Concentration Ideas

During my conversation with Mrs. Jones today, we talked about potential materials. I mentioned my interest in using fabric as a medium for non-traditional sewing. Or maybe not sewing, but some other way to make the cloth stick onto a surface. My mom has been doing quilt as long as I can remember, however she mostly does things off the books. I'm curious about what are the limits for fabric as a medium and what techniques are there I can use and possibly find my own way of doing it.
Another thing is printmaking. I don't know much about printmaking, but I'm a fan of textures. Collagraphy sounds really interesting. Maybe I can do a concentration on textures.

Miss Representation Video Response

http://www.youtube.com/watch?v=8ap2xnMcvpw&feature=related

I liked the video and I’m glad that there is actually a documentary on this topic. If you know me, you’ll probably know that I care a lot about these issues. I hate the fact that I listen to more male musicians and DJs than female ones, and how I have these different views for men and women unconsciously even though I know it’s wrong. I’m in the generation that grew up with not just television and magazines, but computers and the internet. Indeed, in some ways they have helped me to get rid of the traditional values that my parents more or less possess. Nevertheless, there is just way more biased, brainwashing things going on.

I find it ironic how in other animal species, if there are two genders and they differ in appearance, the male is usually the one trying to be pretty and sexually attractive.

I do agree with some people, though, that the media is bad influence on guys just as girls. So yes, guys also care about appearance, just in a different way. And society has different expectations for men and women, because of what we learn in the media about what a “man” or a “woman” is.

If possible I would like to watch the whole documentary to get a better idea of how they address the issue.

I think there’s a part of the brain that stores all the images we saw in a huge archive - not very organized but all linked together. The object that we’re used to seeing everyday becomes the representation of all the other objects of the same kind. When one thing is so prominent and represents more than its kind, it becomes an icon.

As the video shows, media is nothing but creating representations. When we see same images over and over again we conform to the idea behind it before we even realize. Repetition is the simplest yet most effective method of persuasion there is. I know artists such as Andy Warhol have already used it to the extreme, though I don’t think it ever gets old. Another big thing in art is to play with the icons; either manipulate it or destroy it, but never get rid of it.

The media and the representations it creates are really the perfect tools to get your ideas recognized. For my concentration, perhaps I could think about using icons. I should however be careful not to unconsciously fall into the conventional ways. It’s even better if I can insert some humor here and there. I still don’t know what my theme would be, but I do care very strongly about some issues and wish to change even the smallest portion of people.

Oct.2 Photography Assignment

Silent Hill and Its Inspirations

Mrs. Jones said we can post any art-related things that interest or inspire us here, so I guess I'll just write down what I found today.

Silent Hill is a series of video games of the survival horror genre. There are also movie adaptations, but I'll not be talking about the movies. What separates Silent Hill from other horror games is its carefully-designed, symbolic monsters that are more disturbing than gory.
I was watching a YouTube video that analyzes the monsters in Silent Hill 2 and I found that they are very much influenced by the artworks of Francis Bacon and Hans Bellmer. I was impressed by these two artists and amused at how Silent Hill basically copied Bellmer's mannequin.
This is Hans Bellmer's dolls.

And this is the mannequin monster in Silent Hill.

Hmm...shouldn't there be some kind of copyright issue for this?

Another giant influence on the game is Francis Bacon. 

Three Studies for Figures at the Base of a Crucifixion, 1944 

If you have seen the game, you know exactly how the monster's appearance and the general atmosphere were reminiscent of his paintings. He uses a lot of distorted, anthropomorphic figures. He also effectively smears certain features such as the eyes.

Study After Velazquez's Portrait of Pope Innocent X, 1953

The screaming, the agony and despair. I just love how emotional his imagery is and it really makes me feel uncomfortable when I look at it.

I really liked these two artists and it's funny how I learned about them through a video game.

Media and Style

For AP 2D this year I would like to do more collages and paint with acrylic. I really liked making collages and I want to use different media other than paper, such as paint and pictures combined. I tried painting with acrylic last year but didn't like it at all. This year I will try to experiment and hopefully improve my painting skills. During the summer I only got into watercolor, but already I feel like painting is maybe the thing for me instead of drawing. Styles that I'm currently interested in are psychedelia and surrealism. In fact, psychedelic art almost contradicts my own style, but I can't help loving it. While a part of me screams "less is more!", another part is drooling all over the complex trippy details. I also love surrealism, although I should probably look at more surrealist art other than Dali's. My sister once said that the artworks at our school have very normal subjects. I don't know if it's true but I should definitely try to draw something out of my comfort zone; something really weird.

Schools Researches

California Institute of the Arts

 

Program: Design and Production

1. Scene Design Program (BFA, MFA)
      with specializations available in:
      –   Scene Painting (MFA)
      –   Video for Performance (MFA) 
2. Costume Design Program (BFA, MFA)
3. Lighting Design Program (BFA, MFA)
4. Sound Design Program (BFA, MFA)
5. Technical Direction Program (BFA, MFA)
6. Management Program (BFA, MFA)
       with specializations available in:
      –   Producing (MFA)
      –   Production Management (MFA)
      –   Stage Management (BFA, MFA)

 

Undergraduate Foundation Year Courses

BFA I: Fall – 16 units [5 are CS]
T 005 Conversations in Contemp. Theater (2)
CS – – Critical Writing/Foundation (3)
TP100B Foundation Studio – 3D (3)
TP090 Production (2)
Plus choose 2 of 4 métier courses:
TP501 Sound Lab (2)
TP105 Drafting (2)
TP150 Lighting Techniques (1 or 2)
TP160 Sound Techniques (1) Sep/Oct
TP170 Video Techniques (1) Nov/Dec
TP180 Sewing Techniques (1) Nov/Dec
BFA I – Spring – 17 units [5 are CS]
T 005 Conversations in Contemp. Theater (2)*
CS – – Critical Writing/Foundation (3)*
TP100A Foundation Studio – 2D (3)
TP090 Production (2) and T002 Interim (1)

Plus choose 2 of 4 métier courses:
TP400 Light Lab (2)
TP216 Model Making
TP200 Stagecraft (2)
TP030–11 Miniature Patterns (1) Feb/Mar
TP150 Lighting Techniques (1) Mar/Apr
TP170 Video Techniques (1) Feb/Mar

 

Portfolio

The portfolio submissions should reflect your primary areas of interest and artistic strength. Areas of design and production concentrations include scenic, costume, lighting, video, sound, puppetry and technical direction.
Applicants must include a résumé and an artist’s statement. Your artist’s statement should discuss your goals and their relationship to your past experience, as well as evidence of your interest in performance based design whether in theater, film, installation, writing or other related forms.
The BFA portfolio may include the following as applicable.

• Examples of drawings, paintings, sculpture, photography, or other artwork
• Examples of graphic and drafting skills
• Examples of theater design, including models, sketches, costume designs, light plots, prompt books and photographs of props, scenery and costumes
• Digital Media—CDs or DVDs that document your sound designs, including any accompanying paperwork (cue sheets, equipment lists, drafting, etc.)
• If applicable, include scores, original music compositions and evidence of computer literacy and indicate if you play a musical instrument.
• Examples of work that show your craft skills in scenery constructions, painting, props, and/or costuming and lighting, including photographs of realized work, drawings, drafting, samples, patterns, and artistic ideas
• Examples of created video work and installations
• Documentation of fully realized original work as demonstrated by video, slides, or photographs of designs, and/or documentation of works-in-progress
• Architectural drawing, textile work, performance art, video work, poetry, and creative writing samples are also welcome

Purchase College State University of New York

 

Program: Theatre Design/Technology 

1. scenic design
2. costume design
3. lighting design
4. costume technology
5. stage management
6. technical direction/production management

 

Freshman Year Courses

Fall:	13 credits
TDT 1100/Stagecraft*	3 credits
TDT 1120/Production I*	3 credits
TDT 1200/Design Fundamentals*	3 credits
THC 1050/Dramatic Structure	4 credits
*Prerequisite for all courses above the 1000 level
Spring:	12 credits
TDT 1080/Drafting	3 credits
TDT 1110/Stagecraft*	3 credits
TDT 1130/Production I*	3 credits
TDT 1210/Design Fundamentals*	3 credits
*Part Two

 

Portfolio/Interview

Interview Requirements:

1. Read Night of the Iguana: Read the play Night of the Iguana, by Tennessee Williams.  Questions about this play will be asked during the interview.

2. Prepare a Resume:  Your resume should include a complete list of your theatrical experiences.  It should include titles of works, duties performed, locations of performances and the name of the directors, designers and stage managers with whom you have worked.  Bring one copy of your resume with you to the interview. 

3. Prepare a Portfolio: Prepare and bring with you to the interview a portfolio that includes examples of design and/ or technical work that you have done in high school, community theatres, summer stock, or at other colleges. 

4. Letters of Recommendation: Please bring two letters of recommendation (in sealed envelopes) with you when you come for your interview.  

About the Portfolio:

Your portfolio materials should reflect your interest and/or work in one of the following potential areas of specialization:

Costume Design, Lighting Design, Scene Design, Costume Technology, Stage Management, or Technical Direction/Production Management.

Portfolio materials can include the following for each respective specialization:

• Costume Design - Drawings, paintings, and/or garments that you have made.  These items need not to be theatrical.
• Lighting Design - Drawings, paintings, photography, drafting plots and lighting plots.
• Scene Design - Drawings, paintings, still life or still life studies and drafting designs.
• Costume Technology - Samples of costume construction, photos of work that has been built, drawings and other artwork.
• Stage Management - Prompt scripts, cue sheets, ground plans, rehearsal notes and programs.
• Technical Direction/Production Management - Drafting samples, objects that you have built, photographs and production paperwork.

University of Michigan

 

Program: Design and Production

 

THEATRE (THTREMUS) Undergraduate Courses

 

101 Introduction to Acting I (3) Prerequisites: Primarily for non-majors; permission of instructor. Basic principles of acting for non-performance majors. The class introduces the fundamentals of acting, to help the student "discover" him/herself through improvisation and other exercises; grounds the student in basic acting theory.

102 Introduction to Acting II (3) Prerequisites: Primarily for non-majors; permission of instructor. Continuation of 101, with attention to scene study; how to analyze and approach the written text and embody character.

172 Movement I (2) Prerequisite: permission of instructor. Aims to provide performers with a working knowledge of their bodies. Exercises, improvisation and other techniques will aid in developing awareness of the body as an expressive medium.

181 Acting I (3) Prerequisite: permission of instructor. Emphasizes exploration and definition of the total physical life of an actor, freeing and expanding the imagination, self-awareness and personal discovery and developing a character through individual experience and creativity, sense memory and imagery.

182 Acting II (3) Prerequisite: permission of instructor. Scene-specific improvisation to text analysis and scene study; structured improvisation, script and scene analysis, text interpretation and realization, identification and implementation of action and objectives.

192 Voice I (3) Prerequisite: permission of instructor. Establishes a working philosophy and vocabulary for voice study. Exercises develop students' understanding and awareness of vocal production necessary for continued study. Uses Linklater system of vocal production, with vocal improvisation and physical/vocal awareness.

211 Introduction to Drama (3) Introduces the student to as many basic elements of the theatre, practical and theoretical, as time allows. It also presents a number of key plays from various periods, and examines them from the point of view of their dramatic qualities, theatrical strengths, social and political contexts, their performance history, and their relevance today.

212 Introduction to World Performance (3) An introduction to world performance traditions based on non-Western societies. Main issues examined include: nature of performance and conditions of occurrences in social and political contexts; modes of performance; rituals and ritualistic drama; non-Western dramaturgy and performance perspective; relationship between the performer and the audience.

222 Introduction to Black Theatre (3) A beginning course in black theatre, acquainting students with origins, developments, trends and significant contributions of African Americans to theatre. Focuses on basic concepts, creations, methods of operation, artistic contributions of Black Americans to theatre of western civilization and theatre of Black America.

227 Playwriting I (3) Creative writing course in the rudiments of playwriting, with special attention to writing for performance in a 10-minute play format. Class is a workshop in which students perform as well as write.

233 Acting and the Black Experience (3) Prerequisite: permission of instructor. An introductory acting course concentrating on the development of fundamental acting skills and techniques related to the presentation of drama from a Black perspective. Discussion and practical improvisation, character development through monologue and scene work. Dramatic texts come from the works of Black playwrights.

240 Introduction to Design (3) Prerequisite: 250 or permission of instructor. Introduction to theory and practice of theatrical design, text analysis and the ways a production concept and visual metaphor can be communicated in the design of scenery, costumes and lighting.

241 Directing I (3) Prerequisites: permission of the instructor. The history of directors; function and responsibilities of a director; relationships with designers, playwrights, stage managers, technical/artisan staff, actors, dramaturgs. Identifying styles of theatre, stage types, floor plans. Also covers script interpretation/analysis, director's research, resources, directorial concepts, conceptualization of a play, interpretation.

242 Directing II (3) Prerequisites: 241 and permission of instructor. Stage composition, blocking, effective stage pictures, principles of focus. Also stage movement with actors, establishing variety, clarity, use of levels, enhancement of inner action of the play, entrances/exits, crowd scenes, rhythm, pace, tempo. Also working with actors, approach to motivation/characterization, rehearsal techniques, study/use of status technique.

245 Introduction to Stage Management (2) Prerequisite: 250 or permission of instructor. Principles and practices of stage management, including rehearsal coordination, prompt book preparation and director/cast/crew relationships during rehearsal for theatre, opera and musical theatre. Combines classroom instruction with practicum experience. Students assistant-stage-manage a University Productions show during the semester; participate in rehearsals and performances.

250 Introduction to Technical Theatre Practices (3) Introduction to the basic principles and practices of stagecraft: scenic materials, construction, painting, stage lighting and costuming. Lectures and lab (shop assignment for a mainstage production).

251 Production Practicum I (1) Laboratory in theatre production. Students work in stagecraft, scenic painting, lighting, props, costuming for mainstage productions.

252 Production Practicum II (1) Prerequisite: 251. Second-level laboratory in theatre production.

256 Lighting Design I (3) Prerequisite: 240 or permission of instructor. Introduction to components of stage lighting, including an in-depth exploration of the functions and controllable properties of stage lighting. Topics include color theory, optics, electricity, distribution and equipment. Industry standards will be covered.

260 Scene Design I (3) Prerequisite: 240 or permission of instructor. Beginning course in scenic design with an emphasis on text analysis. Expression of the production concept, style and period studied through visual research and development of a model.

261 Production Practicum III (1) Prerequisite: 251 and 252 or permission of instructor. Exploration of principles of theatre crafts and practices under faculty supervision.

262 Production Practicum IV (1) Prerequisite: 261 or permission of instructor. Exploration of principles of theatre crafts and practices under faculty supervision.

270 Costume Design I (3) Prerequisite: 240 or permission of instructor. Familiarizes students with art and process of costume design, with strong emphasis on text and character analysis and methods of research. Introduction to basic drawing skills and other visual options in presenting design ideas.

271 Movement II (2) Prerequisite: 172 and permission of instructor. This class expands the understanding and awareness of movement philosophy and vocabulary while developing a clearer connection to the actors body in relation to performance/text.

272 Movement III (2) Prerequisite: 172 and 271 and permission of instructor. Expands the student's individual flexibility, range, sensitivity to experiencing movement while stimulating movement imagination. Fundamentals of performance enhancement, Alexander Technique, Tai Chi are used as reference.

274 Stage Combat I (2) Prerequisite: 172 and 181 and permission of instructor. Focuses on enabling the actor to extend range of truth and responsibility; imparts a philosophical and historical overview relative to three areas of concentration: unarmed combat, quarterstaff and single rapier, and rapier-and-dagger.

281 Acting III (3) Prerequisite: 182 and permission of instructor. Acting for the Camera I: solidification of the fundamentals of acting through the utilization of basic film and camera technique. Improvisation, storytelling, contemporary monologues and scenes.

282 Acting IV (3) Prerequisite: 281 and permission of instructor. Basic Scene Study: Action/objective text scoring and technique review; includes early- to mid-20th century American and European playwrights.

291 Voice II (3) Prerequisite: 192 and permission of instructor. Expands the understanding and awareness of the basic vocal philosophy and vocabulary established in Voice I, while developing a clearer connection to the demands of text. Continuation of Linklater work, Lessac and Berry study, Skinner speech work, including IPA. Includes poetic text, sonnets and monologues.

292 Voice III (3) Prerequisite: 291 and permission of instructor. Expands and refines the students individual flexibility, range and sensitivity to experiencing voice while stimulating vocal imagination. Improvisation and Roy Hart techniques are explored.

321 History of Theatre I (3) The history of theatre from Greeks to Shakespeare, reading selected plays and tracing the history of theatre into dramatic texts generated at particular times and places.

322 History of Theatre II (3) The history of theatre from in Western Europe and the U.S. from the end of the 17th century to present, focusing on the production of theatre in its historical, social and ideological contexts. Class studies representative plays.

323 American Theatre and Drama (3) The study of the American heritage as theatre artists and what has influenced us; principal American dramatists and principal events and issues in the American theatre, mainly in the 20th century.

324 Contemporary Black Theatre (3) Prerequisite:: 222. Explores the evolving aesthetic of current African-American Theatre, and examines the relationship between that aesthetic and the African-American community and the larger American community.

325 Contemporary American Theatre & Drama (3) Works and developments in American theatre and drama from 1975 to the present; American dramatic or theatrical avant-garde; work of drama collectives; the rise of auteur, as well as of performance artists; the particular elements in the American experience that shape drama and theatre.

326 Script Analysis for Black Writers & Directors (3) Prerequisites: 222 and permission of instructor. Analyzes the way African American characters and dramatic stories are constructed by reading plays and viewing films from the vantage point of the actor, director, writer or designer; enhances the student's ability to imagine and create.

327 Playwriting II (3) Prerequisites: 227 or permission of instructor. Students write the first act of a full-length play. They read from their plays in class and the work is discussed. They also read plays, see performances, keep a journal. At the end of the semester, students give a staged reading of their work for an informal audience.

332 Performing Gender: Dramatizing from Oral Sources (3) Prerequisite: 233 and permission of instructor. Course acquaints students with a style of African-American folk drama which lends itself to dramatizing real-life stories. Course is a research/performance class entailing reading, discussion, in-class and out-of-class exercises, and a final performance piece built from independent research.

340 Black Theatre Workshop (3) Prerequisite: 233 and permission of instructor. A performance-oriented class designed to develop acting, movement and vocal skills in conjunction with an exploration of basic theory and technique as it relates to the African-American experience. Uses classroom exercises, and the study of journals, plays, music and various performance traditions created by African-Americans.

341 Directing III (3) Prerequisites: 242 and permission of instructor. Covers period styles from Greek to avant garde, styles of performance (realism, naturalism, expressionism, absurdist, farce, experimental). Explore contemporizing of a play.

342 Directing IV (3) Prerequisites: 341 and permission of instructor. The realization of a play from choice of script to opening night; the complete process of direction/concept, research process, collaborating with designers, casting, rehearsal technique, play opening and review. Students direct a short play.

345 Stage Management Practicum: Plays (2-3) Prerequisite: 245 and permission of instructor. Methods of stage management, including rehearsal coordination, prompt book preparation and director/cast/crew relationships during rehearsal period, for plays. Students are assigned as stage managers for Theatre productions.

350 Scenic Construction I (3) Prerequisite: 250 and 362 or permission of instructor. For the beginning design and technical student, focusing on in-depth study of scenic construction and materials used in construction. Topics: drafting of construction drawings; developing of working drawings; basic electricity; working with wood, foams, fabric, plastics and metals; hardware used in construction/rigging. Requires working in shop, load-in and strike of a production.

351 Production Practicum V (2-3) Prerequisite: 261 and 262 or permission of instructor. Exploration of principles of theatre crafts and practices under faculty supervision.

352 Production Practicum VI (2-3) Prerequisite: 351 or permission of instructor. Exploration of principles of theatre crafts and practices under faculty supervision.

353 Sound for the Theatre (2) Prerequisite: 250 and permission of instructor. Principles and practices of sound for the theatre: potential which sound can bring to a theatre production; actual sound projects.

356 Lighting Design II (3) Prerequisite: 250 or permission of instructor. An in-depth exploration into development and execution of a lighting design, and the lighting potentials of a wide variety of facilities, production styles, and lighting equipment. Includes work on development of communication skills with directors and shops, via value sketches and lighting plots.

360 Scene Design II (3) Prerequisite: 250 or permission of instructor. Some advanced model-making and drawing skills; the process of conceptualizing and articulating design ideas. Exploration of the unique characteristics of proscenium, arena and thrust staging.

362 Drafting & Model Making (2) Prerequisites: 250 or permission of instructor. Developing the essential skills of drafting as a means of communication for the stage designer. Explore issues of clarity and expressiveness through use of drafting tools. Develop skill with line weight, accuracy and speed in drawing.

370 Costume Design II (3) Prerequisite: 260 or permission of instructor. Advanced course in the process of designing costumes for the stage, through a series of projects using specific texts to further develop skills in text analysis, research, drawing and painting.

371 Physical Theatre (1) Prerequisite: 172, 271, 272 and permission of instructor. Exposes the actor to the dynamics of gesture, the physical foundations of character and interaction, the architecture of stage space and creating of original work. Based on work of Jacques Lecoq, techniques include commedia, chorus, dance, mime, neutralist and clown.

374 Stage Combat II (2) Prerequisite: 192, 274, 282 and permission of instructor. Continuation of Stage Combat I, leading to SAFD certification.

381 Acting V (3) Prerequisite: 282 and permission of instructor. Styles I: Shakespeare, restoration, comedy of manners, mask, with particular emphasis on Shakespeare and classical text. Explores language through verse, and getting advanced classical text off the page.

382 Acting VI (3) Prerequisite: permission of instructor. Advanced scene study: American/European classic to beginning of style; full and in-depth scene study; incorporation of previous semesters' skills and techniques, identifying author's period and style, understanding the physical and social traits inherent in scenes.

385 Performing Arts Management (2) Prerequisite: permission of instructor. An overall look at the administrative aspects of the performing arts, using a theatre company as the standard model, but with a look at orchestras, dance, and opera. Exploration of theatre development, profit vs. nonprofit companies, role of board of directors, unions, budgeting, marketing, public relations, fundraising.

386 Practicum in Performing Arts Management (3) Prerequisite: permission of instructor. Practical work in the management of the performing arts, principally theatre, through assisting in the creation of live performing arts presentations.

387, 388 Studio I, II (2 each) Prerequisite: 282 and permission of instructor; 387 is a prerequisite to 388. The ongoing work each semester includes scene work, monologues, auditions, readings and occasional short plays; provides opportunity to expand roles and styles of performance.

395 Stage Dialects (3) Prerequisite: 292 and permission of instructor. Introduces students to specific methods for acquiring stage dialects. Work includes International Phonetic alphabet) and Standard American Speech/Dialect. Students listen to and perform scenes and monologues in each dialect, which may include Standard American, Standard British, Cockney, Irish, American Southern, French, South African, Spanish.

399 Topics in Drama (1-3) Covers specialized topics in theatre and drama, which vary from semester to semester. The purpose is to explore in depth aspects of theatre that cannot be covered in existing courses, such as a play or special subject.

400 Directed Reading (1-3) Prerequisites: Permission of instructor. Special reading project under faculty supervision.

401 Independent Study (1-3) Prerequisites: Permission of instructor. Allows special work in directing, design, theatre studies or other specialized areas.

402 Ideas of Theatre (3) An introduction to various types of dramatic literature, to different ideas of theatre­naturalistic, expressionist, tragicomic, farcical­and to the reading of plays themselves. Class discussions concentrate on dramatic structure, how a playwright creates meaning through the arrangement of action, language, and character; also examine our assumptions about the nature and purposes of theatre and drama.

403, 404 Design & Production Forum I, II (2 each) Active discussion courses which explore issues of contemporary theatre, particularly in relation to design and production. These courses broaden the student's knowledge of contemporary theatre artists and practices, and sharpens esthetic judgment of productions.

427 Advanced Playwriting (3) Prerequisite: Permission of instructor. Students write a dramatic text, complete a series of assigned technique exercises and material-reading, participate in class discussions and live readings.

429 Playwriting Toward Production (3) Prerequisite: permission of instructor; students must have written a script. Student must have written an original play. Class is a collaboration between student designers, actors, producers and playwrights; analyzes the evolution of a script from its writing to its production. Students rewrite and workshop their plays and present them before an audience at the end of the semester.

440 Special Topics in African American Theatre (3) Prerequisites: Permission of instructor. Topics may include: Comparing Black Aesthetics: Caribbean, African American and African Drama; African American Dramatic Literature; Traditions and Modernity in African Drama.

441 Design for Directors (3) Prerequisites: 342 and permission of instructor. Course examines the role of design in a director's concept and what is particular to the director-designer relationship. Various areas of design, how to analyze from a design perspective, how to communicate with designers.

442 Directing Project (3) Prerequisites: 441 and permission of instructor. Students continue their preparation for a professional career or graduate studies in directing by directing a studio play.

443/444 Directing Colloquium I and II (1 each) Prerequisites: 442 and permission of instructor. Senior directing students meet to discuss final projects, do presentations of concept of their play, design and casting choices, practical realization of the play, choice of script, and post-production discussions/reviews.

445 Stage Management for Operas & Musicals (2) Prerequisites: 245. Seminar portion covers methods of stage management; students are also assigned as stage managers for School of Music, Theatre & Dance opera or musical theatre productions.

450 Scenic Construction II (3) Prerequisites: 350. For advanced technical students. Topics include scenic tracking and automation, pneumatics/hydraulics, metal working, rigging, basic mechanics for scenery construction, budgeting and business of the technical director.

451 Production Practicum VII (2-3) Prerequisites: 250, 251, 252, 462. An introduction to production and management skills needed by the technical director: drafting of construction drawings, cost analysis of materials, metal and wood fabrication, environmental/ structural safety, scenery rigging, movement, mechanization. Students work on studio projects and department productions.

452 Costume Construction (3) Prerequisites: permission of instructor. Basic hand and machine sewing techniques and fundamental skills used in construction of theatrical costumes. Introduction to costume shop equipment. Some work on University Productions' projects.

456 Lighting Design III (3) Prerequisite: 356. Advanced study of lighting design, incorporating inceasingly difficult texts, facilities and production styles; alternative venues and production styles. Includes several major projects.

457 Lighting Design IV (3) Prerequisites: 456 or permission of instructor. Course incorporates increasingly difficult texts, facilities and production styles; alternative venues and production styles, such as concert, television and landscape lighting. Includes several major projects.

460 Scene Design III (3) Prerequisite: 360 or permission of instructor. For students whose main interest is scenic design. Hones the conceptual process and developes deeper awareness of style as related to text.

461 Production Practicum VIII (2-3) Prerequisites: 451 or permission of instructor. Advanced level production practicum under faculty supervision.

462 Drafting (2) Prerequisite: 250 or permission of instructor. A study of the principles of scenery drafting; basic skills of geometric construction; steps for making production drawings.

463 Design Rendering (3) Prerequisite: 351, 460 or 470, or permission of instructor. Various approaches to figure drawing and perspective sketching, using a variety of media, in exploration and development of skills in communicating a design idea through set and costume sketches.

464 Scene Painting for the Theatre (3) Prerequisite: 250 or permission of instructor. A study of the methods and materials of painting scenery for stage productions; characteristics of various scene painting materials; lab work devoted to color, perspective, utilization of various materials.

466 History of Decor (3) Prerequisite: 351 or permission of instructor. A chronological study of the decorative styles of interiors and exteriors in Western architecture and their application to the stage.

468 History of Theatre Architecture and Stage Design (3) This course covers the origins and evolution of the theatre building and theatrical design and technology with the corresponding political, social and artistic context.

470 Costume Design III (3) Prerequisite: 370. Further exploration of the process of costume design for theatre. Projects are more intensely focused on text, research, the conceptual process, and sense of style.

471 Women's Pattern Drafting (3) Course covers the techniques used for drafting and draping women's slopers based on standard measurements. Using basic bodice, sleeve, and skirt slopers, students will develop patterns for contemporary and historical garments. Includes a final project.

472 Stage Make-Up (2) Fundamentals of make-up for theatre: study of facial structure, physiology of age, character and psychology of color.

476 Costumes Crafts (3) An introduction to the materials and techniques used in the design and construction of craft work associated with theatrical costumes, including millinery, mask making, and dyeing and painting of fabric.

477 History of Dress (3) Prerequisites: 351 or permission of instructor. Slide survey course which traces the history of dress from ancient times through the present day, with an emphasis on the societies which produced particular manners and styles of dress.

478 History of 20th Century Dress & Costume Design (3) Prerequisites: 477 or permission of instructor. The continuing evolution of the fashion silhouette; growth of theatrical costume design during the 20th century; influences of economic and political situations, art styles, popular culture.

481 Acting VII (3) Prerequisite: 382 and permission of instructor. Professional seminar: particular attention to individual rehearsal and audition technique; preparation for graduate, conservatory and professional work. Seminars with guest lecturers and visiting directors focus on professional career preparation.

483 Acting VIII (3) Prerequisite: 481 and permission of instructor. Styles II: Playwrights may include Shaw, Checkhov, Coward, Wilde, Strindberg. Advanced scene work incorporates style texts and Romance language authors.

484 Acting IX (3) Prerequisite: 483 and permission of instructor. Acting for the Camera II: exploration of adjustments needed for camera work with emphasis on technical elements involved, such as maintaining continuity, hitting marks and shooting out of sequence.

487, 488 Studio III, IV (2 each) Prerequisite: 382, 388 and permission of instructor; 487 is a prerequisite to 488. Ongoing work each semester includes scene work, monologues, auditions, readings and occasional short plays; provides opportunity to expand roles and styles of performance.

495 Uber Practicum (2-6) Prerequisite: permission of instructor. This advanced theatre practicum requires a significant production contribution from the student, such as a major design assignment, stage management or technical direction.

556 Lighting Design V (3) Prerequisites: permission of instructor. Further exploration of the process of lighting design for theatre and other related events. Projects focus intensely on the conceptual and collaborative process.

557 Light Lab (3) Prerequisite: 556 or permission of instructor. An in-depth look into the tools, hardware and software of lighting design; the study of a wide variety of static and intelligent instruments and emerging lighting technologies. Requires several small projects.

560 Scene Design IV (3) Prerequisites: 460 and permission of instructor. Scene design students continue to hone their conceptual process and develop style awareness of style as related to text through the execution of advanced scenic projects.

564 Advanced Scene Painting (3) Prerequisites: 464 and permission of instructor. Builds upon skills learned in basic scene painting course (464). Additional skills taught are translucency, signage, masked sprays, faux finishes, sculpture, advanced perspective, geometric layout, trompe l'oeil.

570 Costume Design IV (3) Prerequisites: 470 and permission of instructor. A further in-depth exploration of texts, the conceptual process, research and a sense of style resulting in more accomplished costume projects.

571 Men's Pattern Drafting (3) Prerequisites: 471 or permission of instructor. Techniques for drafting men's slopers based on standard measurements. Using basic jacket, sleeve and pants slopers, students develop patterns for contemporary and historical garments, develop patterns and construct muslin mock-ups. Final projects may include patterning garments for a mainstage production.

 

Essays

Essay #1 (Required for all applicants. Approximately 250 words.)
Everyone belongs to many different communities and/or groups defined by (among other things) shared geography, religion, ethnicity, income, cuisine, interest, race, ideology, or intellectual heritage. Choose one of the communities to which you belong, and describe that community and your place within it.

Essay #2 (Required for all applicants. 500 words maximum.)
Describe the unique qualities that attract you to the specific undergraduate College or School (including preferred admission and dual degree programs) to which you are applying at the University of Michigan. How would that curriculum support your interests?

 

Interview

• Résumé and photo: Bring a typed résumé that includes previous theatre experience and training, recommendations from drama and art teachers, or production supervisors.  Bring a photo with a good likeness of yourself.
• Brief personal statement: Bring a short essay describing reasons for choosing a career in theatre and training at Michigan, and your portfolio.  This may include goals, professional ambitions, and ideas about the field itself.  It should not be more than two double-spaced typed pages.
• Interview:  Be prepared for a short conversation with the interviewer.  This might include a discussion of your previous theatre work, and your goals.  It is important to be relaxed, honest, direct, and yourself.
• Portfolio: The applicant’s portfolio should include design projects and/or any creative work (photography, craftwork, etc.) and/or stage manager’s prompt books.