A student may complete the Theatre SCE in one of several ways: a traditional research thesis in the areas of theatrical criticism, theory, or history; a playwriting thesis in which the student writes, workshops, and produces a rehearsed reading of a full-length play; a production thesis in which the student serves as dramaturg, stage manager, designer, performer, or director of a departmental production. Students may also propose alternative projects not listed above, to be developed and approved in collaboration with the faculty. Students are strongly encouraged to collaborate on their SCEs, either by folding multiple SCEs into a single student-produced show (with all SCE students equitably sharing the duties and title of producer) or by completing the SCE as part of a faculty-directed production.

Analysis and discussion of the theoretical and practical aspects of dramaturgy, with particular emphasis placed on script analysis and historical research.

This course provides an opportunity for student technicians (lighting/sound/projection operators and backstage/wardrobe/run crew) of departmental theatre & dance productions to receive credit for their work. Technicians typically must participate in load-in, technical rehearsals, performances, and strike; specific duties are determined based on the needs of each production. Technicians should expect to devote a total of 20-50 hours, some of which may be during college breaks, adjacent semesters, weekends, holidays, and other unusual times. Student technicians are automatically enrolled (either for credit or as auditors) after their production closes. Practicum courses may be repeated for credit (1,2) credit(s).

This course provides an opportunity for student performers in departmental theatre & dance productions to receive credit for their work. Performers typically must participate in auditions, callbacks, rehearsals, load-in, technical rehearsals, performances, and strike; specific duties are determined based on the needs of each production. Performers should expect to devote a total of 60-100 hours, some of which may be during college breaks, adjacent semesters, weekends, holidays, and other unusual times. At the beginning of each semester, all students involved in departmental productions are automatically enrolled as auditors in the relevant practicum course(s) and will be given an opportunity to request credit by contacting the instructor. Practicum courses may be repeated for credit (1,2) credit(s).

This course provides an opportunity for student designers of departmental theatre & dance productions to receive credit for their work. Designers typically must participate in a production orientation workshop (scenery, props, costumes, lighting, or sound), a design meeting with the departmental faculty, production meetings, load-in, technical rehearsals, and strike; specific duties are determined based on the needs of the production. Designers should expect to devote a total of 60-100 hours, some of which may be during college breaks, adjacent semesters, weekends, holidays, and other unusual times. At the beginning of each semester, all students involved in departmental productions are automatically enrolled as auditors in the relevant practicum course(s) and will be given an opportunity to request credit by contacting the instructor. Practicum courses may be repeated for credit (1,2) credit(s).

This course provides an opportunity for student dramaturgs of departmental theatre & dance productions to receive credit for their work. Students in these positions typically must participate in production meetings, rehearsals, load-in, technical rehearsals, and strike; specific duties are determined based on the needs of the production. Students in these positions should expect to devote a total of 60-100 hours, some of which may be during college breaks, adjacent semesters, weekends, holidays, and other unusual times. At the beginning of each semester, all students involved in departmental productions are automatically enrolled as auditors in the relevant practicum course(s) and will be given an opportunity to request credit by contacting the instructor. Practicum courses may be repeated for credit (1,2) credit(s).

This course provides an opportunity for student assistant stage managers of departmental theatre productions to receive credit for their work. Assistant stage managers typically must participate in production meetings, rehearsals, load-in, technical rehearsals, performances, and strike; specific duties are determined based on the needs of the production. Assistant stage managers should expect to devote a total of 60-100 hours, some of which may be during college breaks, adjacent semesters, weekends, holidays, and other unusual times. At the beginning of each semester, all students involved in departmental productions are automatically enrolled as auditors in the relevant practicum course(s) and will be given an opportunity to request credit by contacting the instructor. Practicum courses may be repeated for credit (1,2) credit(s).

This course provides an opportunity for student choreographers (movement/dance/fight) of departmental theatre productions to receive credit for their work. Students in these positions typically must participate in production meetings, rehearsals, load-in, technical rehearsals, and strike; specific duties are determined based on the needs of the production. Students in these positions should expect to devote a total of 60-100 hours, some of which may be during college breaks, adjacent semesters, weekends, holidays, and other unusual times. At the beginning of each semester, all students involved in departmental productions are automatically enrolled as auditors in the relevant practicum course(s) and will be given an opportunity to request credit by contacting the instructor. Practicum courses may be repeated for credit (1,2) credit(s).

This course provides an opportunity for student assistant directors of departmental theatre & dance productions to receive credit for their work. Students in these positions typically must participate in production meetings, rehearsals, load-in, technical rehearsals, and strike; specific duties are determined based on the needs of the production. Students in these positions should expect to devote a total of 60-100 hours, some of which may be during college breaks, adjacent semesters, weekends, holidays, and other unusual times. At the beginning of each semester, all students involved in departmental productions are automatically enrolled as auditors in the relevant practicum course(s) and will be given an opportunity to request credit by contacting the instructor. Practicum courses may be repeated for credit (1,2) credit(s).

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This theatre history course examines the development of (primarily) Western drama against a backdrop of historical and social change. Students read a variety of plays and discuss theatre history, dramatic theory, and criticism representing the major currents in (primarily) Western theatre from its origins to the 18th century CE. We frequently employ one or more of the following lenses or viewpoints to focus our lectures and discussions: the physical theatre (how the material artifacts of theater-buildings, documents, etc.-tell the story of theatre history and influence dramaturgy); the social theatre (how the theatre relates to its social context, including consideration of the audience); and the performing theatre (the plays themselves and how they were/are performed). Students are encouraged to draw connections between the material we cover in this course and the many intellectual and aesthetic parallels to be found in contemporaneous trends in history, philosophy, literature, and the arts.

This theatre history course examines the development of (primarily) Western drama against a backdrop of historical and social change. Students read a variety of plays and discuss theatre history, dramatic theory, and criticism representing the major currents in (primarily) Western theatre from the 18th century to 1992. We frequently employ one or more of the following lenses or viewpoints to focus our lectures and discussions: the physical theatre (how the material artifacts of theater-buildings, documents, etc.-tell the story of theatre history and influence dramaturgy); the social theatre (how the theatre relates to its social context, including consideration of the audience); and the performing theatre (the plays themselves and how they were/are performed). Students are encouraged to draw connections between the material we cover in this course and the many intellectual and aesthetic parallels to be found in contemporaneous trends in history, philosophy, literature, and the arts.

This course examines some of Shakespeare's best known earlier plays (those written before the death of Queen Elizabeth in 1603) both in the context of early modern English culture and as play scripts/performances. Using films and live productions it considers the plays as they have been and could be interpreted for performance. This class examines a number of these exciting works through a variety of lenses from gender to performance history.

This course examines some of Shakespeare's best known later plays (those written after the death of Queen Elizabeth in 1603) both in the context of early modern English culture and as play scripts/performances. Shakespeare's later plays are complicated portraits of people and societies going through incredible change. This class will examine a number of these exciting works through a variety of lenses from gender to performance history.

Analysis and application of basic acting techniques with a concentration on scene study and character analysis.

Study of the basic principles and practices of directing, including interpretation, structural analysis, and investigation of basic staging techniques.

In this course, students engage in hands-on investigation of the tools, methods, and materials used in the theatrical production process, including scenic & props construction, scenic painting, rigging, scale drafting, shop safety, and lighting, sound, & projections technology. Required laboratory hours will be arranged in consultation with the instructor.

This course gives an overview of major topics in creativity: the pleasures and pitfalls as well as effective strategies to use in creative work. Each week we tackle another issue and explore ways to approach creativity in the broadest sense. At the same time students work on self-directed projects throughout the semester (largely outside of class time), submit weekly progress updates, and periodically share with the class. By the end of the semester students have a range of tools and hands-on experiences to return to again and again in their future creative work. Prerequisite: One course of Studio Art, Music, Theatre, Dance, or Creative Writing, or permission of the instructor.

This course offers a broad look at all aspects of theatrical design, including scenery, properties, costume, lighting, and sound, with an emphasis on inter-disciplinary skills such as close reading (of texts and images), research and clear communication (written, visual and aural). Students learn to approach theatrical questions from a variety of angles, and develop a basic understanding of all design elements and how they fit together.

This course provides an opportunity for student stage managers of departmental theatre & dance productions to receive credit for their work. Stage managers typically must participate in weekly roundtable discussions with the faculty, auditions, callbacks, production meetings, rehearsals, load-in, technical rehearsals, performances, and strike; specific duties are determined based on the needs of the production. Stage managers should expect to devote a total of 120-200 hours, some of which may be during college breaks, adjacent semesters, weekends, holidays, and other unusual times. At the beginning of each semester, all students involved in departmental productions are automatically enrolled as auditors in the relevant practicum course(s), and will be given an opportunity to request credit by contacting the instructor.

This course provides an opportunity for student directors of departmental theatre & dance productions to receive credit for their work. Students in these positions typically must participate in production meetings, rehearsals, load-in, technical rehearsals, and strike; specific duties are determined based on the needs of the production. Students in these positions should expect to devote a total of 120-200 hours, some of which may be during college breaks, adjacent semesters, weekends, holidays, and other unusual times. At the beginning of each semester, all students involved in departmental productions are automatically enrolled as auditors in the relevant practicum course(s) and will be given an opportunity to request credit by contacting the instructor.

A learning contract is developed prior to enrollment in an internship. Evaluation of student performance is completed by the faculty mentor based on the fulfillment of the contract terms and written evaluation by the internship site supervisor. Students must work at least 45 hours for each internship credit and be enrolled in the course prior to beginning work. Graded A-F or Pass/Fail.

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An agreement between a sponsoring faculty and a student letting the student study a topic of interest not offered at WC. 45 hours are required per credit.

The study of musical theater in America from the turn of the century to the present with emphasis on the form itself and its history. The course explores the structure of the musical and the dramatic functions of score, lyrics, and libretto as well as the political, societal, musical, and theatrical reasons for changes in the form.

Using varying texts and performance styles, this course builds upon the ideas and skills of Introduction to Acting, with a focus on incorporating characterization and given circumstances with scene study. Students employ action-based techniques to determine their characters' objectives and to explore the tactics they use to overcome obstacles and achieve their goals. Performance texts and styles vary by semester; details will be posted before registration. Past offerings have included: Shakespeare, Contemporary Styles, Meisner, and Acting for the Camera.

The course examines the history, theory, and practice of theatrical improvisation as practiced in the United States and Canada since 1950.

This course will build upon the concepts initially explored in Intro Directing. Through discussion, exercises, and scene work, students will delve deeper into the craft of directing. Topics may include leadership approaches, collaboration with actors / designers / stage managers, text analysis, and exploration of different theatrical styles.

Analysis and practical application of techniques and styles employed in writing for the stage.

This course explores the theory and practice of adapting non-dramatic literature for the stage. Students examine the form through writing and staging short story adaptations, whose size and scope allow students to learn and explore various approaches to this kind of theatrical storytelling. The course provides students with a strong introduction to the theoretical and critical body of knowledge in the area of adaptation of literature. In addition, students develop skills in acting, directing, writing, and dramaturgy.

This course provides a thorough exploration of the roles and duties of the theatrical stage manager, from pre-production through closing night and beyond. Using a mix of readings, discussion, paperwork assignments, and lab activities, students develop both hard skills (such as document design, scheduling, and preparedness) and soft skills (such as communication, leadership, management, and collaboration). By the end of the semester, students will be well prepared to stage manage a fully-produced show. This course has no curricular prerequisite, but requires a baseline understanding of the rehearsal and production process; accordingly, enrolled students should have some experience working in the theatre (as an actor, designer, crew member, etc.).

This course explores various aspects of leadership, management, and entrepreneurship for the visual and performing arts. Students learn how arts organizations define themselves, make decisions, and plan for the future. Topics may include leadership & governance, mission & strategy, program planning & evaluation, intellectual property & contracting, marketing & public relations, and/or budgeting & fundraising. This course requires a baseline interest in and understanding of the arts.

A learning contract is developed prior to enrollment in an internship. Evaluation of student performance is completed by the faculty mentor based on the fulfillment of the contract terms and written evaluation by the internship site supervisor. Students must work at least 45 hours for each internship credit and be enrolled in the course prior to beginning work. Graded A-F or Pass/Fail.

The course prepares theatre majors for the SCE through script analysis, critical thinking, synthesis of textual and performance analysis, research, readings, discussion, writing, and engagement with guest artists. Over the semester, students develop stronger oral and written communication skills, develop the leadership and management skills necessary for effective creative collaboration, and expand their own imaginative tools and resources. Students spend part of the semester writing and revising chapters for the written SCE Production Book. (Learning objectives may vary slightly from student to student, depending on the needs of each SCE project.) This course is required for all theatre majors, and must be taken in the spring of the junior year.

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An agreement between a sponsoring faculty and a student letting the student study a topic of interest not offered at WC. 45 hours are required per credit.

Throughout history, thinkers have been variously excited, enraged, bothered or bored by theater. Through the rigorous study of the writings and historical context of the major thinkers in the evolution of theater (from Aristotle to Ehn), students come to a greater understanding of the various changes, permutations and responses to theater in the Western World.

A learning contract is developed prior to enrollment in an internship. Evaluation of student performance is completed by the faculty mentor based on the fulfillment of the contract terms and written evaluation by the internship site supervisor. Students must work at least 45 hours for each internship credit and be enrolled in the course prior to beginning work. Graded A-F or Pass/Fail.

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An agreement between a sponsoring faculty and a student letting the student study a topic of interest not offered at WC. 45 hours are required per credit.

Dance in Culture and Society is an introduction to the study of dance in the academy. This survey course introduces students to dance as both an aesthetic and cultural experience. The aim is to present the breadth of the field, specifically where dance happens, the diverse functions it serves, and ways of making meaning of the dance experience. Through movement laboratories, readings, videos, observations, and discussions students explore the dance discipline.

This course provides an opportunity for student technicians (lighting/sound/projection operators and backstage crew) of the annual Dance Minor Concert to receive credit for their work. Technicians must participate in technical rehearsals and performances. Specific duties are determined based on the needs of the production; guidelines are available from the instructor. Technicians should expect to devote a total of 20-50 hours over the course of the production. Student technicians will be automatically enrolled (either for credit or as auditors) after their production closes. Practicum courses may be repeated for credit (1,2) credit(s).

This course provides an opportunity for student performers in departmental theatre & dance productions to receive credit for their work. Performers typically must participate in auditions, callbacks, rehearsals, load-in, technical rehearsals, performances, and strike; specific duties are determined based on the needs of each production. Performers should expect to devote a total of 60-100 hours, some of which may be during college breaks, adjacent semesters, weekends, holidays, and other unusual times. At the beginning of each semester, all students involved in departmental productions are automatically enrolled as auditors in the relevant practicum course(s) and will be given an opportunity to request credit by contacting the instructor. Practicum courses may be repeated for credit (1,2) credit(s).

This course provides an opportunity for student designers of departmental theatre & dance productions to receive credit for their work. Designers typically must participate in a production orientation workshop (scenery, props, costumes, lighting, or sound), a design meeting with the departmental faculty, production meetings, load-in, technical rehearsals, and strike; specific duties are determined based on the needs of the production. Designers should expect to devote a total of 60-100 hours, some of which may be during college breaks, adjacent semesters, weekends, holidays, and other unusual times. At the beginning of each semester, all students involved in departmental productions are automatically enrolled as auditors in the relevant practicum course(s) and will be given an opportunity to request credit by contacting the instructor. Practicum courses may be repeated for credit (1,2) credit(s).

This course provides an opportunity for student dramaturgs of departmental theatre & dance productions to receive credit for their work. Students in these positions typically must participate in production meetings, rehearsals, load-in, technical rehearsals, and strike; specific duties are determined based on the needs of the production. Students in these positions should expect to devote a total of 60-100 hours, some of which may be during college breaks, adjacent semesters, weekends, holidays, and other unusual times. At the beginning of each semester, all students involved in departmental productions are automatically enrolled as auditors in the relevant practicum course(s), and will be given an opportunity to request credit by contacting the instructor. Practicum courses may be repeated for credit (1,2) credit(s).

This course provides an opportunity for student assistant stage managers of departmental theatre productions to receive credit for their work. Assistant stage managers typically must participate in production meetings, rehearsals, load-in, technical rehearsals, performances, and strike; specific duties are determined based on the needs of the production. Assistant stage managers should expect to devote a total of 60-100 hours, some of which may be during college breaks, adjacent semesters, weekends, holidays, and other unusual times. At the beginning of each semester, all students involved in departmental productions are automatically enrolled as auditors in the relevant practicum course(s) and will be given an opportunity to request credit by contacting the instructor. Practicum courses may be repeated for credit (1,2) credit(s).

This course provides an opportunity for students to gain experience in creating original choreography for the annual departmental dance concert. Working collaboratively with their dancers, faculty and guest choreographers, concert director, and production personnel will help students develop their choreographic and leadership skills. To enroll, students must complete a Student Choreographer Application. Dance faculty and guest artists will review applications and select the student choreographers. Student choreographers must participate in auditions, weekly rehearsals, works-in-progress showings, technical rehearsals and performances. Choreographers should expect to devote a total of 60-100 hours over the course of the production. Practicum courses may be repeated for credit (1,2) credit(s).

This course provides an opportunity for students to gain experience in creating original choreography for the annual departmental dance concert. Working collaboratively with their dancers, faculty and guest choreographers, concert director, and production personnel will help students develop their choreographic and leadership skills. To enroll, students must complete a Student Choreographer Application. Dance faculty and guest artists will review applications and select the student choreographers. Student choreographers must participate in auditions, weekly rehearsals, works-in-progress showings, technical rehearsals and performances. Choreographers should expect to devote a total of 60-100 hours over the course of the production. Practicum courses may be repeated for credit (1,2) credit(s).

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Beginning Ballet is an introduction to the fundamentals of ballet technique as well as ballet terminology, traditions, and etiquette. Ballet class begins at the ballet barre and progresses to ballet centre adagio, and allegro combinations, all of which emphasize clarity of line, movement efficiency, range of motion, and artistry. Readings, videos, reflective and analytical writing, and live performance contextualize the in-class work.

Beginning Modern Dance is an introduction to basic principles of modern dance as a creative art form. Special emphasis is placed on body awareness, alignment, and artistic expression. The class structure includes a full body warm-up, center movement studies, traveling sequences and an extended modern dance phrase made up of both choreography and improvisation. Readings, videos, reflective and analytical writing, and live performance will contextualize the movement practice. 4 credits.

Dance Composition is an introduction to the craft of making dances. It is designed to allow students to experience the process of discovering, creating, and performing original movement. Students utilize choreographic theories and compositional devices to develop solo and small group works. Students are encouraged to create a range of vocabularies. The course emphasizes the development of self-expression, creative inquiry, and critical awareness. Research, writing, and discussion required.

Jazz Dance offers an exploration of movement vocabularies of the American dance form Jazz, demonstrating its evolution as both an art form and vehicle for individual and group expression. Emphasis will be placed on rhythm, style, technical development, and self-expression. Students will experience a range of jazz vocabularies including Authentic Jazz Dance (ex. Lindy Hop), Classical Concert Jazz Dance (jazz dance originating at the time of Jack Cole), Musical Theatre Jazz Dance (Broadway), and Contemporary Jazz Dance (ex. Lyrical Jazz and Pop Jazz). Class structure includes isolation techniques, warm-up techniques, coordination techniques, traveling sequences, and an extended jazz dance phrase that integrates and builds upon concepts introduced earlier in class. Articles, videos, reflective and critical writing, and live performance will contextualize the movement practice.

This course gives an overview of major topics in creativity: the pleasures and pitfalls as well as effective strategies to use in creative work. Each week we tackle another issue and explore ways to approach creativity in the broadest sense. At the same time students work on self-directed projects throughout the semester (largely outside of class time), submit weekly progress updates, and periodically share with the class. By the end of the semester students have a range of tools and hands-on experiences to return to again and again in their future creative work. Prerequisite: One course of Studio Art, Music, Theatre, Dance, or Creative Writing, or permission of the instructor.

This course provides an opportunity for student stage managers to receive credit for their work on the annual departmental dance concert. Student dance stage managers must participate in works-in-progress showings, weekly production meetings, technical rehearsals, and performances; dance stage managers are also invited to participate in weekly SM Roundtable discussions with the faculty and other student stage managers. Specific duties are determined based on the needs of the production, but typically include planning & executing concert logistics, creating organizational production documents, calling lighting & sound cues, and working closely with the artistic and production managers to ensure a successful production. Stage managers should expect to devote a total of 60-100 hours over the course of the production, some of which may be during college breaks, weekends, holidays, late evenings, and other unusual times. This course is open to dance minors and non-minors. At the beginning of each semester, all students involved in departmental productions are automatically enrolled as auditors in the relevant practicum course(s) and will be given an opportunity to request credit by contacting the instructor. Practicum courses may be repeated for credit (1,2) credit(s).

This course provides an opportunity for student directors of departmental theatre & dance productions to receive credit for their work. Students in these positions typically must participate in production meetings, rehearsals, load-in, technical rehearsals, and strike; specific duties are determined based on the needs of the production. Students in these positions should expect to devote a total of 120-200 hours, some of which may be during college breaks, adjacent semesters, weekends, holidays, and other unusual times. At the beginning of each semester, all students involved in departmental productions are automatically enrolled as auditors in the relevant practicum course(s) and will be given an opportunity to request credit by contacting the instructor.

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Research shows that nearly 90% of dancers who stay in the field past college teach at least part time. Introduction to Teaching Dance provides students with the practical and theoretical foundation necessary to teach dance in a studio, school, or community environment. Specific topics vary from semester to semester, but may include philosophies of dance education, kinesthetic & emotional safety, national arts education standards, community engagement, learner-centric lesson planning, pedagogical ethics, educational activism, and other contemporary issues in dance instruction. Through observation, peer teaching practicums, and individual reflection, students will gain experience planning, teaching, and evaluating dance technique classes.

Intermediate Ballet is a progression of Beginning Ballet. Special emphasis will be placed on working in optimal alignment, building both strength and flexibility, and negotiating stability and mobility. Intermediate Ballet emphasizes clarity of line, movement efficiency, range of motion, and artistry. Readings, videos, reflective and analytical writing, and live performance will contextualize the in-class work .

Intermediate Modern Dance is a progression of Beginning Modern Dance. Students work to develop a keen awareness of their bodies in order to build clarity, movement efficiency, grounded-ness, and dynamism. Special emphasis is placed on working in optimal alignment, building both strength and flexibility, and negotiating control and abandon. The focus is on technical development as it relates to inviting forward artistry and physical mastery of the body. Readings, videos, reflective and analytical writing, and live performance will contextualize the movement practice.

Students enrolled in this course will focus on anthropological, ethnomusicological, and ethnochoreological ethnographic fieldwork methods, including participant-observation, ethnographic interviews, performance ethnography, and audio/video documentation techniques. Students will be exposed to both Afro-Cuban religious and Cuban popular expressive forms. They will learn about the interrelatedness of music, dance, visual arts, ritual, and religious beliefs, with contemporary Cuban politics and economics, as well as with Cuban views on nationality, gender, and race. Students will attend/observe both formal and informal music performances, and take music and dance lessons where they will have an opportunity to engage musicians on a one-on-one basis. This course requires at least 10 days of travel to Cuba.

This course explores various aspects of leadership, management, and entrepreneurship for the visual and performing arts. Students will learn how arts organizations define themselves, make decisions, and plan for the future. Topics may include: leadership & governance, mission & strategy, program planning & evaluation, intellectual property & contracting, marketing & public relations, and/or budgeting & fundraising. This course has no curricular prerequisite, but requires a baseline interest in and understanding of the arts.

Dance Portfolio culminates the dance minor. Students submit a digital portfolio of their work for faculty review. Upon declaring a dance minor, students schedule a meeting with the dance minor director to discuss the dance portfolio submission guidelines. Students maintain chronological digital files of their artistic work including choreographic, performance, teaching, and footage and photos. In addition to compiling work samples from class work and outside departmental activities, students will write an Artist Statement, Teaching Philosophy, and Dance Resume. Dance Portfolio is done as an independent study with 4 scheduled meetings with the dance minor director during the spring semester of senior year.

View Available Sections for titles and descriptions of Special Topics offered this semester.

An agreement between a sponsoring faculty and a student letting the student study a topic of interest not offered at WC. 45 hours are required per credit.

An agreement between a sponsoring faculty and a student letting the student study a topic of interest not offered at WC. 45 hours are required per credit.