DOCSLIB.ORG

What Is This Thing Called Theatre? English, Drama

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
What Is This Thing Called Theatre? English, Drama ED078 442 AUTHOR Randolph,. James B, - TITLE What Is This Thing Called Theatre? English, Drama: 5112.53.. - INSTITUTION Dade:County Public Schools, Miami,_Flaft. -PUB DATE 72 NOTE 35p.; Authorized coutse of instruction for the Minkester Program EDRS PRICE MF-30.65 HC-$3.29 DESCRIPTORS Acting; Clothing Design; *Curriculum Guides; Drama; *Dramatic Play; *Dramatics; Management; Music; Production Techniques; *Secondary Education; Skits; *Theater Arts *Quinmester Program This curriculum guide provides an introductorycourse in the theatre for first-year high,school students. The courseuses- an interdisciplinary approach and includes a discussion of types and . styles of drama, a brief history of drama, fundmmmtals of acting, and techniques of play production focusing on music, costume designr Make-up* scenery, poster display, and theatre management. The course concentrates on the relatianship of the theatre, to the individual, to society, and to the arts.-One ofthe bbjedtivesof the-course is for the student to synthesize his knowledge of the theatre by preparing and presenting a one-act play._A list =of student and teacher resources is provided which includes textbOoks and supplementary matezials dealing with acting, play production,-and theatre history._ Also included are lists of full-lenght ,one-act-plays and musicals suitable for high school production, a list of play publithere, addresses, and records,- films, and filmstrips related tothe theatre._ (Dr) FILMED FROM BESTAVAILABLE COPY . U S OEPARTMENTOF HEALTH. EDUCATION VIELPARE NATIONAL INSTITUTE OF Eoctuastrt = THIS DOCUMENT HAS BEEN REPRO DUCED EXACTLY AS RECEIVED PROM THE PERSON OP,ORGANIZATION ORIGIN . ATING IT POINTS OF VIEW OR OPINIONS STATED DO NOT T.CCESSARILY REARE SENT OFFICIAL .a.TIOILALANSTITUTE OF Eoucancx POS.TION OP POLICY AUTHORIZED COURSE OF INSTRUCTION FOR THE LANGUAGE ARTS What Is This Thing Called Theatre? 5112.53= 5113.47 5114.821 5115.821 5116.821 5183.01 *DIVISION OF INSTRUCTION1971 WHAT IS ..IFH THING CALLED THEATRE? 5112.53 5113.47 5114.821 5115.821 5116.821 5183.01 --_English, =Drama . Written by James B.Randolph for the DIVISION OF INSTRUCTION Dade aunty PublicSchools 1972 COURSE COURSE TITLE: WHAT IS _THISTHIMG CALLED THEATRE? NUMBER' .112.53 COURSE-DESCRIPTION: An introductory course for 5113.47 the student Interested in the theatre.Using the 5114.821 interdiscifylinary approach, the content= includes 5115.821 discussion of types and styles.Of drama; abrief 5116.821 history of-drama; fundamentals of actinganir tech- 5183.01 niques of play production focusing onmusic, costume design, make-tip, scenery, posterdisplay and theatre management. PERFORMANCE= OBJECTIVES* A.Given background-information, the studentwill discover the relationships of the theatre to theindividual, to society, and to the arts. Given an opportunity to do reference reading,the stu- dent will investigate major periods of theatrehistory. Given= background information on play structure, the student will analyze several plays as to typeand style. Given ,background on the fundamentals of acting,the student will create experiences to developskill in using the fundamentals.- Given information on the functions of the members of the production staff and the techniques,of play produc- tion, the student will' synthesize hisknowledge of theatre =by preparing and presenting a one actplay. COURSE =CONTENT A. Rationale One recognizes that -there -are variedapproaches to teaching drama in- high sehool etpecialry ifthe stu- dents are beginpers:in-thti theatre. -..jnthis quin- mester course, desingned, for the:fiett yearstudent, -the fetus- Wi 11 'be orf: the fundamentals'.Specifically, the-icOurse will be one that nconcentrates- on =the re- lationships vf the theatre:to:the individual, tn society, and-to, the arts,. So that the student may recognize the infltience of society on theatre,a-- segment on'the history cif drama has been included. order_to create greathr emphasis ontheatre, the student.will become involved inactivities - through_ reading and analyzingplays;performing _in a series of adting assignments; assumingduties and responsi- bilities as `members of a theatre staffand actually presenting a play before-an audiende. It is hoped that the averagestudent will find satis, faction in the class activitiesand subsequently develop -an abiding interest in theatre. .-:Range of Subject matter.- 1. Basic, anprbaches-:_to.-theatre-=- efinition of d a . Varied forms of drama Basic relationships of= theindividual to the theatre Basic relationships of theatre tosociety Recognizing thitre as aestheticexperience Brief history of the-major periods oftheatre - = history a. Beginnings of drama ,in Egypt _Greek. and Roman drama kedieval drama Italy . The Renaissance theatre in e. Zabethari -drama- . Modern- drama- (1) Nineteenth century (2) Twentieth century. g. Contemporary drama (1) Experimental drama (2) Black Theater -2- 3. Analyzing the script for stage and television ,a. Wipes b. ,Styles C. Other fOrmt (-1) MUsidal (2) Folk (3) Symphonic d. Structure of-,drama The fundamentals of acting Basic _vocal _and physical'-requirements- b.-__ Basilc-techni ques-, used in acting_ C._ Analytirigand_develOping -character ___ _ ct. Make-uparid: costumes _ The ProductionEttaff Duties-- -and responsibilities_ The ditecibr and'histechnique for producing a play = c. Planning a production d. Organi zati on: of a staff for the production e.= Selecting a scriPtiand'presenting theplay C. Projects 1. Have students look up photographs of plays pre- sented is.professional or non-professional theatre and make a bulletin board display. 2. HaVe students research any theatre personalities known to them 'and make oral reports. Help students avoid the gossipy aspects about the.personal lives of these people and concentrate on the" information that deals with the individual's developMent as an actor, director, playwright, etc. -3- The information may beobtained from periodicals, interviews, or talk shows on . books, personal television. is in production and 3. Select a time when a play ha've students visit oneof the local theatre, university, or high school sceneshops to see scenery constructed. live-production at one _of the -4. 'Have-students see-a theatres area _theatres ., Col 1 ege*:-or: uni vetsi ty- should not be excludedfrom:your; selection,_-nor should -high .schoolproductions as-some of- these at:least one are excellent. --!It Is advisable that musical -. of the -plays selectedfor viewing.-_will be a This shouTd_ not' be- di fficul t sinte the- universiti es One-musical in_ their --_generally' include at least seisonal-prOgrams, Lectures _ ,cddrse;-should ,be=presented-in :the, 1: Lectures- foi- thit- _- -initial -segment _anddUring the introduCtory phase "-_of each objettiVe.--, =_ 2.- Generally-, -lectureson a regular-batis,should-be avoided, but one carefully:preparedand presented :lecture dealing :with_ the'director as ,chief inter - be pretative-- artist and=tdbrdinatOr of_a play-wil helpful, to.--the student:- III.. TEACHING STRATEGIES information, the student A. Objective A. Given background relationsniOs of the theatre tothe will discover the individual, to society, andto. the arts. theatre in order thatstudents 1. Open a discussion on may tell of'their background andexperiences. explain: As part of thisdiscussion have studentS them a. What theatre means to experience in theatre b. Their, mo:it memorable 3. Give an introductory;-lecture to explain thevarious forms of drama. "(professional, non-professional, film, television and radio 'dramas, opera,ballet, reader's theatre, pantomime, PuPpetrY, musicals) 4. Have students review these forms.Use supporting material to explain the various forms. Ft/Untying the discussion, Show-the film "The Theatre: One of the Humanities." judging plays so that stu- . Establish standardsfor dents. may develop an awareness of what to-loOk for in-a play and hopefully develdp a greater-apprecia- tion for=seeing:any form of-drama performed. all play in . Have students describe how the rOletwe life condition human behavior and provide raw material for the theatre.: theme 7. Have studentt-plan- ascene_ in which the major stresses a conflict youngipeopleare-faced:with today-. Permit them to wgrk'in groups,;then read or perforM their'scenes- in class.= =Usestandards-as set-up in activity :#5 as a basis -fordiscussion. Have students make a:diary about_ theirinner feel-, ings -andAive: reacti ons to their experiencesin daily_living. Help students -to- recognize -he e' World in _which- we 1 hie _influences the-Wri tin Plays and the development of the themesof time plays: daily life 9. Have students observe other peoplein and=indicate their reactionsbycreating brief scenes which shoW how societyinfluentes characters in drama.- - 10. Have students discUss- the potition-ofthe high school student'in our sodiety andindicate orally orinwriting if this position(s) isinfluenced by television draMa. 11. Havestudent's conduct panel discussions on the following topics: influence a'. Television crime dramas have a major on the attitudes- of thehigh school student. b. X-rated movies -- Do they reflect the valuesof our times? -5- 12. Have students discuss clothing andhair stylesas examples of self expression in our societyand indicate the' extent to which these styles areset or influenced by the stageplay, television, or motion pictures. 13. Have-students make a poster display comparingthe styles of clothing Of today with the stylesused in plays du ri ng_the" thirties and forties. 14. Have students--cut-Out
Load more

Recommended publications
  • A Strange Loop
    A Strange Loop / Who we are Our vision We believe in theater as the most human and immediate medium to tell the stories of our time, and affirm the primacy and centrality of the playwright to the form. Our writers We support each playwright’s full creative development and nurture their unique voice, resulting in a heterogeneous mix of as many styles as there are artists. Our productions We share the stories of today by the writers of tomorrow. These intrepid, diverse artists develop plays and musicals that are relevant, intelligent, and boundary-pushing. Our plays reflect the world around us through stories that can only be told on stage. Our audience Much like our work, the 60,000 people who join us each year are curious and adventurous. Playwrights is committed to engaging and developing audiences to sustain the future of American theater. That’s why we offer affordably priced tickets to every performance to young people and others, and provide engaging content — both onsite and online — to delight and inspire new play lovers in NYC, around the country, and throughout the world. Our process We meet the individual needs of each writer in order to develop their work further. Our New Works Lab produces readings and workshops to cultivate our artists’ new projects. Through our robust commissioning program and open script submission policy, we identify and cultivate the most exciting American talent and help bring their unique vision to life. Our downtown programs …reflect and deepen our mission in numerous ways, including the innovative curriculum at our Theater School, mutually beneficial collaborations with our Resident Companies, and welcoming myriad arts and education not-for-profits that operate their programs in our studios.
    [Show full text]
  • Devlin2017.Pdf (1.307Mb)
    This thesis has been submitted in fulfilment of the requirements for a postgraduate degree (e.g. PhD, MPhil, DClinPsychol) at the University of Edinburgh. Please note the following terms and conditions of use: This work is protected by copyright and other intellectual property rights, which are retained by the thesis author, unless otherwise stated. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. The Trickle Down Effect: The 1911/1912 Abbey Theatre Tour of America and its impact on early African American Theatre Luke Devlin Degree of Doctor of Philosophy The University of Edinburgh 2017 Abstract This thesis will examine the direct and indirect impact the Irish National theatre had upon American theatre in general and the African American theatre in particular. It discusses the relationship between the Irish theatrical movement during the Irish Literary Renaissance and the drama that was produced during the Harlem Renaissance. To do this Rorty’s concepts of the ‘strong poet’ and ‘ironist’ will be utilized. The bleeding and cross contamination of culture, it is contended, was due to the American tour that the Irish Players undertook in 1911/12. The tour, although staged in white theatre houses and attended by a mainly white audience, had a sizeable impact on the American theatrical landscape.
    [Show full text]
  • Draft 6/8/07
    MONMOUTH COLLEGE DEPARTMENT OF THEATRE Manual of Guidelines, Policies and Procedures Updated September 2014 1 Table of Contents THEATRE FACULTY & STAFF ....................................................................................................................... 5 MISSION & PHILOSOPHY ............................................................................................................................... 6 COMMUNICATION ............................................................................................................................................ 7 STUDENT ORGANIZATIONS .......................................................................................................................... 7 FACILITIES ......................................................................................................................................................... 7 Borrow/Checkout/Reservation of Spaces and/or Materials ............................................................................. 8 Access to Facilities ............................................................................................................................................. 8 Wells & Fusion Theatre Reservations............................................................................................................... 8 Key Policy ........................................................................................................................................................... 9 Food or Drink in the Theatres ..........................................................................................................................
    [Show full text]
  • A Guide to Devising for a Level
    A Guide to Devising for A Level Contents 1. Introduction to devising 2 2. Choosing a text 3 3. Choosing a practitioner 4 4. Initial exploration of the text 9 4.1 Initial reading 9 4.2 Form 10 4.3 Structure 11 4.4 Character 11 4.5 Dialogue 12 4.6 Themes, issues and ideas 13 5. Advice for devisers and teachers 14 5.1 Advice for devisers 14 5.2 Advice for teachers 14 6. Playwrights to consider 14 7. Further reading 18 1 1. Introduction to devising Devising from a text stimulus requires all the skills of the deviser as well as the additional skills of literary analysis. The elements of the texts to be explored are: ● form ● structure ● character(s) ● dialogue ● themes, issues and ideas. By applying their literary understanding the students will then be able to make connections with practitioner methodology and appropriate styles of performance. This guide will outline possible playwrights and a selection of practitioners’ approaches to theatre making. It will then present ways that the text extract can be practically investigated to link with particular practitioner conventions and methods. The opportunities for devising pathways are endless. First it is important to check the details of Component 1, as outlined in the A level specification; these must be adhered to in the delivery of this Component: ● The performance must be a completely original work that uses an extract from a text as a stimulus. This means that words and lines from the extract must be reordered, reimagined and placed alongside the original words of the students or completely absent from the final devised work.
    [Show full text]
  • 2018-2019 Calendar
    Undergraduate Course Offerings 2018-2019 CALENDAR FALL 2018 Saturday, September 1 Opening Day New students arrive Monday, September 3 Returning students arrive Monday, October 22 and Tuesday, October Study Days October 23 Wednesday, November 21 - Sunday, Thanksgiving break (begins after last November 25 academic appointment on Tuesday) Friday, December 21 Last day of classes Saturday, December 22 Residence halls close at 10 a.m. SPRING 2019 Sunday, January 20 Students return Saturday, March 16 - Sunday, March Spring break 31 Friday, May 17 Last day of classes Sunday, May 19 Residence halls close for first-years, sophomores, and juniors at 5 p.m. Friday, May 24 Commencement Residence halls close for seniors at 8 p.m. The Curriculum . 3 Japanese . 80 Africana Studies . 3 Latin . 81 Anthropology . 3 Latin American and Latino/a Studies . 82 Architecture and Design Studies . 8 Lesbian, Gay, Bisexual, and Transgender Art History . 9 Studies . 83 Asian Studies . 14 Literature . 84 Biology . 18 Mathematics . 95 Chemistry . 22 Middle Eastern and Islamic Studies . 98 Chinese . 25 Modern and Classical Languages and Classics . 26 Literatures . 99 Cognitive and Brain Science . 26 Music . 100 Computer Science . 27 Philosophy . 111 Dance . 30 Physics . 114 Development Studies . 37 Political Economy . 116 Economics . 37 Politics . 117 Environmental Studies . 41 Psychology . 122 Ethnic and Diasporic Studies . 43 Public Policy . 135 Film History . 44 Religion . 137 Filmmaking and Moving Image Arts . 47 Russian . 142 French . 56 Science and Mathematics . 143 Games, Interactive Art, and New Genres 59 Pre-Health Program Gender and Sexuality Studies . 60 Social Science . 144 Geography . 61 Sociology . 144 German . 63 Spanish .
    [Show full text]
  • RESTORING WOMEN to EARLY MODERN THEATRE HISTORY PEDAGOGY and PRACTICE by JESSICA KIM ROGERS a DISSERTA
    “SISTERS OF THE PEN”: RESTORING WOMEN TO EARLY MODERN THEATRE HISTORY PEDAGOGY AND PRACTICE by JESSICA KIM ROGERS A DISSERTATION Presented to the Department of Theatre Arts and the Graduate School of the University of Oregon in partial fulfillment of the requirements for the degree of Doctor of Philosophy December 2019 DISSERTATION APPROVAL PAGE Student: Jessica Kim Rogers Title: “Sisters of the Pen”: Restoring Women to Early Modern Theatre History Pedagogy and Practice This dissertation has been accepted and approved in partial fulfillment of the requirements for the Doctor of Philosophy degree in the Department of Theatre Arts by: Dr. Michael Malek Najjar Chairperson Dr. John Schmor Core Member Dr. Theresa May Core Member Dr. Dianne Dugaw Institutional Representative and Dr. Kate Mondloch Interim Vice Provost and Dean of the Graduate School Original approval signatures are on file with the University of Oregon Graduate School. Degree awarded December 2019 ii © 2019 Jessica Kim Rogers iii DISSERTATION ABSTRACT Jessica Kim Rogers Doctor of Philosophy Department of Theatre Arts December 2019 Title: “Sisters of the Pen”: Restoring Women to Early Modern Theatre History Pedagogy and Practice This dissertation looks at current theatre historiography in terms of pedagogy and performance practices on the topic of early modern (seventeenth century) female dramatists, via select dramatic works of Elizabeth Cary, Viscountess Falkland; Margaret Cavendish, Duchess of Newcastle; and Aphra Behn. As early modern feminists, Cary, Cavendish, Behn, writing in different eras of the seventeenth century, each impacted theatre historiography by providing their unique perspectives on the roles of women in their times. Each of these women have a substantial history of literary study extending back decades; however, current practices in the areas of theatre history and theatre production minimize or dismiss the dramatic contributions of these women, generally for reasons pertaining to gender, and as such, there has been considerable oversight in the theatrical field as a result.
    [Show full text]
  • THEA 2100 Syllabus, Major Assignments and Schedule Clemson University Fall 2015 THEA 2100 Theatre Appreciation (Clemson Thinks
    THEA 2100 Syllabus, Major Assignments and Schedule Clemson University Fall 2015 THEA 2100 Theatre Appreciation (Clemson Thinks – CT section) Professor: Shannon Robert, office 209 Office Hours: MWF 8:00 – 9:00, 10:00 – 11:00, 12:15 – 1:00 and 2:30 – 3:30 or by appointment [email protected] or [email protected] and 864-382-6861(cell) Class Schedule: Class meets Monday, Wednesday and Friday from11:15 am – 12:05 pm. If you need to speak with me and I am not in my office, please try the theatre and scene shop. Clemson University Policies and Academic Integrity Statement: “As members of the Clemson University community, we have inherited Thomas Green Clemson’s vision of this institution as a ‘high seminary of learning.’ Fundamental to this vision is a mutual commitment to truthfulness, honor, and responsibility, without which we cannot earn the trust and respect of others. Furthermore, we recognize that academic dishonesty detracts from the value of a Clemson degree. Therefore, we shall not tolerate lying, cheating, or stealing in any form.” “When, in the opinion of a faculty member, there is evidence that a student has committed an act of academic dishonesty, the faculty member shall make a formal written charge of academic dishonesty, including a description of the misconduct, to the Associate Dean for Curriculum in the Office of Undergraduate Studies. At the same time, the faculty member may, but is not required to, inform each involved student privately of the nature of the alleged charge.” FERPA Rights for Students Under the Family Educational Rights and Privacy Act, Undergraduate Studies is prohibited from disclosing the student's academic record to third parties, including parents.
    [Show full text]
  • Clemson University Fall 2013 THEA 2100 Theatre Appreciation (Clemson Thinks – CT Section Pilot) Section 5, Brooks Room 206 P
    Clemson University Fall 2013 THEA 2100 Theatre Appreciation (Clemson Thinks – CT section pilot) Section 5, Brooks Room 206 Professor: Shannon Robert, office 209 Office Hours: W 9:30 – 12:00 and 1:00 – 2:00 and T/TH 8:30 – 9:30 or by appointment [email protected] or [email protected] and 864-382-6861 Class Schedule: Class meets Tuesday/Thursday 9:30 – 10:45. If you need me and I am not in my office, you should try the theatre and scene shop. Clemson University Policies and Academic Integrity Statement: “As members of the Clemson University community, we have inherited Thomas Green Clemson’s vision of this institution as a ‘high seminary of learning.’ Fundamental to this vision is a mutual commitment to truthfulness, honor, and responsibility, without which we cannot earn the trust and respect of others. Furthermore, we recognize that academic dishonesty detracts from the value of a Clemson degree. Therefore, we shall not tolerate lying, cheating, or stealing in any form.” “When, in the opinion of a faculty member, there is evidence that a student has committed an act of academic dishonesty, the faculty member shall make a formal written charge of academic dishonesty, including a description of the misconduct, to the Associate Dean for Curriculum in the Office of Undergraduate Studies. At the same time, the faculty member may, but is not required to, inform each involved student privately of the nature of the alleged charge.” Students with disabilities needing accommodations should contact the Office of Student Disability Services in G20 Redfern Health Center, 656-6848 Suggested Textbook (not required): Wilson, E., The Theatre Experience, 10th ed, McGraw-Hill Inc.
    [Show full text]
  • University Microfilms. a XEROX Company, Ann Arbor. Michigan
    71-22,452 BURMAN, Howard Vincent, 1942- A HISTORY AND EVALUATION OF THE NEW DRAMATISTS COMMITTEE. The Ohio State University, Ph.D., 1971 Speech-Theater University Microfilms. A XEROX Company, Ann Arbor. Michigan © Copyright by Howard Vincent Burman 1971 A HISTORY AND EVALUATION OF THE NEW DRAMATISTS COMMITTEE DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of the Ohio State University By Howard Vincent Burman, B.A* ***** The Ohio State University 1971 Approved by Adviser Division of Theatre ACKNOWLEDGMENTS The author wishes to express his appreciation to the many persons whose assistance has contributed to the completion of this dissertation* Special thanks are due to Mrs. Letha Nims and the present and former members of the New Dramatists Committee particu­ larly Robert Anderson, Paddy Chayefsky, Mary K, Frank, the late Howard Lindsay, and Michaela 0*Harra» who generously made both their time and files available to the author; to Dr. David Ayers for proposing the topic; to my advisers Drs. Roy Bowen, Arthur Housman and John Morrow for their prompt and valuable advice and direction; to Mrs. Tara Bleier for valuable re-writing assistance; to Mrs. Irene Simpkins for expert final typing and editing; to Mrs. Susan Holmes for her critical reading; to Mrs. Mary Ethel Neal for "emergency" typing aid; to my brother-in-law Frank Krebs for his "messenger" service; and to the U.S. Post Office for not losing my manuscript during its many cross-country trips. Also, to my wife, Karen, who, in addition to devoting countless hours of editing, proofreading and typing, has been a inexhaustible source of advice and encouragement.
    [Show full text]
  • Maximum Inventiveness Exhibition Catalogue
    Maximum imaginativeness an exhibition on modern Czech book design (1900-1950) from the collections of the omas Fisher Rare Book Library, University of Toronto Exhibition and catalogue by Ksenya Kiebuzinski, with the contribution of Tim Klähn thomas fisher rare book library 28 September to 18 December 2015 Catalogue and exhibition by Ksenya Kiebuzinski General editors P.J. Carefoote and Philip Oldfield Exhibition designed and installed by Linda Joy Digital photography by Paul Armstrong Catalogue designed by Stan Bevington Endpapers by Kevin King Catalogue printed by Coach House Press library and archives canada cataloguing in publication omas Fisher Rare Book Library, issuing body, host institution Maximum imaginativeness : an exhibition on modern Czech book design (1900-1950) from the collections of the omas Fisher Rare Book Library, University of Toronto, 28 September to 18 December 2015 / exhibition and catalogue by Ksenya Kiebuzinski, with the contribution of Tim Klähn. Includes bibliographical references and index. isbn 978-0-7727-6116-3 (paperback) 1. omas Fisher Rare Book Library—Exhibitions. 2. Book design—Czechoslovakia—History—20th century—Exhibitions. 3. Avant-garde (Aesthetics)—Czechoslovakia—History—20th century —Exhibitions. I. Kiebuzinski, Ksenya, writer of added commentary, organizer II. Klähn, Tim, writer of added commentary III.Title. z246.t56 2015 686.094371074’713541 c2015-905373-0 Preface One of the great strengths of the Fisher Library collections centres on the broad theme of the book arts, beginning with examples of medieval manu- scripts, ranging through the early efforts of the first generations of printers aer Gutenberg, and continuing on to the great achievements of the Renais- sance printing houses.
    [Show full text]
  • THEA 2100 Syllabus, Major Assignments and Schedule Clemson University Spring 2016 THEA 2100 Theatre Appreciation (Clemson Think
    THEA 2100 Syllabus, Major Assignments and Schedule Clemson University Spring 2016 THEA 2100 Theatre Appreciation (Clemson Thinks – CT section) Professor: Shannon Robert, office 209 Office Hours: T/W/T: 9:30 -12:00 or by appointment [email protected] or [email protected] and 864-382-6861(cell) Class Schedule: Class meets Tuesday and Thursday at 8 am. If you need to speak with me and I am not in my office, please try the theatre and scene shop. Clemson University Policies and Academic Integrity Statement: “As members of the Clemson University community, we have inherited Thomas Green Clemson’s vision of this institution as a ‘high seminary of learning.’ Fundamental to this vision is a mutual commitment to truthfulness, honor, and responsibility, without which we cannot earn the trust and respect of others. Furthermore, we recognize that academic dishonesty detracts from the value of a Clemson degree. Therefore, we shall not tolerate lying, cheating, or stealing in any form.” “When, in the opinion of a faculty member, there is evidence that a student has committed an act of academic dishonesty, the faculty member shall make a formal written charge of academic dishonesty, including a description of the misconduct, to the Associate Dean for Curriculum in the Office of Undergraduate Studies. At the same time, the faculty member may, but is not required to, inform each involved student privately of the nature of the alleged charge.” FERPA Rights for Students Under the Family Educational Rights and Privacy Act, Undergraduate Studies is prohibited from disclosing the student's academic record to third parties, including parents.
    [Show full text]
  • Arthur Hobson Quinn Papers Ms
    Arthur Hobson Quinn papers Ms. Coll. 1236 Finding aid prepared by Sam Allingham. Last updated on April 03, 2020. University of Pennsylvania, Kislak Center for Special Collections, Rare Books and Manuscripts 2017 May 2 Arthur Hobson Quinn papers Table of Contents Summary Information....................................................................................................................................3 Biography/History..........................................................................................................................................4 Scope and Contents....................................................................................................................................... 4 Administrative Information........................................................................................................................... 5 Related Materials........................................................................................................................................... 5 Controlled Access Headings..........................................................................................................................6 Collection Inventory...................................................................................................................................... 8 Series I: Correspondence.........................................................................................................................8 Series II: Work by Quinn......................................................................................................................76
    [Show full text]