DOCSLIB.ORG

FOUR YEAR PLAN | THEATRE: MUSICAL THEATRE This Is a Sample 4-Year Plan

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
FOUR YEAR PLAN | THEATRE: MUSICAL THEATRE This Is a Sample 4-Year Plan FOUR YEAR PLAN | THEATRE: MUSICAL THEATRE This is a sample 4-year plan. Students are required to meet with their Academic Advisor each semester. YEAR ONE FALL SEMESTER SPRING SEMESTER Course # Course Name Units Course # Course Name Units THEA 107 Acting I 3 THEA/KINE 133C Musical Theatre Dance I 1 THEA 200C Intro to Theatre 3 SOCI 100C/ANTH 102C/ PSYC Intro to Sociology/Cultural Anthropology/ 3 THEA 134 Musical Literacy for Theatre 2 103C General Psychology CORE 100C Cornerstone 1 NT 101C New Testament Survey 3 THEA 110/106/116 Beginning Costume/Set/Scenic Construction 1 THEA 244 Beginning Musical Theatre Audition 3 ENGL 120C Persuasive Writing 3 THEA 135 Beginning Theatre Movement 2 MUSI 101 OR 102 Basic Voice 1 THEO 101C/103C Foundations of Christian Life/Intro to Theology 3 MUSI 100 Recital Attendance 0 THEA 108A Theatrical Production I 1 THEA 108B Theatrical Production I 1 THEA 132A Theatrical Performance I (if cast) 1-2 THEA 132B Theatrical Performance I (if cast) 1-2 TOTAL 16-18 TOTAL 15-17 YEAR TWO FALL SEMESTER SPRING SEMESTER Course # Course Name Units Course # Course Name Units THEA 320 Lighting Design (must be taken this semester) 3 THEA 309 Costume Design 3 THEA 202C History of Theatre I 3 THEA 207 Acting II 3 OT 201C Old Testament Survey 3 THEA 204C History of Theatre II 3 THEA 239 Makeup Design 3 THEA 344 Intermediate Musical Theatre Audition 3 THEA/KINE 433 Musical Theatre Dance II 1 THEA 208 B Theatrical Production II 1 THEA 220 Musical Theatre Vocal Technique 3 THEA 232 B Theatrical Performance II (if cast) THEA 208 A Theatrical Production II 1 1-2 + Elective THEA 232A Theatrical Performance II 1-2 Dance Class at OCC or Private Dance elective option 1 TOTAL 17-18 TOTAL 16-18 YEAR THREE FALL SEMESTER SPRING SEMESTER Course # Course Name Units Course # Course Name Units THEA 315 Scenic Design (must be taken this semester) 3 THEO 300 Developing a Christian Worldview 3 THEA 360 Dramatic Literature: Script Analysis or Elective 3 ENGL 220 Research Writing 3 POLS 155/HIST 156C U.S. Government/U.S. History 3 THEA 324 Theory & Criticism 3 THEA 307 Acting III 3 THEA 339 Industry Insiders 3 SOC/ANTH/PSYCH Intro to Soc/Cult Anthro/Gen Psych 3 THEA/KINE 338C Stage Combat or Elective 2 THEA 308A/THEA 386 Theatrical Production III/Junior Project 1 KINE 145C Lifetime Fitnes & Wellness 1 THEA 317/306/316 Intermediate Costume/Set Construction/Scenic Painting 1 THEA 332A Theatrical Performance III (if cast) 1-2 THEA 308B/ 386 Theatrical Production III or Junior Project 1 Dance class at OCC or Private Dance elective option 1 THEA 332B Theatrical Performance III (if cast) 1-2 TOTAL 17-18 TOTAL 17-18 YEAR FOUR FALL SEMESTER SPRING SEMESTER Course # Course Name Units Course # Course Name Units THEA 450 Theatre Internship 2 THEA 495C Senior Project: Capstone 2 CHIS 400C/HIST 203C/204C Christian Heritage/World Civ I or II 3 Lab Science 4 ENGL 230C Literary Perspectives 3 THEA 343 Character Acting For Theatre or Elective 3 HIST 203C/204C/CHIS 400C COMM 201C Speech Composition & Presentation 3 World Civ I or II/Christian Heritage 3 MATH 145C/SOCI 265C Data Analysis/Intro to Statistics 3 THEA 442 Playwriting or Elective 3 THEA 408A Theatrical Production IV 1 THEA 408B Theatrical Production IV 1 THEA 432A Theatrical Performance IV (if cast) 1-2 THEA 423B Theatrical Performance IV (if cast) 1-2 Dance class at OCC or Private Dance Elective Option Dance class at OCC or Private Dance Elective option 1 1 TOTAL 16-18 TOTAL 17-18.
Load more

Recommended publications
  • Musical Theatre Performance
    REQUIREMENTS FOR THE BACHELOR OF FINE ARTS IN MUSICAL THEATRE WEITZENHOFFER FAMILY COLLEGE OF FINE ARTS THE UNIVERSITY OF OKLAHOMA CREDIT HOURS AND GRADE AVERAGES REQUIRED Musical Theatre For Students Entering the Total Credit Hours . 120-130 Performance Oklahoma State System Minimum Overall Grade Point Average . 2.50 for Higher Education Minimum Grade Point Average in OU Work . 2.50 B737 Summer 2014 through A grade of C or better is required in all courses taken within the College of Fine Arts. Bachelor of Fine Arts Spring 2015 Bachelor’s degrees require a minimum of 40 hours of upper-division (3000-4000) coursework. in Musical Theatre OU encourages students to complete at least 32-35 hours of applicable coursework each year to have the opportunity to graduate in four years. Audition is required for admission to the degree program. General Education Requirements (34-44 hours) Hours Major Requirements (86 hours) Core I: Symbolic and Oral Communication Musical Theatre Performance (14 hours) Musical Theatre Support (14 hours) ENGL 1113, Principles of English Composition 3 MTHR 2122, Auditions 2 MTHR 3143, History of American 3 ENGL 1213, Principles of English Composition, or 3 MTHR 3142, Song Study I 2 Musical Theatre (Core IV) EXPO 1213, Expository Writing MTHR 3152, Song Study II 2 MTHR 4183, Capstone Experience 3 MTHR 3162, Repertoire 2 (Core V) Foreign Language—this requirement is not mandatory if the 0-10 MTHR 3172, Roles 2 Musical Theatre Electives (six of these 8 student successfully completed 2 years of the same foreign MTHR 3182, Musical Scenes I 2 eight hours must be upper-division) language in high school.
    [Show full text]
  • The Creative Choreography for Nang Yai (Thai Traditional Shadow Puppet Theatre) Ramakien, Wat Ban Don, Rayong Province
    Fine Arts International Journal, Srinakharinwirot University Vol.14 issue 2 July - December 2010 The Creative Choreography for Nang Yai (Thai traditional shadow puppet theatre) Ramakien, Wat Ban Don, Rayong Province Sun Tawalwongsri Abstract This paper aims at studying Nang Yai performances and how to create modernized choreography techniques for Nang Yai by using Wat Ban Don dance troupes. As Nang Yai always depicts Ramakien stories from the Indian Ramayana epic, this piece will also be about a Ramayana story, performed with innovative techniques—choreography, narrative, manipulation, and dance movement. The creation of this show also emphasizes on exploring and finding methods of broader techniques, styles, and materials that can be used in the production of Nang Yai for its development and survival in modern times. Keywords: NangYai, Thai traditional shadow puppet theatre, Choreography, Performing arts Introduction narration and dialogues, dance and performing art Nang Yai or Thai traditional shadow in the maneuver of the puppets along with musical puppet theatre, the oldest theatrical art in Thailand, art—the live music accompanying the shows. is an ancient form of storytelling and entertainment Shadow performance with puppets made using opaque, often articulated figures in front of from animal hide is a form of world an illuminated backdrop to create the illusion of entertainment that can be traced back to ancient moving images. Such performance is a combination times, and is believed to be approximately 2,000 of dance and puppetry, including songs and chants, years old, having been evolved through much reflections, poems about local events or current adjustment and change over time.
    [Show full text]
  • Types & Forms of Theatres
    THEATRE PROJECTS 1 Credit: Scott Frances Scott Credit: Types & Forms of Theatres THEATRE PROJECTS 2 Contents Types and forms of theatres 3 Spaces for drama 4 Small drama theatres 4 Arena 4 Thrust 5 Endstage 5 Flexible theatres 6 Environmental theatre 6 Promenade theatre 6 Black box theatre 7 Studio theatre 7 Courtyard theatre 8 Large drama theatres 9 Proscenium theatre 9 Thrust and open stage 10 Spaces for acoustic music (unamplified) 11 Recital hall 11 Concert halls 12 Shoebox concert hall 12 Vineyard concert hall, surround hall 13 Spaces for opera and dance 14 Opera house 14 Dance theatre 15 Spaces for multiple uses 16 Multipurpose theatre 16 Multiform theatre 17 Spaces for entertainment 18 Multi-use commercial theatre 18 Showroom 19 Spaces for media interaction 20 Spaces for meeting and worship 21 Conference center 21 House of worship 21 Spaces for teaching 22 Single-purpose spaces 22 Instructional spaces 22 Stage technology 22 THEATRE PROJECTS 3 Credit: Anton Grassl on behalf of Wilson Architects At the very core of human nature is an instinct to musicals, ballet, modern dance, spoken word, circus, gather together with one another and share our or any activity where an artist communicates with an experiences and perspectives—to tell and hear stories. audience. How could any one kind of building work for And ever since the first humans huddled around a all these different types of performance? fire to share these stories, there has been theatre. As people evolved, so did the stories they told and There is no ideal theatre size. The scale of a theatre the settings where they told them.
    [Show full text]
  • A GLOSSARY of THEATRE TERMS © Peter D
    A GLOSSARY OF THEATRE TERMS © Peter D. Lathan 1996-1999 http://www.schoolshows.demon.co.uk/resources/technical/gloss1.htm Above the title In advertisements, when the performer's name appears before the title of the show or play. Reserved for the big stars! Amplifier Sound term. A piece of equipment which ampilifies or increases the sound captured by a microphone or replayed from record, CD or tape. Each loudspeaker needs a separate amplifier. Apron In a traditional theatre, the part of the stage which projects in front of the curtain. In many theatres this can be extended, sometimes by building out over the pit (qv). Assistant Director Assists the Director (qv) by taking notes on all moves and other decisions and keeping them together in one copy of the script (the Prompt Copy (qv)). In some companies this is done by the Stage Manager (qv), because there is no assistant. Assistant Stage Manager (ASM) Another name for stage crew (usually, in the professional theatre, also an understudy for one of the minor roles who is, in turn, also understudying a major role). The lowest rung on the professional theatre ladder. Auditorium The part of the theatre in which the audience sits. Also known as the House. Backing Flat A flat (qv) which stands behind a window or door in the set (qv). Banjo Not the musical instrument! A rail along which a curtain runs. Bar An aluminium pipe suspended over the stage on which lanterns are hung. Also the place where you will find actors after the show - the stage crew will still be working! Barn Door An arrangement of four metal leaves placed in front of the lenses of certain kinds of spotlight to control the shape of the light beam.
    [Show full text]
  • History of Theatre the Romans Continued Theatrical Thegreek AD (753 Roman Theatre fi Colosseum Inrome, Which Was Built Between Tradition
    History of theatre Ancient Greek theatre Medieval theatre (1000BC–146BC) (900s–1500s) The Ancient Greeks created After the Romans left Britain, theatre purpose-built theatres all but died out. It was reintroduced called amphitheatres. during the 10th century in the form Amphitheatres were usually of religious dramas, plays with morals cut into a hillside, with Roman theatre and ‘mystery’ plays performed in tiered seating surrounding (753BC–AD476) churches, and later outdoors. At a the stage in a semi-circle. time when church services were Most plays were based The Romans continued the Greek theatrical tradition. Their theatres resembled Greek conducted in Latin, plays were on myths and legends, designed to teach Christian stories and often involved a amphitheatres but were built on their own foundations and often enclosed on all sides. The and messages to people who could ‘chorus’ who commented not read. on the action. Actors Colosseum in Rome, which was built between wore masks and used AD72 and AD80, is an example of a traditional grandiose gestures. The Roman theatre. Theatrical events were huge works of famous Greek spectacles and could involve acrobatics, dancing, playwrights, such as fi ghting or a person or animal being killed on Sophocles, Aristophanes stage. Roman actors wore specifi c costumes to and Euripedes, are still represent different types of familiar characters. performed today. WORDS © CHRISTINA BAKER; ILLUSTRATIONS © ROGER WARHAM 2008 PHOTOCOPIABLE 1 www.scholastic.co.uk/junioredplus DECEMBER 2008 Commedia dell’Arte Kabuki theatre (1500s Italy) (1600s –today Japan) Japanese kabuki theatre is famous This form of Italian theatre became for its elaborate costumes and popular in the 16th and 17th centuries.
    [Show full text]
  • Course Outline
    Degree Applicable Glendale Community College October 2013 COURSE OUTLINE Theatre Arts 107 (C-ID Number: THTR 114) Drama Heritage: Play Structure, Form, and Analysis (C-ID Title: Script Analysis) I. Catalog Statement Theatre Arts 107 is a survey of dramatic literature from the classical to the contemporary periods from the structural, stage production, and analytical points of view. The course combines reading, analyzing and understanding play scripts with field trips to local theatres and in-class audio-visual presentations. The student examines the playwright’s methods of creating theatre and learns to distinguish between a play as literature versus a play as performance. Total Lecture Units: 3.0 Total Course Units: 3.0 Total Lecture Hours: 48.0 Total Faculty Contact Hours: 48.0 Prerequisite: None. Note: During the semester, students are expected to attend professional and Glendale Community College Theatre Arts Department productions as a part of the learning process. II. Course Entry Expectations Skill Level Ranges: Reading 5; Writing 5; Listening/Speaking 4; Math 1. III. Course Exit Standards Upon successful completion of the required coursework, the student will be able to: 1. identify representative plays and playwrights of each of the major periods and styles of dramatic literature; 2. demonstrate a respect and appreciation of plays and playwrights, their problems, techniques and relevance to social conditions of the past and present; 3. demonstrate this respect and appreciation through class participation and written assignments dealing with the comparing and contrasting of the various plays and playwrights under study; 4. identify the patterns common to most, if not all, dramatic storytelling.
    [Show full text]
  • History of Greek Theatre
    HISTORY OF GREEK THEATRE Several hundred years before the birth of Christ, a theatre flourished, which to you and I would seem strange, but, had it not been for this Grecian Theatre, we would not have our tradition-rich, living theatre today. The ancient Greek theatre marks the First Golden Age of Theatre. GREEK AMPHITHEATRE- carved from a hillside, and seating thousands, it faced a circle, called orchestra (acting area) marked out on the ground. In the center of the circle was an altar (thymele), on which a ritualistic goat was sacrificed (tragos- where the word tragedy comes from), signifying the start of the Dionysian festival. - across the circle from the audience was a changing house called a skene. From this comes our present day term, scene. This skene can also be used to represent a temple or home of a ruler. (sometime in the middle of the 5th century BC) DIONYSIAN FESTIVAL- (named after Dionysis, god of wine and fertility) This festival, held in the Spring, was a procession of singers and musicians performing a combination of worship and musical revue inside the circle. **Women were not allowed to act. Men played these parts wearing masks. **There was also no set scenery. A- In time, the tradition was refined as poets and other Greek states composed plays recounting the deeds of the gods or heroes. B- As the form and content of the drama became more elaborate, so did the physical theatre itself. 1- The skene grow in size- actors could change costumes and robes to assume new roles or indicate a change in the same character’s mood.
    [Show full text]
  • Stagecraft Syllabus
    Mr. Craig Duke Theatre Production E-Mail: [email protected] Phone: 908-464-4700 ext. 770 Syllabus 2010-2011 Period 2 Course Description: Theatre Production will introduce to the student, both novice and experienced, a practical approach to the technical and production aspects of musical theatre and drama. Students will learn the skills needed to construct scenery, hang and focus lighting instruments, implement a sound system for effects and reinforcement, and scenic artistry, all in a variety of techniques. In conjunction with the Music and Drama Departments, students will take an active role in each of the major productions at NPHS. Additionally, students will be introduced to theatrical design, and will be given an opportunity to draft their own designs for scenery and/or lighting of a theatrical production. Textbooks: There is no textbook for this class. Materials will be distributed in class, along with some notes. Several stagecraft books have been ordered for the NPHS Media Center. They are available in the reference section of the library, and I will refer to them in class from time to time. Most of the material presented comes from The Stagecraft Handbook by Daniel Ionazzi, and from Richard Pilbrow’s Stage Lighting Design. Course Topics: I. Introduction IV. Lighting for the Stage A. A Brief History of Theatre A. Why Light the Stage? B. The Production Team B. Instruments of the Designer C. Safety in the Theatre C. Properties of Light and Dark D. Tools of the Trade D. Color Theories II. Scenic Design for the Stage E. Lighting Design Paperwork A.
    [Show full text]
  • An Introduction to Theatre
    STAGE DIRECTIONS TYPES, AND POSITIONS VOCABULARY •Proscenium Stage- A traditional stage that includes a proscenium arch. The audience sits on one side. • Arena Stage- A theatre in the round. The stage is in the center with the audience sitting on all sides. •Thrust Stage- A theatre where the front part of the stage juts out into the audience, similar to a runway. Audience sits on three sides. •Flexible Staging- A theatre that can be changed to meet your needs, typically a black box theatre, but could include theatre in unconventional places. •Stage Directions- Directions of where to be and go onstage. Always given from the point of view of the actor. •Stage Positions- The position of the actors body in relation to the Audience LESSON OBJECTIVES: The Student will: •Be able to identify all types of stages. •Respond to stage directions appropriately. •Choose and execute all body positions for the appropriate effect. PROSCENIUM STAGE A proscenium stage is what most of us think of when we think of a stage. It includes a proscenium arch which creates the 4th wall. This is the invisible boundary that separates the performers from the audience. The audience only sits on one side of the stage. ARENA STAGE Arena stages have people sitting on all sides of the stage. It creates an intimate space but creates problems for actors and the creative team because it is hard to control the sight lines, or what the audience can see. Why do you think this would this be a problem? THRUST STAGE With a thrust stage the audience is seated on three sides of the stage, kind of like a runway.
    [Show full text]
  • Communication Arts BFA Theatre – Musical Theatre Track
    Department of Communication Arts BFA Theatre – Musical Theatre Track The B.F.A. with a major in Theatre prepares students for a broad range of opportunities including performance, teaching, arts administration, and many non-arts based careers such as sales, training and development, and management. The Theatre program at VSU offers numerous productions throughout the year, providing students with significant performance experience. Theatre graduates learn a host of life skills including collaboration, working to deadlines, self-discipline, patience, perseverance, analytical skills, and critical thinking. Valdosta State University is an accredited institutional member of the National Association of Schools of Theatre. University Core (Areas A to E) ...............................................................................42 hours Core curriculum Area F .............................................................................................18 hours DANC 1500 Introduction to Dance (3 hours) THEA 1000 Voice and Diction (3 hours) THEA 1100 Theatre Appreciation (3 hours) THEA 1120 Introduction to Theatrical Design (3 hours) THEA 2750 Basic Technical Theatre and Stage Lighting (3 hours) THEA 2800 Fundamentals of Acting (3 hours) Senior Core Curriculum.............................................................................................28 hours THEA 2730 Theatrical and Film Makeup THEA 2810 Basic Stage Movement THEA 3700 Play Analysis for Production THEA 3710 Theatre Performance THEA 3720 Theatre Production THEA 3740 Theatre
    [Show full text]
  • Glossary of Theatre Terms
    GLOSSARY OF THEATRE TERMS Excerpted from these books: High School Theatre Operations The High School Theatre Lighting Rep Plot High School Theatre Lighting for Architects Other books available: High School Theatre Safety Manual High School Theatre Signs and Documents You can find these books at: http://www.presett.org/helpful-books.html * indicates that the definition of this term can be found in the Glossary. Spelling: you will see hyphens and spaces and compound words used interchangeably. For example: off-stage, off stage, offstage or stage-right, stage right or stageright. APRON The part of the stage deck* that is downstage* of the proscenium*. APRON STRIP LIGHTS This is a band of lights – usually blue - that goes from one side of the stage to the other, just upstage of the stage deck that covers the pit, so that when the pit is open they warn a performer (who can be blinded by the production lights shining in their eyes) where the edge of the stage is. Some apron strip lights have a small red light in the middle, which dancers can use for spotting, and to let all performers know where the center stage line is. ARBOR The framework that holds the pig irons* that counter balance the weight of anything hung on the battens* in the counterweight system*. ARM The strip of stage deck* that protrudes out along the wall of the house* alongside the front part of the seating. BACKSTAGE The area of the stage deck* that is hidden from the audience’s view, either by drapes* or set pieces.
    [Show full text]
  • Thai Traditional Theatre in the Modern World Phakamas Jirajarupat Royal Holloway College University of London
    Lakhon Phanthang: Thai Traditional Theatre in the Modern World Phakamas Jirajarupat Royal Holloway College University of London Submitted for the degree of Doctor of Philosophy ! 1 Declaration of Authorship I, Phakamas Jirajarupat, hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: ______________________________ Date: ________________________________ ! 2 Abstract This thesis concerns the historical development of lakhon phanthang, a dance-drama form that emerged originally in Thailand as a commercial theatre under the patronage of royalty in the nineteenth century, was formulated as a traditional dance genre in the 1940s by the Fine Arts Department, modernised in the 1980s and is today taught in dance academies. Lakhon phanthang’s primary raison d’être is the representation of non-Thai ethnic groups, including Chinese, Burmese, Mons and Khake (Muslims) and it draws eclectically on the costumes, movement styles and ethnic stereotypes of these Others. This thesis examines transpositions and aesthetic shifts in the form over time with a focus on the modernisation, formalisation and traditionalisation, revival, survival and adaptation of lakhon phanthang, looking particularly at Krom Silapakorn’s theatre productions, the process of learning and teaching in higher education and theatre in rites of passage. The thesis analyses both aesthetic practices and various socio-cultural contexts, based on research on texts and documents, interviews and the author’s first-hand experiences as an audience member, dancer and instructor of lakhon phanthang. Analysis of lakhon phanthang in the modern world demonstrates that lakhon phanthang is a gateway for Thai theatre to develop traditional in modern society.
    [Show full text]