2011. At that time we should reexamine the tracks and see if there are any unresolved issues.

A.2. Analysis of Our Ability to Effectively Facilitate Programming and Curriculum Our ability to facilitate four options is our challenge at this moment as we make the transition from the old curriculum to the new, but should eventually become stable. We offer many courses on a two-year rotation, and some on a three year rotation. With the addition of the new courses required for these options, we are faced with the challenge of needing to serve all students while still filling enough seats to make every course we offer. Additionally, while making this transition we are finding the need to offer some courses in back to back semesters that should not normally be that way in order to make the smoothest transition to the new rotation. A little leeway from our administration regarding class numbers may be necessary while we make this transition. By the time we

42 complete a 4- year cycle with our new options, we should be able to adhere to a standard 2 year predictable rotation of courses. It is necessary that we utilize adjunct faculty in order to deliver our new curriculum. Short of hiring a 4th full time professor, we will need to continue to count on our very qualified bank of adjuncts to help us deliver our courses.

D. Assessment

Statement on Student Assessment Processes and Development Our assessment process was developed by the department in 1996 and revamped again in 1998. It has worked well, and certainly aligns with the NAST criteria, but the department is beginning to find it work intensive and perhaps not as productive as possible. Our assessment practices include the following  Students take an entrance diagnostic exam covering a broad knowledge base of theatre.  At the semester’s conclusion of each class students complete assessment forms evaluating the effectiveness of the class. These forms evaluate not only faculty effectiveness but for student learning.  Students complete a senior thesis in the first half of their senior year. Analytical in nature this thesis indicates the abilities of the student with regard to analysis, and writing communication skills.  In the 2nd half of their senior year this research is concluded in the form of a public performance. Practical in nature, this project oriented work indicates the abilities of the student with regard to creative, communication and presentation skills.  With regard to senior seminar efforts, all theatre faculty members are given copies of senior seminar papers to assess, and all faculty members are invited to attend senior seminar project performances. Evaluation is a continuing process. The Senior Seminar instructor administers exit exams to outgoing seniors in their last trimester (usually winter). The tests are circulated among theatre faculty who assess the outgoing knowledge base of the students and recommend changes to curriculum.  Theatre students take an exit diagnostic similar to the entrance examination that assesses knowledge acquisition and development.  All decisions with regard to assessment are discussed regularly in department meetings. With the changes in our curriculum to the four option system there have been some additions to our curriculum that, not only support the Presidential Strategic Initiatives, but add to our thinking regarding assessment. We have added to our curriculum—Asian Performance, Theatre Internship, and a Sophomore Seminar course in which the students create their professional portfolio. In compliance with NAST criteria, the portfolio assessment is an ideal tool to add to our assessment plan. As such, when considering our future directions below there is a plan for re-evaluating and developing a new assessment

43 tool that we can use to continually make our program better, and as well give the students the best documentation toward their future successes

E. General Education & Campus Curriculum Contributions (Outreach Responsibilities)

We offer several courses in the Department of Theatre that are a part of the General Education curriculum. Many of our courses are currently part of the GT pathways courses offered by the department. And, many have been accepted as an EGC course. Additionally, we have worked hard to translate our TS2 courses into the new EGC courses so that we may remain active and connected to the General Education programming across campus.

1. GT-Pathways Course Development The Department of Theatre has strived to offer the highest quality general education requirements from our discipline both in the lower and upper division courses. With the changing General Education requirements mandated by the Colorado Council of Higher Education the Department has recently aligned three courses to the lower division requirement. THEA 240AH1 Ancient and Classical Theatre, THEA 126AH1 Introduction to The Dance and THEA 101AH1 Introduction to theatre have been accepted into the new GT-Pathways General Education.

2. Thematic Studies & EGC Course Development With the change of the General Education requirements in the past two years the Department has added three courses to this new curriculum. These courses are: Gender and Performance, Performance Art, and Rituals and Performances. While both Performance Art and Rituals and Performance fulfill the new upper division General Education requirement, “Education for Global Citizenship” the Gender and Performance course fulfills the older TS2R Thematic Studies General Education requirement when deemed necessary. We are in the process of adjusting this course so that it will fulfill current EGC requirements. Theatre faculty involvement in the development of this upper division aspect of General Education has been extensive and includes:  Two Theatre faculty members have served on the Gen. Ed. Committee, one for almost ten years, and one for 2 years.  Departmental faculty have been active in serving on the subcommittees the development of the new Education for Global Citizenship courses as well as attending workshops on creating new courses and working closely with the General Education Council to discuss new topics.  Currently the Department will teach two to three EGC/TS2 courses during an academic year.

3. CBLR Course Development The Theatre Department is currently offering a Community Based Learning course through their THEA 460 Theatre Internship course. Winter 2008 was the first semester of this offering. Students were partnered with area, regional and

44 international theatre groups or theatre facilities. In addition to this our THEA 322 Children’s Theatre is an ideal course for the CBLR initiative. There is currently a proposal submitted to the Curriculum Committee for this course.

4. Enrichment Course Development Over the past years the Department has contributed performances related or associated with the recent Freshmen Common Reading Experience as Enrichment courses. For the book chosen, Folding Paper Cranes the Department collaborated with the author to create a performance based on the book; included “Red” Bird as a performer and in addition to the Main Stage show, performed scenes at the college dedication of Hesperus Peace Park.

45 IV. Production Accomplishments A. Criteria for Season Selection & Development B. Statement on Production process & Responsibilities C. Past Season Productions D. Production Accomplishments – Highlights

46 Section IV. Production Accomplishments Fort Lewis College Theatre has a rich history of exciting traditional as well as original theatrical productions. We continue to be committed to providing a venue for performance that gives students a broad array of opportunities, while simultaneously stretching their possibilities. Likewise, our theatrical productions serve as an outreach opportunity benefiting our students while building bridges with our campus and area communities. The innovative theatre programming at Fort Lewis College it provides unique experiences in the arts that are rare in cities of any size. Our theatre productions continue to address the multiple responsibilities we have in the arts to the Fort Lewis College community, to the citizens of Colorado, and to the Southwest. Moreover our reputation for high quality original and devised productions is something that clearly sets us apart from other Colorado institutions, if not institutions throughout the Southwest.

A. Criteria for Season Selection & Development

As an academic department of Fort Lewis College we are committed to education in diverse and multidisciplinary ways. The selection of our performance season is meant to enhance the social, intellectual and cultural learning of our student body, our majors, and as well serve as an outreach to our greater Durango Community. In a sense we wish to enrich our student’s experience, the greater college campus and our area community with a diverse range of performances that enhance learning, broaden perspectives and enrich lives. This should involve not only performances of differing styles from various periods and cultures, but performances that encourage collaboration with other college departments as well as potential community collaborations.

 Through a four year education the department should produce a range of performances from the following list: Classic, Neo-Classic, Modern, contemporary, Dance, Musicals and New/Original works.  The potential collaborative departments and community organizations should be consulted for the purpose of nurturing potential collaborations. This should include, but not be limited to: o Music o Media Studies/English o Art o Community initiatives

 Each year a selection committee will be formed to from the students, full-time and adjunct faculty, staff and a community member to determine the coming year’s season of performances.  Each year potential guest directors (and designers) should be considered to give our students the broadest performance and mentoring experiences.  Show selections should be closely compared with past productions (so as to avoid repetition), course curriculum, need for cast size and diversity in culture as well as gender.  The ideal season will contain enough participation to include all of our student majors toward a successful completion.

47 B. Statement on Production Process & Responsibilities

A Season Selection Committee is formed to select our season every year in the fall. This committee consists of all faculty members (full-time and adjunct), one student representative, and one Durango community representative. If we anticipate including a musical in our season, an additional member is added from the music department. This 2008-9 committee includes Dr. Kathryn Moller, Dr. Ginny Davis, Nathan Lee, Felicia Meyer, Anne Berg-Pattillo, Craig Harris, Anna Jany (student) and Jane Gould (community). Each year, following the guidelines listed above, the committee looks at the offerings of the past 3 years and explores what educational needs exist. With these criteria as a guideline, we brainstorm titles that fit the categories (i.e. Greek, Restoration, contemporary, playwrights of color, multicultural, etc) and also fulfill the other criteria on the established list of guidelines. From this large list of titles, we look realistically at our ability to successfully produce the pieces in term of technical aspects, numbers of students, and money, and facilities. Once we narrow down the list of titles/projects, we gather scripts for all on the committee to read. Copies are also made available for theatre students to read so that they may give feedback to the student representative on the committee. Once titles have been selected, we solicit directors appropriate for the pieces chosen. This process usually begins before Thanksgiving. Final decisions should be completed by March of each year. This allows time to secure rights to performance, to hire directors and other support staff as needed, to advertise, and to adequately research the plays. Below please find a listing of past productions:

C. Past Season Productions

2008 - 2009 Theatre Season (Current) o Raised in Captivity - Nicki Silver o Rocky Mountain Theatre Association Annual Festival hosted by Fort Lewis College Theatre o Chicago (the musical—collaboration with the Department of Music)

2007 - 2008 Theatre Season o Speak Truth to Power: Voices from Beyond the Dark - Ariel Dorfman o Kinetic Kaleidoscope – Dance Concert (with guest choreographers) Speak Truth to Power-Presented as a Showcase performance at The Rocky Mountain Theatre Festival in Lakewood, CO with Kerry Kennedy Win/Lose/Draw - Mary Gallagher Dante’s Inferno – Original FLC production by Kurt Lancaster & Desiree Henderson

2007 Summer Voices in American Drama: A Summer Play Reading Series

2006 - 2007 Theatre Season o Folding Paper Cranes – Original Fort Lewis College Production Leonard “Red” Bird as guest speaker o Maria Magdalena (with guest artists from Bogota, Columbia—Bernardo Rey and Nube Sandoval)

48 o Muysua (with guest artists from Bogota, Columbia) o Three Tall Women – Edward Albee o Waiting for Godot – Samuel Beckett (Enoch Brater guest speaker) o The Wonderful Wizard of Oz (the musical—collaboration with the Department of Music)

2006 Summer o Voices in American Drama: A Summer Play Reading Series

2005 - 2006 Theatre Season o Angels in America - Part I: Millennium Approaches – Tony Kushner o The Complete Works of William Shakespeare - Abridged o The Guys (with guest performers Wendie Malick and Dan Lauria) o Angels in America - Part II: Perestroika

2004 - 2005 Theatre Season o Diary of Anne Frank - Oct. 2004 o Skins – Original Fort Lewis College Production – Elizabeth Ingraham--Nov. 2004 o Much Ado About Nothing - Apr. 2005 o Skins – presented at La MaMa E.T.C. in NYC - Mar. 2005

2003 - 2004 Theatre Season o The Laramie Project - Oct. 2003 o The Hobbit – Original Fort Lewis College Production - Dec. 2003 o A... My Name Is Alice - Apr. 2004

2002 - 2003 Theatre Season o The Air Inside The Rose (three one acts)- Original Fort Lewis College Production o A Christmas Memory – Truman Capote o Our Town – Thornton Wilder o Dance Celebration o Alice In Wonderland – Children’s Theatre Course--Summer Session May 2003

2001 - 2002 Theatre Season o Kiss Me Kate-(the musical—collaboration with the Department of Music) o Lysistrata – Aristophanes/Tr. Ranjit Boldt

2001 Summer—Durango Shakespeare Festival o Merry Wives of Windsor o The Tempest

2000 - 2001 Theatre Season o Through The Fire—Original Fort Lewis College Production o Mandragola - Machiaveli o The Boys Next Door o Dance Concert

49 50 D. Production Accomplishments – Highlights

Fort Lewis College Theatre has developed a reputation for producing some the highest quality original and devised productions in the state of Colorado if not the region. Competing with other institutions that have significantly higher budgets dedicated to mainstream and musical theatre is for us impossible. As such, our dedication to developing new, original and devised works as clearly paid-off in setting us apart from other Colorado institutions, if not institutions throughout the Southwest. As such, it behooves us to take advantage of our skills, expertise and reputation in this area. The highlights of our departmental production accomplishments have turned out to be those productions which are our very own original productions, about which our department should have extreme pride. Additionally, our own original productions give so much in the way of learning experiences, empowerment, and ownership to our students that we need to continue utilizing these kinds of productions and experiences to build our image, our reputation and our program. Although all of our works are significant regarding student accomplishment and pride, the production accomplishments that have drawn significant regional, national, and international attention are those that are here considered, these include:

 Fort Lewis College Theatre at the Kennedy Center American College Theatre Festival Association (KCACTFA) received four awards for our original production of Air Inside the Rose: Best Direction, Best Choreography, & Best in Puppetry, and Best Workshop.  Hosting the Rocky Mountain Theatre Association Festival is significant in that we are the only College/University Theatre major program in the state of Colorado who does not have a new or renovated facility, yet the RMTA board felt that our innovative programming and production history merited the invitation to host this festival.  Invited Showcase Production at the 2008 RMTA Festival in Denver was clearly kudos to our programming and our production work. Speak Truth to Power had not heretofore been mounted as a fully staged production. Kerry Kennedy was so pleased with our production that she came to Denver to deliver the pre-show address for Fort Lewis College.  Speak Truth to Power as a fully staged production was a collaborative endeavor between the departments of Theatre, History, Sociology, Human Heritage and the Common Reading Experience. It drew great regional and national attention to our program as we brought both Harry Wu and Marina Pisklakova to our department to deliver pre-show addresses for this production.  Skins New York was a project where our original Fort Lewis College production was invited to premiere as a professional production at La MaMa ETC in New York. With special permission from Ellen Stewart students were allowed to perform. No other institution in Colorado or the Southwest has ever had this honor. Following this production Skins was invited to perform at the Hong Kong International Arts Festival in the summer of 2006.

51 V. Our Future -- Program Development Possibilities, Considerations and Plans A. Program Directions Analysis A.1. Statement on Future Plans: Directions with regard to two, five, and ten year plans B. Retention and Recruitment Development Possibilities C. Statement of purpose of NAST accreditation D. The Future of our Curriculum D.1. Teacher Certification Option D.2. Dance Option D.3. Music & Performance Option E. The Future of Fort Lewis College Theatre Productions - “The Front Door to Fort Lewis College” F. Assessment Development G. Facilities Development

52 Section V. Our Future -- Program Development Possibilities, Considerations and Plans

Introduction

Clearly the accomplishments of the Department of Theatre have been guided by the mission and Strategic Directions of the college toward the best education for our students with the most innovative learning experiences while utilizing community connections in the form of bridge-building and service. Our reputation has become stronger with our good work, and our learning environment is being constantly and duly improved toward better teaching/learning model. Compared to other Colorado and COPLAC institutions we have an astonishing number of accomplishments to our credit despite limited faculty members, limited resources, and dated facilities.

It is important now to consider where we go from here. This next section considers the possibilities of our directions based on what we have accomplished in specifically our areas of primary concern: curriculum development to answer to the needs of the future student population; facilities maintenance and development to offer the best learning environment possible; enrollment management toward our best enrollment possibilities; and production possibilities to best serve our students, campus and community. Based on the possibilities that we as a department see for our department, this next section also gives specific models of what we think our directions could be.

A. Program Directions Analysis

Theatre/Performance is such a powerful and useful paradigm for understanding and exploring the human experience on personal and cultural levels. How do we continue here at Fort Lewis College Theatre to teach in our discipline, as well as in General Education, developing our pedagogy in such tentative times, maintaining our focus on the highest level scholarship and the most innovative programming possible whilst serving our greater community? In this document the Theatre Department faculty members have chosen to focus on definitive areas of accomplishment and concern.

D.1. We are very proud of our significant curriculum changes and currently see an increase in declared theatre majors, perhaps due to this more responsible curriculum development. We do see, however, some necessary future adjustments to this curriculum. D.2. Our learning environment and technical facilities, while continuing to be challenging have also been areas of accomplishment. D.3. Our production work clearly drives much of our programming, supplies student opportunities, provides outreach to communities, and gives us collaborative opportunities with other departments, programs and our communities. D.4. And finally the management of our enrollment, specifically with recruitment, retention and assessment, while improving, is clearly an area of concern.

53 We believe that it might be wise in determining the best directions for our future development to form an alliance with the National Association of Schools of Theatre (NAST). We believe that this alliance will give us the pedagogical information necessary to make the right decisions regarding facility maintenance, curriculum directions, production development, and enrollment management toward the most successful graduates.

In looking at the bigger picture, where we are located in relation to similar Colorado institutions, Southwest institutions, nationally recognized institutions and international perspectives we should also be considering the trans-disciplinary and inter-disciplinary possibilities that might set our department and Fort Lewis College apart from the typical liberal arts/theatre degree program. Should we be thinking of the future possibilities of a paradigm shift from a predominantly formalist and structuralist pedagogy toward a learning environment that is inter-disciplinary and multi-disciplined? Can a shift like this originate in one of our most multi-disciplined areas: Theatre? Most colleges and universities are facing issues, like we are, that involve budget issues, changing needs of students, dwindling student enrollment, and the questioning of institutional effectiveness. In addition to this we are questioning our disciplinary effectiveness. As such, the questions that many colleges are facing are not unlike the questions that we are faced with in our program and this self study:

 How do we define and re-defining our program?  How do we deal with inadequate facilities in the face of decreasing budgetary support?  How do we develop and maintain a most responsible curriculum that satisfies student needs while helping to shape their futures and the future of the discipline?  How do we maintain a world-view in our curriculum?  What is useful and valid and needs to be kept?  What is old and suspect in our curriculum?  What is the ideal picture of our departmental curriculum within the school and college landscape?

Multi-disciplinary and trans-disciplinary programming can help us to better utilize our budgets in a synergistic way while pedagogically exploring the perspectives and histories of different disciplines/departments to provide an open environment for understanding the production of meaning by society, both past and present, in the realms of performing arts, ritual and visual arts. We often reach out to other departments and programs to collaborate on curricular development and production work. We will continue to do so and make a concerted effort to utilize our resources as effectively as possible, offer opportunities to students not just in our major, but across campus, and throughout our community.

Perhaps the changes proposed below can be a contribution to a larger discourse concerning the curricular umbrella under which disciplines could share ideas, histories, resources, and spaces allowing and empowering students and faculty alike to share disciplinary conventions, processes, and practices toward new works, new thinking, and a more appropriate and successful education for our students.

54 B. Recruitment and Retention Development Possibilities 1. Recruitment Development

Clearly we are going in the right directions with regard to recruitment. We have learned that we need to develop stronger relationships with our area schools and as well other colleges & Universities in our region. We have also begun to be better represented at regional and national theatre and educational organizations. We will continue with these efforts with enhanced knowledge about how to best represent Fort Lewis College Theatre. Our future efforts should include:  Continued Representation at the National Thespian Conference  Enhanced outreach to area schools  Continued Representation at the Rocky Mountain Theatre Association Festival  Representation at the Kennedy Center American College Theatre Festival Association  Continued Representation at the Association for Theatre in Higher Education  Continued maintenance of our Theatre Department Website  Close collaboration with our Department of Admissions  Development of relationships with private schools such as the Cross-roads School in Los Angeles  Increased development of scholarship resources for incoming students and continuing students.

2. Retention Development

If we are the right match for our matriculated students, and give these students the best education possible, challenge their perceptions of their own capabilities to reach higher goals, and give them opportunities to network in the professional discipline developing life-long relationships, they will stay with us. As such we need to constantly work on developing our abilities to proffer to our students:  The highest quality well researched courses that are current in the discourse  Production possibilities that challenge our students, giving them new tools to work with, while giving them the possibilities for success  Innovative learning opportunities through work with professionals in the field  Intern and professional learning opportunities through Community based learning  Opportunities to learn, model appropriate professional behaviors

55 56 C. Statement of Purpose of Accreditation with National Association of Schools of Theatre

1. The role of NAST in education at Fort Lewis College The major responsibility of the National Association of Schools of Theatre is the accreditation of education programs in theatre, including the establishment of curricular standards and guidelines for specific degrees and credentials. The Association also provides counsel and assistance to established and developing institutions and programs. NAST is recognized by the United States Department of Education as the agency responsible for the accreditation of all theatre curricula. In addition to the accreditation and consultation functions of the Association, NAST publishes books and reports, holds an annual meeting and other forums, and provides information to the general public about educational programs in theatre.

 NAST works with other peer associations such as the Association of Theatre in Higher Education (ATHE).  NAST participates in the national conversation about educational issues with special emphases on theatre, the arts, and higher education.  NAST publishes information about their accredited institutions to potential students and High School programs.

Accreditation is a non-governmental system of academic review. It is a process which periodically evaluates and produces an independent judgment by peers about the extent to which an institution or program achieves its own educational objectives and meets the standards established by an Association. Standards address operational and curricular issues fundamental to educational quality.

The granting of accredited Membership by the Commission on Accreditation signifies that an institution has successfully demonstrated compliance with the procedures, standards, and guidelines of the Association. Integral to this voluntary process is ongoing, regularized self-evaluation and peer review. Accreditation, in practical terms, is a stamp of approval, a sign that an institution ascribes to, believes in, and has met an external set of basic criteria for the programs it offers. In some cases, accreditation assists in the transfer of credits from one institution to another. In all cases, it indicates that threshold standards are adhered to in a fashion that provides a base of academic strength and operational integrity.

D. The Future of our Curriculum

Much of our programming is supported through collaborative efforts with other departments, programs and organizations. These collaborative efforts give us opportunities to formally pursue multi-disciplinary and trans-disciplinary programming which better serves student needs; makes for a more synergistic use of our resources, and will clearly give students more options and opportunities, which will in turn bring more students to Fort Lewis College. The curricular possibilities to be considered in this program review are supported by multiple departments and include:

1. Teacher Certification Option in Theatre is a collaborative effort between the Department of Education and the Department of Theatre.

57 For several years we have been looking at the possibility of a certification in Theatre through the Education department. When we created tracks we originally had that as a part of the plan. We were asked to cut down the number of tracks in order to be able to deliver them without adding new faculty and so the certification program was deleted. We still are strongly committed to the idea that the certification program would raise the number of student served by our program. We feel confident that the courses we offer currently either fit, or can be adapted with little effort, to cover most of the state requirements of certification. Work is continuing in this area in conjunction with the Department of Education and we hope to be able to offer this option to our students in the near future.

2. Dance Option in Theatre as an effort to offer opportunities to more students as well as increasing our recruitment and retention activities.

Dance courses are offered in two areas at Fort Lewis College: 1. as a skills development course in the Department of Exercise Science, and 2. as an historic, artistic, technique and performance form in the Department of Theatre. There has been, over the past five years, a decided increase in student interest in dance. In addition to the Dance Co-Motion student organization over 80 students are usually involved in Theatre Department Dance Concerts. Our department has answered this interest by increasing our offerings in dance technique courses and as well including in our season of productions an every-other-year Dance Concert giving students opportunities to work with the exceptionally high quality choreographers that we have in our department, on our campus and in our community. In addition to this we have extensive expertise in our Theatre Department in Dance. Of our faculty many are degreed and highly experienced in dance: Judy Austin, Anne Berg- Pattillo, Susie DiSanto and Kathryn Moller all have at least the master’s degree in addition to extensive professional, academic and administrative experience in the discipline and as well curriculum development in dance programs across the nation. We strongly believe that given our current high quality faculty resources and our current facilities it would be not only feasible but highly advantageous to our program development, retention and recruitment and as well advantageous to our college and our department to build in to our programming an option in Dance. This program of study would look something like this:

3. Music & Performance Option toward increased student possibilities is a collaborative effort between the Department of Music and the Department of Theatre.

Currently students interested in the performance of music, musical theatre, and various other performance forms such as Opera tend to cobble together, oftentimes without appropriate advising, various courses in both departments, Music and Theatre, to attain the tools and knowledge that they think they need for these various disciplines. Clearly students do not really have the knowledge and expertise to design their own curricular area of study. It would best serve our students, the development of both these departments and help us to increase our recruitment and retention possibilities if we could offer our students a comprehensive program of study in this area. The development of a music/theatre major would be quite different than the Dance Option in Theatre listed above as it would need to

58 be an interdisciplinary degree where the combined efforts of the Departments of Music and Theatre, utilizing the resources that we currently have, to result in an area of study that gives students the knowledge and experience that they need to participate in the areas of musical contribution to theatrical performance and theatrical contribution to musical performance. The combination of voice courses, with performance courses would clearly answer this student need. Certainly given the resources that we have in both departments, we would be able to build a strong voice/performance program of study. Course requirements for this degree could look something like this:

E. The Future of our Assessment Strategies

We need to make a concerted effort to revise our assessment strategies to better align with Fort Lewis College Strategic Directions and well as NAST criteria. As we continue our shift to the new curriculum, assessment needs to become a focal point for the faculty. Our current assessment system no longer serves our needs. A new system of assessment needs to be developed. We currently require our students to take an entrance and an exit exam. It is general test based on the idea that all students will be taking the same courses. Now that the new curriculum exists, students need to be tested within their track as well as on the information that will be covered in the core courses. An instrument needs to be developed by the faculty that is appropriate to the new curriculum. An accompanying exit exam should also be developed. In addition to this assessment tool, qualifications for assessment in Sophomore Seminar should be standardized by the faculty. Currently that assessment is designed to generally assess student progress (portfolios) and doesn’t address the specific tracks. Issues to consider are: 1. should the Performance and Directing track have to do something performance related? 2. Does the Design/Technical Theatre track need to do a design? 3. What should Arts Administration students be evaluated on? We need to take a closer look at what courses have been completed at this point (since they are on rotation) and what the expectations are for students by the time they take Sophomore Seminar. The assessment requirements of Senior Seminar should also be examined and in alignment with Sophomore Seminar. Some guidelines should be established surrounding the topic choices for Senior Seminar projects so that they are consistent with the track chosen by the student. Assessment should be at the top of our priority list as we implement the new curriculum. Within the next year we should clarify the entrance standards, and the entrance and exit exams should be completed. The requirements for Senior Seminar should be in place by the time the current Sophomore Seminar class reaches Senior Seminar, as they are the first class utilizing the new curriculum.

F. The Future of our Facilities

Our recent (2008-2009) upgrades to our facility have, and will continue to, contribute to our successes. Nonetheless we are still faced with some obstacles in maintaining the most effective learning environment. We still need to continue finding resources for outdated equipment and equipment maintenance and upgrades to be competitive in the academic industry. Our Theatre Laboratory/Learning facility will continue to have needed

59 improvements to maintain a competitive, safe, and appropriate environment toward best student learning and patron experience. We should be looking at these upgrades within the next two to five years:

 Maintenance and upgrades for many of the tools in our scene shop is becoming an immediate concern. Many of our tools are outdated, and beyond warranty. Our table saw, for example is over 20 years old.  Installation of a mid-stage traveler and upgrading of our maid drape will give us a more functional versatile performance space allowing a wider variety of performances, the ability to divide the space so that it can be utilized by more people, and the ability to allow more students, faculty and classes to utilize the space.  Dressing Rooms and Showers Currently there are no showers or dressing rooms for the performances. Not unlike Exercise Science and Athletics, Theatre and Dance are physical activities that necessitate personal cleanliness and hygiene.  Local Storage Facilities Storage of costumes, properties and scenery is a continuing challenge. Given the current fiscal climate, responsibilities, and the desire to be as economical as possible, we need to be able to store and re-use production items. We currently do not have enough storage space and find that we must throw away scenery and properties that could be re-used. Ideally costume storage that is contained, separate from learning spaces and climate controlled would preserve fabrics and extend the life of costuming. More learning and workspace could be made available in the costume and scene shops if there was more storage space.  Lighting Control of Auditorium The theatre does have an industry standard lighting dimming system. This system utilizes computer memory for the recording and playing back of the lighting looks. The controller for this system is over 25 years old and has become outdated and unreliable. We will need to replace our current system in the next few years.  Larger room capacity for the Gallery Theatre Currently it is fiscally detrimental to produce ticketed performances in our “Gallery” Black Box Theatre because the seating capacity is set at 40. This is because of the distance between the exit doors. Whereas it is not fiscally reasonable to install an additional exit door, it is feasible to upgrade the interior, temporary wall so that the doors are further apart.  Energy Efficiency The lighting instruments that are being used for the theatrical performances are very inefficient compared to others available. Though most of these instruments are still available they use 30% more energy than the efficient ones. Though it is a large purchase to change over the instruments, it will save on the electricity cost in the future.  Sound Currently the sound amplification and mixing equipment is outdated and inadequate. As a responsible institution we need to upgrade toward a more professional audio playback system that would expose the students to industry standards. The Gallery

60 Theatre also needs a functional playback system that faculty can use for classes. The current sound system was created for discarded surplus from other departments.  Digital Projection and Editing The Department is making more use of digital projection and video integration. It would make sense that the next years the department would purchase digital equipment so that our students can be competitive with the convergent media possibilities. A partnership with the English/Communication and media services has been established in the past create video dependent productions. The department currently owns one license for “Isadora” an emerging computer program for video projection control.

VI. Appendices and Information for Report To The Board of Trustees A. List of chair and departmental faculty and staff, including rank/title and how long each has been at Fort Lewis College B. Faculty CVs C. Evidence of Curricular accomplishments during review period 1. Course listings for the department 2. Degree Requirements for all options 3. Course Rotation plan to 2011 4. Departmental Brochure 5. Student Departmental Handbook D. Evidence of Departmental Accomplishments and Development During Review Period 1. Logistics and Initiatives Chart 2. A comparative statement: NAST Criteria and Fort Lewis College Theatre 3. Letter from External consultant on NAST Accreditation E. Evidence of Production accomplishments during review period 1. Performance reviews 2. Planning Calendars 3. Season Brochure F. RMTA Materials

61 Section VI - Appendices and Additional Information for Report To The Board of Trustees

A. List of chair and departmental faculty and staff, including rank/title and how long each has been at Fort Lewis College

1. Faculty 1.a. Kathryn Moller, Professor & Department Chair – January 1994 1.a.1. Course responsibilities include Ancient and Classical Theatre, Modern Theatre, Senior Seminar, Asian Performance, Theatre Internship, Creating Performance: Directing, Dance Technique, all courses excluding technical theatre courses. 1.a.2. General Education contributions: EGC & TS2R Performance Art, EGC & TS2R Non-Western Performance, TS2R Gender & Performance. 1.a.3. Areas of specialty include: Performance, Performance Art, Directing, Asian Performance, Dramatic Literature, Theatre Theory, Movement and Dance.

1.b. Ginny Davis, Associate Professor – August 1998 1.b.1. Course responsibilities include: Acting Techniques I and II, Styles in Acting, Creating Performance: Directing, Introduction to Theatre, Sophomore Seminar, Senior Seminar, Audition Techniques, Vocal & Physical Preparation, Creative Dramatics, Children’s Theatre. 1.b.2. General Education contribution: TS2R Gender & Performance. 1.b.3. Areas of specialty include: Directing, Acting, Creative Dramatics & Children’s Theatre.

1.c. Nathan Lee, Assistant Professor – August 2004 1.c.1. Course responsibilities include: Stage Technology, Lighting and Sound Design, Costume & Make-up Design; Scenic Design and Technology, Introduction to Theatre. 1.c.2. General Education contribution: TS2R & EGC Non- Western Performance. 1.c.3. Areas of specialty include: Design & Technology.

2. Adjunct Faculty (teach only as needed) 2.a. Judy Austin – August 1998 Introduction to the Dance & Dance Technique 2.b. Anne Berg-Pattillo – August 2004 Introduction to the Dance & Dance Technique 2.c. Suzanne DiSanto – August 1998 Dance Technique & Production (Choreography) 2.d. Jane Gould – January 2009 Production (Costume Design)

62 2.e. Felicia Meyer – August 2007 Introduction to Theatre, Acting for Camera, Modern Theatre, Playwriting.

3. Staff 3.a. Craig Harris – September 2008 Scene shop Supervisor

3.b. Scott Kadera – August 2005 Media Coordination, Public Relations, Publicity, Web Development, Administrative Assistant, Box Office supervision.

B. Following please find a compilation curriculum vitae for our faculty and staff

63 C. Evidence of Curricular Accomplishments During Review Period 1. Course listings for the department 2. Degree Requirements for all options 3. Course Rotation Plan to 2011 4. Departmental Brochure 5. Student Departmental Handbook

64 1. Course Listings for the Department

THEA 100 Theatrical Production I 1-4 This course involves initial participation in theatrical production. It includes involvement in various areas of theatre from inception to presentation. Students with little or no theatre experience will gain a working knowledge of performance. Repeatable for up to 12 credits.

THEA 101 GAH1 Introduction to Theatre 4 This course offers a general introduction to the theatre and to performance in the human experience. Students view and discuss films and live performances, and perform scenes in class. The course emphasizes an understanding of the processes of creating theatre, and of the role of theatre and performance in the context of cultures and contemporary society. Guest speakers from other disciplines introduce a variety of perspectives on performance as a human activity. There is a strong participatory component to the course. (4-0)

THEA 126 GAH1 Introduction to the Dance 4 This course offers an exploration of the historical/ theoretical basis of dance and its many variant forms. In addition to gaining an historical and theoretical knowledge of dance, this course includes the practical/technical overview of traditional and contemporary dance forms including African dance, folk dance, ballet, jazz dance, musical theatre, performance art, and dance improvisation. Students will gain a general knowledge of technical skills as well as a broad knowledge and appreciation of the art and history of dance. (4-0)

THEA 135 Acting Techniques I 3 This course introduces students to basic performance techniques including a study of basic techniques in body, voice, characterization, and play analysis as they are applied to performance. It includes improvisation skills, performance of dramatic text and literature, text analysis, and introductory scene work. (3-0)

THEA 156 Guest Artist Series 1-3 This course gives both theatre and non-theatre students the opportunity to work with and learn from guest artists--directors, designers, and performers--who are visiting from professional theatre venues of world-renowned status. Students may choose to participate in some or all of the guest artist series depending on the schedule and the number of registered credit hours. Repeatable up to 8 times.

THEA 166 Dance Techniques: Topics 2 Students will learn and practice the technique of a specific style while concentrating on personal abilities, awareness, and ways to correctly train his or her body. The technique taught each session will vary each term. Repeatable for up to 12 credits maximum in any combination from Thea 166 and 366. (2-0)

THEA 200 Theatrical Production II 1-4 This course constitutes involvement of the intermediate level student in theatrical production. Students with a developing dedication to theatre participate in selected areas including but not limited to dramaturgy, technical theatre, performance administration, and performance. Repertoire includes classical, modern, musical theatre, and dance. Repeatable for up to 12 credits.

THEA 230 Stage Technology 4

65 This course provides students with a basic working knowledge of the technical aspects of theatre including scenery construction, costume construction, prop construction, lighting equipment and its uses, and introductory knowledge of the aspects of stage design. (4-0)

THEA 233 Audition Techniques 2 An audition is the actor's primary tool for securing employment. This course explores the audition process in terms of text analysis, musical auditions, film auditions, choosing audition materials, and audition trends across the United States. The purpose of this course is to help students compile an audition repertoire in order to be competitive in both the professional and educational world of theatre. (2-0)

THEA 236 Styles in Acting 4 This course is the second in the performing sequence. It further develops the student's performance skills through the theory and practice of various systems of acting. At this level the students will focus primarily on styles in acting. Thea 135 suggested, but not required. (4-0)

THEA 238 Acting Techniques II 3 This course involves advanced training in application of acting techniques of the voice and body including techniques of: freeing the body and voice, body language, movement in the development of characterization, advanced text analysis, and other actor techniques. (3-0) Prerequisites: THEA 135

THEA 240 GAH1 Ancient & Classical Theatre 4 This course is the first in the theatre criticism/dramatic literature sequence (240 and 340). Students taking this course attain a breadth and depth of foundational knowledge of world theatre/dramatic literature and cultures by examining various styles and traditions of performers, playhouses, plays, and playwrights to1800. Focus is placed on reading and analyzing plays and attaining insight into the thinking and theatre conventions of times and places at a greater distance from our own including: Classical Greek and Roman, Asian, Indonesian, Medieval, Italian Renaissance, Elizabethan, Jacobean and Caroline, Spanish, French Neo-classic, Restoration and Enlightenment. (4-0)

THEA 270 Acting for Camera 3 In this course students will be introduced to techniques for performing to camera. Explorations include appropriate voice/body work. Students should be enabled to grow in confidence and work with appearance and sound on camera. Commercials and short pieces of TV or film script will be utilized. The work will be undertaken using video cameras in a rehearsal setting. (3-0)

THEA 272 Vocal & Physical Preparation 2 This course is designed to be a lecture/demonstration/experiential class for students interested in public performance. It is designed to give each student tools to develop voice and body (physical and vocal) skills for performance. Students will learn the discourse and practice of physical and vocal developments with regard to stretching, alignment, placement, anatomy, quality, and projection. (2-0)

THEA 274 Make-up & Costume Design 4 The study and application of the production elements, materials, methods, and principles of design as applied to stage costume and make-up. Emphasizes costume history and texts in analysis and interpretation. Presented is in studio format and project driven. The course explores concept development, style selection, and extensive practice in a variety of techniques for costuming and make-up. (4-0)

66 THEA 296 Sophomore Seminar 2 Theatre majors must take Sophomore Seminar after the completion of 14 theatre credits. This course addresses various facets of the theatre discipline and career planning. (2-0)

THEA 299 Individual Study 1-6 Individual research is conducted under the supervision of a faculty member. Topic and format must be approved by the Department Chairperson and Dean. 50 contact hours are the equivalent of one credit hour.

THEA 300 Theatrical Production III 1-4 This course involves participation in a theatrical production, including various areas of technical theatre, performance, and theatre administration. The maturing student is actively involved in theatre production(s) during the semester. Repeatable for up to 12 credits.

THEA 310 Scenic Design & Technology 4 This course examines the process of theatrical scene design from early conception to realization. Course work is project-based. Students are introduced to the crafts of script analysis, conceptualization, design expression, drafting, and 3-D model building. Involves projects in theatrical scene design and provides intensive practice in sketching, rendering, drafting, and model-building. (4-0) Prerequisites: THEA 230

THEA 322 Creative Dramatics 4 Creative Drama uses a student's innate ability to "play" in the developmental process of becoming a productive well-adjusted human being. This course focuses on using drama as a teaching tool in multiple disciplines, using drama as a socializing tool for children and adults, and understanding drama as an art form. (4-0)

THEA 323 Children's Theatre 4 In this performance-based course, students will explore dramatic literature appropriate for child audiences. Students will travel to area schools, or bring area schools into our facility, to perform for and with Durango area children. (4-0)

THEA 335 Styles in Acting 3 This course further develops the acting student's performance skills through the theory and practice of various styles of acting. At this level the students will focus primarily on styles in acting with regard to specific temporal periods including, but not limited to, Greek, Roman, Classical French, English Renaissance, Restoration Comedy of Manners, Enlightenment, realism, and Anti-realism. (3-0) Prerequisites: THEA 135

THEA 336 Creating Performance/Directing 4 This course concentrates on the conceptual and practical application of performance in the form of creating a production from initial concept to closure. Students will develop and use the skills of analysis, strategic planning, directing, creating movement, organization, and administration. (4-0)

THEA 340 Modern Theatre 4 This course, the second in the dramatic literature sequence (240 and 340W) surveys developments in theatre practice and dramatic literature from the beginning of the 19th through the mid-20th century. The development of modern drama and the concurrent philosophical thinking in Western theatre history will be the focus of the course. The course will also explore coinciding developments in Asian and African theatre and intercultural influences. May be taken as a "Topics" course for English majors. (4-0) Prerequisites: THEA 240

67 THEA 342 Asian Performance 4 The purpose of this course is to facilitate knowledge, discussion, and critical thought of Asian theatre forms including those from Japan, China, India, and S.E. Asia (Malaysia and Indonesia). The exploration of Asian theatre gives students a greater breadth of knowledge and clearer understanding of non-Western perspectives as valid and important to our current culture and expression of meaning. (4-0)

THEA 356 Guest Artist Series 1-3 This course gives both theatre and non-theatre students the opportunity to work with and learn from guest artists--directors, designers, and performers--who are visiting from professional theatre venues of world-renowned status. Students may choose to participate in some or all of the guest artist series depending on the schedule and the number of registered credit hours. Repeatable up to 8 times.

THEA 366 Dance Technique 2 Students will learn and practice the technique of a specific style while concentrating on personal abilities, awareness, and ways to correctly train his or her body. The technique taught each session will vary each term. Repeatable for up to 12 credits maximum in any combination from Thea 166 and 366. (2-0)

THEA 369 Playwriting 4 In Playwriting, students develop their own creativity in theatrical forms. Students examine dramatic plots, characters, dialogue, exposition, setting, theme, new and traditional forms and other elements of drama through a series of exercises and writing practices. They will read a number of contemporary plays and attend local performances. All students will write a producible one-act play. (4-0)

THEA 372 Stage Management 2 Covers stage management from the inception of a production concept through the process of mounting a production, focusing on the interrelationships of the various artists involved, management and scheduling of time, and the psychology of handling a wide range of personalities. (2-0) Prerequisites: THEA 230

THEA 374 Lighting and Sound Design 4 Introduces the craft of stage lighting design and sound technology through experiential projects, lecture/demos, hands-on production experience, and theoretical projects. Subject matter includes aesthetics of sound and light, color theory, lighting and sound for performance, electricity, acoustics, equipment, design graphics, and basic sound and light technology. (4-0) Prerequisites: THEA 230

THEA 400 Theatrical Production IV 1-4 This course involves in-depth involvement in theatrical production, performance, and technical theatre. The advanced theatre student will have the opportunity to build on his/her theatre skills in areas such as acting, dance, technical theatre, costuming, dramaturgy, and theatre administration. Repeatable for up to 12 credits.

THEA 460 Internship in Theatre 1-4 This course provides students the opportunity to apply what they have learned in the classroom to a professional theatre organization. Specific requirements of the internship will be determined by

68 the arts organization, the supervising college faculty, and the student. May be repeated once for up to 8 credit hours. (0-12) Prerequisites: THEA 200 OR THEA 300 OR THEA 400

THEA 496 Senior Seminar 2 This course gives senior theatre majors the opportunity to demonstrate their abilities in connecting the analytical academic research process to performance. Significant research, on an approved topic, will result in a substantial paper. Each student's research combined with insightful performance knowledge, problem-solving techniques, and creative thinking, results in a public presentation. This is a full course and 496 must be taken in the fall, followed by 497 in the winter. (2-0) Prerequisites: THEA 340 AND THEA 336

THEA 497 Senior Seminar 2 This course gives senior theatre majors the opportunity to demonstrate their abilities in connecting the analytical academic research process to performance. Significant research, on an approved topic, will result in a substantial paper. Each student's research combined with insightful performance knowledge, problem-solving techniques, and creative thinking, results in a public presentation. This is a full course and 496 must be taken in the fall, followed by 497 in the winter. (2-0) Prerequisites: THEA 340 AND THEA 336

THEA 499 Independent Study 1-6 Individual research is conducted under the supervision of a faculty member. Topic and format must be approved by the Department Chairperson and Dean. 50 contact hours are the equivalent of 1 credit hour.

69 2. Degree Requirements for all options in Theatre Department Chair - Kathryn Moller Professor - Kathryn S. Moller Assistant Professors - Ginny A. Davis and Nathan Lee Visiting Instructor - Anne Berg

The Theatre major enables students to fully explore their potential as literate, articulate, and humane members of society through a close study of the theory and practice of theatre. Students so trained are able to bring highly developed communication skills, flexibility, and creativity to a wide range of career opportunities.

The academic program in the Theatre Department is supported by a strong production program, which is the cornerstone of the department. Performing, technical theatre, and administrative opportunities are open to all students. Auditions and technical theatre interviews are held at the beginning of each term. Participation in production is considered an academic endeavor with course credit available.

The requirements for a minor in Theatre are listed at the end of this section.

Theatre – Theatre Generalist Option The Theatre Generalist option focuses on the practical and theoretical training areas that will give the student the greatest breadth and depth of knowledge appropriate to a Bachelor of Arts degree in theatre. The practical experience and theoretical knowledge attained in this option are applicable to a variety of performance and fine art venues such as professional theatres, community theatres, radio, film, music venues, movement, and not-for profit organizations. In addition to preparation for working in these venues, the Theatre Generalist option provides an understanding of the artistic and practical approaches to performing for public and is appropriate preparation for graduate programs and professional preparation programs in Theatre.

REQUIREMENTS FOR A BACHELOR OF ARTS DEGREE WITH A MAJOR IN THEATRE – THEATRE GENERALIST OPTION:

General Education 39 See pp. xx for General Education requirements.

Specific Departmental Requirements1: THEA 240 Ancient and Classical Theatre 4 THEA 296 Sophomore Seminar 2 THEA 340 Modern Theatre 4 THEA 342 Asian Performance 4 THEA 300/400 Theatre Production III/Theatre Production IV6 Note: Of the six credit hours chosen from THEA 300/400, at least two of these credits should be in technical theatre and two in performance. THEA 460 Internship in Theatre 1-4 THEA 496 Senior Seminar 2 THEA 497 Senior Seminar 2

Subtotal Specific Departmental Requirements 25-28

Other Departmental Requirements: THEA 135 Acting Techniques I 3 THEA 126 Introduction to The Dance 4 THEA 230 Stage Technology 4

70 THEA 336 Creating Performance: Directing 4

Subtotal Other Departmental Requirements 15

Theatre Department Electives—select 14 credits from the following: THEA 100 Theatre Production I 1-4 THEA 101 Introduction to Theatre 4 THEA 156/356 Guest Artist Series 1-3 THEA 166/366 Dance Techniques: Topic 4 THEA 190/390 Special Topics 1-4 THEA 200 Theatre Production II 1-4 THEA 233 Audition Techniques 2 THEA 238 Acting Techniques II 3 THEA 270 Acting for Camera 3 THEA 272 Vocal & Physical Preparation 2 THEA 274 Make-up & Costume Design 4 THEA 299/499 Individual/Independent Study 1-6 THEA 310 Scenic Design & Technology 4 THEA 322 Creative Dramatics 4 THEA 323 Children’s Theatre 4 THEA 335 Styles in Acting 3 THEA 369 Playwriting 4 THEA 372 Stage Management 2 THEA 374 Lighting & Sound Design 4

Subtotal Theatre Electives 14

Total Major Requirements 54-57

Free Electives (variable)

TOTAL REQUIRED FOR GRADUATION 120

1Minimum grade of C required in all Theatre (THEA) classes.

Note to transfer and former students: If you have taken any of your major requirements and received a different number of credits than listed above, you may need to complete additional major credit requirements.

Theatre – Performance & Directing Option The option in Performance and Directing combines practical and theoretical training in various disciplines that pertain to the field including Theatre, Art, Psychology, Music, and Technology. The practical experience and theoretical knowledge attained in this option is applicable to a variety of performance and fine art venues such as professional theatres, community theatres, radio, film, video, music, digital venues, movement, and not-for profit organizations. In addition to preparation for working in these venues, the Performance and Directing option provides an understanding of the artistic and practical approaches to performing and directing for theatre and is appropriate preparation for graduate programs and professional preparation programs in Theatre and Performance Studies.

REQUIREMENTS FOR A BACHELOR OF ARTS DEGREE WITH A MAJOR IN THEATRE – PERFORMANCE & DIRECTING OPTION:

General Education 39 See pp. xx for General Education requirements.

Specific Departmental Requirements1: THEA 240 Ancient and Classical Theatre 4 THEA 296 Sophomore Seminar 2 THEA 340 Modern Theatre 4

71 THEA 342 Asian Performance 4 THEA 300/400 Theatre Prod III/Theatre Prod IV 6 Note: Of the six credit hours chosen from THEA 300/400, at least two of these credits should be in technical theatre and two in performance. THEA 460 Internship in Theatre 1-4 THEA 496 Senior Seminar 2 THEA 497 Senior Seminar 2

Subtotal Specific Departmental Requirements 25-28

Other Departmental Requirements: Three (3) of the following courses: THEA 126 Introduction to the Dance 4 THEA 135 Acting Techniques I 3 THEA 238 Acting Techniques II 3 THEA 272 Vocal & Physical Preparation 2 Two (2) of the following courses: THEA 233 Audition Techniques 2 THEA 270 Acting for Camera 3 THEA 323 Children’s Theatre 4 THEA 335 Styles in Acting 3

One (1) of the following courses: THEA 230 Stage Technology 4 THEA 374 Lighting & Sound Design 4

Both of the following courses: THEA 336 Creating Performance: Directing 4 THEA 166/366 Dance Techniques: Topics 2

Subtotal Other Departmental Requirements 23-27

Auxiliary Department Requirements: One (1) of the following courses: MU 101 The Musical Experience 3 MU 103 Class Instr - Voice 1 PSYC 157 Introduction to Psychology 3

One (1) of the following courses: ART 262 Art History I 4 ART 263 Art History II 4

One (1) of the following courses: ENGL 304 Digital Video Production 4 ENGL 308 Interactive Media Production 4 Subtotal Auxiliary Requirements 9-11

Total Major Requirements 57-66

Free Electives (variable)

TOTAL REQUIRED FOR GRADUATION 120

1Minimum grade of C required in all Theatre (THEA) classes.

Note to transfer and former students: If you have taken any of your major requirements and received a different number of credits than listed above, you may need to complete additional major credit requirements.

72 Theatre – Design and Technical Theatre Option The Design and Technical Theatre option combines practical theatrical technical and design training with theoretical explorations in various arts histories such as Theatre, Music, and Art. The experience and knowledge attained in this option is applicable to a variety of performance and fine art venues such as professional theatres, community theatres, music venues, dance, and not-for profit arts organizations. In addition to preparation for working in these venues, the Design and Technical Theatre option provides an understanding of the artistic design and technical theatre side of creating performance for public and is appropriate preparation for graduate programs in Design and Technical Theatre.

REQUIREMENTS FOR A BACHELOR OF ARTS DEGREE WITH A MAJOR IN THEATRE – DESIGN AND TECHNICAL THEATRE OPTION:

General Education 39 See pp. xx for General Education requirements.

Specific Departmental Requirements1: THEA 240 Ancient and Classical Theatre 4 THEA 296 Sophomore Seminar 2 THEA 340 Modern Theatre 4 THEA 342 Asian Performance 4 THEA 300/400 Theatre Prod III/Theatre Prod IV 6 Note: Of the six credit hours chosen from THEA 300/400, at least two of these credits should be in technical theatre and two in performance. THEA 460 Internship in Theatre 1-4 THEA 496 Senior Seminar 2 THEA 497 Senior Seminar 2

Subtotal Specific Departmental Requirements 25-28

Other Departmental Requirements: THEA 230 Stage Technology 4 THEA 372 Stage Management 2

Two courses from the following: THEA 274 Make-up & Costume Design 4 THEA 310 Scene Design & Technology 4 THEA 374 Lighting & Sound Design 4

Subtotal Specific Departmental Requirements 14

Auxiliary Department Requirements: ENGR 103 Computer Aided Drafting 3 ART 109 Visual Foundations I 3 ART 110 Visual Foundations II 3 MU 101 The Musical Experience 3 ART 262 Art History I 4 ART 263 Art History 2 4 Subtotal Auxiliary Requirements 20

Total Major Requirements 59-62

Free Electives (variable)

TOTAL REQUIRED FOR GRADUATION 120

1Minimum grade of C required in all Theatre (THEA) classes.

73 Note to transfer and former students: If you have taken any of your major requirements and received a different number of credits than listed above, you may need to complete additional major credit requirements.

Theatre – Arts Administration Option The Arts Administration option is designed to combine training in practical theatre and various arts histories— combining theatre, dance, music, and art—with business knowledge applicable to a variety of performance and fine art contexts such as community theatres, music venues, dance, and not-for profit arts organizations. In addition to preparation for working in these venues, the Arts Administration option provides an understanding of the business side of creating performance for public and is appropriate preparation for graduate programs in arts administration.

REQUIREMENTS FOR A BACHELOR OF ARTS DEGREE WITH A MAJOR IN THEATRE – ARTS ADMINISTRATION OPTION:

General Education 39 See pp. xx for General Education requirements.

Specific Departmental Requirements1: THEA 240 Ancient and Classical Theatre 4 THEA 296 Sophomore Seminar 2 THEA 340 Modern Theatre 4 THEA 342 Asian Performance 4 THEA 300/400 Theatre Prod III/Theatre Prod IV 6 Note: Of the six credit hours chosen from THEA 300/400, at least two of these credits should be in technical theatre and two in performance. THEA 460 Internship in Theatre 1-4 THEA 496 Senior Seminar 2 THEA 497 Senior Seminar 2

Subtotal Specific Departmental Requirements 25-28

Other Departmental Requirements: THEA 101 Introduction to Theatre 4 THEA 126 Introduction to the Dance 4

Subtotal Other Departmental Requirements 8

SOBA Auxiliary Department Requirements2,3: ECON 262 Principles of Microeconomics 3 ACC 225 Intro to Financial Accounting 4 BA 260 Legal Environment of Business 3 MK 260 Business Creativity and Innovation 2 MK 350 Marketing 4

One additional course from the following two courses: MK 385 Consumer Behavior 3 MK 371 Advertising & Public Relations 3

Subtotal SOBA Auxiliary Requirements 19

Other Auxiliary Department Requirements: MU 101 The Musical Experience 3 ART 263 Art History II 4 ENGL 315 Media Writing 4

Subtotal Auxiliary Requirements 11

Total Major Requirements 63-66

74 Free Electives (variable)

TOTAL REQUIRED FOR GRADUATION 120

1Minimum grade of C is required in all Theater (THEA) classes. 2Minimum grade of C- is required in SOBA Auxiliary Requirements. 3Students may not take more than 30 credits in Accounting, Business Administration, Economics, and marketing due to SOBA accreditation standards.

Note to transfer and former students: If you have taken any of your major requirements and received a different number of credits than listed above, you may need to complete additional major credit requirements.

Theatre Minor REQUIREMENTS FOR A MINOR IN THEATRE: Departmental Requirements: THEA 240 Ancient and Classical Theatre 4

One of the following two courses: THEA 135 Acting Techniques 4 THEA 230 Stage Technology 4

A total of 4 credits from THEA 300 (Theatrical Production III) and THEA 400 (Theatrical Production IV). Both courses are variable credit from 1-4.

Theatre Electives--a total of 8 credits from: THEA 100 Theatre Production I 1-4 THEA 101 Introduction to Theatre 4 THEA 156/356 Guest Artist Series 1-3 THEA 166/366 Dance Techniques: Topic 4 THEA 190/390 Special Topics 1-4 THEA 200 Theatre Production II 1-4 THEA 233 Audition Techniques 2 THEA 238 Acting Techniques II 3 THEA 270 Acting for Camera 3 THEA 272 Vocal & Physical Preparation 2 THEA 274 Make-up & Costume Design 4 THEA 299/499 Individual/Independent Study 1-6 THEA 310 Scenic Design & Technology 4 THEA 322 Creative Dramatics 4 THEA 323 Children’s Theatre 4 THEA 335 Styles in Acting 3 THEA 340 Modern Theatre 4 THEA 369 Playwriting 4 THEA 372 Stage Management 2 THEA 374 Lighting & Sound Design 4

TOTAL REQUIRED FOR THEATRE MINOR 20

75 3. Curriculum Rotation Plan

Proposed course load assignments for the next four years utilizing the current adjunct load of 14 to 18 credit hours per semester (updated 28 November 08 to be accurate)

2008-2009 Academic year Fall ’08 THEA 101AH1 Introduction to Theatre 4 Lee THEA 126AH1 Introduction to The Dance 4 Berg THEA 100/200/300/400 Theatre Production var Davis(3),Lee(4),Kramer(4) THEA 156/356 Guest Artist Series 2 Moller THEA 135 Acting Techniques I 3 Davis THEA 240AH1 Ancient and Classical Theatre 4 Moller THEA 296 Sophomore Seminar 2 Davis THEA 322 Creative Dramatics 4 Davis THEA 460 Internship in Theatre 1-4 Moller THEA 496 Senior Seminar 2 Moller EGC 315 Performance Art 4 Moller TS2R 409 Non-Western Theatre 4 Lee Davis 12 Lee 12 Moller 12 Adjunct 8

Winter ’09 THEA 101AH1 Introduction to Theatre 4 Meyer THEA 100/200/300/400 Theatre Production var Lee(4)/Davis(4)/Moller(2)Adjunct(8) THEA 166/366 Dance Techniques: Ballet 2 Austin THEA 166/366 Dance Technuques: Jazz II 2 Berg THEA 230 Stage Technology 4 Lee THEA 270 Acting for Camera 3 Adjunct THEA 323 Children’s Theatre 4 Moller THEA 335 Acting Techniques II 3 Davis THEA 340 Modern Theatre 4 Moller THEA 374 Lighting & Sound Design 4 Lee THEA 336 Creating Performance: Directing 4 Davis THEA 497 Senior Seminar 2 Moller Davis 11 Lee 12 Moller 12 Adjunct 19 Summer ‘09 THEA 460 Internship in Theatre 1-4 Moller

76 TS2 Gender & Performance 4 Davis 2009-2010 Academic year Fall ’09 THEA 100/200/300/400Theatre Production var Lee(4)/Moller(2)/Adj.(7) THEA 101AH1 Introduction to Theatre 4 Lee THEA 126AH1 Introduction to The Dance 4 Adjunct-Berg THEA 135 Acting Techniques I 3 Davis THEA 156/356 Guest Artist Series 3 Adjunct THEA 166/366 Dance Techniques 2/2 Adjunct THEA 230 Stage Technology 4 Lee THEA 233 Audition Techniques 2 Davis THEA 240AH1 Ancient and Classical Theatre 4 Moller THEA 296 Sophomore Seminar 2 Davis THEA 342 Asian Performance 4 Moller THEA 460 Internship in Theatre 1 Davis THEA 496 Senior Seminar 2 Moller TS2 Gender & Performance 4 Davis Davis 12 Lee 12 Moller 12 Adjunct 18

Winter ’10 THEA 100/200/300/400 Theatre Production var Davis(4)/Lee(4)/Moller(4)/Adjunct(4) THEA 101AH1 Introduction to Theatre 4 Adjunct THEA 166/366 Dance Techniques 2/2 Adjunct THEA 272 Vocal Physical Preparation 2 Adjunct THEA 270 Acting for Camera 3 Adjunct THEA 274 Make-up & Costume Design 4 Lee THEA 310 Scenic Design & Technology 4 Lee THEA 335 Styles in Acting 3 Davis THEA 340W Modern Theatre 4 Moller THEA 369 Playwriting 4 Adjunct THEA 372 Stage Management 2 Davis THEA 497 Senior Seminar 2 Davis EGC Performance Art 4 Moller

Davis 11 Lee 12 Moller 12 Adjunct 19 Summer ‘10 THEA 101AH1 Introduction to Theatre 4 TBD THEA 460 Internship in Theatre 1-4 TBD EGC/TS2 TBD 4 TBD

77 2010-2011 Academic year

Fall ’10 THEA 126R Introduction to The Dance 4 Adjunct THEA 100/200/300/400Theatre Production var Lee(4)/Davis(4)/Moller(4)/Adj.(4) THEA 156/356 Guest Artist Series 3 Adjunct THEA 335 Styles in Acting 3 Davis THEA 270 Acting for Camera 3 Adjunct THEA 233 Audition Techniques 2 Davis THEA 240R Ancient and Classical Theatre 4 Moller THEA 310 Scenic Design & Technology 4 Lee THEA 369 Playwriting 4 Adjunct THEA 460 Internship in Theatre 1 -4 Non-Scheduled THEA 496 Senior Seminar 2 Davis EGC Performance Art 4 Moller

Davis 11 Lee 12 Moller 12 Adjunct 18

Winter ’11 THEA 101Introduction to Theatre 4 Adjunct THEA 100/200/300/400 Theatre Production var Davis(4)/Lee(4)/Adjunct(4) THEA 156/356 Guest Artist Series 3 Adjunct THEA 230 Stage Technology 4 Lee THEA 296 Sophomore Seminar 2 Moller THEA 135 Acting Techniques I 3 Davis THEA 372 Stage Management 2 Moller THEA 166/366 Dance Techniques: Topics 2/2 Adjunct THEA 374 Lighting & Sound Design 4 Lee THEA 340 Modern Theatre 4 Moller THEA 336 Creating Performance: Directing 4 Moller THEA 460 Internship in Theatre 1—4 Non-Scheduled THEA 497 Senior Seminar 2 Davis TS2/EGC Gender & Performance 4 Davis

Davis 13 Lee 12 Moller 12 Adjunct 15

Summer ‘11 THEA 460 Internship in Theatre 1-4 TBD THEA 323 Children’s Theatre 4 Faculty TBD

78 4. Departmental Brochure

79 5. Student Departmental Handbook

80 D. Evidence of Departmental Development and Professionalism

1. Logistics and Initiatives Chart 2005-2009 Revised & updated 26 November 2008

Personnel Changes & Curricular Initiatives Co-curricular, Extracurricular Initiatives Changes & Environment/Facilities Endeavors Initiatives

2005- Strategic Plan One- Strategic Plans One- Strategic Plans Four – Strategic Plans One through Four are 2006 Improve education and Strengthen & Grow increasing financial support by served here as the theatre quality learning opportunities and maintaining and improving extracurricular activities offer experiences programs toward patron facilities; and Five – innovative quality learning experiences higher student Enhancing work environment (One); encourage increased quality  An initiative was started success; and Two- for students, staff and faculty enrollment (Two); increase this year to instigate Quality Enrollment. opportunities for outreach and better professional New floor in gallery has community involvement (Three); and behaviors in the  Revision of our enhanced our ability to teach and increase people inclinations toward department. This entire curriculum empowers our students to learn support (Four). initiative has proven to was in process with better. be increasingly curriculum  We need to try to instigate  Summer theatre programming successful as all faculty committee. how other similar changes in  External consultant toward NAST are focusing more of our environment will affect (National Assoc. of Schools of Theatre) their energies toward teaching/learning, as well as accreditation students, departmental retention, recruitment, and  Participation at the National success and best image on campus and to Conference ATHE (American Theatre working practices. community/public, and then in Higher Education)  The guest artist series pursue support for these  Participation at the USITT Conference was initiated this improvements. (United State Institute of Technology)

81 academic year to great success as a curricular and personnel initiative.

Personnel Changes & Curricular Initiatives Co-curricular, Extracurricular Initiatives Changes & Environment/Facilities Endeavors Initiatives

2006-  This year we tried to This year we went As our building gets older it is  Web Development 2007 initiate a more through the curriculum becoming a more and more  Summer Reading Series professional faculty/staff revision process and dysfunctional as well as  Strengthening affiliation with RMTA personnel with the approval process with depressing environment within (Rocky Mountain Theatre Association) utilization of adjunct curriculum committee which to teach and empower by attending conference & participating hours for acting and and provost. The students. We are having constant  Common Reading Experience: Folding playwriting classes as reasons for this change conversations with physical Paper Cranes well as directing and were to align with the plant about not only long term  Theatre production season which musical direction for our Presidential strategic improvements (mentioned included: Three Tall Women; Waiting musical Wizard of Oz. plan with regard to above) but daily maintenance for Godot; and Wizard of Oz. All of This has turned-out student recruitment, and cleaning, which is our performances include exceptionally well as retention, unique problematic, especially in our participation/outreach with community these adjuncts are learning experiences main stage space. Multiple in various ways, utilization of Guest instigating an exciting and service learning. requests have been made for Artists, Lecturers, or experts. And as and new energy, and Compromises were funding that can help us well multiple performances (evenings modeling professional made in our curricular maintain a safe, functional and and matinees) for students and the behaviors for our changes to satisfy professional environment for general public. Students are given students. provost concerns, but students and patrons alike. We discount prices for tickets to enable we will make it work. are waiting to see if any funding them to attend. will come forth.  Research towards NAST Accreditation

Personnel Changes & Curricular Initiatives Co-curricular, Extracurricular

82 Initiatives Changes & Environment/Facilities Endeavors Initiatives

2007-  Technical Director  This was our first Longer term goals include some Theatre production season to include: 2008 position seems to be year with curriculum building maintenance for safety 1. Manifest Voices; more than our faculty revisions in place. and image. Part of being 2. Dance Concert person can facilitate. As Promises to go well, responsible and maintaining our 3. Evening of One Acts such, this year we but we will see as this building include: 4. Dante’s Inferno consistently focused on academic year  small projects for  All of our performances include finding ways to progresses. updating main stage facility: participation & outreach with empower our Technical  Proposals for three  re-building a new sound community in various ways, utilization Director position to be TS2 courses to control area of Guest Artists, Lecturers, or experts. more effective. This has become EGC courses:  re-organizing and And as well multiple performances been our primary effort one of these was cleaning of the properties area (evenings and matinees) for students in personnel initiatives approved and  painting, cleaning and re- and the general public. this year. This initiative currently covers both organizing our shop area  We are planning to host the ’09 RMTA included attempts to EGC and TS2R  new draping for our Regional Conference, if we can get “lighten” the work-load (Performance Art); Gallery “Black-box” theatre institutional support in the following ways: Non-Western  building cubbies for our  Attend and presenting at various 1. Hire student Performance is still in students professional conferences including the properties master process, and Gender  installing a kiosk ATHE conference, USITT, and the 2. Bring in and Performance will computer for our students Leadership Institute professional cleaners not become an EGC  Culminating research to pursue NAST to clean the shop and course. Accreditation this next academic year stage areas 3. Utilize PPS to do as many duties as possible for TD 4. Find design ideas for shows that require minimum TD effort 5. Hire external lighting designer

83 6. Hire external Sound designer 7. Hire sound facilitators for recording 8. Request funding for a Shop Supervisor to alleviate load  This year we continued to best utilizing adjunct faculty and Guest Artist series as innovative and powerful teaching and student experiences. This practice has certainly elevated our work, the work of our students, and instigates a more professional atmosphere in our environment.

Personnel Changes & Curricular Initiatives Co-curricular, Extracurricular Initiatives Changes & Environment/Facilities Endeavors Initiatives Theatre production season to include: 2008- Our request for funding for  This is the year that We continue to struggle with our 1. Raised in Captivity 2009 a Shop Supervisor was we will be initiating attempts to create a most 2. Chicago (the musical) approved. Our initiative our CBLR course, functional, empowering  All of our performances include will be to work to make Internship in Theatre teaching/learning environment in participation & outreach with this an effective position as a fully functional our limited, old facility. We have community in various ways, utilization for our entire department. managed to raise some monies to

84 outreach course be used specifically for our of Guest Artists, Lecturers, or experts. placing students in theatre seating, however have And as well multiple performances venues not just in the learned that our stage proper is (evenings and matinees) for students Durango/4 corners in disrepair and is becoming a and the general public. area but at more serious safety hazard. We  We are hosting the ’09 RMTA international venues. do not have the resources or Regional Conference February 17 expertise to fix this ourselves through 21 which will include and so will be researching and performances every afternoon and asking for structural evening and utilize not only our theatre maintenance, and professionals space but the Community Concert Hall. to help with this as a special  Our faculty will attend and present at project. various professional conferences including RMTA, ATHE, Women & Other facilities/environmental Theatre, Leadership Institute and projects initiatives include: USITT  seating, draping, sound  NAST Accreditation procedures this treatment, painting of floor academic year and walls  Summer Theatre programming  painting for black-box proposals will be considered in theatre (122) collaboration with our curriculum  Lobby facelift including offerings carpeting and painting

85 2. A comparative statement: NAST Criteria and Fort Lewis College and its Department of Theatre

As is clarified in the official ’08-’09 handbook for The National Association of Schools of Theatre (NAST), the purpose of the organization is to recognize many types of programs in degree granting institutions. “The primary purpose for all institutions, whatever types of programs they offer, should be to provide the best possible environment for education and training in theatre. Such an environment should foster an understanding of the arts and an attitude of respect for their potential contribution to society. Applicants for accreditation as degree-granting members are two-year, four-year, or five-year undergraduate or graduate level institutions.” It is important to understand that it is not the department, but rather the college which is ultimately accredited. As such, many of the Standards listed below concern the structure, infrastructure and governance of the entire college rather than the department.

Accredited institutions must meet the Basic Criteria or Standards for Membership. The following chart outlines the Basic Criteria and Standards for NAST Accreditation and informally evaluates where Fort Lewis College might stand as an institution and then as a Department of Theatre. This informal evaluation then attempts to evaluate where we might anticipate deficiencies with our college or programming regarding NAST Accreditation. Please know that this is an informal evaluation utilizing the published NAST Standards and Criteria, actual NAST deemed deficiencies cannot be determined until the facilitation of a formal application and NAST site visit:

Standards for NAST Overall College Fort Lewis College Where we at Fort Lewis Approximat Accreditation as per the demonstration of compliance Department of Theatre College and its e cost to “2007-2008 and beyond” with this Standard compliance with this Department of Theatre alleviate Handbook Standard. might find deficiencies said with this Standard. deficiencies. Whereas the College and A. Purpose of the Fort Lewis College is compatible The Department of Theatre is Department have well thought Institution and of the with NAST standards in this area compatible with this standard as all out action plans and long term $0 Theatre Unit --The as all purposes are published purposes (vision, Mission, goals, goals the department currently institution shall maintain regarding vision, mission, goals etc.) as aligned with the FLC needs to better articulate our a curricular program of and strategic plans for both the Strategic plan are articulated in action plans regarding faculty education and training in overall college as well as the departmental documentation. initiatives toward long term theatre. Department of Theatre. goals. This is currently in process.

86 B.The institution shall offer at least one complete Fort Lewis College Department of Theatre under the administration of degree program, e.g., Fort Lewis College, and as approved by the Curriculum committee, There are no apparent Bachelor of Fine Arts, Dean of the School of Arts, Humanities & Social Sciences, and the Vice deficiencies in our curricular Bachelor of Arts with a President for Academic affairs offers the following through the programming. major in Theatre, et al., Department of Theatre: 1. a Bachelor’s degree in theatre from four or shall provide the dissimilar options (Performance & Directing, Design & Technical $0 theatre component of a Theatre, Arts Administration, or Generalist); a major in Humanities with degree program offered primary or secondary concentration in Theatre; and a minor in Theatre. in conjunction with an accredited degree- granting institution.

C. The institution shall have graduated at least Founded in 1911, Fort Lewis The Department of Theatre at Fort one class of students who College has been granting the Lewis College was since 1962 There are no apparent have been through the Bachelor’s degree since 1962. affiliated with the Department of deficiencies in this area. institution’s own English offering a concentration in $0 program from beginning Theatre, in 1994 a major in theatre to final year, and another was approved by the state (CCHE) class shall be in and in 2006 the four-option system readiness subject to began. examination.

D. An institution offering graduate Fort Lewis College does not offer The Department of Theatre does programs must have graduate programs in this area. not offer graduate programming Not applicable. graduate students nor are there graduate student $0 enrolled and have clearly enrolled. defined residency requirements.

E. The institution’s legal authority shall be Legal authority of Fort Lewis The Theatre Unit of Fort Lewis clearly stated in its College and the Department of College is implemented by a There are no known

87 published materials as Theatre is clearly stated in its Department Chair who is deficiencies in this area. identified by its charter, published materials with a Board supervised by the Dean of Arts, authority to grant of Trustees, an active Faculty Humanities and Social Sciences. $0 degrees, structure of Senate, a clear organizational control, profit or non- structure of administration, faculty profit status, and any members and staff. affiliation with a parent institution.

F. All policies regarding admission and All policies regarding campus– All policies regarding admission & retention of students, as wide admission & retention are retention of students within the There are no known well as those pertaining clearly defined in the Fort Lewis Department of Theatre are clearly deficiencies in this area. to the school’s College catalog as well as on the defined in the Departmental $0 evaluation of progress, web-site. Handbook. shall be clearly defined in literature published by the institution

G. All tuition, fees, and other charges, as well as All policies regarding tuition and Any additional fees for Theatre all policies pertaining fees are clearly defined in the Fort Department activities or course thereto, shall be clearly Lewis College catalog as well as related endeavors are clearly There are no known described in the on the web-site. defined in the course schedule or deficiencies in this area. $0 institution’s published course syllabi. literature.

H. Faculty members All Fort Lewis College faculty All Department of Theatre faculty shall be qualified by members who oversee or are members are qualified in the educational background appointed to the theatre unit, are discipline by earned degrees There are no apparent and/or professional duly qualified, and accomplish and/or professional experience. deficiencies in this area. experience for their their purposes. Institutional Departmental student/faculty ratios $0 specific teaching student/faculty ratios, faculty are far better than the national assignments. The evaluations, faculty loads/class average; faculty loads are institution shall list its size are in compliance with NAST compliant and faculty members faculty in its published standards. Faculty development receive release hours for

88 literature. programs are in place. production activities. All faculty members in the department of theatre engage in faculty development activities.

I. The institution shall have The overall campus of Fort Lewis The department of theatre has NAST might make facilities and equipment College has beautiful facilities adequate facilities, equipment and recommendations to alleviate commensurate with the with adequate space, equipment technology to support the needs of deficiencies in our current needs of its educational and technology to accommodate our current curricular offerings. facilities in the following program. the disciplines taught. These include the following-- areas: Standards: Standards: a. New table a. Facilities, technology, and saw, & other Costume shop equipment a. There needs to be a carpentry are adequate for plan to appropriately equipment specialized and advanced update scene shop $5,000 (one work, as well as functional equipment for time) for our goals. specialized and b. Unknown b. Appropriate number of advanced work. rehearsal, performance & b. Need to evaluate classroom spaces serves ventilation strategize scope of program & plan for proper c. additional number of students. ventilation $2000 year to c. Students are apprised of c. Budget provisions OCE should safety & health hazards need to be made to be sufficient and instructed in proper maintain facilities and to gradually handling & operation. update equipment update/replace d. We are technologically equipment to ahead of many NAST be NAST accredited institutions. compliant. e. Our facilities are accessible, safe and meet the standards of local fire and health codes. f. We address health and safety issues continually. And adheres to the following

89 guidelines: a. Our facilities are sufficiently localized and Exceptions or discrepancies to a. $0 efficient. Guidelines: b. Students have access to a. Dance studio is across b. $10,000 studios out of class time. campus in Skyhawk c. We have space for Hall costume construction b. Acoustics in theatre maintenance and storage. are not suitable for d. Instructional equipment is production or c. NAST adequately and safely laboratory, a plan is in recommendati stored. place to alleviate this. on for this is e. Office space is adequate. c. We have space for unknown. f. There is appropriate space scenic construction d. Unknown and equipment for and maintenance, but administrative functions. inadequate storage. e. $0 g. Equipment provided for d. We do not have student learning includes: shower facilities. lighting, scenery, e. We do not have costumes, sound, adequate equipment computers. for instruction/use of h. Facilities & equipment Video/film within the produces and environment department. This is conducive to alleviated by learning/teaching and collaborating with academic/artistic English/Communicati f. Unknown endeavors. ons. f. We do need a more comprehensive plan, created in collaboration with the physical plant, for regular upkeep of facilities and replacement of equipment.

90 J. The institution shall have The Department of Theatre has a library space and Library Liaison representative and resources commensurate resources for yearly maintenance There are no known with the needs of its of Library holdings. The entire deficiencies in this area. educational program. department participates in $0 contributing requests to better align our library’s holdings to the needs of the classes and the current trends in the discipline.

K. The institution shall Fort Lewis College goes through demonstrate a numerous college wide as well as The Department of Theatre goes It is hoped that this review will commitment to a program reviews as stipulated by through a program review every occur about the same time as a program of continuous Higher Learning Commission of seven years and is due for its next self study toward NAST self-evaluation. North Central Association of review in the ’09-’10 academic accreditation in order to best $0 Colleges and Schools, and of the year. utilize our resources. State of Colorado by Colorado Department of Education (CDE) and the Colorado Council on Higher Education.

L. The institution shall Fort Lewis College is chartered to be licensed or chartered operate and meets all legal to operate as required by requirement to operate as an local and state legal national institution by the Higher There are no known codes. The institution Learning Commission of North deficiencies in this area. Central Association of Colleges shall meet all legal $0 requirements to operate and Schools, of the State of wherever it conducts its Colorado by Colorado Department activities. Multipurpose of Education (CDE) and by the institutions offering Colorado Council on Higher degrees in theatre and in Education. Currently Fort Lewis other disciplines shall be College is accredited in various accredited by the disciplines including: appropriate regional or Accreditation Board for

91 institutional accrediting Engineering and Technology, agency. American Chemical Society, Association to Advance Collegiate Schools of Business International, Commission on Accreditation of Athletic Training Education, and the National Association of Schools of Music.

M. The institution shall provide (or, in the case of foreign studies Regarding the administration of The department of theatre has put There are no known programs, be responsible the overall campus, Fort Lewis together a plan wherein all courses deficiencies in this area. for) all coursework or College is currently compliant are offered within a 1, 2 and 3 year $0 educational services to with NAST Standards for basis. As such, it is possible for support its educational demonstrated responsible service any student to fulfill the programs, or to its programming and major requirements for their chosen demonstrate that any requirements. This is published in course of study in Theatre within cooperative or contracted our yearly catalog. four years. coursework or educational services are provided by an outside institution or organization having accreditation as an entity by a nationally recognized accrediting agency.

92  3. Letter from External Consultant on Possibilities of NAST Accreditation 

93  E. Evidence of Production accomplishments during review period 1. Performance reviews 2. Planning Calendars 3. Season Brochure 4. RMTA Materials

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