Notes:

Notes:

Notes:

Notes:

Notes:

Notes:

Notes:

Notes:

Notes:

Notes:

Notes: Alternate locations include CHE 011 and ED 067.

Notes: Alternate locations include CHE 011 and ED 067.

Notes: Alternative locations are CHD 524, CHE 011, ED 067, and CHC 002.

Notes: Alternative locations are CHD 524, CHE 011, ED 067, and CHC 002.

Notes: This internship will take place at Decidedly Jazz Danceworks.

Notes:

Notes:

Notes: Bob Fosse (1927-1987) was a major American stage director, choreographer, writer and filmmaker. He is the only person ever to win an Oscar, a Tony, and an Emmy as Best Director for three different projects in the same year. The course will survey his life and work, beginning with his early work as a musical performer in Hollywood musicals. It will then cover his mature work as choreographer-writer-stage director for such works as PIPPIN, LIZA WITH A "Z", and CHICAGO, finally concluding with a study of his major films: SWEET CHARITY, CABARET, LENNY, ALL THAT JAZZ, and STAR 80.

Notes: Gender, Sexuality, Modernism, and Performance. The emergence of modernism in theatre, drama, and performance both reflected and contributed to the transformation of gender roles and the emergence of modern sexual identities in the late nineteenth and early twentieth centuries. This seminar will look at the intersection of gender, sexuality, modernism, and performance. Plays and performances to be considered may include works by Henrik Ibsen, Arthur Wing Pinero, Oscar Wilde, Loie Fuller, George Bernard Shaw, Christopher St. John and Cicely Hamilton, Isadora Duncan, Vaslav Nijinsky, Djuna Barnes, Josephine Baker, Noel Coward, and Mordaunt Shairp, among others. Course readings will also include related primary materials (performance reviews, newspaper articles, autobiographical writings, etc.) and relevant critical and historical texts.

Notes:

Notes:

Notes: Breakout room: CHF 007.

Notes: The Broadway Musical

Notes: One-on-one lesson course times to be arranged with the instructor prior to the start of term.

Notes: One-on-one lesson course times to be arranged with the instructor prior to the start of term.

Notes:

Notes: One-on-one lesson course times to be arranged with the instructor prior to the start of term.

Notes: One-on-one mentoring will be arranged with the instructors.

Notes: One-on-one mentoring will be arranged with the instructors.

Notes: One-on-one lesson course times to be arranged with the instructor prior to the start of the term.

Notes: Location: Eckhardt-Gramatte Hall at the Rozsa Centre.

Notes: One-on-one lesson course times to be arranged with the instructor prior to the start of term.

Notes: The musical/artistic health of any community is dependent upon many factors, one of which is the presence of music leaders/facilitators who create and sustain engagement in music. The goal of this course is for students to develop deeper abilities and understandings related to building healthy, vibrant communities in and through music. By way of readings, discussions, lectures, "practical" activities, and guest speakers, this course attempts to cultivate the kinds of competencies and dispositions necessary for students to become "change makers" in their communities - as teachers, performers, and arts leaders of all kinds.

Notes: This course may meet on the Eckhardt-Gramatte stage at the Rozsa Centre as needed. The 200-level MUPF courses are NOT prerequisites for the 300-level MUPF courses: Students who have not yet completed 18 units at the 200-level in their degree program should register in the 200-level courses (usually first-year students). Students who have completed 18 units at the 200-level in their degree program should register in the 300-level courses (usually second-year students and higher). MUPF courses at the 300-level may be repeated for credit.

Notes: Location: Eckhardt-Gramatte stage at the Rozsa Centre. This course may meet in CHF 007 as needed. The 200-level MUPF courses are NOT prerequisites for the 300-level MUPF courses: Students who have not yet completed 18 units at the 200-level in their degree program should register in the 200-level courses (usually first-year students). Students who have completed 18 units at the 200-level in their degree program should register in the 300-level courses (usually second-year students and higher). MUPF courses at the 300-level may be repeated for credit.

Notes: This course may meet on the Eckhardt-Gramatte stage at the Rozsa Centre as needed. The 200-level MUPF courses are NOT prerequisites for the 300-level MUPF courses: Students who have not yet completed 18 units at the 200-level in their degree program should register in the 200-level courses (usually first-year students). Students who have completed 18 units at the 200-level in their degree program should register in the 300-level courses (usually second-year students and higher). MUPF courses at the 300-level may be repeated for credit.

Notes: The 200-level MUPF courses are NOT prerequisites for the 300-level MUPF courses: Students who have not yet completed 18 units at the 200-level in their degree program should register in the 200-level courses (usually first-year students). Students who have completed 18 units at the 200-level in their degree program should register in the 300-level courses (usually second-year students and higher). MUPF courses at the 300-level may be repeated for credit.

Notes:

Notes: The 200-level MUPF courses are NOT prerequisites for the 300-level MUPF courses: Students who have not yet completed 18 units at the 200-level in their degree program should register in the 200-level courses (usually first-year students). Students who have completed 18 units at the 200-level in their degree program should register in the 300-level courses (usually second-year students and higher). MUPF courses at the 300-level may be repeated for credit.

Notes: Location: Eckhardt-Gramatte stage at the Rozsa Centre. This course may meet in CHF 007 as needed. The 200-level MUPF courses are NOT prerequisites for the 300-level MUPF courses: Students who have not yet completed 18 units at the 200-level in their degree program should register in the 200-level courses (usually first-year students). Students who have completed 18 units at the 200-level in their degree program should register in the 300-level courses (usually second-year students and higher). MUPF courses at the 300-level may be repeated for credit.

Notes: This course may meet on the Eckhardt-Gramatte stage at the Rozsa Centre as needed. The 200-level MUPF courses are NOT prerequisites for the 300-level MUPF courses: Students who have not yet completed 18 units at the 200-level in their degree program should register in the 200-level courses (usually first-year students). Students who have completed 18 units at the 200-level in their degree program should register in the 300-level courses (usually second-year students and higher). MUPF courses at the 300-level may be repeated for credit.

Notes: The 200-level MUPF courses are NOT prerequisites for the 300-level MUPF courses: Students who have not yet completed 18 units at the 200-level in their degree program should register in the 200-level courses (usually first-year students). Students who have completed 18 units at the 200-level in their degree program should register in the 300-level courses (usually second-year students and higher). MUPF courses at the 300-level may be repeated for credit.

Notes:

Notes:

Notes: Performance generating systems are rule- or task-based dramaturgies that systematically set in motion a process of theatre, dance, or music creation in front of an audience. The resulting performance is not generated from the performers' impulses, as in other forms of improvisation, but rather from the ways in which a system affects the performers' memory, perception, and interaction. The performance does also not realize a script or repeat a score; instead of setting and rehearsing a compositional order, the systems challenge performers to respond to specific tasks in the moment and within constraints. The dramaturgical work with these systems necessitates a sharp shift in orientation from compositional possibilities to the question of which kinds of creative interaction and patterns a system attracts. Over the course of an intense week, we will examine three dance-, music-, and theatre-generating systems. Valentina Bertolani (PhD candidate in Music) will join us as guest teacher. Working through the systems one by one, we will watch archival recordings, read discussions of practice that can help us examine them, and analyze how they work. Aiming to build embodied knowledge onto this academic and dramaturgical foundation, we will test the systems in accessible and practical workshops. Finally, students will be tasked to develop a simple, yet generating, system of their own. This course is designed for upper-year and graduate Dance, Drama, and Music students. The students of Performance Generating Systems will be tasked to maintain regular, supervised praxis of one hour, 4 days per week through January and February, and post written observations online at the end of each week. This praxis can be scheduled at the students' convenience and it can take the form of improvisation tasks learned during the block week or improvisation systems created by the students in the block week. Final written reflection assignments will be due after this period of praxis.

Notes: Performance generating systems are rule- or task-based dramaturgies that systematically set in motion a process of theatre, dance, or music creation in front of an audience. The resulting performance is not generated from the performers' impulses, as in other forms of improvisation, but rather from the ways in which a system affects the performers' memory, perception, and interaction. The performance does also not realize a script or repeat a score; instead of setting and rehearsing a compositional order, the systems challenge performers to respond to specific tasks in the moment and within constraints. The dramaturgical work with these systems necessitates a sharp shift in orientation from compositional possibilities to the question of which kinds of creative interaction and patterns a system attracts. Over the course of an intense week, we will examine three dance-, music-, and theatre-generating systems. Valentina Bertolani (PhD candidate in Music) will join us as guest teacher. Working through the systems one by one, we will watch archival recordings, read discussions of practice that can help us examine them, and analyze how they work. Aiming to build embodied knowledge onto this academic and dramaturgical foundation, we will test the systems in accessible and practical workshops. Finally, students will be tasked to develop a simple, yet generating, system of their own. This course is designed for upper-year and graduate Dance, Drama, and Music students. The students of Performance Generating Systems will be tasked to maintain regular, supervised praxis of one hour, 4 days per week through January and February, and post written observations online at the end of each week. This praxis can be scheduled at the students' convenience and it can take the form of improvisation tasks learned during the block week or improvisation systems created by the students in the block week. Final written reflection assignments will be due after this period of praxis.