This class introduces the student to the transformative power of theatre. We explore the ancient connection between theatre, ritual, and religion as well as contemporary intersections between Christian faith, reason, and justice. Students engage diverse scripts for performance while participating in the production process, attending live events, and exploring theatre professions from playwriting, to directing, to designing. This class will inspire you to become a theatre patron if not a full participant in the liveliest and oldest art form known to humankind.

The objective of this class is to help students tap into the psychological, physical and spiritual resources within them through the discipline of acting. Primary tools are personalized and scripted monologues, acting exercises and improvisations of increasing complexity, preparation and collaboration. This lab-style class requires a greater than normal commitment to attendance, participation and journal-keeping in addition to written performance critiques.

Stage managers are leaders, creative collaborators, and the primary point of contact in any theatre endeavor. This course provides an overview of the stage manager's roles and responsibilities within the production process from pre-production through strike and post-production review. The course provides opportunities for students to engage with best practices for effective and inclusive collaboration, communication, and organization of all production departments, from properties to set and lighting design. This practical course includes stage managing one production or concert within the Fine and Performing Arts, including rehearsals in McInnis Theatre, Eagle Great Room, and alternative rehearsal locations across campus. The course is also theoretical, as students cultivate their management style within the boundaries of industry standards and the ethical challenges of our times. Students reflect upon their biases that could present challenges to effective stage management. Throughout the course, the student is invited to consider how the Christian faith can inform and enrich our approach to the art and discipline of stage management.

Credit for significant technical or performative participation in Eastern Theatre production activities. This course may be taken more than once for credit. Graded on a P/F basis.

An introduction to the basics of technical theatre, including design principles, construction techniques, and stage management procedure and preparation.

A study of voice, designed with the stage performer in mind. It will explore the voice as an instrument of communication, as well as a part of the body as a whole. The Linklater Method will be used as a basis for instruction. This method incorporates the growing awareness of how the entire body and breath contribute to the making of sound. It helps to identify areas of tension which restrict vocal freedom, and seeks to provide tools and avenues of release. Attention will be given to posture, breathing, projection, sensitivity, articulation, phonetics, expression and communication of text. Students will also use poetry and classic texts through which they will discover the power of a free voice, and will use this power for more effective communication. Not a singing class.

This is a course of study in unarmed theatrical combat. The emphasis on this course is on the development of proper technique, quality of movement with a focus on accuracy and safety as it applies to theatrical performance. The end of this course will come with the opportunity for certification with the Society of American Fight Directors by taking the Skills Proficiency Test, adjudicated by an SAFD Fight Master.

This required course for all majors first focuses on breath and body awareness by providing a variety of experiential relaxation techniques the performer can then modify to best suit their individual needs in rehearsal and performance. Once the student has developed confidence in public solitude they begin to work more closely with their peers in studio exercises. Students work together to create an ensemble environment where body composition and visual awareness aids in creating compelling stage pictures and ultimately storytelling. Anne Bogart's Viewpoints and Michael Chekhov's techniques are researched and applied among others.

This course takes a deep look into a large variety of plays from modern, post-modern, and contemporary periods of Dramatic Literature. We will approach the text through the lens of actors, directors, designers, theatre critics and enthusiasts in the analysis of a script intended for production. We will explore given circumstances, dramatic structure, theme, metaphor, language, character development, and social commentary. The class will culminate in students creating an analysis for a fictional production of a published play as either director, actor, designer, or critic.

This course focuses on teaching the basics of truth-telling and communication using vocal music as its medium. Students will learn foundations of basic acting, character development, improvisation, collaborative communication, movement, physical awareness and expression and will apply these principles to vocal repertoire ranging from early opera to modern musical theatre. This is not a performance-based class as much as it is a process class; no final singing performance will be graded. However, the class will culminate in a performance.

This course is an introduction to devised theatre, a collaborative art form in storytelling and performance. Students will be introduced to a variety of methods for creating original works including Viewpoints, Improvisation, and Clowning along with conventional story structure. By working collaboratively, students will have the opportunity to see how their individual contributions add to the whole and complement the work of their classmates. Devised stories will be grounded in common interest, social commentary, and community concerns. The class will culminate in an original piece developed and performed by students.

This class teaches students fundamental techniques relating to the craft of on-camera acting. The class also covers practical lessons for on-set skills and behavior as well as basic principles of the business of TV and film

An introduction to the art and craft of directing for the stage. This foundational course invites emerging directors to learn and apply rehearsal strategies and lead the production process from script selection to casting, table work, staging, and performance.

This advanced course will focus intensely on a particular style/playwright within an intense collaborative rehearsal environment. Actors and directors will choose projects, research, rehearse and perform them. Class will address physical and thematic hermeneutics, literary and dramaturgical analysis, rehearsal techniques, style, Shakespeare, conceptual/ improvisational approaches, adaptation, working with new plays from diverse playwrights.

The purpose of THEA 320 is to prepare acting students to serve as simulated clients (SC's) or standardized patients (SP's) in psychotherapeutic education and training. Partnering with graduate and undergraduate courses in psychology, counseling and social work, students will prepare to participate in improvised training scenes acting in the client role. The course requires the development of character backstory, improvisation skills, and basic understanding of psychological symptoms, their underlying causes and their presentation. The course is designed for acting students who would like to deepen their skills in character work and improvisation, and may wish to serve as simulated clients or standardized patients in training and research settings.

A study of voice, designed with the stage performer in mind. It will explore the voice as an instrument of communication, as well as a part of the body as a whole. The Linklater Method will be used as a basis for instruction. This method incorporates the growing awareness of how the entire body and breath contribute to the making of sound. It helps to identify areas of tension which restrict vocal freedom, and seeks to provide tools and avenues of release. Attention will be given to posture, breathing, projection, sensitivity, articulation, phonetics, expression and communication of text. Students will also use poetry and classic texts through which they will discover the power of a free voice, and will use this power for more effective communication. Not a singing class.

This course will examine texts/performances written by minority writers in an effort to facilitate discussions that explore what it means to be part of a culturally diverse society. It focuses on the historical and cultural contexts of diverse selections of theatre performances.

The Theatre Department does not currently offer a course in dramatic literature. As we prepare to apply for accreditation with the National Association of Schools of Theatre (NAST) we need to create a dramatic literature survey course. This proposed special topics course will help fill in this educational gap as it covers contemporary British and American dramatic literature. This special topics version of the course also includes an optional two week study-abroad opportunity in Dublin, Ireland, at the Gaiety School of Acting.

The purpose of this course is to prepare acting students to serve as simulated clients (SC's) or standardized patients (SP's) in psychotherapeutic education and training. Partnering with graduate and undergraduate courses in psychology, counseling and social work, students will prepare to participate in improvised training scenes acting in the client role. The course requires the development of character backstory, improvisation skills, and basic understanding of psychological symptoms, their underlying causes and their presentation. The course is designed for acting students who would like to deepen their skills in character work and improvisation, and may wish to serve as simulated clients or standardized patients in training and research settings.

Students will gain practical training and experience in musical theatre performance. The course will focus on performance techniques and will emphasize skills necessary for successful presentation of a musical number. The course also presents an overview of the history of musical theatre. Prerequisite: THEA 115 or THEA 135.

Survey of theatre from its origins through the Renaissance with an introduction to various methods of script analysis. This course is the sequential first half of THEA 351, but may be taken independently.

Survey of theatre from the Restoration period to the present including various methods of script analysis. This course is the sequential second half of THEA 350, but may be taken independently or in reverse order.

The purpose of theatre field experience is to offer students the opportunity to observe and participate in professional work experiences in theatre and/or arts education. Participation must be in a setting appropriate to a student's interest in particular. Students will keep a log of hours and a journal of observations for a minimum of 40 hours per credit hour earned. Graded Pass/Fail.

This class explores the industry standards and techniques performers will need in order to work in the professional world. Students will learn how to apply period style to a scene from the classical canon and how to rehearse contemporary scenes using techniques developed by innovators including Michael Chekhov, Anne Bogart and Sanford Meisner as well as strengthen their understanding of Stanislavsky based acting. Students will hone their skills in order to be prepared to work with a variety of directors and ensemble-based theatre practices.

An advanced study of stagecraft, including advanced design principles, construction techniques, style and special effects.

A senior level capstone experience in which students address the issues and professional opportunities of contemporary theatre and the arts, with a focus on advanced acting skills, the business of acting, and integrating the Christian faith in the arts. Students will be challenged to creatively respond and engage with social justice issues using the arts. Specific subtopics will vary from year to year.

This course will prepare students for audition, interview, and portfolio presentations for professional and graduate work in the spring of their senior year. Students will work as an ensemble to produce a showcase that highlights their strengths as both individual and ensemble performers as well as providing a venue for students to share a visual portfolio of their work.