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Other Courses |
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DANCE 410 — Self Care for Professional Performers 1 credit
Spring
Francisco Martinez
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Discover Juilliard |
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JUILL 101 — Discover Juilliard 1 credit
Fall
Faculty
Discover Juilliard is a one-semester course taught by an interdisciplinary team of faculty, staff, and advanced students. The curriculum is designed to promote an awareness of the skills and tools necessary for building a fulfilling career, not only as performing artists, but also as global citizens and advocates for the arts. This course introduces students to the values and diversity of the Juilliard community, and is intended to provide a foundation that will serve them well beyond their years at the School. Small group discussions and large group activities. Mandatory attendance at designated performances. Required of all first-time college students in Dance, Drama, and Music.
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JUILL 102 — Essentials of Entrepreneurship in the Arts 1 credit
Spring
Barrett Hipes
Essentials of Entrepreneurship in the Arts is a half-semester course intended to make Juilliard students aware of the abundance of ways in which they can make a unique impact on their art form while at Juilliard and beyond. Guest artists, entrepreneurs, and business leaders will present weekly interactive lectures, introducing students to the fundamentals of project planning, budgets, grant applications, and more. The course will culminate in each student’s preparation and submission of an individual project proposal. Online resources and assessments will also be included.
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JUILL 102D — Essentials of Entrepreneurship 0.5
Barrett Hipes
Essentials of Entrepreneurship in the Arts is a half-semester course intended to make Juilliard students aware of the abundance of ways in which they can make a unique impact on their art form while at Juilliard and beyond. Guest artists, entrepreneurs, and business leaders will present weekly interactive lectures, introducing students to the fundamentals of project planning, budgets, grant applications, and more. The course will culminate in each student’s preparation and submission of an individual project proposal. Online resources and assessments will also be included.
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Dance Technique |
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DANCE B101-2 — Ballet (6 levels) 1.5 credits per semester
Fall and Spring
Faculty
A graded study of the exercises and vocabulary of the classical technique with a strong emphasis on placement, alignment, coordination, and movement quality. Ballet is a required course for all dancers in every semester of the program (8 semesters).
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DANCE M203 — Modern II – Taylor 1.5
Fall
Linda Kent
A foundational study of the modern dance style and repertoire of master choreographer Paul Taylor. Required of all second year dance students (1 semester).
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DANCE M204 — Modern II – Horton 1.5 credits
Spring
Milton Myers
A continued study of the modern dance style and repertoire of master choreographer Paul Taylor, and an introduction to floor work. Required of all second year dance students (1 semester).
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DANCE M401-2 — Modern IV – Horton/Contemporary 1.5 credits
Fall
Milton Myers
A foundational study of the modern dance technique developed by 20th-century master Lester Horton. Required of all fourth-year dance students.
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DANCE P101-2 — Partnering I – Fundamentals 2 credits
Full Year
Faculty
A progressive partnering coursework that encompasses the wide range of styles demanded by today’s choreographers. Classes may include basic partnering concepts, classical ballet partnering, contemporary partnering, contact improvisation, and repertoire. Partnering is a required course for all dancers in every semester of the program (8 semesters).
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DANCE P201-2 — Partnering II 2 credits
Full Year
Faculty
A progressive partnering coursework that encompasses the wide range of styles demanded by today’s choreographers. Classes may include basic partnering concepts, classical ballet partnering, contemporary partnering, contact improvisation, and repertoire. Partnering is a required course for all dancers in every semester of the program (8 semesters).
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DANCE P302 — Partnering III - Contact Improv 1 credit
Spring
Paul Singh
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DANCE P401-2 — Partnering IV 2 credits
Full Year
Faculty
A progressive partnering coursework that encompasses the wide range of styles demanded by today’s choreographers. Classes may include basic partnering concepts, classical ballet partnering, contemporary partnering, contact improvisation, and repertoire. Partnering is a required course for all dancers in every semester of the program (8 semesters).
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DANCE 101 — First Year Seminar 1 credit
Fall
Faculty and Guests
As required, may be repeated
A weekly class that explores various topics in dance, and may include guest instructors. Topics will rotate throughout the four-year program, to meet the ever-evolving training and educational needs of the 21st-century dancer. Examples of topics include improvisation/movement creation, somatics, nutrition, and master classes with guest artists.
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DANCE 151 — Hip-hop Foundations 1 credit
Spring
Valerie Ho
An Introduction to the basic elements, technique, and history of Hip-hop dance.
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DANCE 401 — Topics in Dance – Guest Artists 1 credit
Fall
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DANCE 403 — Topics in Dance – Gaga 1 credit
Fall
Bobbi Jene Smith
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Dance Performance and Repertory |
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DANCE 201 — World Dance 1 credit
Fall
Darian Marcel Parker
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DANCE 301 — Topics in Dance – Gaga 1 credit
Spring
Bobbi Jene Smith
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DANCE 302 — Topics in Dance – Guests 1 credit
Spring
Paul Singh
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DANCE 303 — Topics in Dance – Floor Work 1 credit
Fall
Paul Singh
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DSDAN 101-2 — Repertory, Collaborations, Performance I 6 credits
Full Year
Faculty and Guests
Rehearsal skills and artistry are developed through the study of repertory and participation in choreographic collaborations with house and guest choreographers. Most of these collaborations culminate in performance. Required for all first-year dance students.
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DSDAN 161-2 — Elements of Performing 2 credits
Full Year
Risa Steinberg
A study to develop the performer’s powers of projection. The course emphasizes the differences between simply displaying movement and communicating it to an audience. The building of concentration, awareness of stylistic differences, and the establishment of professional rehearsal behavior are developed. Required for all first-year dance students.
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DSDAN 201-2 — Repertory, Collaborations, Performance II 7 credits
Full Year
Faculty and Guests
Rehearsal skills and artistry are developed through the study of repertory and participation in choreographic collaborations with house and guest choreographers. Most of these collaborations culminate in performance. Required for all second-year dance students.
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DSDAN 301-2 — Repertory, Collaborations, Performance III 7 credits
Full Year
Faculty and Guests
Rehearsal skills and artistry are developed through the study of repertory and participation in choreographic collaborations with house and guest choreographers. Most of these collaborations culminate in performance. Required for all third-year dance students.
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DSDAN 401-2 — Repertory, Collaborations, Performance IV 7 credits
Full Year
Faculty and Guests
Rehearsal skills and artistry are developed through the study of repertory and participation in choreographic collaborations with guest choreographers. Most of these collaborations culminate in performance. Required for all fourth-year dance students.
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Dance Studies |
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DSDAN 100 — Alexander Technique 1 credit
Fall or Spring
Jane Kosminsky, Tom Baird
A method of improving the dancer’s technique from plies and extensions to jumps, leaps, and turns through concentration on movement habits. Emphasizes the efficient use of the neck, head, and torso relationship, thereby providing a stress-reducing process that can be used during class performance and rest. Required for first-year students.
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DSDAN 110 — Pilates Mat 1 credit
Fall or Spring
Ellie Kusner
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DSDAN 111-2 — Dance Composition I 4 credits
Full Year
Rosalind Newman
Movement experiences in imagery and design develop the dancer’s creative imagination. Students begin to discover how a dance is made through the process of choreographing short dance studies. Required for all first-year dance students.
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DSDAN 131 — Dance History I 3 credits
Fall
Wendy Perron
This course is the first part of a two-semester survey of the dancer’s heritage covering periods and styles of dance, choreographers, and selected dance masterworks. Comparisons are drawn between dance and other arts in the same era. Required for all second-year dance students.
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DSDAN 132 — Dance History II 3 credits
Spring
Faculty
Prerequisite: DSDAN 131 . The second part of a two-semester survey of the dancer’s heritage covering periods and styles of dance, choreographers, and selected dance masterworks. Comparisons are drawn between dance and other arts in the same era. Required for all second-year dance students.
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DSDAN 211-2 — Dance Composition II 4 credits
Full Year
Hilary Easton and Jerome Begin
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DSDAN 231 — Acting 1 credit
Spring
Richard Feldman, Isadora Wolfe
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DSDAN 351-2 — Anatomy/Kinesiology 6 credits
Full Year
Irene Dowd, Renée Robinson
A detailed kinesthetic exploration of skeletal joint mechanics and the muscles that produce motion of those joints. Students will examine movement strategies to enhance stability, control, and articulation while developing musculo-skeletal problem-solving skills applicable to dance. Required for all third-year dance students.
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DSDAN 461 — Pedagogy 1 credit
Fall
Hilary Easton, Juilliard Dance faculty, and Director of Global K-12 Dance Programs, with special guests
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Music Studies for Dance |
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THMUS 211-2D — Music Studies II for Dancers 3 credits per semester
Fall and Spring
Jerome Begin
Prerequisite: THMUS 111-2D . Builds upon the skills and concepts explored in Music Studies I, with a strong focus on the interrelation of music and dance, incorporating the following: developing a sophisticated vocabulary with which to speak about and collaborate with music; in-depth rhythmic training; a survey of classical music history with a strong focus on the 20th and 21st centuries; listening to and analyzing musical works in a variety of genres in a way that is relevant and meaningful to dancers; developing musicality in dance by integrating musical concepts discussed in class into the dancer’s technical practice. Required for all second year dance students.
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Stagecraft and Production for Dance |
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DSDAN 341-2 — Stagecraft 2 credits
Full Year
Leslie Smith
Study and practice in elements of theater production. Laboratory work, with practical application in producing a dance concert. Required for all third-year dance students.
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DSDAN 441-2 — Senior Production 2 credits
Full Year
Risa Steinberg
A continuation of study and practice in elements of theater production. A full production is planned, budgeted, and presented. Required for all fourth-year dance students.
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DSDAN 471-2 — Seminar for Seniors 2 credits
Full Year
Faculty and Guests
For students about to begin professional work. The seminar offers a survey of the field, its diversity, opportunities, and requirements; and objective self-evaluation, including planning for graduation examination and for professional auditions. Studies in criticism and aesthetics develop an informed and individual point of view. Required for all fourth-year dance students.
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Dance Electives |
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DSDAN E100 — Alexander Technique 1 credit
Fall or Spring
Jane Kosminsky, Tom Baird
May be repeated.
An optional continued study of the Alexander Technique for dancers. Individual sessions meet bi-weekly with the instructor during lunch break or on Saturday mornings. Open to 2nd, 3rd, and 4th Year Dance students.
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DSDAN E111-2 — Voice for Dancers 1 credit per semester
Full Year
Badiene Magaziner, Jillian Zack Rodgers
May be repeated.
A basic course in singing in preparation for musical theater auditions. By audition only. Open to 3rd- and 4th-year dance students. Class size is limited to 8 students.
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DSDAN E127 — Mindfulness 1 credit
Fall
Francisco Martinez
An introduction to techniques used to achieve a mental state of focus on one’s awareness in the present moment, while calmly acknowledging and accepting one’s feelings, thoughts, and bodily sensations. May incorporate elements of yoga and meditation.
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DSDAN E131-2 — Tap (3 Levels) 1 credit per semester
Spring
Ray Hesselink
Basic tap, directed toward auditioning successfully for musical theater, films, and videos. Intermediate- and advanced-level classes are offered off-site at STEPS on Broadway (taught by Mr. Hesselink and open to professionals in the NYC dance community).
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DSDAN E281 — Solo and Duet Repertory 1 credit
Fall
Faculty and Guests
Offered in the third and fourth years. Limited enrollment.
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DSDAN E391 — Dance Composition III: Technology, New Media, and Multi-Arts Integration 3 credits
Fall
Yara Travieso
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DSDAN E410 — Senior Production Choreography 1 credit
Spring
Risa Steinberg
Open to a limited number of students at the discretion of a faculty committee. This course asks aspiring choreographers to challenge themselves to create works of greater depth and complexity than seen before. These choreographers are expected to create works for the Senior Production Performance week.
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DSDAN E470 — Choreographers and Composers 2 credits
Fall
Jerome Begin, Daniel Ott
Prerequisite: Dance Composition I and Dance Composition II recommended. A practicum in collaborative art that will explore techniques of working together through exercises in problem-solving and the development of a work. The course will introduce to each discipline the needs, vocabulary, and work methods of the other and search for the common ground on which each can flourish while nourishing the other. Advisement will be provided for ongoing showings of works in progress. Finished pieces will be presented in concert format. For selected choreographers in the third year and Composition majors only.
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Drama Undergraduate Studies: Acting |
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DRAMA 1014 — Improvisation 3 credits
Fall
Richard Feldman
Through a broad spectrum of improvisatory exercises, this course aims to free students from self-consciousness, fear, and pretense, to enhance their powers of concentration, to encourage expression and interaction, and to strengthen their instincts and imagination, thereby allowing them to live onstage more deeply, freely, and truthfully. Over the course of the semester, students will begin to develop a sense of process, including the ability to let go of planning and live in the moment.
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DRAMA 1024 — Scene Study I 3 credits
Spring
Richard Feldman
In this course, students will apply their skills in script analysis and improvisation to work on assigned scenes. Students will practice reading the script for past, present, and anticipated future circumstances. They will gain an understanding of the event of the scene and how that event is part of the overall arc of the play. Students will practice talking and listening, embodying given circumstances, pursuing wants and needs, living through the events of the scene, and allowing themselves to undergo change.
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DRAMA 1025 — Masks I 1 credit
Spring
Kathleen McNenny
Neutral mask work is designed to free the student from self-consciousness and to release imaginative impulses that lead to uninhibited physical expression and economy of gesture. By removing reliance on the voice or facial expressions as primary modes of communication, the neutral mask shifts the actor’s focus to the body. This work breaks down inhibitions and serves not only to release the student’s imaginative capacity for transformation but also to prepare the way for equally courageous characterization without a mask.
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DRAMA 1031-41 — Alexander Technique I 2 credits
Fall and Spring
Charlotte Okie
The Alexander Technique is a mind-body method for becoming aware of and changing movement habits. Focus is on the development of awareness of oneself in movement—to recognize and learn how to release excess tension and to change those habits of movement which interfere with the free and centered use of the body. Through a series of experiential exercises, hands-on guidance by the teacher, and selected readings, students will be introduced to basic Alexander concepts, including the principles of awareness, conscious inhibition, and direction.
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DRAMA 1033 — Movement for Actors 1 credit
Fall
Dawn Saito
This course includes vigorous physical training to develop muscle, tone, balance, coordination, flexibility, and agility and to increase physical stamina and focused concentration. Exercises will be employed to deepen listening and responding through the body, strengthen the connection between voice and body, increase awareness of oneself in space and in relationship to other bodies, release unnecessary tension to bring ease and empowerment, and explore physical and vocal transformation.
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DRAMA 1034-44 — Movement I: Getting into Condition 2 credits
Fall and Spring
Darryl Quinton
This conditioning and physical training class is designed to develop in students the endurance, physical agility, and mental discipline necessary for an actor. Emphasis is placed on stretching, strengthening, alignment, flexibility, and physical awareness as well as rhythm, phrasing, dynamics, and movement through space. The class will integrate basic concepts from Alexander Technique, Pilates, Yoga, Isometrics, Plyometrics, and various dance genres.
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DRAMA 1035-45 — Music Studies 2 credits
Fall and Spring
Michelle DiBucci
Music Studies introduces students to a wide spectrum of musical styles and compositional devices with an emphasis on listening to and speaking about music and its connection to all of the arts. The first semester will concentrate on key elements of music including melody, rhythm, harmony, form, texture and timbre. The second semester includes work on contemporary song forms, opera, and the origins of African-American music. Throughout the year, actors will have the opportunity to engage with music students and outside musical guests.
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DRAMA 1037 — Speech I: Foundation 1 credit
Fall
Deborah Hecht
Speech I: Foundation focuses on a wide palette of sounds for use with a range of characters, plays, and film scripts. Focus is on the continuing development of the musculature of the face, mouth, and tongue for flexibility, strength, and precision. Actors will develop a more sensitive ear for sound and variations in sounds as well as a connection to and appreciation of onomatopoeia in language and its direct application to text. Students will reinforce muscular, auditory, and linguistic awareness with written transcription of the vowels and consonants of spoken English using the International Phonetic Alphabet (IPA).
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DRAMA 1039 — Voice I: Foundation and Practice 1 credit
Fall
Elizabeth McGuire, Kate Wilson
Voice I: Foundation and Practice focuses on the principles and practice of respiration, phonation, resonance, and articulation. The course will also explore anatomy, physiology, and the physics of tone, as students explore exercises for relaxation, flexibility, capacity, breath control, placement, and the production of sound. Please note: Elizabeth McGuire will teach the course during Block 1, and Kate Wilson will teach the course during Block 2.
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DRAMA 1047 — Speech I: Practice 1 credit
Spring
Dwight Bacquie, Deborah Hecht
Speech I: Practice continues the physical, auditory, and linguistic work of the first semester with greater concentration on practice and mastery.
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DRAMA 1049 — Voice I: Practice and Poetry 1 credit
Spring
Kate Wilson
Voice I: Practice and Poetry continues work on the principles and practice of respiration, phonation, resonance, and articulation. Through poetry and prose, actors use sound to reveal imagery, dynamics, and rhetoric.
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DRAMA 2014-24 — Scene Study II 6 credits
Fall and Spring
Rebecca Guy
This course focuses on the discovery and development of imaginative and technical skills which, together with the skills acquired in the first year, will enable the student to discern the inner world of a play and to learn to transform into a living character within it. Students will prepare and rehearse scenes to be presented and explored in class.
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DRAMA 2015-25 — Masks II 2 credits
Fall and Spring
Kathleen McNenny
Larval, animal, and character masks are used to expand students’ capacities to free their instincts, impulses, and imagination. The work demands that the actor fill the mask physically, vocally, emotionally, and psychologically in order to embody the life of the character. Mask work serves not only to release the student’s imaginative capacity for transformation, but to prepare the way for equally courageous characterization without a mask.
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DRAMA 2028 — Physical Comedy 1 credit
Fall
Chris Bayes
The course is designed to help students develop a comedic point of view and overcome the anxiety that comes from a sense of obligation to be funny. Improvisation in a variety of styles is developed with the class as an audience. Emphasis is on the need to approach comedic material with the same process and commitment appropriate to any other acting challenge. The work asks the actor to explore with a curious mind while testing emotional, physical, and imaginative limits.
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DRAMA 2031-41 — Alexander Technique II 2 credits
Fall and Spring
Carolyn Serota
This course is a continuation of the first year’s exploration of the Alexander Technique with increasing emphasis on the application of its self-awareness tools to the actor’s creative process, transformation into character, and performance skills.
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DRAMA 2036-46 — Singing 2 credits
Fall and Spring
Deborah Lapidus, David Gaines
This course is designed to help actors release their voices and find deeper expressivity and truth through singing. The work focuses on building physical and vocal awareness and on elements such as vocal placement, resonance, breath, relaxation, and posture. An emphasis is placed on group singing, madrigals, chorales, and duets as well as individual songs.
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DRAMA 2037-47 — Speech II: Application and Expansion 2 credits
Fall and Spring
Deborah Hecht
Speech II: Application and Expansion aims to deepen and expand students’ speech technique, including further development of strength, precision, and consistency, particularly as it is called upon when acting poetic English text such as Shakespeare. There is a strong focus on nurturing students’ organic connection to language as well as on developing their instrument for maximum expressiveness.
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DRAMA 2039-49 — Voice II: Application and Expansion 2 credits
Fall and Spring
Deborah Hecht, Andrew Wade
This course focuses on increased physical awareness and expansion. Students will engage in exercises for breath capacity, initiation of sound, resonance, and size. Exercises to expand the range of expression are also explored. Support, flexibility, vocal dynamic, and character are challenged through a wide variety of texts.
Please note: Deborah Hecht will teach in the fall semester, and Andrew Wade will teach the course in the spring semester.
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DRAMA 3014-24 — Scene Study III 6 credits
Fall and Spring
Evan Yionoulis
The purpose of third year scene study is to continue to develop the actor’s ability to identify, personalize, and embody a character’s given circumstances and need, while activating the language of the text in pursuit of the character’s objective. Students will work on challenging texts which require a facility with language and a depth of characterization and transformation. Particular attention will be given to specificity of listening, with the goal of further honing the actor’s ability to work off of a partner with nimbleness and ease.
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DRAMA 3031-41 — Alexander Technique III 2 credits
Fall and Spring
Carolyn Serota
Third-year Alexander Technique combines individual sessions and group classes to allow each actor to deepen their understanding of the principles and processes of the technique and to address personal habitual patterns of mind and body.
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DRAMA 3033 — Makeup Techniques 1 credit
Fall
Sarah Cimino
This hands-on workshop provides actors with practical techniques for the application of stage makeup and includes the assembly of personal makeup kits suited to individual requirements. The class also explores the application of makeup as an act of theatre itself; it creates space for actors to engage with makeup as a tool for the exploration of persona and identity. Makeup for on-camera work and self-taping will also be addressed.
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DRAMA 3036 — Singing for Performance 1 credit
Fall
Deborah Lapidus, David Gaines
This course is a continuation of the work done in the second year of training. A focus is placed on integrating vocal, textual, and musical elements. More complex vocalizing is introduced as well as scene and duet work with an emphasis on focus, imagery, and relationship with audience. Different genres of music and different parts of the vocal range will be explored.
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DRAMA 3038 — Suzuki 1 credit
Fall
Ellen Lauren
Developed by internationally-acclaimed director Tadashi Suzuki, the Suzuki Training Method is a rigorous physical discipline drawn from such diverse influences as ballet, traditional Greek and Japanese theater, and martial arts. This course seeks to heighten the actor’s emotional and physical power and commitment to each moment on stage. Emphasis is placed on the lower body and a vocabulary of footwork, sharpening an actor’s breath control and concentration.
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DRAMA 3039-49 — Voice III: Synthesis and Transformation 2 credits
Fall and Spring
Andrew Wade, Kate Wilson
In the fall, this course focuses on vocal transformation through a seamless synthesis of skills including rhetoric, stamina, and vocal characterization. Students will work individually and in small groups on material including political speeches as well as classical and contemporary texts. In the spring, focus shifts to Shakespearean text in preparation for work in the Drama Theater productions.
Please note: Kate Wilson will teach the course in the fall semester, and Andrew Wade will teach the course in the spring semester.
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DRAMA 3042 — Character in Motion 1 credit
Spring
Mark Olsen
In this course, students will explore the gradations of physical expression demanded of an actor in stage or film roles. The class aims to root the actor in experiences and situations that activate the process of making physical choices. Students apply the vocabulary developed to increase freedom, simplicity, and ownership.
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DRAMA 3045-46 — Acting on Camera I 4 credits
Fall and Spring
Bob Krakower
The purpose of studying on-camera acting is to take the skills the actors have learned in their training thus far and apply them to the art of visual storytelling for film and television. In addition to learning how to bring to life the given circumstance in a script in an active and discernable way on camera, this course prepares actors to work on set of professional films and television shows. Based on availability, teachers in other disciplines (voice, movement, etc.) will share how their area of expertise applies to on-camera work.
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DRAMA 3047 — Speech III: Accents and Dialects 1 credit
Spring
Elizabeth McGuire
Speech III: Accents and Dialects includes continued work on clarity of diction and on dialects, with an emphasis on their relationship to character, imagination, and embodiment.
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DRAMA 4011 — Actor Presentations 1 credit
Fall
Crystal Dickinson, Claire Karpen
In preparation for an evening of scenes to be presented to industry members in both Los Angeles and New York in the spring, students meet regularly in the fall to select pieces which will best serve to introduce the actors to the profession. Scenes are chosen to showcase each individual student’s artistic strengths, interests, and unique talents. In the second semester, the scenes are rehearsed and prepared for presentation.
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DRAMA 4014 — Scene Study IV 3 credits
Fall
Evan Yionoulis
In fourth-year scene study, actors will be asked to integrate all aspects of their training as their work moves towards more specificity, depth, and ease. Starting with work on scenes from Bertolt Brecht, Suzan-Lori Parks, and Luis Valdez, students will add analysis of the “story of the scene” to their practice, as well as develop their awareness of the political dimension in these writers’ works. Running through the semester will be work on individual Interview Projects in which students will embody and give voice to the verbatim text of a person or persons they have interviewed in preparation for sharing the work with the Drama Division community.
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DRAMA 4031-41 — Alexander Technique IV 2 credits
Fall and Spring
Carolyn Serota
Alexander Technique in the fourth year focuses on the continuing development of each student as they deepen their self-awareness, self-knowledge, and poise using the Alexander principles and process. Students are encouraged to bring a spirit of spirit of investigation as they further master techniques for achieving readiness in the moment, for clearing out, for dealing with stress and anxiety, for taking a centered presence into the world. Character transformation work continues in relation to the fourth-year performance season.
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DRAMA 4034 — Movement IV 1 credit
Fall
Darryl Quinton
This course, in addition to continuing to build physical agility and mental discipline, fosters enhanced enjoyment of—and freedom with—the body in motion through the introduction of jazz and other dance sequences.
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DRAMA 4036 — Individual Singing Instruction 0.5 credits
Fall
David Gaines
Individual coaching is tailored to specific production needs and the development of audition material.
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Drama Undergraduate Studies |
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DRAMA H111-2 — Vibrant Legacies in Theater 6 credits
Fall and Spring
Shana Komitee and Guests
Vibrant Legacies in Theater examines many of the world’s most influential plays, playwrights, actors, directors, critics, and theatrical experiments. This course will explore topics such as Western drama’s origins in 5th century Athens, performance cultures in Asia, modern realism in Russia, the contemporary landscape in the United States and South Africa, and more.
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DRAMA H449 — American Theater Landscape 2 credits
Fall
Elizabeth Whitaker
American Theater Landscape explores the body of work in American theater today as well as trends and practices across the country. Students will discuss key issues in the field and meet inspiring artists and leaders who are influential in the landscape.
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DRAMA S337 — Elements of Producing 2 credits
Fall
Elizabeth Whitaker, Stephanie Ybarra
This course serves to acquaint the actor with the work and responsibilities of the many people involved in theater-making beyond the rehearsal hall and to prepare them for what it might take to produce their own work. Students will examine the function, vision, and day-to-day operations of the various artistic, administrative, and production personnel within a variety of theater models - from larger commercial ventures and non-profit institutions to smaller off and off-off-Broadway models. Students will develop mission statements and seasons for their own prospective theatres, and present their visions to the class. Wherever possible, guest artists in the field will be brought in to talk about their process and work.
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DRAMA 447-8 — Bridge to the Profession 6 credits
Fall and Spring
Visiting Faculty
This series of professional master classes helps fourth-year students gain a deeper understanding of how they might, with the training they have received, seek out and gain opportunities to practice their craft once they graduate. Among the many topics covered are audition techniques for all mediums, the creation of reels and websites, self-taping practices, and contract and union information.
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Drama Graduate Studies: Acting |
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DRAMA 6114 — Improvisation 2 credits
Fall
Richard Feldman
Through a broad spectrum of improvisatory exercises, this course aims to free students from self-consciousness, fear, and pretense, to enhance their powers of concentration, to encourage expression and interaction, and to strengthen their instincts and imagination, thereby allowing them to live onstage more deeply, freely, and truthfully. Over the course of the semester, students will begin to develop a sense of process, including the ability to let go of planning and live in the moment.
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DRAMA 6124 — Scene Study I 2 credits
Spring
Richard Feldman
In this course, students will apply their skills in script analysis and improvisation to work on assigned scenes. Students will practice reading the script for past, present, and anticipated future circumstances. They will gain an understanding of the event of the scene and how that event is part of the overall arc of the play. Students will practice talking and listening, embodying given circumstances, pursuing wants and needs, living through the events of the scene, and allowing themselves to undergo change.
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DRAMA 6125 — Masks I 1 credit
Spring
Kathleen McKenney
Neutral mask work is designed to free the student from self-consciousness and to release imaginative impulses that lead to uninhibited physical expression and economy of gesture. By removing reliance on the voice or facial expressions as primary modes of communication, the neutral mask shifts the actor’s focus to the body. This work breaks down inhibitions and serves not only to release the student’s imaginative capacity for transformation but also to prepare the way for equally courageous characterization without a mask.
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DRAMA 6131-41 — Alexander Technique I 2 credits
Fall and Spring
Charlotte Okie
The Alexander Technique is a mind-body method for becoming aware of and changing movement habits. Focus is on the development of awareness of oneself in movement—to recognize and learn how to release excess tension and to change those habits of movement which interfere with the free and centered use of the body. Through a series of experiential exercises, hands-on guidance by the teacher, and selected readings, students will be introduced to basic Alexander concepts, including the principles of awareness, conscious inhibition, and direction.
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DRAMA 6133 — Movement for Actors 1 credit
Fall
Dawn Saito
This course includes vigorous physical training to develop muscle, tone, balance, coordination, flexibility, and agility and to increase physical stamina and focused concentration. Exercises will be employed to deepen listening and responding through the body, strengthen the connection between voice and body, increase awareness of oneself in space and in relationship to other bodies, release unnecessary tension to bring ease and empowerment, and explore physical and vocal transformation.
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DRAMA 6134-44 — Movement I: Getting into Condition 2 credits
Fall and Spring
Darryl Quinton
This conditioning and physical training class is designed to develop in students the endurance, physical agility, and mental discipline necessary for an actor. Emphasis is placed on stretching, strengthening, alignment, flexibility, and physical awareness as well as rhythm, phrasing, dynamics, and movement through space. The class will integrate basic concepts from Alexander Technique, Pilates, Yoga, Isometrics, Plyometrics, and various dance genres.
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DRAMA 6135-45 — Music Studies 2 credits
Fall and Spring
Michelle DiBucci
Music Studies introduces students to a wide spectrum of musical styles and compositional devices with an emphasis on listening to and speaking about music and its connection to all of the arts. The first semester will concentrate on key elements of music including melody, rhythm, harmony, form, texture and timbre. The second semester includes work on contemporary song forms, opera, and the origins of African-American music. Throughout the year, actors will have the opportunity to engage with music students and outside musical guests.
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DRAMA 6137 — Speech I: Foundation 1 credit
Fall
Deborah Hecht
This course focuses on a wide palette of sounds for use with a range of characters, plays, and film scripts. Focus is on the continuing development of the musculature of the face, mouth, and tongue for flexibility, strength, and precision. Actors will develop a more sensitive ear for sound and variations in sounds as well as a connection to and appreciation of onomatopoeia in language and its direct application to text. Students will reinforce muscular, auditory, and linguistic awareness with written transcription of the vowels and consonants of spoken English using the International Phonetic Alphabet (IPA).
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DRAMA 6139 — Voice I: Foundation and Practice 1 credit
Fall
Faculty
Voice I: Foundation and Practice focuses on the principles and practice of respiration, phonation, resonance, and articulation. The course will also explore anatomy, physiology, and the physics of tone, as students explore exercises for relaxation, flexibility, capacity, breath control, placement, and the production of sound.
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