Students will review what theatrical interpreters consider when signing live performances. After creating a list together, students will be grouped into two or three, analyze their movie clip and work together to interpret it. Students will learn more about interpreting live performances, and how to best interpret performances.

This course explores the creation (and creativity) of the modern scientific and cultural world through study of western Europe in the 17th century, the age of Descartes and Newton, Shakespeare, Rembrandt and Molière. The class compares period thinking to present-day debates about the scientific method, art, religion, and society. This team-taught, interdisciplinary subject draws on a wide range of literary, dramatic, historical, and scientific texts and images, and involves theatrical experimentation as well as reading, writing, researching and conversing.

Unlike film, theater in America does not have a ratings board that censors content. So plays have had more freedom to explore and to transgress normative culture. Yet censorship of the theater has been part of American culture from the beginning, and continues today. How and why does this happen, and who decides whether a play is too dangerous to see or to teach? Are plays dangerous? Sinful? Even demonic? In our seminar, we will study plays that have been censored, either legally or extra-legally (i.e. refused production, closed down during production, denied funding, or taken off school reading lists). We’ll look at laws, both national and local, relating to the “obscene”, as well as unofficial practices, and think about the way censorship operates in American life now. And of course we will study the offending texts, themselves, to find what is really dangerous about them, for ourselves.

Lyndy Franklin Smith, artistic director of the Lexington Theater Company, explains how a production goes from studio to the stage, beginning with music, then moving to choreography, rehearsals, and blocking. She describes the adjustments made as they move to rehearsing on stage at the Lexington Opera House.

Explore the history of The Drama League and New York theater in this video from Treasures of New York: The Drama League. Students are asked to consider how the theater community depends on help from organizations like The Drama League to educate the public about the performing arts and to prepare future artists for a career in the theater industry. In addition to learning more about The Drama League, teaching tips ask students to create drama guides and awards for their own school productions.

This is a course on Shakespeare’s career, given at Brandeis University in the spring of 2010, by William Flesch. It covers several representative plays from all four genres: comedy, tragedy, history, and romance. We consider both the similarities and differences among those genres, and how his more and more radical experimentations in genre reflect his developing thought, about theater, about time, about life, over the course of his career. In terms of texts, any complete Shakespeare will suffice, including this free version online from MIT. The Norton Shakespeare, edited by Stephen Greenblatt, is also recommended.

The Folger Shakespeare Library provides the full searchable text of "The Taming of the Shrew" to read online or download as a PDF. All of the lines are numbered sequentially to make it easier and more convenient to find any line.

ePub version of text The Taming of the Shrew by William Shakepeare, 1564-1616.

This class looks at the special structural and practical needs of theatrical scenery and effects and how they can be constructed. We map the technical design process from initial meetings to realization on stage. The class emphasizes safety, budgeting, and problem solving. Ten 1-3 page Tech notes are required as well as a final project. Work includes actual production assignments as well as paper design projects.

Technical Theatre II (Intermediate)
CHAPTER 1: JOBS IN TECHNICAL THEATRE
CHAPTER 2: WORKING IN A NEW VENUE
CHAPTER 3: PERFORMANCE ETIQUETTE
CHAPTER 4: THE ACTOR SCENE BREAKDOWN
CHAPTER 5: SCENERY
CHAPTER 6: STAGE PROPERTIES
CHAPTER 7: STAGE LIGHTING
CHAPTER 8: COSTUMES
CHAPTER 9: SOUND
CHAPTER 10: BLOCKING NOTATION
CHAPTER 11: PRODUCTION REPORTS
CHAPTER 12: CUEING SCRIPTS

Access also available here: https://drive.google.com/drive/folders/1ibRKS2v_qeQwXuZHKAvb2I0jAn7GwCSM

The Folger Shakespeare Library provides the full searchable text of "The Tempest" to read online or download as a PDF. All of the lines are numbered sequentially to make it easier and more convenient to find any line.

ePub version of text The Tempest by William Shakepeare, 1564-1616.

This is a lesson used in a Theater 100 Intro to Theater classat West Los Angeles College in 2022. Students were part of an open-pedagogy process that connected them with stage artists of color whom they interviewed about their careers in stage design, writing and directing.Artists were contacted directly and volunteered to be part of the project. Most were delighted to speak with students aboout their careers.

This is a lesson used in a Theater 100 Intro to Theater classat West Los Angeles College in 2022. Students were part of an open-pedagogy process that connected them with stage artists of color whom they interviewed about their careers in stage design, writing and directing.Artists were contacted directly and volunteered to be part of the project. Most were delighted to speak with students aboout their careers.

Directed practice in acting, directing, or design on a sustained theater piece, either one-act or full length, from pre-rehearsal preparation to workshop production.

Directed practice in acting, production, or design on a sustained theater piece, either one-act or full length, from pre-rehearsal preparation to workshop production. Consult Theater Arts Office. Includes directed practice in stagecraft. Dramashop rehearses a production of Eric Bogosian’s play “subUrbia” for presentation the first two weekends in February. Visiting artist, David R. Gammons, directs. Approximately 10 roles filled by auditions. Students can receive up to six credits for acting or technical positions. Schedule of rehearsals to be arranged, but actors should be available during the afternoon. Students must be available for performances in early February. This course is offered during the Independent Activities Period (IAP), which is a special 4-week term at MIT that runs from the first week of January until the end of the month.

Take a behind-the-scenes tour of the Southeastern Theatre Conference (SETC) Design Competition and learn about the skills required for a career in costume design.

Take a behind-the-scenes tour of the Southeastern Theatre Conference (SETC) Design Competition and learn about the skills required for a career in lighting design.

Take a behind-the-scenes tour of the Southeastern Theatre Conference (SETC) Design Competition and learn about the skills required for a career in projection design.

Learn what it takes to be a scenic designer at the Southeastern Theatre Conference (SETC) Design Competition. Get advice and learn about the skills required for a career in scenic design.