Carleton College

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

DANC 115. Cultures of Dance Topics: Tradition, Transgression and Transnationalism in Japanese Dance Cultures This course will look at dance as culturally-coded, embodied knowledge and will investigate dance forms and contexts across the globe with an emphasis on Japanese theater/dance. We will establish a cross-cultural comparative foundation using feminist, Africanist and ethnographic lenses of inquiry. This reading intensive course in dance theory and practice will include a movement lab, writing, performance viewing, and guest speakers. The class will be part of the campus wide project "Vizualizing Japanese Theater" and will coordinate with the art gallery exhibit: "The Art of Sight, Sound and Heart." No previous dance experience necessary. 6 cr., AL, RAD; HI, IS, Winter—J. Howard

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; ARP, Spring—J. Shockley

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

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; ARP, Fall,Winter—J. Shockley

DANC 190. Fields of Performance This introductory course in choreography explores games, structures, systems and sports as sources and locations of movement composition and performance. Readings, viewings and discussion of postmodernist structures and choreographers as well as attendance and analysis of dance performances and sports events will be jumping off point for creative process and will pave the way for small individual compositions and one larger project. In an atmosphere of play, spontaneity and research participants will discover new ways of defining dance, pushing limits and bending the rules. Guest choreographers and coaches will be invited as part of the class. Open to all movers. No previous experience necessary. 6 cr., AL; ARP, Spring—J. Howard

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; ARP, Fall,Winter,Spring—J. Howard

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; ARP, Fall—J. Howard

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; ARP, Winter—J. Howard

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; ARP, Spring—J. Howard, 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; ARP, 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; ARP, Fall—J. Howard

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; ARP, Winter—J. Howard

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; ARP, Offered in alternate years. Fall—J. Shockley

DANC 266. Reading The Dancing Body: Topics in Dance History Dance is an art of the body in time and space and culture. This course will look at dance as a symbolic system of meanings based on bodily display. The investigation of the body as a "text" will be anchored by, but not limited to, feminist perspectives. Through reading, writing, discussing, moving, viewing videos and performances the class will "read" the gender, race, and politics of the dancing body in a historical context from Romanticism through Post-modernism. 6 cr., AL; HI, Not offered in 2010-2011.

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; ARP, Winter—J. Howard, 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; ARP, Fall—Staff

DANC 309. Ballet III 1 cr., S/CR/NC, AL; ARP, 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; ARP, Fall,Winter,Spring—J. Howard, 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., WR; AI, WR1, 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; ARP, Winter—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; ARP, 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; ARP, Not offered in 2010-2011.

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; ARP, Fall—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; ARP, Fall,Winter,Spring—R. Weiner, D. Wiles, Staff

THEA 200. Kabuki In Kabuki theater, male actors play all roles; the female impersonators are known as “onnagata.” During this two-week acting workshop Mr. Furumoto, actor and theater director will teach techniques about this transformation. This class is part of the Visualizing Japanese Theater event. The class will meet January 3 through 14 in the evenings the first week and class times to be announced for the second week as rehearsals for The Last Firefly begin. Add deadline: January 4. Prerequisite: none. 2 cr., S/CR/NC, AL; ARP, Winter—David Wiles

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; ARP, Not offered in 2010-2011.

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; NE, Not offered in 2010-2011.

THEA 234. Lighting Design for the Performing Arts An introduction to and practice in stage lighting for the performing arts. Coursework will cover the function of light in design; lighting equipment and terminology; communication graphics through practical laboratory explorations. Application of principles for performance events and contemporary lighting problems will be studied through hands-on applications. 3 cr., ND; ARP, Fall—A. Koster

THEA 235. Introduction to Stage Combat This is a hands-on course in which students will learn several techniques of stage combat. They weill rehears unarmed techniques. This will include: slaps, punches, falls, and basic sword work. The student will also learn themselves and their weapons to achieve a safe but convincing performance. 3 cr., AL; ARP, Spring—W. Wojchiechowski

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; ARP, Not offered in 2010-2011.

THEA 237. Topics in Theater Design A series of specialized courses in design and technical theater. Two topics are offered in tandem and will be determined according to the opportunities offered by the production of that term and the needs of the students with consideration to the rotation of the topics. Topics offered may include: Costume Construction, Armour and Weapons, Costume Patterning, Stage Management, Millinery, Multi-Media Production, Mask Making, Props and Casting Techniques, Textile Manipulation or Scene Painting. Prerequisite: Theater 115 or consent of instructor. 3 cr., AL; ARP, Not offered in 2010-2011.

THEA 239. Topics in Theater: Costume Design A series of specialized courses in costume design and technical theater. The topic of this course is determined according to the opportunities offered by the departmental production of the term and the needs of the students, with consideration to the rotation of the topics. Topics offered may include: Costume Construction, Costume Patterning, Millinery, Mask Making, Textile Manipulation and Fabric Art. 3 cr., AL; ARP, Winter—M. Kelling

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 artists. There will be some opportunity for production work. 3 cr., ND; ARP, IS, Winter—R. Weiner

THEA 241. Directing II Directing II is a practical directing workshop. Each member of the class will plan a full production and direct a short play or a full scene. 3 cr., ND; ARP, IS, Winter—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. 6 cr., AL; LA, Not offered in 2010-2011.

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; ARP, Not offered in 2010-2011.

THEA 247. Application of CAD to Design Process This class is a hands on exploration of the impact of CAD and Rendering Software has made on the theatrical design process. We will investigate how they affect the designer's creativity. What are the benefits and pitfalls of using these programs? Are these programs really timesavers? Prerequisite: Theater Arts 115 or permission of the instructor. 6 cr., ND; ARP, Not offered in 2010-2011.

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; LA, Not offered in 2010-2011.

THEA 312. Problems in Acting Problems in Acting will focus on text analysis and questions of method, style and (acting) theory in the performance of scenes selected from plays of different periods and genres. Students will collaborate in the presentation of scenes and monologues taken from a broad variety of works. Prerequisite: Theater 110 or 211. 6 cr., AL; ARP, IS, Not offered in 2010-2011.

THEA 325. Performing Shakespeare This course will explore a variety of methods for taking Shakespeare's text from the page to the stage. Using approaches developed in theaters in the United States and the United Kingdom, students will prepare written analysis and construct performances that explore Shakespeare's use of formal rhetoric and poetic imagery and examine some of the ethical and political questions posed in the plays. Using video and audio recordings, students will critically examine various approaches to performing Shakespeare in the United States and United Kingdom over the last century. Prerequisite: One of more of the following: Theater 110, 185, 190, 200, 240/241, 211, 312, English 244, 281/282 or 310. 6 cr., AL, WR; ARP, WR2, Spring—D. Wiles

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; LA, IDS, Not offered in 2010-2011.

THEA 352. African-American Theater Cross-listed with THEA 252. 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; LA, Not offered in 2010-2011.

THEA 400. Integrtive Exercise 1-6 cr., ND; NE, Fall—Staff