Theatre and Dance Courses

Fundamentals of tap dance, with an emphasis on steps, terminology and the rhythmic structure of tap dance.

Fundamentals of classical ballet technique, with an emphasis on alignment and basic movement vocabulary. Designed for students with little or no experience. May be repeated to a maximum of six hours.

Fundamentals of contemporary dance techniques, with an emphasis on basic movement principles and vocabulary. Designed for students with little or no dance experience. Variable content course. May be repeated for a maximum of six hours.

Fundamentals of jazz dance technique and vocabulary. May be repeated to a maximum of four hours.

Survey of dance from a historical retrospective through the creative process. Emphasis will be placed on historical multi-cultural and societal influences on dance. The approach will be from the viewpoint of the audience to help heighten awareness of and increase critical thinking in relationship to the artistic experience. Buying tickets to and attendance at local productions required.

Explores elements of contemporary dance technique. Designed for students with at least one year of formal dance training. Variable content course. May be repeated to a maximum of 12 hours.

Elementary tap dance technique and vocabulary. Variable content course. May be repeated to a maximum of six hours.

Elementary classical ballet technique and vocabulary. This course is designed for students with at least one to two years of formal and consistent ballet training. Variable content course. May be repeated to a maximum of 12 hours.

Basic techniques for the male dancer. Emphasis will be on strength building and developing the male dancer's technique and style. Variable content course. May be repeated to a maximum of four hours.

An introduction to the Missouri State University Dance program. Required of all new Dance majors and minors.

Continues development of jazz dance technique and vocabulary. Elementary level technique designed for students with at least one year of formal dance training. Variable content course. May be repeated to a maximum of 12 hours.

Intermediate level contemporary dance technique. Variable content course. May be repeated to a maximum of 12 hours.

Contemporary dance improvisation that explores sharing weight, rolling, lifting, flying and finding one's center. Dancers will explore and focus on specific relationships in partnering.

Contemporary dance improvisation techniques, and creative approaches to development of basic movement themes and simple and complex manipulations of those themes. The first course in the Dance Composition Series.

Students will analyze and embody performance techniques as related to historical trends in choreography and staging for American Musical Theatre. A minimum of three production numbers featuring either original Broadway choreography or choreography devised by the instructor will be taught and performed during the semester.

Continues development of intermediate level tap dance technique and vocabulary. Variable content course. May be repeated to a maximum of three hours.

Intermediate level ballet technique. Variable content course. May be repeated to a maximum of 12 hours.

Continued techniques for the male dancer. Emphasis will be on strength building and developing the male dancer's technique and style. Variable content course. May be repeated to a maximum of four hours.

Professional preparation, including communication and leadership skills, promotional and website building.

Intermediate level jazz dance techniques. Variable content course. May be repeated to a maximum of 12 hours.

Basic and elementary techniques of classical and contemporary partnering. Variable content course. May be repeated to a maximum of four hours.

This course addresses research methods, writing about dance, and conference presentation opportunities for research in dance.

The specific study of dance techniques through the principles of motion, muscle action and joint mechanics.

Application of selected somatic practices, designed to enhance performance skills and awareness. Variable content course. May be repeated to a maximum of four hours.

A study of music for dance. Students will explore music from various times/cultures in terms of form, rhythm (meter, syncopation, subdivision), texture, mood, and instrumentation. Students will be introduced to new musical resources and an enhanced musical awareness, tools critical for the student's artistic growth.

This service component for an existing course incorporates community service with classroom instruction in Dance to provide an integrative learning experience that addresses the practice of citizenship and promotes an awareness of and participation in public affairs. Includes 40 hours of service that benefits an external community organization, agency, or public service provider. Approved service placements and assignments will vary depending on the specific course topic and learning objectives; a list of approved placements and assignments is available from the instructor and the Citizenship and Service-Learning Office. May be repeated.

Advanced level contemporary dance technique. Variable content course. May be repeated to a maximum of 12 hours.

Choreographic techniques that explore creative approaches to the development and manipulation of movement themes. Emphasis on small group studies that explore space, time and energy.

Advanced level ballet technique. Variable content course. May be repeated to a maximum of 12 hours.

Advanced level jazz dance techniques. Variable content course. May be repeated to a maximum of 12 hours.

Public presentation of performance or paper to demonstrate the student's mastery of the skills received during the completion of the major. Required of all BS in Dance majors.

Public presentation of portfolio, project, or performance to demonstrate the student's mastery of the skills developed during the major. Required of all BFA Dance majors.

Individual experimental or research studies in dance. May be repeated to a maximum of six hours.

Group creative or special topics in dance. May be repeated to a maximum of six hours.

Supervised individual creative projects in dance. May be repeated to a maximum of six hours.

Choreographing and directing a large group composition that will culminate with a performance on stage. Students will explore aspects of staging a complete work that will include the creation of original theme, casting of performers, choices of accompaniment, and lighting and costume design. Management of technical, business and artistic procedures involved in producing and staging dance productions. Public Affairs Capstone Experience course.

Pointe technique that focuses on stability, correct alignment of the feet and use of turn-out. At least one classical variation will be taught.

Selected topics in the history of dance from the 20th century to the present.

Overview of general theories and practices of teaching. This course investigates class content and various methodologies used to teach dance techniques and creative movement. Emphasis is placed on methods for teaching the beginning and elementary level student. Opportunities to develop and implement lesson plans, and to develop comprehensive training syllabi. Public Affairs Capstone Experience course.

Performance laboratory for students in Dance. Focused study of dance repertory from a variety of genres. Emphasis will be placed on performance techniques as related to various styles. Variable content course. May be repeated to a maximum of four hours.

The creative processes of transforming drama to stage, film and television. A study of the collaborations and contributions that the various artists make to the process. Intended to increase the audience's ability to think critically about the artistic experience. Buying tickets to and attendance at local productions required.

Exploration of the social, cultural, and aesthetic aspects of performance through an examination of self and society. Course combines lecture, readings, and individual student performances of oral and literary texts. Course enrollment is limited and much one-on-one work takes place.

Development of foundational acting skills for the pre-professional actor.

An introduction to the fundamental tools of the actor: physical development, vocal development, and ensemble collaboration.

Exercises in physical and vocal development for the actor. Introductory tools regarding anatomy, breathing, and articulation; care and maintenance of body and voice.

Analysis of the script and its translation from page to performance through an examination of the relationships of directors, designers, performers, and audience in the rehearsal process and theatrical performance. Buying tickets to and attendance at local productions required.

An introduction to the working relationships of designers and basic principles of costuming, lighting, and stagecraft. Buying tickets to and attendance at local productions required.

Practical application of the principles addressed in THE 150.

Students learn principles for the singing of CCM (Contemporary Commercial Music) utilizing an evidence-based, functional approach. Authenticity, style, and performance practice for CCM genres are introduced.

Students learn the stylistic elements found in blues, jazz, rock, pop, R&B, gospel, and country vocal delivery as well as what is expected in terms of vocal delivery when singing in various musical theatre genres.

Supervised practical work in the theatre including both on and off stage work. Requires 50 laboratory hours; 25 must be in technical areas. May be repeated to a maximum of four hours.

Speech activities in the elementary grades, correlating storytelling, choral reading, creative dramatics and speech correction.

Study and practice of the discourse conventions of writing about dramatic literature and performance from the perspective of an educated generalist in the field. Students will hone skills of research, analysis, and argumentation in order to become more skillful theatre patrons, historians, and critics.

Builds upon the pre-professional foundation developed in THE 121. Emphasis on finding truth in performance through applicable acting techniques and actualization of text. Application of play analysis to character study.

A foundation in characterization, scene study, and auditioning. Buying tickets and attending local performances is required. Cannot replace THE 121 requirement for BFA Acting and BFA Musical Theatre majors.

Laboratory course providing students with fundamentals of the art of two dimensional makeup.

Development of dynamic physical and vocal expression of text. Exercises in discarding negative self-awareness and habitual physical/vocal patterns that inhibit emotional expression.

Approaches to singing for actors, with emphasis upon honest characterization and discovery in song.

Working illustrations, construction, rigging, painting, and shifting of scenic units.

Practical application of the principles addressed in THE 250. May be repeated to a maximum of two hours.

Introduction to the basic principles and practices of theatrical lighting design with an emphasis upon practical application. This combined lecture-lab course will encompass most aspects of a complete lighting design process through the study and application of lighting instrumentation, basic electrics and signal flow, photometry, color theory, script analysis, lighting plots and paperwork, and research collaboration.

Practical application of the principles addressed in THE 255.

Fundamentals of costuming for the stage. A study of fabrics and construction; basic cutting and sewing techniques; costume shop organization and stage management.

Practical application of the principles addressed in THE 260. May be repeated to a maximum of two hours.

A survey of drawing and the use of various media as applicable to theatrical design. Includes figure and perspective drawing techniques.

A continuation of the study of drawing, including figure and perspective drawing techniques. The use of various color media as applicable to theatrical design.

Basic drafting techniques and practices for theatrical applications. Study of tools, methods, and formulas used in generating designs and drawings.

Basic principles of design as these relate to the theatre, intensive laboratory experience in theatrical design. Buying tickets to and attendance at local performances required.

Basic principles of lighting and scenic design as these relate to the theatre. Intensive laboratory experience in theatrical design. Buying tickets to and attendance at local performances required.

Students continue their exploration of healthy vocal production for CCM (Contemporary Commercial Music) genres using an evidence-based, functional approach. Students work solo CCM material in class to apply the concepts discussed.

Public presentation of a portfolio, a project, or a performance demonstrating the student's mastery of the skills received during the major.

Technical or design or stage management assignment requiring an intermediate level of expertise and responsibility connected with a specific departmental production.

Theory, methodology, and activities for teaching the arts to children, from early childhood through Grade 6. A creative experiential approach, emphasizing how the four primary art forms (drama, movement, music, and art) relate to and enhance one another and facilitate the child's learning in other content areas. Cannot receive credit for both THE 306 and MUS 306.

Builds upon the pre-professional foundation developed in THE 121 and THE 221. Projects in advanced scene study, including contemporary drama and comedy. May be repeated to a maximum of six hours.

Individual and group performance of plays, prose narrative and poetry.

Laboratory course dealing with three-dimensional makeup. Emphasis on prosthetics of latex.

Introduction to scansion and its application to performing classical material. Techniques for vocal health, stamina, and longevity.

Advanced characterization and physicalization in the actor's performance.

An introduction to the techniques and terminology used in the performance of combat and physical violence for stage and screen. Emphasis is placed upon safety and honest physicalization.

Study of advanced building techniques. Work with "non-conventional" materials. Explore uses of mechanical stage machinery. Plan and budget productions.

Development of a production book and understanding of all procedures used by a stage manager from the selection of a script to the final production. The role of the stage manager is discussed for both the professional and the non-professional theatre.

This foundation course for THE 577 Giving Voice explores theatrical techniques and exercises inspired by the work of Augusto Boal, including forum theatre and image theatre. Students develop cultural competence pertinent to their own lives and community through various forms of performative activism. Students utilize these skills through participation in interactive forums for classroom and community presentations. Through these forum performances students develop leadership skills as they address issues of power, privilege, social identity and structures of oppression.

Basic principles of costume and sound design as these relate to the theatre. Intensive laboratory experience in theatrical design. Buying tickets to and attendance at local performances required.

Collaboration as it relates to all areas of theatrical design. Intensive laboratory experience in theatrical design. Buying tickets to and attendance at local performances required.

Research and dramaturgy as these apply to previsualization, design, production, and concept development for the theatre and the performing arts.

Students examine the history of American rock and roll and popular music from the pre-cursors of rock and roll to the 1980s and perform music from each era.

Students examine the history of American rock and roll and popular music from the 1990s to present day and perform music from each era. They discover how to apply what they have learned in order to create a stylistically accurate rock musical audition piece.

This service component for an existing course incorporates community service with classroom instruction in Theatre to provide an integrative learning experience that addresses the practice of citizenship and promotes an awareness of and participation in public affairs. Includes 40 hours of service that benefits an external community organization, agency, or public service provider. Approved service placements and assignments will vary depending on the specific course topic and learning objectives; a list of approved placements and assignments is available from the instructor and the Citizenship and Service-Learning Office. May be repeated.

Public presentation of a portfolio, a project, or a performance demonstrating the student's mastery of the skills received during the major.

Technical or design or stage management assignment requiring an advanced level of expertise and responsibility connected with a specific departmental production. Public Affairs Capstone Experience course.

Study and exploration of dramatic modes in period and stylistic material. Monologue and scenework exploring Greek, Restoration, Romantic, and other performance styles.

Scope and objectives of the speech and theatre program in secondary schools; organization and administration of curricular and co-curricular programs; general instruction methodology. Completion of Checkpoint II for the Professional Portfolio is a component of this course. This course is recommended to be completed the fall semester before supervised teaching. Credited only on BSEd (Secondary). A grade of "C" or better is required in this course in order to take THE 490 or THE 491. Cannot be taken Pass/Not Pass. Identical with COM 417. Cannot receive credit for both THE 417 and COM 417.

Builds upon the pre-professional foundation developed in THE 121, THE 221, and THE 321. Advanced techniques and tutorial scene work as applicable to both classical and contemporary works. May be repeated to a maximum of six hours.

Tutorial scene study focusing on acting tools necessary for the rehearsal process. May be repeated to a maximum of six hours.

A foundation in dialects for the actor.

Basic principles, skills and techniques underlying directing. Procedures in selecting, analyzing, casting and producing a play.

Audition techniques for actors. Includes audition performance, material preparation, resumes, headshots, and industry skills and development.

Study of painting equipment tools, brushes, pigments, binders, and vehicles and their relationship to the surfaces to be painted. Instruction in basic painting techniques and texturing for the stage.

Costume construction techniques with emphasis on patterning, draping, tailoring, and more specialized sewing and fabric manipulation processes. Requires 45 hours of laboratory work.

Public presentation of portfolio, project, performance, or paper to demonstrate the student's mastery of the skills received during the completion of the major. Required of all BA and BS in Theatre majors.

Students receive individual coaching on CCM (Contemporary Commercial Music) repertoire from various genres and stylistic periods.

Lecture and laboratory experience for the actor about to enter the professional arena.

Student observes, then teaches speech and theatre classes under the direction of the cooperating teacher and the university supervisor. Student participates in school-related activities appropriate to the assignment and attends all required meetings. In order to receive a grade in this course, the student's professional portfolio must meet or exceed final criteria. Cannot count toward the major GPA. Identical with COM 490. Cannot receive credit for both THE 490 and COM 490.

Student observes, then teaches under the direction of the cooperating teacher and the university supervisor. Student participates in school-related activities appropriate to the assignment and attends all required meetings. In order to receive a grade in this course, the student's professional portfolio must meet or exceed final criteria. Cannot count toward the major GPA. Cannot receive credit for both THE 491 and COM 491. Public Affairs Capstone Experience course.

Public presentation of portfolio, project, or performance to demonstrate the student's mastery of the skills received during the major. Public Affairs Capstone Experience course.

This course is designed to meet HB 1711 for student's experience as a Teacher's Aide or Assistant Rule (Rule 5 CSR 80-805.040), to that of conventional student teachers within the same program. It is also designed to support completion of additional clinical requirements within that program including: seminars and workshops, required meetings, school related activities appropriate to the assignment, demonstrated mastery of the MoSPE standards and completion and overall assessment of a Professional Preparation Portfolio. This course is credited only on BSEd or appropriate master's-level certification programs. Can only receive credit for one of the following: AGE 499, AGT 499, ART 469, COM 493, ECE 499, ELE 499, ENG 434, FCS 498, HST 499, KIN 498, MCL 491, MID 499, MTH 496, MUS 499, SCI 499, SEC 499, SPE 499, THE 493.

An administrative, instructional, supervisory or guided production experience not available through class work. Student typically serves as a production aide to a faculty member, or assumes a faculty supervised artistic or leadership role. May be repeated to a maximum of five hours.

Individual, experimental or research studies in theatre and performance studies. May be repeated to a maximum of nine hours.

Group creative or special topics in theatre and performance studies. May be repeated to a maximum of six hours.

Supervised individual creative projects in theatre and performance studies. May be repeated to a maximum of six hours.

Special training and techniques involved in the preparation and development of productions for, and by, children and youth. Activities include directing, scenic and costume design, scripting, and a study of the history, literature and research of the field. May be taught concurrently with THE 605. Cannot receive credit for both THE 505 and THE 605.

The art of creative drama and how it can be used in the school and community with children, youth, adults, and "special populations." Students teach their own classes in creative drama during the latter part of the semester. May be taught concurrently with THE 606. Cannot receive credit for both THE 506 and THE 606.

Theoretical and practical knowledge in developing performance skills for one-person shows, extended literary performances, performance art, stand-up comedy, personal narrative and other performer-composed theatrical texts. May be taught concurrently with THE 611. Cannot receive credit for both THE 510 and THE 611.

Understanding honesty, text, style, and dynamics of action in the performance of Shakespeare. Creating roles in Shakespeare's plays.

This course is designed to prepare participants for the performance and/or filming of their Acting Showcase scenes, to connect participants with the industry in a strategic, organized manner, and to support the actors in business and artistic goals.

Theoretical and practical knowledge for developing performances for, about, and in partnership with community-based nonprofit organizations. Includes volunteer assignment and techniques for journaling, interviewing, scripting, and directing original material. May be taught concurrently with THE 616. Cannot receive credit for both THE 515 and THE 616. Public Affairs Capstone Experience course.

A practical immersion into the on-camera market for the professional actor. Auditioning and acting skills for single and multi-camera formats including commercials, television comedy, television drama, industrials, film, and other digital mediums. Also covers industry and marketing logistics in relation to the on-camera market. May be taught concurrently with THE 623. Cannot receive credit for both THE 522 and THE 623.

A focused immersion in acting for film and digital single-camera applications. Focus upon scale, the development of internal character conflicts, and honesty and complexity in characterization when performing on film.

Advanced directing techniques. Directing of a one-act play. May be taught concurrently with THE 640. Cannot receive credit for both THE 530 and THE 640.

Traces the important periods in the development of theatre from its beginning through the English Restoration. Through analysis of conventions of staging and dramatic literature, examines the aesthetic, cultural, ethical, and social dimensions of theatre in different cultures and time periods. May be taught concurrently with THE 631. Cannot receive credit for both THE 541 and THE 631.

Traces the important periods in the development of theatre from the 18th century to the present. Through analysis of conventions of staging and dramatic literature, examines the aesthetic, cultural, ethical, and social dimensions of theatre in different cultures and time periods. May be taught concurrently with THE 632. Cannot receive credit for both THE 542 and THE 632.

Examines the aesthetic, cultural, ethical, and social dimensions of modern theatre, from the development of naturalism to Theatre of the Absurd, through analysis of staging practices, theatrical theory, and dramatic literature. May be taught concurrently with THE 633. Cannot receive credit for both THE 543 and THE 633.

Examines the aesthetic, cultural, ethical, and social dimension of theatre and drama since 1960. Emphasis will be on theatre as an art form and a social and cultural institution. May be taught concurrently with THE 634. Cannot receive credit for both THE 545 and THE 634.

Study of theatre in the United States from colonial times to the present; with a focus on the cultural and aesthetic variety of American theatrical practice and the theatre as a reflection of various cultural, and political beliefs. May be taught concurrently with THE 635. Cannot receive credit for both THE 547 and THE 635.

Advanced designs of selected plays including floor plans, front elevations, white and finished models and renderings. May be taught concurrently with THE 652. Cannot receive credit for both THE 552 and THE 652.

Advanced principles and techniques of lighting for theatre, dance, and other performance/presentational events. May be taught concurrently with THE 655. Cannot receive credit for both THE 555 and THE 655.

Principles of sound design with an emphasis on practical application. Includes a study and practice of basic audio production, recording, editing, mixing, reinforcement, and playback techniques used in association with dramatic events. Study of sound design includes aesthetic, dramatic, and practical considerations of script analysis, creative collaboration, research, and problem solving. Practical class application will be in the form of simple projects, exercises, and designs. May be taught concurrently with THE 658. Cannot receive credit for both THE 655 and THE 658.

A survey of styles of dress, interior design and decoration, architecture, art, and historical events as they pertain to the design of theatrical productions, from ancient Egypt to circa 1700. Requires sketching. May be taught concurrently with THE 671. Cannot receive credit for both THE 561 and THE 671.

Survey of styles of dress, interior design and decoration, architecture, and art as they pertain to the design of theatrical productions, from circa 1700 to the present day. Requires sketching. May be taught concurrently with THE 672. Cannot receive credit for both THE 562 and THE 672.

Emphasis on special problems in costume design including applications of concepts to design projects and presentation of completed design projects. May be taught concurrently with THE 665. Cannot receive credit for both THE 565 and THE 665.

A studio class utilizing interactive theatre and various theatrical techniques where students fully develop and present public forums addressing issues of oppression, such as diversity and sexual harassment. It is designed to allow students to apply skills developed in THE 377 to help various audiences to develop cultural competence. Students further develop their own cultural competence and ethical leadership skills, as they continue to address issues of power, privilege, social identity and structures of oppression. May be repeated to a maximum of six hours.

Acting, stagecraft, costuming and associated work in the Tent Theatre or other specified theatre production. May be taught concurrently with THE 694. Cannot receive credit for both THE 595 and THE 694.

Special training and techniques involved in the preparation and development of productions for, and by, children and youth. Activities include directing, scenic and costume design, scripting, and a study of the history, literature and research of the field. May be taught concurrently with THE 505. Cannot receive credit for both THE 505 and THE 605.

The art of creative drama and how it can be used in the school and community with children, youth, adults, and "special populations." Students teach their own classes in creative drama during the latter part of the semester.

Theoretical and practical knowledge in developing performance skills for one-person shows, extended literary performances, performance art, stand-up comedy, personal narrative and other performer-composed theatrical texts. May be taught concurrently with THE 510. Cannot receive credit for both THE 510 and THE 611.

Theoretical and practical knowledge for developing performances for, about, and in partnership with community-based nonprofit organizations. Includes volunteer assignment and techniques for journaling, interviewing, scripting, and directing original material. May be taught concurrently with THE 515. Cannot receive credit for both THE 515 and THE 615.

A practical immersion into the on-camera market for the professional actor. Auditioning and acting skills for single and multi-camera formats including commercials, television comedy, television drama, industrials, film, and other digital mediums. Also covers industry and marketing logistics in relation to the on-camera market. May be taught concurrently with THE 522. Cannot receive credit for both THE 522 and THE 623.

Traces the important periods in the development of theatre from its beginning through the English Restoration. Through analysis of conventions of staging and dramatic literature, examines the aesthetic, cultural, ethical, and social dimensions of theatre in different cultures and time periods. May be taught concurrently with THE 541. Cannot receive credit for both THE 541 and THE 631.

Traces the important periods in the development of theatre from the 18th century to the present. Through analysis of conventions of staging and dramatic literature, examines the aesthetic, cultural, ethical, and social dimensions of theatre in different cultures and time periods. May be taught concurrently with THE 542. Cannot receive credit for both THE 542 and THE 632.

Examines the aesthetic, cultural, ethical, and social dimension of modern theatre, from the development of naturalism to Theatre of the Absurd, through analysis of staging practices, theatrical theory, and dramatic literature. May be taught concurrently with THE 543. Cannot receive credit for both THE 543 and THE 633.

Examines the aesthetic, cultural, ethical, and social dimension of theatre and drama since 1960. Emphasis will be on theatre as an art form and a social and cultural institution. May be taught concurrently with THE 545. Cannot receive credit for both THE 545 and THE 634.

Study of theatre in the United States from colonial times to the present with a focus on the cultural and aesthetic variety of American theatrical practice and the theatre as a reflection of various social, cultural, and political beliefs. May be taught concurrently with THE 547. Cannot receive credit for both THE 547 and THE 635.

Advanced directing techniques. Directing of a one-act play. May be taught concurrently with THE 530. Cannot receive credit for both THE 530 and THE 640.

Advanced designs of selected plays including floor plans, front elevations, white and finished models and renderings.

Advanced principles and techniques of lighting for theatre, dance, and other performance/presentational events. May be taught concurrently with THE 555. Cannot receive credit for both THE 555 and THE 655.

Principles of sound design with an emphasis on practical application. Includes a study and practice of basic audio production, recording, editing, mixing, reinforcement, and playback techniques used in association with dramatic events. Study of sound design includes aesthetic, dramatic, and practical considerations of script analysis, creative collaboration, research, and problem solving. Practical class application will be in the form of simple projects, exercises, and designs. May be taught concurrently with THE 558. Cannot receive credit for both THE 558 and THE 658.

Emphasis on special problems in costume design including applications of concepts to design projects and presentation of completed design projects. May be taught concurrently with THE 565. Cannot receive credit for both THE 565 and THE 665.

A survey of styles of dress, interior design and decoration, architecture, art, and historical events as they pertain to the design of theatrical productions, from ancient Egypt to circa 1700. Requires sketching. May be taught concurrently with THE 561. Cannot receive credit for both THE 561 and THE 671.

Survey of styles of dress, interior design and decoration, architecture, and art as they pertain to the design of theatrical productions, from circa 1700 to the present day. Requires sketching. May be taught concurrently with THE 562. Cannot receive credit for both THE 562 and THE 672.

Exploration of the current state of theatre studies. Focuses on strategies for research with primary and secondary sources, critical and theoretical methodologies, and various methods of reporting research.

Designed to acquaint theatre teachers with the field of current theories and practices of theatre and performance pedagogy, and to develop instructional skills with specific application to teaching introductory level theatre courses.

Studies in rhetorical, cultural, social and aesthetic dimensions of performance.

Representative theories of dramatic form and function; works of major critics and philosophers from Aristotle to present.

Designed to improve the students' skill and knowledge in specific areas of theatrical production. Each workshop will be concerned with a single topic, either acting, directing, or design. The course will examine the intersections between theory and practice in the creation of theatrical works. May be repeated to a maximum of nine hours.

Research and writing of an extended paper originating in one of the 700-level courses. Students may choose to present the completed paper for their required research report. May be repeated to a maximum of six hours.

Acting, stagecraft, costuming and associated work in the Tent Theatre or other specified theatre production. May be repeated to a maximum of six hours.

The applied research project may consist of: 1) a creative project (directing, designing, scripting, performing), or 2) an internship with a host company or agency. For the non-thesis project, students must design specific educational and social as well as artistic objectives and appropriate assessment measures in consultation with the advisor. Students may choose to report on the applied research project for their required research report. Graded Pass/Not Pass only.

Individual, experimental or research studies in theatre and performance studies. May be repeated to a maximum of six hours.

Creative or special topics in theatre and performance studies. May be repeated to a maximum of six hours.

Research leading to a master's thesis. Students will present a proseminar on their research during the semester they are enrolled in this course.

Preparation of thesis. May be repeated, but no more than three hours may be counted toward a master's degree. Graded Pass/Not Pass only.