Course Outline Moorpark - THA M04

Total Page:16

File Type:pdf, Size:1020Kb

Course Outline Moorpark - THA M04 Course Outline moorpark - THA M04 I. CATALOG INFORMATION A. Discipline: THEATRE B. Subject Code and Number: THA M04 C. Course Title: History of the Theatre D. Credit Course units: Units: 3 Lecture Hours per week: 3 Lab Hours per week : 0 Variable Units : No E. Student Learning Hours: Lecture Hours: Classroom hours: 52.5 - 52.5 Laboratory/Activity Hours: Laboratory/Activity Hours 0 - 0 Total Combined Hours in a 17.5 week term: 52.5 - 52.5 F. Non-Credit Course hours per week G. May be taken a total of: X 1 2 3 4 time(s) for credit H. Is the course co-designated (same as) another course: No X Yes If YES, designate course Subject Code & Number: I. Course Description: Explores the major innovations, trends, works, and playwrights in historical theatrical movements from classical Greek and Roman theatre through the 17th century. Examines the social and political context of specific dramatic movements and the influences of theatre on society. J. Entrance Skills *Prerequisite: No X Yes Course(s) *Corequisite: No X Yes Course(s) Limitation on Enrollment: No X Yes Recommended Preparation: No X Yes Course(s) Other: No X Yes file:///E/Courses/THA%20M04%205226%20(Outline%20Update,%20Fall%202018).htm[4/23/2019 3:56:48 PM] Course Outline moorpark - THA M04 K. Other Catalog Information: Course Credit Limitations: Credit will not be awarded for both the honors and regular versions of a course. Credit will be awarded only for the first course completed with a grade of “C” or better or “P”. Honors Program requires a letter grade. C-ID: THTR 113 II. COURSE OBJECTIVES Upon successful completion of the course, a student will be able to: Methods of evaluation will be consistent with, but not limited by, the following types or examples. Quizzes demonstrate basic knowledge of the physical theatre, dramatic Tests 1 literature, and dramatic theory of the major periods of theatrical Class discussions on history, and theatre's relationship to other parts of society. required vocabulary and terminology Quizzes discern the relationship of historical, artistic, social, and Tests philosophical environments as they relate to major changes in 2 Class discussions on the form and content of theatre and evaluate their impact on required vocabulary and culture and society. terminology Instructor will evaluate a utilize dramatic criticism from various sources to analyze written comparative critical 3 exemplary pieces of dramatic literature to explore the world view analysis using an presented by the playwrights in each play. appropriate rubric Quizzes and tests on identify and differentiate between the characteristics of the major major theatrical movements, 4 theatrical movements from the Greeks through the 17th century. vocabulary, and historical terminology Quizzes and tests on compile evidence illustrating how the relationship between the major theatrical movements, 5 audience and theatre artist has changed over time. vocabulary, and historical terminology Quizzes demonstrate the ability to define basic terms of theatre history Tests 6 and dramatic criticism and apply these to analysis of a live Class discussions on production. required vocabulary and terminology file:///E/Courses/THA%20M04%205226%20(Outline%20Update,%20Fall%202018).htm[4/23/2019 3:56:48 PM] Course Outline moorpark - THA M04 Quizzes Tests name influential plays and playwrights from the Golden Age of 7 Class discussions on Greek Drama to the 17th century. required vocabulary and terminology III. COURSE CONTENT Learning Estimated % Topic Outcomes Lecture (must total 100%) The Origins of the Theatre as Ritual 1, 2, 3, 5, 15.00% --The Ritual and Mythology of Ancient Egypt and Asia 6, 7 Greek, Roman and Byzantine Drama 1, 2, 3, 5, 25.00% --The Evolution of Theatrical Art from Ritual 6, 7 Drama of the Middle Ages 1, 2, 3, 5, 10.00% --Liturgical Drama and Morality Plays 6 The Italian Renaissance, Elizabethan Drama, and Early Humanism (including Shakespeare) 1, 2, 3, 5, 25.00% --Analysis of texts 6, 7 --Development of the theatrical space --Cultural development of specific theatrical practices Neo-classicism, 18th Century British Drama, and French Theatre --Analysis of texts 1, 2, 3, 4, 15.00% --Development of the theatrical space 5, 6 --Cultural development of specific theatrical practices The Restoration Theatre: Theatrical Traditions of Seventeeth and Eighteenth Century England 1, 2, 3, 4, 10.00% --Analysis of texts 5, 6 --Development of the theatrical space --Cultural development of specific theatrical practices IV. TYPICAL ASSIGNMENTS A. Writing assignments Writing assignments are required. Possible assignments may include, but are not limited to: one research paper based on topics such as the characteristics of the major theatrical 1 movements from the Greeks through the 17th century. 2 critique of a live performance based on dramatic criticisms covered in class. 3 one research paper based on topics discussed prior to the mid-term. B. Appropriate outside assignments Appropriate outside assignments are required. Possible assignments may include, but are not limited to: attend a professional, live theatre event in order to analyze the production using the 1 basic terms of theatre history and dramatic criticism. complete reading assignments in the required text and in recommended books, plays 2 and articles. C. Critical thinking assignments file:///E/Courses/THA%20M04%205226%20(Outline%20Update,%20Fall%202018).htm[4/23/2019 3:56:48 PM] Course Outline moorpark - THA M04 Critical thinking assignments are required. Possible assignments may include, but are not limited to: 1 compare/contrast modern productions of classic plays. research and write a paper on a major movement in classical theatre (e.g., the Golden 2 Age of Greek Drama). participate in group or individual oral presentations on historical, social and/or political 3 movements started in the theatre. V. METHODS OF INSTRUCTION Methods of instruction may include, but are not limited to: X Distance Education – When any portion of class contact hours is replaced by distance education delivery mode (Complete DE Addendum, Section XV) X Lecture/Discussion X Laboratory/Activity X Other (Specify) Instructor will use video and still images to enhance lectures on theatrical periods and styles. X Optional Field Trips Required Field Trips VI. METHODS OF EVALUATION Methods of evaluation may include, but are not limited to: X Essay Exam X Classroom Skill Demonstration Discussion Problem Solving X Reports/Papers/ X Participation Exam Journals X Objective Exams X Projects X Other (specify) Instructor will utilize appropriate rubrics for research papers and play analyzes. VII. REPRESENTATIVE TEXTS AND OTHER COURSE MATERIALS Brockett, Oscar G., and Franklin J. Hildy. History of the Theatre. 11th ed. Pearson, 2013. Hartnoll, Phyllis, and Enoch Brater. The Theatre: A Concise History. 4th ed. Thames and Hudson, 2012. Wilson, Edwin, and Alvin Goldfarb. Living Theatre: A History of the Theatre. 7th ed. Norton, 2018. Wilson, Edwin, and Alvin Goldfarb. Theatre: The Lively Art. 9th ed. McGraw-Hill Education, 2016. file:///E/Courses/THA%20M04%205226%20(Outline%20Update,%20Fall%202018).htm[4/23/2019 3:56:48 PM] Course Outline moorpark - THA M04 VIII. STUDENT MATERIALS FEES X No Yes IX. PARALLEL COURSES College Course Number Course Title Units Saddleback TA 25 Theatre History: Primitive to Renaissance 3 College Saddleback TA 26 Theatre History: Renaissance to Contemporary 3 College LA City College THEATER 110 History of the World Theater 3 LA Pierce College THEATER 110 History of World Theater 3 CSU Fresno DRAMA 62 Theatre Today 3 CSU Long Beach THEA 221 History of Theatre and Drama to 1660 3 Cal Poly Pomona TH 203 Introduction to the Theatre 4 CSU Fullerton THTR 200 Art of the Theatre 3 CSU Northridge TH 222 Mapping World Theatre and Drama 3 X. MINIMUM QUALIFICATIONS Courses Requiring a Masters Degree: Master's degree or Master of Fine Arts in drama/theater arts/performance OR Bachelor’s in drama/theater/performance AND Master’s in comparative literature, English, speech, literature, or humanities OR the equivalent. XI. ARTICULATION INFORMATION A. Title V Course Classification: 1. This course is designed to be taken either: Pass/No Pass only (no letter grade possible); or X Letter grade (P/NP possible at student option) 2. Degree status: Either X Associate Degree Applicable; or Non-associate Degree Applicable B. Moorpark College General Education: 1. Do you recommend this course for inclusion on the Associate Degree General Education list? Yes: X No: If YES, what section(s)? A1 - Natural Sciences - Biological Science A2 - Natural Sciences - Physical Science B1 - Social and Behavioral Sciences - American History/Institutions B2 - Social and Behavioral Sciences - Other Social Behavioral Science X C1 - Humanities - Fine or Performing Arts C2 - Humanities - Other Humanities D1 - Language and Rationality - English Composition D2 - Language and Rationality - Communication and Analytical Thinking E1 - Health/Physical Education E2 - PE or Dance F - Ethnic/Gender Studies file:///E/Courses/THA%20M04%205226%20(Outline%20Update,%20Fall%202018).htm[4/23/2019 3:56:48 PM] Course Outline moorpark - THA M04 C. California State University(CSU) Articulation: 1. Do you recommend this course for transfer credit to CSU? Yes: X No: 2. If YES do you recommend this course for inclusion on the CSU General Education list? Yes: X No: If YES, which area(s)? A1 A2 A3 B1 B2 B3 B4 C1 X C2 D1 D2 D3 D4 D5 D6 D7 D8 D9 D10 E D. University of California (UC) Articulation: 1. Do you recommend this course
Recommended publications
  • Conservation Management Plan for the National Theatre Haworth Tompkins
    Conservation Management Plan For The National Theatre Final Draft December 2008 Haworth Tompkins Conservation Management Plan for the National Theatre Final Draft - December 2008 Haworth Tompkins Ltd 19-20 Great Sutton Street London EC1V 0DR Front Cover: Haworth Tompkins Ltd 2008 Theatre Square entrance, winter - HTL 2008 Foreword When, in December 2007, Time Out magazine celebrated the National Theatre as one of the seven wonders of London, a significant moment in the rising popularity of the building had occurred. Over the decades since its opening in 1976, Denys Lasdun’s building, listed Grade II* in 1994. has come to be seen as a London landmark, and a favourite of theatre-goers. The building has served the NT company well. The innovations of its founders and architect – the ampleness of the foyers, the idea that theatre doesn’t start or finish with the rise and fall of the curtain – have been triumphantly borne out. With its Southbank neighbours to the west of Waterloo Bridge, the NT was an early inhabitant of an area that, thirty years later, has become one of the world’s major cultural quarters. The river walk from the Eye to the Design Museum now teems with life - and, as they pass the National, we do our best to encourage them in. The Travelex £10 seasons and now Sunday opening bear out the theatre’s 1976 slogan, “The New National Theatre is Yours”. Greatly helped by the Arts Council, the NT has looked after the building, with a major refurbishment in the nineties, and a yearly spend of some £2million on fabric, infrastructure and equipment.
    [Show full text]
  • Thailands Beaches and Islands
    EYEWITNESS TRAVEL THAILAND’S BEACHES & ISLANDS BEACHES • WATER SPORTS RAINFORESTS • TEMPLES FESTIVALS • WILDLIFE SCUBA DIVING • NATIONAL PARKS MARKETS • RESTAURANTS • HOTELS THE GUIDES THAT SHOW YOU WHAT OTHERS ONLY TELL YOU EYEWITNESS TRAVEL THAILAND’S BEACHES AND ISLANDS EYEWITNESS TRAVEL THAILAND’S BEACHES AND ISLANDS MANAGING EDITOR Aruna Ghose SENIOR EDITORIAL MANAGER Savitha Kumar SENIOR DESIGN MANAGER Priyanka Thakur PROJECT DESIGNER Amisha Gupta EDITORS Smita Khanna Bajaj, Diya Kohli DESIGNER Shruti Bahl SENIOR CARTOGRAPHER Suresh Kumar Longtail tour boats at idyllic Hat CARTOGRAPHER Jasneet Arora Tham Phra Nang, Krabi DTP DESIGNERS Azeem Siddique, Rakesh Pal SENIOR PICTURE RESEARCH COORDINATOR Taiyaba Khatoon PICTURE RESEARCHER Sumita Khatwani CONTRIBUTORS Andrew Forbes, David Henley, Peter Holmshaw CONTENTS PHOTOGRAPHER David Henley HOW TO USE THIS ILLUSTRATORS Surat Kumar Mantoo, Arun Pottirayil GUIDE 6 Reproduced in Singapore by Colourscan Printed and bound by L. Rex Printing Company Limited, China First American Edition, 2010 INTRODUCING 10 11 12 13 10 9 8 7 6 5 4 3 2 1 THAILAND’S Published in the United States by Dorling Kindersley Publishing, Inc., BEACHES AND 375 Hudson Street, New York 10014 ISLANDS Copyright © 2010, Dorling Kindersley Limited, London A Penguin Company DISCOVERING ALL RIGHTS RESERVED UNDER INTERNATIONAL AND PAN-AMERICAN COPYRIGHT CONVENTIONS. NO PART OF THIS PUBLICATION MAY BE REPRODUCED, STORED IN THAILAND’S BEACHES A RETRIEVAL SYSTEM, OR TRANSMITTED IN ANY FORM OR BY ANY MEANS, AND ISLANDS 10 ELECTRONIC, MECHANICAL, PHOTOCOPYING, RECORDING OR OTHERWISE WITHOUT THE PRIOR WRITTEN PERMISSION OF THE COPYRIGHT OWNER. Published in Great Britain by Dorling Kindersley Limited. PUTTING THAILAND’S A CATALOGING IN PUBLICATION RECORD IS BEACHES AND ISLANDS AVAILABLE FROM THE LIBRARY OF CONGRESS.
    [Show full text]
  • The Rhetoric of Masculinity and Machismo in the Telugu Film Industry
    TAMING OF THE SHREW: THE RHETORIC OF MASCULINITY AND MACHISMO IN THE TELUGU FILM INDUSTRY By Vishnupriya Bhandaram Submitted to Central European University Department of Sociology and Social Anthropology In partial fulfillment of the requirements for the degree of Master of Arts Supervisors: Vlad Naumescu Dorit Geva CEU eTD Collection Budapest, Hungary 2015 Abstract Common phrases around the discussion of the Telugu Film Industry are that it is sexist and male-centric. This thesis expounds upon the making and meaning of masculinity in the Telugu Film Industry. This thesis identifies and examines the various intangible mechanisms, processes and ideologies that legitimise gender inequality in the industry. By extending the framework of the inequality regimes in the workplace (Acker 2006), gendered organisation theory (Williams et. al 2012) to an informal and creative industry, this thesis establishes the cyclical perpetuation (Bourdieu 2001) of a gender order. Specifically, this research identifies the various ideologies (such as caste and tradition), habituated audiences, and portrayals of ideal masculinity as part of a feedback loop that abet, reify and reproduce gender inequality. CEU eTD Collection i Acknowledgements “It is not that there is no difference between men and women; it is how much difference that difference makes, and how we choose to frame it.” Siri Hustvedt, The Summer Without Men At the outset, I would like to thank my friends old and new, who patiently listened to my rants, fulminations and insecurities; and for being agreeable towards the unreasonable demands that I made of them in the weeks running up to the completion of this document.
    [Show full text]
  • India's Trade Potential in Audio-Visual Services And
    WORKING PAPER NO. 81 INDIA’S TRADE POTENTIAL IN AUDIO-VISUAL SERVICES AND THE GATS ARPITA MUKHARJEE APRIL, 2002 INDIAN COUNCIL FOR RESEARCH ON INTERNATIONAL ECONOMIC RELATIONS Core-6A, 4th Floor, India Habitat Centre, Lodi Road, New Delhi-110 003 Contents Abbreviations....................................................................................................................... i Foreword............................................................................................................................iii Introduction ........................................................................................................................ 1 Coverage of the Sector........................................................................................................ 2 Objectives and Structure..................................................................................................... 2 1. An Overview ............................................................................................................. 3 1.1 Recent worldwide developments in audio-visual services ...................................................... 3 1.2 Audio-visual services in India............................................................................................... 19 2. Domestic and External Constraints......................................................................... 37 2.1 Domestic constraints ............................................................................................................. 37 2.2 External
    [Show full text]
  • 'Death of a Salesman' by Arthur Miller
    ‘Death of a Salesman’ by Arthur Miller - A2 Revision Booklet Name: ___________________ Plot Summary Death of a Salesman takes place in and around the Brooklyn house of Willy Loman, a salesman who has traveled for more than 30 years up and down the New England coast. The action is confined within a 24- hour period, from Monday night to late Tuesday evening, much of it reflecting the tragic turmoil of Willy’s mind. A requiem concludes the play, an epilogue at the funeral of the salesman. The story is told through a complex montage of scenes interlocking the present with past events - memories, imagined moments, and flashbacks from the life of Willy Loman. At 63, Willy Loman, a traveling salesman all his life, is becoming increasingly worried about his ability to make ends meet. Although his house is nearly paid for, and his sons are on their own, lately each sales trip is more exhausting and less satisfying. He feels drained and is losing his grip on his own existence: “I’m tired to the death” he tells his wife, Linda. Their older son, Biff, estranged from his father for years, has moved away and has been drifting across the country: “I’ve had twenty or thirty different jobs since I left home before the war.” Happy, his younger brother, stayed in New York and has his own place. He works in a warehouse and pursues his dream: ”My own apartment, a car, and plenty of women.” For the moment the two brothers are back home, visiting their parents. From the bedroom they used to share as boys, they overhear their parents and also talk about their own lives.
    [Show full text]
  • AS/A2 THEATRE STUDIES Developing Skills As an Actor As Well As
    Awarding body Edexcel AS/A2 THEATRE STUDIES AS Level units • Unit 1 – Exploration of two texts AS/A2 • Unit 2 – Performance unit Theatre Developing skills as an actor as well as Studies improving your communication skills, A2 Level units • Unit 3 – Devising original theatre • Unit 4 – Written paper on context in confidence and team working performance Minimum • GCSE Drama, grade B, or recent practical Why choose Theatre Studies? requirement for performance. “I shall really Theatre Studies isn’t just about learning to be an actor. Although personal performance entry onto the course • GCSE English Literature, grade B miss the teamwork plays a part, the transferable skills that you will acquire in this subject will help you to prepare for any careers. Understanding performance and the theatre will improve A Level results 100% A*-E, 86% A*-B and practical your ability to communicate ideas, to be confident, and work successfully in a team, as for 2013 exploration of well as giving you skills in independent research and preparation. texts.” The AS and A2 course will take you on a journey through everything that makes the theatre great – from understanding texts through to set, lighting and costume design and, of course, performance techniques. You’ll learn about and perform works by some of the leading writers and combine all of this with regular trips to live drama and contribution to performances at the College. “This course has Learning styles are friendly and approachable – combining hard work with improvisation, interpretation and lots of fun. Working as part of a team is a crucial part of the course, standing all students in good stead, whatever their really helped my ultimate career.
    [Show full text]
  • A Doll's House, Part 2
    Buy Tickets Now HangarTheatre.org · 607.273.ARTS (2787) COMING UP NEXT Premier Sponsor Performances Thurs-Sat, HANGAR THEATRE COMPANY PRESENTS at 10am and Noon The Hangar’s Next Generation School of Theatre’s Production of: BY Lucas Hnath AUGUST 2–11, 2018 Scenic Design Costume Design Lighting Design Sound Design Steve TenEyck† Olivera Gajic† Steve TenEyck† Joshua Maywood December 1-23 Casting Director Production Stage Manager Production Manager Production Dramaturg August 9-11 Michael Cassara Jennifer Schilansky* Adam Zonder Walter Byongsok Chon by Lynn Ahrens and Stephen Flaherty AUGUST 16-SEPTEMBER 1 20% OFF WITH COUPON CODE: [HUMBUG] Directed by DISCOUNT VALID NOW THROUGH 8/31. Michael Barakiva+ HANGARTHEATRE.ORG SAVE THE DATE! Bet Your Bottom Dollar FUNdraiser 10.13.2018 Join us for our Prologue series before each and every Mainstage performance this season! Meet in the Northwest lobby 45 minutes before curtain for a casual pre-show conversation that provides unique insights into each production. SPECIAL THANKS Originally produced on Broadway by Scott Rudin, Eli Bush, Joey Parnes, Sue Wagner, and John Johnson. Commissioned and first produced by South Coast Repertory. A DOLL’S HOUSE, PART 2 is Agava presented by special arrangement with Dramatists Play Service, Inc., New York. Ithaca College Department of Theatre Geva Theatre Tom Basher and the Ithaca Fire Department Partners in Flight Classic Optical of Ithaca Cinemapolis * Member of Actor’s Equity † USA - Member of United Association, the Union of Scenic Artists Local 829. Crown Construction Professional Actors and Stage Managers in the United States. Partner in the Arts Tell us about your experience & share it with friends SOCIAL + @HangarTheatre † SUSANNAH BERRYMAN* (Anne Marie) has been a mem- STEVE TENEYCK (Scenic and Lighting Designer) is pleased to return to the ber of Ithaca’s theatre community since 1980.
    [Show full text]
  • Visual and Performing Arts Framework-Complete
    Visual and Performing Arts Framework for California Public Schools • Kindergarten Through Grade Twelve Adopted by the California State Board of Education Published by the California Department of Education Sacramento, 2004 Visual and Performing Arts Framework for California Public Schools Kindergarten Through Grade Twelve Developed by the Curriculum Development and Supplemental Materials Commission Adopted by the California State Board of Education Published by the California Department of Education ii Publishing Information When the Visual and Performing Arts Framework for California Public Schools, Kindergarten Through Grade Twelve was adopted by the California State Board of Education on January 7, 2004, the members of the State Board were as follows: Reed Hastings, President; Joe Nuñez, Vice President; Robert Abernethy; Donald G. Fisher; Nancy Ichinaga; and Suzanne Tacheny. The framework was developed by the Curriculum Development and Supplemental Materials Commission. (See pages vii–ix for the names of the members of the commission and the names of the principal writer and others who made significant contributions to the framework.) This publication was edited by Edward O’Malley, working in cooperation with Director Thomas Adams, Administrator Don Kairott, and consultants Christopher Dowell, Martha Rowland, and Mary Sprague, Curriculum Frameworks and Instructional Resources Division; and consultants Nancy Carr and Don Doyle, Professional Development and Curriculum Support Division, California Department of Education. The framework was designed and prepared for printing by the staff of CDE Press, with the cover designed by Paul Lee and the interior design created and prepared by Paul Lee and Cheryl McDonald. Typesetting was done by Jeannette Reyes. The framework was published by the Department of Education, 1430 N Street, Sacramento, CA 95814-5901.
    [Show full text]
  • Scenography International ISSUE 1 – NEW DEPARTURES Patent No 1771 Gordon Craig and 'Improvements in Stage Scenery', 1910.1 Ch
    ISSUE 1 – NEW DEPARTURES Patent No 1771 Gordon Craig and 'Improvements in Stage Scenery', 1910.1 Christopher Baugh, Gavin Carver and Cat Fergusson for KIDDS.2 Within a context where computing power has assisted the theatrical industry in finding ways to commodify and replicate the scenography of performance, the trade union, Equity, and the Society of British Theatre Designers have quite properly concerned themselves in recent years with issues concerning the copyright status of designers' work. But to articulate the identity, originality and ownership of a scenographic concept through the legal route of patent protection would be considered an inappropriate, if not bizarre, idea. It is a common impression of Gordon Craig that he was secretive, almost to the point of paranoia, about theft by other designers and directors of his ideas. It may be, therefore, that his quest for ownership of his ideas through legal channels confirms this view. Many have tried to account for the work of Craig through an understanding of his psychology - none more thoroughly than the famous chapter by Simonson that dismisses his work.3 It is not our aim to attempt a re-appraisal of Craig's state of mind when he sought this action, but the historical context should not be overlooked. Craig was just 38 years old when he submitted his patent application. He was at the height of his artistic power, and was close to achieving the recognition, and opportunities for the implementation and consolidation of his ideas that he sought. In addition to seminal writing, two of the most important 'art' theatres of Europe (in Moscow and in Dublin) were actively seeking his collaboration; his radical vision was being recognised internationally and, through exhibitions, his name would begin to be linked with that of Adolphe Appia as theatrical co-founder of scenographic modernism.
    [Show full text]
  • Theatre Arts 2020-2021 AVC College Catalog
    358 Theatre Arts 2020-2021 AVC College Catalog Definition Theatre has been a powerful medium of human expression and exploration for thousands of years, offering its community Distinctive Features a deeper understanding of itself, both as a collective and Departmental productions are integrated into all course studies as individuals, through a synthesis of entertainment and and are used as practical examples of the theory and practice instruction. A background in the Theatre Arts offers students covered in each course. The program is performance oriented the opportunity to develop a powerful insight into the nature of with many opportunities for students and community members human relationships and interpersonal dynamics. Theatre Arts to participate in public performances of shows. Our theater for students develop intense imaginations, become keen observers, young audiences program, for example, generally performs each and generate valuable insights into the complexities of human year for over 7,000 audience members. Course offerings fall into nature. three groupings: introduction to theater history/theory, dramatic literature, and practical courses in acting, directing, playwriting and technical theater. Staff To access faculty and staff, dial (661) 722-6300, then the 4-digit extension. Career Options Dean: Acting in Theater, Film and Television Duane Rumsey ext. 6385 Agent for Theater, Film and Television Administrative Assistant: Arts Management Tangie Hunter ext. 6385 Broadcast Technology Clerical Assistant III: Box Office Sales position vacant ext. 6385 Camera Operator Department Chair: Casting Agent Nate Dillon ext. 6271 Crew Heads: Props, Costumes Faculty: Director for Theater, Film and Television Jonet Leighton ext. 6393 Entertainer Eugenie Trow ext. 6425 Instructor Adjunct Faculty: Journalism To access adjunct faculty voice mail, dial (661) 722-6300, then the Lighting Designer 4-digit number.
    [Show full text]
  • The Wild Party Music, Lyrics, and Book by ANDREW LIPPA
    MUSICAL THEATRE LIZA GENNARO, ASSOCIATE DEAN AND DIRECTOR The Wild Party Music, Lyrics, and Book by ANDREW LIPPA Based on the Poem by Joseph Moncure March Partially developed and received readings at the O’Neill Theater Center during the 1997 National Music Theatre Conference Originally produced in New York City by the Manhattan Theatre Club Chloe Treat, Director and Choreographer Dan Garmon, Music Director Friday, February 21, 2020 | 7:30 PM Saturday, February 22, 2020 | 7:30 PM Sunday, February 23, 2020 | 2:30 PM The Riverside Theatre Friday, February 21, 2020 | 7:30 PM THE CAST Saturday, February 22, 2020 | 7:30 PM Sunday, February 23, 2020 | 2:30 PM Black Samuel Dickin The Riverside Theatre Burrs Steven Martella Dolores Sofia Faus Eddie Austin Prebula Kate Christa Steiner The Wild Party Madelaine True Mary Kate Petsky Music, Lyrics, and Book by ANDREW LIPPA Mae Cat Tron Sam Sam Johns Based on the poem by Joseph Moncure March Oscar D’Armano Zane Zapata Phil D’Armano Pantelis Karastamatis Partially developed and received readings at the O’Neill Theater Desi Miller Center during the 1997 National Music Theatre Conference Queenie Nadine Libby Johnston Daniel Lawrence Originally produced in New York City by the High Tenor Manhattan Theatre Club Jackie Ryan Spataro Chloe Treat, Director & Choreographer ENSEMBLE Dan Garmon, Music Director TaylorRae Carter Willie Beaton Hana Culbreath Liam Collins Megan P. G. Kolpin, Set and Props Coordinator Sarah Denison Daniel Lawrence Fan Zhang, Costume Coordinator Jessica Morilak Robert Leaks Oliver Wason, Lighting Designer Scott Stauffer, Sound Designer Savannah Sinclair Joey Miceli Olivia Mancini, Production Stage Manager Kristin Vario Andrew Morgan Tinc Productions, Production Management Alysia Velez There will be one ten-minute intermission.
    [Show full text]
  • Gce English Literature Starting Points – Shakespearean Genres
    FACTFILE: GCE ENGLISH LITERATURE STARTING POINTS – SHAKESPEAREAN GENRES Shakespearean Genres In this Unit there are 5 Assessment Objectives involved – AO1, AO2, AO3, A04 and AO5. AO1: Textual Knowledge and understanding, and communication In this examination, the candidate should be able to articulate informed and relevant responses that communicate effectively knowledge and understanding of the selected play. This AO involves the student’s knowledge and understanding of the play, and ability to express relevant ideas accurately and coherently in a form appropriate to literary studies. Specialist vocabulary should be used where necessary and appropriate. Quality of written communication is taken into consideration in all units. AO2: Dramatic methods In this examination, the candidate should analyse Shakespeare’s use of such dramatic methods as characterisation, structure, language and staging. The student should analyse relevantly the ways in which meanings are shaped in drama. This means identifying dramatic methods and showing how these methods relate to the key terms of the question. Discussing dramatic methods - advice to teachers and students: In this unit, equal marks are available for the candidate’s treatment of the extract and other relevant parts of the text. As the unit is closed book, examiners will be realistic about the amount of detail from the wider text which can be provided in the time available. Every play has its memorable phrases which come to mind when writing, but it is anticipated that the larger-scale features of characterisation, structure, language and staging will be useful in constructing a relevant response in the time available. The student will, however, be expected to respond in a more detailed fashion to the use of language and dramatic methods within the given extract.
    [Show full text]