Carleton College

DANC 107. Ballet I 1 cr., S/CR/NC, AL, Fall,Winter,Spring—J. Bader

DANC 114. Black Dance: An Historical Survey Through Movement, Composition, Readings and Guest Lecture-Performa A general survey of the dance modes of Black Americans and a tracing of the unique movement attitudes and their continuing significance in black life from their African origins to the concert stage of the twentieth century. 6 cr., AL, Not offered in 2006-2007.

DANC 138. Jazz An introduction to basic styles and dynamics of jazz dance. Prerequisite: At least one term of ballet or modern dance. 1 cr., S/CR/NC, AL, Not offered in 2006-2007.

DANC 147. Moving Anatomy This course seeks to provide an underlying awareness of body structure and function. Using movement to expand knowledge of our anatomy will encourage participants to integrate information with experience. Heightened body awareness and class studies are designed to activate the general learning process. 1 cr., S/CR/NC, AL, Spring—J. Shockley

DANC 148. Modern Dance I: Technique and Theory 1 cr., S/CR/NC, AL, Fall,Winter,Spring—Staff

DANC 150. Contact Improvisation This is a course in techniques of spontaneous dancing shared by two or more people through a common point of physical contact. Basic skills such as support, counterbalance, rolling, falling and flying will be taught and developed in an environment of mutual creativity. 1 cr., S/CR/NC, AL, Fall,Winter—J. Shockley

DANC 175. Architectural Dances This course in choreography explores the elements of dance: motion, shape, space, time and energy, as they are affected by specific non-theater sites, following post-modern dance theorists of the Judson Church Group. "Space" becomes "place" with its atmospheric, historical, practical and aesthetic implications. Through guided improvisations designed to reveal the potential of each site for dance making, the class will approach questions of perception, audience vantage point, appropriate sound, and chance elements. Short compositional etudes, longer projects, and readings in post modernism will form the principal course activities. Dress warmly, wear heavy shoes. Weather no impediment. 6 cr., AL, Spring—M. Easter

DANC 180. Movement, Words, Meaning This introductory course in choreography explores sources for understanding and releasing creativity through the physical acts of moving and speaking. Guided movement and vocal improvisations will provide a means of generating original texts and dance phrases to uncover personal and universal voices. Using these elements and recorded images, participants will create short original compositions and longer individual projects. Readings on creative process; discussion, analysis and feedback on the works of the class as they develop will complete the course activities. 6 cr., AL, Winter—M. Easter

DANC 185. Improvisation: A Choreographer's Tool Participants will investigate improvisational movement structures as a tool to clarify choreographic intentions. Suited to all levels of experience, students will be guided through daily movement studies. The discussion and critique of these studies will lead to an end of term improvisational composition. Improvisation is not merely a technique for developing new material, but can be spontaneous expression in a finished performance. Philosophical readings on the art of improvisation will accompany studio work. 6 cr., AL, Not offered in 2006-2007.

DANC 200. Modern Dance II: Technique and Theory A continuation of Level I with more emphasis on the development of technique and expressive qualities. 1 cr., S/CR/NC, AL, Fall,Winter,Spring—Staff

DANC 204. Fall Dance Intensive rehearsal and performance of a work commissioned from a professional guest choreographer. Open to all levels. 1 cr., S/CR/NC, AL, Fall—J. Shockley

DANC 205. Winter Dance Intensive rehearsal and performance of a work commissioned from a professional guest choreographer. Open to all levels. 1 cr., S/CR/NC, AL, Winter—Staff

DANC 206. Spring Dance Rehearsal and full concert performance of student dance works created during the year and completed in the spring term. Open to all levels. Prerequisites: One of the following: Dance 204, 205, 214, 215 or 350. 1 cr., S/CR/NC, AL, Spring—M. Easter, J. Shockley

DANC 208. Ballet II For the student with previous ballet experience. This course emphasizes articulation of technique and development of ballet vocabulary. 1 cr., S/CR/NC, AL, Fall,Winter,Spring—J. Bader

DANC 214. Fall Dance, Student Choreography For students enrolled in Dance 204, supervised student choreography with two public showings. 1 cr., S/CR/NC, AL, Fall—Staff

DANC 215. Winter Dance, Student Choreography For students enrolled in Dance 205, supervised student choreography with two public showings. 1 cr., S/CR/NC, AL, Winter—Staff

DANC 253. Movement for the Performer This course investigates the structure and function of the body through movement. Applying a variety of somatic techniques (feldenkrais, yoga, improvisation, body-mind centering). The emphasis will be to discover effortless movement, balance in the body and an integration of self in moving. 3 cr., AL, Fall—J. Shockley

DANC 264. Dance in Jamaica: The African Thread The Atlantic slave trade makes the Caribbean an essential area of black dance study because it is the first entry point of many African slaves into the West carrying their cultures with them. During the centuries since the arrival of Africans in Jamaica, dance has retained an African centrality in the culture, along with social attitudes that embrace its relationship to Jamaican music and spoken word expressions. We will read, write, move, view films, and listen to music to trace this thread and to better understand the complex cultural fabric it weaves. Permission of the instructor. 6 cr., AL, Fall—M. Easter

DANC 265. Dance in Jamaica: The African Thread/Field Trip The primary goal of this two week course is a direct experience of Jamaican dance and music that includes historical, religious, folkloric, vernacular and art dance in their contemporary contexts: the studio, the stage, the dancehall, the street. Central research questions of this Winter Break Field Trip will be: What is the importance of dance in the lives of ordinary contemporary Jamaicans? In what observable ways is that importance related to African roots? Prerequisite: Dance 264. 6 cr., AL, Winter—M. Easter

DANC 300. Modern Dance III: Technique and Theory Intensive work on technical, theoretical, and expressive problems for the experienced dancer. 1 cr., S/CR/NC, AL, Fall,Winter,Spring—J. Shockley

DANC 301. Contemporary Styles and Techniques: African Dance A physical exploration of the technical, theoretical and stylistic bases of different approaches to modern dance movement chosen yearly from such techniques as: Body Mind Centering; Limon; Cunningham; Graham; African-­Caribbean. Prerequisite: some previous dance experience. 2 cr., S/CR/NC, AL, Fall—Staff

DANC 309. Ballet III 1 cr., S/CR/NC, AL, Spring—J. Bader

DANC 350. Semaphore Repertory Dance Company Provides advanced dance students with an intensive opportunity to develop as performers in professional level dances. Skills to be honed are: the dancer as "tool" and contributor to the process of art­making; defining individual technical and expressive gifts; working in a variety of new technical and philosophical dance frameworks. In addition to regular training during the academic terms, participation in a "preseason" rehearsal period before fall term is required. A few pieces of student choreography will be accepted for repertory. The group produces an annual concert, performs in the Twin Cities and makes dance exchanges with other college groups. Audition required. 1 cr., S/CR/NC, AL, Fall,Winter,Spring—M. Easter, J. Shockley

THEA 100. Acting Up In this course we will read, see and write about a selection of major works from film, theater and television including films such as Crash, plays such as Stoppard's Arcadia and television series such as The Sopranos. We will look at these works both as literature and as performances. 6 cr., S/CR/NC, AL, Fall—R. Weiner

THEA 110. Beginning Acting Introduces students to fundamental acting skills, including preliminary physical and vocal training, improvisational techniques, and basic scene work. The course includes analysis of plays as bases for performance, with a strong emphasis on characterization. 6 cr., AL, Fall,Winter—R. Weiner, D. Wiles

THEA 115. Introduction to Design and Technical Theater An overview of the technical aspects of theater with an emphasis on the practical areas of the physical theater: drafting, materials, tools, lighting, costuming, scene painting, and properties 6 cr., AL, Fall—W. Wojciechowski

THEA 175. Drama/Theatre/Text We will study a selection of 10­15 plays as literary texts and as the foundations of performance. These plays are selected both for their literary stature and for their association with specific art and/or critical movements. 6 cr., AL, Not offered in 2006-2007.

THEA 185. The Speaking Voice This course seeks to provide a practical understanding of the human voice, its anatomy, functioning and the underlying support mechanisms of body and breath. Using techniques rooted in the work of Berry, Linklater and Rodenburg, the course will explore the development of physical balance and ease and the awareness of the connection between thinking and breathing that will lead to the effortless, powerful and healthy use of the voice in public presentations and in dramatic performance. 6 cr., AL, Winter,Spring—D. Wiles

THEA 190. Carleton Players Production Each term students may participate in one Players production, a hands­on, faculty­supervised process of conceptualization, construction, rehearsal, and performance. Credit is awarded for a predetermined minimum of time on the production, to be arranged with faculty. Productions explore our theatre heritage from Greek drama to new works. Students may participate through audition or through volunteering for production work. 1 cr., S/CR/NC, AL, Fall,Winter,Spring—Staff

THEA 209. Project Course: The Lovesong of the Electric Bear Alan Turing was a brilliantly iconoclastic mathematician and a gay man. His too short life--marked by wildly creative scientific achievement, life-saving war work, and heartbreaking ultimate tragedy as a result of his open homosexuality in an era that required silence on the topic--has been the subject of two major biographies and a number of plays, including The Lovesong of the Electric Bear. We will study Turing's ideas and the ways in which playwrights weave patterns from his science and his life. Students will participate (on- or back-stage)in the Players production of Lovesong. 6 cr., AL, Winter—S. Kennedy, R. Weiner

THEA 211. Intermediate Acting Continuation of Theater Arts 110. Focus is on specific problems encountered by all actors in performance, especially in stage movements, vocal range and flexibility, and details of characterization. Prerequisite: Theater Arts 110 or consent of the instructor. 6 cr., AL, Spring—R. Weiner

THEA 221. Rhetoric: Persuasion and Debate This course combines techniques developed for the training of actors with classical rhetorical theories to guide students in developing the ability to create and deliver persuasive arguments and engage in public debate. Classic examples of public address and debate including political speeches and legal arguments will be employed as teaching tools. 3 cr., S/CR/NC, ND, Fall—D. Wiles

THEA 236. Scenic and Lighting Design for the Theater Scenic and lighting design, seen from both the aesthetic and practical viewpoints, will be explored. Particular emphasis will be placed on presentational techniques, from the study of perspective to the finished rendering, the creation of the light plot to the instrument schedule. Prerequisite: Theater Arts 115. 6 cr., AL, Not offered in 2006-2007.

THEA 238. Costume Design for Theater Theater An introductory course in costuming for theater. This course will examine basic concepts of design and how they apply to costumes. An in depth analysis of the script and its characters will lead to an exploration of how costumes are used to enhance the production and audience understanding of the script. Basic rendering technique and costume construction are also explored. 6 cr., AL, Not offered in 2006-2007.

THEA 240. Directing I The aim of Directing I is to help build a conceptual base for directing. The purpose of all assigned work is to nurture your conceptual and imaginative response to theater texts, to help develop the technical skills you will need to implement your vision of a given test, and to lay a groundwork for collaboration with other theater artist. There will be some opportunity for production work. 3 cr., ND, Spring—R. Weiner

THEA 241. Directing II Directing II is a practical directing workshop. Each member of the class will plan a full production. Each of you will also direct a short play or a full scene. 3 cr., ND, Spring—R. Weiner

THEA 242. Twentieth Century American Drama A study of a selection of important American plays from Eugene O'Neill's Hairy Ape (1920) to Tony Kushner's Angels in America (1992) in the context of larger American themes and cultural preoccupations. The premise of this course is that these plays define the American theatre for most of this century. By studying them we will gain understanding of our own culture and the links that connect this culture to the transformative events of the century. English Group IV. 6 cr., AL, Not offered in 2006-2007.

THEA 246. Playwriting A laboratory to explore the craft of playwriting, concentrating on structure, action and character. The class uses games, exercises, scenes, with the goal of producing a short play by the end of the term. 6 cr., S/CR/NC, AL, Not offered in 2006-2007.

THEA 252. African-American Theater Cross-listed with THEA 352. This course will focus on developments in African-American Theater at particular points in its history during the nineteenth and twentieth centuries. The course will examine the development of theaters, theatrical movements, the contributions of relevant artists, and the relationship of theater to the struggle for African-American social and political equality. Students may take the course at the 200 or 300-level. Those taking it at the 300-level will be expected to complete a major research project. 6 cr., AL, RAD, Spring—D. Wiles

THEA 275. Topics in Theater History This course will be offered biennially with the subject matter changing each time it is offered. In 2005, the course will focus on theater as a form of ethical reflection across cultures and across time. Topics will include theater as a site for the modeling of ethical behavior, for the setting and questioning of societal norms and for values driven debates in the context of particular historical moments in the Americas, Asia, Africa and Europe. 6 cr., AL, Not offered in 2006-2007.

THEA 320. The Performer and the Text An exploration of the differences between the use of speech in live performance, recorded media, and daily life, designed to increase the ability to communicate performance texts with precision and clarity. 6 cr., AL, Not offered in 2006-2007.

THEA 343. Modern British and European Drama A study of transformative moments in British and European dramatic writing from the late nineteenth century to the present using a selection of plays by British and European playwrights in the context of larger historical and cultural concerns. The underlying assumption is that changes in cultural and historical circumstances in Britain, Ireland and continental Europe during this period are reflected in changing modes of dramatic writing. Works studied will range from Buchner's "Woyzeck," (1836) to Sara Kane's "Blasted" (1995) and include plays by Ibsen, Chekhov, Brecht, Beckett and others. English Group IV. Prerequisite: Theater 175 or 242. 6 cr., AL, Not offered in 2006-2007.

THEA 351. Women Playwrights/Women's Roles A study of images of women in plays by Shakespeare, Ibsen, Strindberg, Tennessee Williams, and a number of women playwrights from Hellman and Clare Booth Luce to Caryl Churchill to Ntozaue Shange. 6 cr., AL, Not offered in 2006-2007.

THEA 352. African-American Theater This course will focus on developments in African-American Theater at particular points in its history during the nineteenth and twentieth centuries. The course will examine the development of theaters, theatrical movements, the contributions of relevant artists, and the relationship of theater to the struggle for African-American social and political equality. Students may take the course at the 200 or 300-level. Those taking it at the 300-level will be expected to complete a major research project. 6 cr., AL, RAD, Spring—D. Wiles