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
- scenic design
- costume design
- lighting design
- costume technology
- stage management
- 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.
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.
