Carleton College

DANC 100. Meaning In Motion: Dance as Culture The study of dance is the study of culture. We will look at dance as culturally-coded, embodied knowledge and investigate dance forms, contexts and micro cultures across the globe, analyzing how social identities are "signaled, formed, and negotiated through bodily movement." We will examine, cross-culturally, the function of dance in the lives of individuals and societies through various lenses including gender, Africanist and ethnograpic. We will read, write, view videos, attend live performances, discuss and move. This course in dance theory and practice will include a weekly movement lab. No previous dance experience necessary. 6 cr., AI, WR1, IS, Fall—J. Howard

DANC 107. Ballet I A beginning course in ballet technique, including basic positions, beginning patterns and exercises. Students develop an awareness of the many ways their body can move, an appreciation of dance as an artistic expression and a recognition of the dancer as an athlete. 1 cr., S/CR/NC, ARP, Fall,Winter,Spring—J. Bader

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, ARP, Spring—J. Shockley

DANC 148. Modern Dance I: Technique and Theory A physical exploration at the introductory level of the elements of dance: time, motion, space, shape and energy. Students are challenged physically as they increase their bodily awareness, balance, control, strength and flexibility and get a glimpse of the art of dance. 1 cr., S/CR/NC, ARP, Fall,Winter,Spring—D. McCoy

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, 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. Prerequisite: No previous experience necessary. 6 cr., ARP, Not offered in 2014-2015.

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, ARP, Fall,Winter,Spring—D. McCoy

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, ARP, Not offered in 2014-2015.

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, ARP, 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. Prerequisite: One of the following: Dance 204, 205, 214, 215 or 350. 1 cr., S/CR/NC, 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, 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, ARP, Not offered in 2014-2015.

DANC 215. Winter Dance, Student Choreography For students enrolled in Dance 205, supervised student choreography with two public showings. 1 cr., S/CR/NC, ARP, 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., ARP, Winter—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., HI, IDS, Spring—J. Howard

DANC 268. The Body as Choreographer  "The pleasure of the text is that moment when my body pursues its own ideas-for my body does not have the same ideas I do." -Roland Barthes. Through guided movement sessions we will explore the body as a source for ideas. Using "Authentic Movement," experiential anatomy practices and compositional strategies, students will generate several small compositions and one larger gallery project exploring alternative spaces and the influx of various media (movement, text, images, technology, objects, sites, fabric). This choreography "lab" will help answer the question: How do you make a dance? For both beginning and advanced dance students.  6 cr., ARP, Winter—J. Howard

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, ARP, Fall,Winter,Spring—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, ARP, Fall—W. McClusky

DANC 309. Ballet III This is an advanced class for students who have some capabilities and proficiency in ballet technique. Content is sophisticated and demanding in its use of ballet vocabulary and musical phrasing. 1 cr., S/CR/NC, 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 art-making; 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. Prerequisite: Audition required. 1 cr., S/CR/NC, ARP, Fall,Winter,Spring—J. Howard, J. Shockley

THEA 100. Performing Roles This course will explore the depiction of traditional societal roles in American film, theater and television since the 1920s and examine the impact such fictional depictions have had and continue to have on shaping the performance of those roles in modern American life. 6 cr., AI, WR1, Fall—D. Wiles

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., ARP, Fall—R. Bechtel

THEA 115. Principles of Design Explores the process of communicating ideas and experience through visual means. Whether that process begins with a written text, choreographed movement or abstract idea, such elements as color, shape, space, value and balance inevitably come into play in its visual representation. This course teaches these fundamental principles and how to apply them in practice. Principles of Design is an essential course for students interested in any aspect of theater, dance, or performance. 6 cr., ARP, Offered in alternate years. Fall—M. Kelling

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., ARP, Winter,Spring—D. Wiles

THEA 190. Carleton Players Production Each term students may participate in one Players production, a hands-on, faculty-supervised 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, ARP, Fall,Winter,Spring—R. Bechtel, D. Wiles

THEA 225. Theater History and Theory The theater has often had a vexed and volatile relationship with its cultural moment, and its history is as much one of revolution as of evolution. This course will look across the broad contours of theater history to examine the questions and challenges that consistently recur, including the relationship between representation and the real, between politics and aesthetics, and between the text and the body. Historical eras covered will include ancient Greece, medieval Japan, early modern Europe, and twentieth and twenty-first century Europe and America. Some class time will be spent doing performative explorations of historical texts. 6 cr., LA, WR2, Offered in alternate years. Winter—R. Bechtel

THEA 226. Avant-garde Theater and Peformance "Make it new!" was the rallying cry of the modernists, and ever since, the theater has never ceased its efforts to break both aesthetic and social conventions, boundaries, and taboos. Beginning with some of the important precursors of the twentieth century--Artaud, Brecht, and Meyerhold--this course will explore the history and theory of the contemporary avant-garde, charting the rise of interdisciplinary "performance" and exploring such topics as politics and aesthetics, site-specificity, body art, solo performance, and multimedia. Students will also spend significant time creating their own performance works. 6 cr., LA, Not offered in 2014-2015.

THEA 229. Makeup Design Theory and practice of two and three dimensional makeup design for the performer. This course explores corrective, character and specialized makeup techniques as well as rendering techniques. 3 cr., ARP, Spring—M. Kelling

THEA 233. Set Design as Site Specific Sculpture In this course we will explore set design from the perspective of site specific sculpture, working in the new theater at the Weitz Center for Creativity we will collaboratively design and help construct the set for the upcoming student production. The work in this class will be intense and front loaded (mostly weeks 1-6). Several field trips and group work outside of the scheduled class time will be required. Prerequisite: Theater, construction, or sculpture experience. 3 cr., S/CR/NC, ARP, Not offered in 2014-2015.

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., ARP, Not offered in 2014-2015.

THEA 237. Scenic Design for the Performing Arts This course will focus on the art and practice of creating scenic designs for the performing arts. It will introduce basic design techniques while exploring the collaborative process involved in bringing scenery from concept to the stage. The course will include individual and group projects utilizing collage, sketching, and model-making. 3 cr., ARP, Winter—T. Edwards

THEA 238. Costume Design for Theater An introductory course in costume design. This course will examine the basic concepts of design and how they apply to costumes. In depth analysis of the script and characters will lead to an exploration of how costume design can be used to enhance the production. Basic rendering techniques and clothing history will also be studied. 3 cr., ARP, Not offered in 2014-2015.

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, Fabric Art and Clothing History. Please see the courses page of the Department of Theater and Dance website for further description of the current term's topic.   3 cr., ARP, Winter—M. Kelling

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., LA, Not offered in 2014-2015.

THEA 245. Directing Although many directors begin their artistic careers in some other discipline (usually acting), there is a set of skills particular to the director's art that is essential to creating life on stage. Central is the ability to translate dramatic action and narrative into the dimensions of theatrical time and space-the always-present challenge of "page to stage." In this course, students will learn methods of text analysis strategic to this process as well as the rudiments of using that analysis to generate effective staging and powerful acting. Having mastered the fundamentals, students will then explore and enhance their theatrical imagination, that creative mode unique to the medium of live performance. Class time will be devoted to work on three major projects and almost daily exercises. 6 cr., ARP, Offered in alternate years. Spring—R. Bechtl

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, ARP, Not offered in 2014-2015.

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., ARP, IS, Not offered in 2014-2015.

THEA 315. Creativity and Aesthetics With the rise of the "creative economy" and the "creative class," "creativity" itself has become a buzzword. But what do we talk about when we talk about creativity? This course will begin with the premise that creativity is not necessarily an innate attribute, but one that can be cultivated, and students will explore and expand their own creative resources. Importantly, we will explore the intersection of personal creativity and cultural aesthetics. How is creativity released, restrained, or channeled through aesthetics? In addition to theoretical readings, student artists of all kinds will have the opportunity to create a variety of projects. 6 cr., ARP, Offered in alternate years. Not offered in 2014-2015.

THEA 320. Live Performance and Digital Media Digital media has so infiltrated live performance that it has become almost as common as sets, lights, and costumes. With video technology becoming increasingly powerful and affordable, the screen has become ubiquitous on stage, sometimes eclipsing the performers. Media culture has also become a recurrent subject for critical exploration both on and off stage. In this class, students will learn the software and hardware skills necessary to incorporate digital media into performance projects, as well as the historical and theoretical context necessary to bring a critical approach to their work. Prerequisite: Any course in Theater Arts, Dance, Cinema and Media Studies, Studio Art, creative writing or musical composition. 6 cr., ARP, Offered in alternate years. Winter—R. Bechtel

THEA 325. Performing Shakespeare This course will explore approaches for taking Shakespeare's text from page to stage. Using methods 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 the United Kingdom over the last century. Prerequisite: One or more of the following courses: Theater 110, 185, 190, 245, or 312. 6 cr., WR; ARP, WR2, Offered in alternate years. Winter—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., LA, IDS, Spring—D. Wiles

THEA 400. Integrative Exercise 6 cr., NE, Winter,Spring