Theater, Dance, and Film and Visual Culture Minors

2018 - 2019 Catalog

We have the following degrees:

Dance minor

A minor in dance requires completion of at least 8 courses in dance as follows. In meeting the requirements of this discipline-based minor, a student may not use more than nine credits that are also used to meet the requirements of
another major or minor.

  1. Three credits from DANC 110
  2. DANC 111
  3. One course chosen from DANC 220, 240
  4. Four courses chosen from DANC 120, 202, 215, 225, 230, 233, 250, 292, 390
  5. One course chosen from DANC 220, 240, 330, 340, 390, 403; THTR 131, 209, 251, 253, 336, 338
  1. Three credits from:
  2. Three credits from:

    • DANC 110 - University Dance
      Credits1
      FacultyDavies

      Participation in a university dance production for a minimum of 40 hours of rehearsal and performance. A journal recording the rehearsal/performance process is required. May be repeated for up to eight degree credits.


  3. Required course:
    • DANC 111 - University Dance Production
      Credits1
      PrerequisiteInstructor consent
      FacultyEvans

      Participation in any production aspect of a university dance production for a minimum of 40 hours. A journal recording the production process is required. May be repeated for up to four degree credits.


  4. Once course chosen from:
    • DANC 220 - Dance Composition
      FDRHA
      Credits3
      PrerequisiteDANC 120
      FacultyDavies

      A studio course exploring the craft and art of creating dance performances in a variety of styles and contexts. Images, text, music, improvisation and the elements of time, space and energy are examined as sources for dance material leading to group choreography. This course focuses on creating a finished performance piece for presentation.


    • DANC 240 - Contemporary Modern Dance History
      FDRHA
      Credits3
      FacultyDavies

      This course is a study of the manifestations of American modern dance from the beginning of the 20th century to the present. Students explore the relationship between dance and developments in U.S. culture and study the innovators of the art form and their techniques, writings, and art works through readings, video and lectures.


  5. Four courses chosen from:
    • DANC 120 - Introduction to Contemporary Modern Dance
      FDRHA
      Credits3
      FacultyStaff

      This course combines the exploration of individual and ensemble artistic expression in contemporary modern dance with the study of the history of modern dance. The course culminates in a performance presentation.


    • DANC 202 - Dance Europe
      FDRHA
      Credits4
      FacultyDavies

      Contemporary modern dance is an art form that explores questions about the body, identity, and globalization. Choreographers experiment with their craft by examining the way in which we relate to the world around us. The globalization of dance leads to cultural interchange and critical thinking about our place in a larger society and includes an exchange of styles and ideas and a cultural reflection on how and why dance is made. Globalism creates a rich artistic atmosphere and contributes to a wide variety of styles. Students travel to the four centers of contemporary modern dance in Europe: Paris, London, Amsterdam, Brussels. We explore contemporary aesthetics of particular regions, how culture influences movement choices, and the new ways in which European audiences are adapting to new forms of expression.


    • DANC 215 - World Dance Technique
      FDRHA
      Credits2
      FacultyStaff

      This dance class reflects the world dance form that is the specialty of the dance artist-in-residence. The basic dance techniques of that specific form are taught and movement is tied to the historical narrative of the country.


    • DANC 225 - Intermediate Contemporary Modern Dance Technique
      Credits2
      FacultyDavies

      A studio course devoted to refining effort/shape values and pursuing performance quality phrasing and style in "Horton" modern dance technique. Students investigate self-directed reverse combinations, deconstruct movement phrases into sequential elements, and learn methods for written and oral analysis of dance. Students practice listening to the body by connecting movement phrases with kinesthetic experiences. May be repeated for up to eight credits.


    • DANC 230 - Musical-Theater Dance Technique
      Credits2
      FacultyStaff

      A studio exploration of choreography in musical theater from the 1940s to the present. Composition, theme, and form are discussed in concert with practical work in restaging historically significant musical dance numbers. Of particular interest are the choreographers' styles and the many dance techniques prevalent in musical theater. These issues are experienced through dance practica as original choreography is taught. May be repeated for up to six degree credits.


    • DANC 233 - Movement for Actors
      FDRHA
      Credits3
      FacultyDavies

      This course exams an array of methods that provide a vocabulary for thinking about, acting upon, and talking about movement and gesture and the physical integration of voice, breath, speech, and movement. We explore Alexander Technique and create an awareness of physical habits of 'misuse' and transform them by focusing on breathing and vocal work. Students examine viewpoints as a method for vocabulary to discuss work and as a tool for creating it. Laban Movement Analysis looks at these same concepts as a language for interpreting and documenting human movement. Class meetings include lecture, studio work, and individual projects, and the course culminates in individual performance works that explore the synthesis of muscle coordination, sensory perception, and knowledge.


    • DANC 250 - Aerial Dance Techniques
      FDRHA
      Credits3
      FacultyDavies

      This course examines a unique array of techniques from across the aerial arts and a diversity of experimental approaches to movement in the air. The history of the form as well as lineage of style and current techniques are expressed through lecture, studio work, required readings and videos, masterclasses, performances, and written responses. Course fee required.


    • DANC 292 - Ballet Technique
      Credits2
      FacultyStaff

      This studio course is devoted to the practice of classical ballet technique and to the exploration of classical and contemporary ballet in performance. The course culminates in a performance presentation. This course may be repeated for degree credit for up to six degree credits.


    • DANC 390 - Special Topics
      Credits3 in fall or winter, 4 in spring
      PrerequisiteInstructor consent

      An advanced studio course for experienced dancers exploring various choreographic styles and methods and the intersections between technique, aesthetics and creative collaboration. This course permits the student to follow a program of specialized applied research in order to widen the scope of experience and to build upon concepts covered in other courses. The course culminates in a performance piece for presentation. May be repeated for degree credit if the topics are different.


  6. Once course chosen from:
    • DANC 220 - Dance Composition
      FDRHA
      Credits3
      PrerequisiteDANC 120
      FacultyDavies

      A studio course exploring the craft and art of creating dance performances in a variety of styles and contexts. Images, text, music, improvisation and the elements of time, space and energy are examined as sources for dance material leading to group choreography. This course focuses on creating a finished performance piece for presentation.


    • DANC 240 - Contemporary Modern Dance History
      FDRHA
      Credits3
      FacultyDavies

      This course is a study of the manifestations of American modern dance from the beginning of the 20th century to the present. Students explore the relationship between dance and developments in U.S. culture and study the innovators of the art form and their techniques, writings, and art works through readings, video and lectures.


    • DANC 330 - Experiential Anatomy
      FDRHA
      Credits3
      PrerequisiteInstructor consent
      FacultyDavies

      A study of human motion as it relates to the locomotor and physical activities of the dancer. The course covers the planes of the body; vocabulary of the skeleton; and specific muscles, their actions, and how they relate to the dancer's body. Injury prevention through alignment and proper movement is considered, as well as the reversal of body alienation. Attention is given to the application of course information to technique class and performance.


    • DANC 340 - Contemporary Dance Observation and Analysis
      FDRHA
      Credits3
      PrerequisiteInstructor consent
      FacultyDavies

      The observation and analysis of live and recorded contemporary dance focusing on the work of emerging and established choreographers. Exploration of methods for describing the moving body in space. Emphasis is placed on the written and verbal critique of contemporary dance in performance.


    • DANC 390 - Special Topics
      Credits3 in fall or winter, 4 in spring
      PrerequisiteInstructor consent

      An advanced studio course for experienced dancers exploring various choreographic styles and methods and the intersections between technique, aesthetics and creative collaboration. This course permits the student to follow a program of specialized applied research in order to widen the scope of experience and to build upon concepts covered in other courses. The course culminates in a performance piece for presentation. May be repeated for degree credit if the topics are different.


    • DANC 403 - Directed Individual Study
      Credits3
      PrerequisiteInstructor consent.
      FacultyStaff

      Students enrich their academic experience by undertaking a performance project. Students must demonstrate ability to work with little supervision and must develop a written proposal defining the issue to be addresses, an outline of the proposed methodology, and a statement of the intended outcome with a schedule for completion. The project must include written, historical, and practical components, and permission must be secured in advance of registration.


    • THTR 131 - Fundamentals of Theater Art
      FDRHA
      Credits3
      PrerequisiteCorequisite: THTR 132
      FacultyStaff

      An introduction to modern theater practice involving two hours of lecture per week and participation of approximately 45-60 hours of work in a large-scale production spread throughout the term. A practical course, emphasizing scene-craft, stage lighting, and prop making. The student applies the methods and theories discussed in class to work on actual productions. Laboratory course with THTR 132.


    • THTR 209 - Stage Management
      FDRHA
      Credits3
      FacultyEvans

      Stage management is an essential position for all theatrical productions. Students develop personal management style through the study of techniques and skill sets necessary to manage and run stage and film productions. Students hone their management techniques by applying management solutions to specific production problems of a theatrical, dance, or film project produced by the department. Students are required to participate in a production in a stage-management capacity.


    • THTR 251 - Introduction to Performance Design
      FDRHA
      Credits3
      FacultyCollins, Evans

      An introduction to the history, fundamentals and aesthetics of design for theater and dance with an emphasis on the collaborative nature of the design disciplines. Design projects are required. Lab fee required


    • THTR 253 - Digital Production
      FDRHA
      Credits3
      FacultyEvans

      Digital technologies and multimedia interaction are increasingly utilized to produce, enhance, and innovate theatrical production. Students examine and experiment with various digital technologies as they relate to theater and dance performance. Students create digital audio, video, design rendering, and animation projects for theatrical performances.


    • THTR 336 - Lighting Design
      FDRHA
      Credits3
      FacultyEvans

      A study of the practice of stage lighting, focusing on styles of production, historical methods and artistic theory. Culminates in a light design for a public theatrical production. Lab fee required.


    • THTR 338 - Costume Design
      FDRHA
      Credits3
      FacultyStaff

      A study of stage costuming with emphasis on design and construction. The course includes lecture and lab sessions. Lab fee required.


Film and Visual Culture minor

A minor in film and visual culture requires completion of 18 credits from six courses. In meeting the requirements of this interdisciplinary major, a student must use at least nine (9) credits not also used to meet the requirements of any other major(s) or minor.

1. Introductory course: ENGL 233 or FILM 233
2. Capstone course: FILM 413 or other departmental directed study (e.g., 403) approved in advance by the department head of Theater, Dance,and Film Studies
3. Four additional courses from the following, with at least one in each of the three categories.

a. Film Courses: EALL 215; FILM 236, 285; FREN 274; JOUR 212; POL 292; SOAN 225 and, when appropriate, ARTH 295; ENGL 292, 293, 295, 413; FILM 195, 196; LIT 295; ITAL 295; ROML 296; SPAN 290, 295

b. Visual Culture and Analysis Courses: ARTH 200, 244, 255, 258, 261, 262, 263, 266, 267, 273, 274, 356, 363, 364; ARTS 223; DANC 220, 240, 340; CHEM 156; FREN 331; HIST 105; JOUR 319, 241, 270; PHIL 264; POL 290; REL 153

c. Production Courses: ARTS 111, 112, 120, 131, 217, 218, 219, 220, 221, 223, 224; DANC 120; FILM 255; THTR 121, 141, 220, 235, 241, 242, 251, 253, 336, 337, 338, 361; and, when appropriate, FILM 195

  1. Introductory course:
    • ENGL 233 - Introduction to Film
      FDRHL
      Credits3
      PrerequisiteCompletion of FW requirement
      FacultyStaff

      An introductory study of film taught in English and with a topical focus on texts from a variety of global film-making traditions. At its origins, film displayed boundary-crossing international ambitions, and this course attends to that important fact, but the course's individual variations emphasize one national film tradition (e.g., American, French, Indian, British, Italian, Chinese, etc.) and, within it, may focus on major representative texts or upon a subgenre or thematic approach. In all cases, the course introduces students to fundamental issues in the history, theory, and basic terminology of film.


    • or
    • FILM 233 - Introduction to Film
      FDRHL
      Credits3
      PrerequisiteCompletion of FW FDR requirement
      FacultyStaff

      An introductory study of film taught in English and with a topical focus on texts from a variety of global film-making traditions. At its origins, film displayed boundary-crossing international ambitions, and this course attends to that important fact, but the course's individual variations emphasize one national film tradition (e.g., American, French, Indian, British, Italian, Chinese, etc.) and, within it, may focus on major representative texts or upon a subgenre or thematic approach. In all cases, the course introduces students to fundamental issues in the history, theory, and basic terminology of film.


  2. Capstone course:
    • FILM 413 - Research and Writing Film Capstone
      Credits3
      PrerequisiteFILM 233 or ENGL 233 and at least nine additional credits for the minor

      A collaborative group research, writing, and/or production project for junior or senior minors, conducted in supervising faculty members' areas of expertise, with directed independent study culminating in a substantial final project. Possible topics include global and national film, focused treatments of auteur-directors or genres, film and psychology, film and technological change, film and painting, original film production.


    • or other departmental directed study (e.g., 403) approved in advance by the department head of Theater, Dance,and Film Studies
  3. Four additional course from the following, with at least one in each of the three categories.
  4. Film Courses:
    • EALL 215 - East Asian Cinema
      FDRHA
      Credits4
      FacultyZhu

      This course provides an introduction to and overview of contemporary East Asian cinema, including the Chinese-language cinemas of the People's Republic of China, Hong Kong, and Taiwan, and those of Japan and Korea. It focuses on the flourishing cinema of East Asia since the 1980s and provides a solid foundation in the successes and dominant tendencies of contemporary East Asian cinema and culture. Among the aims of the course are examining ways in which the contemporary East Asian cinemas and cultures are in dialogue with one another and looking at specific conditions and cultural forces at work in each unique case. The course also explores how the cinemas of East Asia reflect the changing cultural, economic, historical, political and social conditions of each country and how these cinemas and cultures are part of a larger redefinition of the idea of a national culture. Screenings and readings consist of exemplary works from each East Asian culture, organized around specific motifs, such as history, memory, identity, communication, love, and death.


    • FILM 236 - Science Fiction & Fantasy: From Page to Screen and Beyond
      FDRHL
      Credits4
      FacultyAdams

      Film, almost from origins, has been fascinated by the evocation of fantasy worlds and by the effort to imagine and represent future worlds filled with technological marvels.(Film is, of course, a medium obsessed by its own technological improvements from sound and color to 30 and virtual reality.) From such major directors as Lang and Kubrick to Lucas and Spielberg, science fiction has attracted some of the finest and most innovative directors. In this course, we study major examples of this phenomenon along with the technological history and philosophical speculations contributing to it.


    • FILM 285 - Music in the Films of Stanley Kubrick
      FDRHA
      Credits4
      FacultyGaylard

      How does music add power and meaning to a film? What are the connections between the flow of music and the flow of a dramatic narrative? How does music enhance visual images? The course will focus on the pre-existent classical compositions chosen by Stanley Kubrick for his movies 2001: A Space Odyssey (1968), A Clockwork Orange (1971), Barry Lyndon (1975), and The Shining (1980). The ability to read music is not a requirement for this course.


    • JOUR 212 - The Journalist in Fiction and Film
      Credits4
      FacultyLuecke

      Since the time of Sophocles, at least, citizens have been tempted to "kill the messenger." Those bearing news are often at odds with the citizens to whom they bring the news. This class explores the tension between citizens and modern-day messengers by reading and viewing fictional depictions of journalists. Students examine the role of popular culture in forming myths, stereotypes and false expectations of journalists - and other groups - to understand better the role of journalists in a free society.


    • JOUR 338 - The Documentary
      Credits3
      PrerequisiteJunior standing. Appropriate for nonmajors
      FacultyFinch

      A critical study of the documentary in film and television, with analysis of prominent directors and genres.


    • POL 292 - Topics in Politics and Film
      FDRSS2
      Credits4
      PrerequisiteVary by offering. Open to non-majors and majors of all class years

      This course examines how film and television present political issues and themes. May be repeated for degree credit if the topics are different.


    • SOAN 225 - Peoples of Central Europe Through Literature and Film
      FDRSS4
      Credits4
      FacultyJasiewicz

      This course provides basic information about the citizens of the Central European nations of Poland, the Czech Republic, and Hungary. The beliefs, attitudes, and value systems of the people of Central Europe are studied using core textbook readings supplemented by feature films, video materials, novels, short stories, plays, and poetry. Class discussions focus on interpreting these works of art in the context of comparative, historical-sociological analysis of the Polish, Czech, and Hungarian cultures and societies.


    • and, when appropriate,
    • ARTH 295 - Special Topics in Art History
      FDRHA
      Credits3 in fall or winter, 4 in spring

      Selected topics in art history with written and oral reports. May be repeated for degree credit if the topics are different.

      Fall 2018, ARTH 295B-01: History of Islamic Art & Architecture (3). An introductory survey to the art and architecture of the Islamic world, from the founding of Islam in the 7th century to the present day. The course concentrates on selected moments and monuments in the central historic regions—the Middle East, North Africa, Spain, Iraq, Iran, Central Asia, India, Turkey—and considers the relationship of the visual arts to the history, geography, and traditions of each region. The class includes a trip to the Freer and Sackler Galleries of the Smithsonian in Washington, DC. (HA) Gustafson.

       


    • ENGL 292 - Topics in British Literature
      FDRHL
      Credits3
      PrerequisiteCompletion of the FW requirement

      British literature, supported by attention to historical and cultural contexts. Versions of this course may survey several periods or concentrate on a group of works from a short span of time or focus on a cultural phenomenon. Students develop their analytical writing skills through both short papers and a final multisource research paper. May be repeated for degree credit and for the major if the topics are different.

      Spring 2019, ENGL 292-01: A Monstrous Creation: Frankenstein and Its Intertexts (3). Much like the creature who haunts its pages, Mary Shelley's Frankenstein is itself an assemblage of parts. Drawing on numerous literary and philosophical precedents, Shelley's groundbreaking novel is at once deeply familiar and shockingly new. Placing Frankenstein at its center, this seminar begins with texts that Shelley invokes--including Paradise Lost, Prometheus, Rousseau, and Coleridge, among others--and ends with texts that she inspires. We consider the common mythology, questions, and concerns that all of these texts share, and also the nature of literary allusion, homage, and adaptation. Why does the Genesis story remain so central to the Western literary tradition? Why is Shelley's creature an especially compelling representation of humankind's fallen condition? Why does Shelley's novel continue to resonate with modern audiences, 200 years after its publication? How does the figure of the monster evolve from Milton's Satan to Dick's Android? Students cultivate critical thinking and close reading through class discussion, and then deploy these same skills in a series of analytical writing assignments. (HL) Walle.

      Fall 2018, ENGL 292A-01: Topics in British Literature: All About Eve (3). Heavy hangs the head of the first woman. From Genesis to the femmes fatales of film noir, the figure of Eve—cunning, seductive, and treacherous—is arguably the most powerful and enduring image of woman in Western literature. Eve's story and its permutations encapsulate several fundamental dilemmas in the representation of women, from Milton to the present day. Does a woman's sexuality make her blameworthy? Does her influence make her dangerous? Does her "disobedience" make her criminal? Looking at a variety of media—novels, poetry, graphic novels, and film—this course examines shifting portrayals of Eve and her implications for womanhood and female sexuality. Anchoring our conversation in Genesis and Milton, and then moving to Shelley, Hardy, Carter, and others, we consider what each era's version of Eve reveals about the perception of women, whether the depiction of Eve changes over time, and how Eve's legacy of guilt and temptation informs modern discussions of femininity. (HL) Walle.


    • ENGL 293 - Topics in American Literature
      FDRHL
      Credits3-4
      PrerequisiteCompletion of the FW requirement

      Studies in American literature, supported by attention to historical contexts. Versions of this course may survey several periods or concentrate on a group of works from a short span of time. Students develop their analytical writing skills in a series of short papers. May be repeated for degree credit if the topics are different.

      Winter 2019, ENGL 293A-01: Topics in American Literature: Urban, Rural, Frontier: Constructions of Space and Place in 19th-Century American Literature (3). What significance does the notion of "place" hold in America's imagination? How has that conception of place and space consolidated over time? Students of America's history, for instance, learn how Manifest Destiny was a nineteenth doctrine that justified the United States' expansion westward, but what goes into realizing such a monumental task? Infrastructural developments such as the transcontinental railroad, of course, realized this vision in a material sense, but even before this, much was done to imagine and reimagine the space of the Americas as available for the taking. While the nation expanded west, its metropolitan spaces also witnessed massive growth as a result of industrialization. The goal of this course is to examine how writers and other artists imagined these changing spaces and landscapes throughout the 19th century. Writers we cover include: Washington Irving, James Fenimore Cooper, Ralph Waldo Emerson, Henry David Thoreau, Pauline Hopkins, Sarah Orne Jewett, Walt Whitman, Herman Melville, Harriet Jacobs, Thomas Nelson Page, Frances Harper, Charles Chesnutt, and Frank J. Webb. (HL) Millan.

      Winter 2019, ENGL 293B-01: Topics in American Literature: The American West (3). The American West is a land of striking landscapes, beautiful places to visit, such as Yellowstone and Yosemite, and stories that have had a huge impact on the USA and the world, such as Lewis and Clark, the Oregon Trail, Custer's Last Stand, Buffalo Bill's Wild West Show, and Cowboy and Indian adventures galore. This course studies some of these Western places, stories, art works, and movies. What has made them so appealing? How have they been used? We study works by authors such as John Steinbeck, Frederic Remington, Willa Cather, Wallace Stegner, and Cormac McCarthy, plus movies with actors like John Wayne, Clint Eastwood, and Brad Pitt, to see how Western stories have played out and what is happening now in these contested spaces. (HL) Smout.

      Winter 2019, ENGL 293C-01: Topics in American Literature: Protest Poetry (3). What kind of work can poetry do in the world? Students in this class study poetry from the Civil Rights Era, poetry about environmental crisis, and other kinds of verse that try to change minds and hearts, including protest poems, prayers and curses, and poetry in performance. For experimental credit, students also put poetry into action, first by collaboratively organizing a benefit event for the Rockbridge Area Relief Association, then by creating activist projects for causes of their own choosing. (EXP) Wheeler.

      Winter 2019, ENGL 293D-01: Topics in American Literature: Stanley Kubrick & Stephen King (3). This course explores and juxtaposes the novels and films, epic ambitions, dark visions, and cultural rivalry of two of the most popular, influential, and original narrative artists of 20th- and 21st-century America. We closely study most of Kubrick's thirteen feature films, and a representative selection of King's extensive oeuvre, and contextualize these primary texts with relevant biographical, theoretical, and cultural frameworks. Together these primary and secondary works allow us not only to gain a greater appreciation for these artists' individual achievements and larger lifework but also to scrutinize the limitations of expansive ambition in the age of corporatized mass art. (HL) Adams.

      Winter 2019, ENGL 293E-01: Topics in American Literature: Introduction to Graphic Novels (3). This course briefly explores early works in the graphic novel form before shifting to a central focus on 21st-century publications from a range of presses outside of U.S. mainstream comics. Students also read a range of literary theory on the formal qualities of graphic novels and then apply those theories to the analysis of selected works. (HL) Gavaler.

      Winter 2019, ENGL 293F-01: Topics in American Literature: 19th-Century American Gothic Literature (3). Ghosts? Curses? Institutions in varying states of decay? What comes to mind when you think of the word "gothic"? What makes a literary work "gothic," and what differentiates European and American gothics? Why was an appeal to gothic themes an important element during the nineteenth century in the United States? And how did this literature interface with other leading intellectual and artistic movements of the century? Starting from these questions, this course centers recurring themes in nineteenth-century American Gothic literature—such as the fraught divide between rationality/the irrational; puritan anxieties and guilt; fear linked to the unknown, which was often manifested in unexplored territories and frontiers; and serious looks at the unsettling depths of the human experience that challenged ideas about civilized society. Many of these themes were either direct or indirect responses to what was happening at the time: frontier clashes with, and genocide of, Indigenous peoples, slavery, and industrialization. Writers we may cover include: Washington Irving, Charles Brockden Brown, Catherine Maria Sedgwick, Nathaniel Hawthorne, Margaret Fuller, Edgar Allan Poe, Harriet Jacobs, Emily Dickinson, Herman Melville, Charles Chesnutt, and Charlotte Perkins Gilman. (HL) Millan.

      Spring 2019, ENGL 293-01: Topics in American Literature & Culture: Films of Alfred Hitchcock (3). Prerequisite: Completion of the FW requirement. Not open to students who have taken a similar course as ENGL 272 or 372. This course presents an intensive survey of the films of Alfred Hitchcock: it covers all of his major and many of his less well-known films. It supplements that central work by introducing students to several approaches to film analysis that are particularly appropriate for studying Hitchcock. These include biographical interpretation (Spoto's dark thesis), auteur and genre-based interpretation (Truffaut), psychological analyses (Zizek & Freud), and dominant form theory (hands-on study of novel to film adaptations). (HL) Adams.

      Fall 2018, ENGL 293B-01:  Topics in American Literature:  The Literature of the Beat Generation (3).  A study of a particular movement, focusing on the ways in which cultural and historical context have influenced the composition of and response to literature in the United States.  This course examines the writings of such authors as Jack Kerouac, Allen Ginsberg, William Burroughs, Anne Waldman, Amiri Baraka, Bob Dylan, Gregory Corso, and Gary Snyder, who wrote starting in the mid-1940s, continuing through later decades, and becoming loosely known as the Beat Generation.  What cultural, literary, historical, and religious influences from the U.S. and other parts of the world have shaped their work?  What challenges did their boldly different writings face, and how did their reception change over time?  What are their themes?  Their notions of style?  What have they contributed to American (and world) life and letters?  The goal of this course is to lay a strong foundation from which such questions can be richly addressed and answered.  (HL) Ball.

      Fall 2018, ENGL 293A-01: Topics in American Literature: Introduction to Literary Editing (3). An apprenticeship in editing for one or more students with the editor of Shenandoah, Washington and Lee's nationally prominent literary magazine. This is a course for anyone interested in editing literary journals, writing for the literary community (blogs, news releases, two book reviews, features, business correspondence) and how both print and on-line journals operate. Often a stepping stone to a publication career, the course involves an introduction to the creation, design and maintenance of WordPress web sites, as well as a survey of current magazines. The course also offers opportunities for each student to practice generating and editing his/her own texts and those of his/her peers. Each student oversees one facet of the journal (Poem of the Week, blog, submissions management, contests, social media), and each makes a presentation to the class on the nature and practices of two other current literary journals. Students work in pairs toward an understanding of the role journals play in contemporary literature and engage in peer editing. (HL) Staff.


    • ENGL 295 - Spring-Term Seminar in Literary Studies
      FDRHL
      Credits3-4
      PrerequisiteCompletion of FW requirement

      Students in this course study a group of works related by theme, by culture, by topic, by genre, or by the critical approach taken to the texts. Involves field trips, film screenings, service learning, and/or other special projects, as appropriate, in addition to 8-10 hours per week of class meetings. May be repeated for degree credit if the topics are different.

      Spring 2019, ENGL 295-01: Spring-Term Seminar in Literary Studies: Neo-Slave Narratives (3). Prerequisite: Completion of FW requirement. How does an engagement with the genre of neo-slave narratives help to develop our thought about the institution of slavery across the Americas? Most importantly, how does this body of work force us to reexamine our cultural inheritance? This course addresses these questions via the thoughtful examination of a range of theoretical, fictional, and cinematic texts. (HL) Wilson.

      Spring 2019, ENGL 295-02: Spring-Term Seminar in Literary Studies: Adapting the 19th Century (4). Prerequisite: Completion of FW requirement. This course considers what it takes to adapt facets of the 19th century for 21st-century audiences. We read literary works ranging from "Rip Van Winkle" to "The Tell-Tale Heart" to Douglass' Narrative of the Life of Frederick Douglass, as well as neo slave narratives, film, and artefact curation that either adapt these works or otherwise engage the difficult questions that emerge out of adapting the 19th century (slavery, empire, etc.). Students think about what makes something literature, what goes into adaptation, and what alternative versions of a given text can show us about their source material. The course includes visits to Monticello and the National Museum of African American History and Culture. Students eventually work towards adapting/curating an aspect of W&L's 19th-century history for modern audiences. (HL) Millan.


    • ENGL 413 - Senior Research and Writing
      Credits3
      PrerequisiteSix credits in English at the 300 level, senior major standing, and instructor consent. Enrollment limited to six

      A collaborative group research and writing project for senior majors, conducted in supervising faculty members' areas of expertise, with directed independent study culminating in a substantial final project. Possible topics include ecocriticism, literature and psychology, material conditions of authorship, and documentary poetics.

      Winter 2019, ENGL 413-01: Senior Research and Writing: Memoir (3). We live in the age of status updates and social media notifications. The selves we project in these platforms and in our daily conversations are often one-sided, a picture either of accomplishment and confidence, or of frustration. More complex representations of the self, of identity, and of individuality, appear in literary genres such as memoir, the personal essay, and fiction. This capstone considers concepts of memory, identity, experience, agency and audience as they inform readings of the novel Gilead by Marilynne Robinson, memoirs by Mary Karr, Deborah Miranda, Ta-Nehisi Coates, Marina Keegan, and personal essays by Joan Didion, Annie Dillard and selected Shenandoah writers. As we consider the narrative choices employed in these literary texts, as well as life narratives' engagement with theories of identity, we develop expertise through research on a chosen autobiography. Then, in the final third of the course, we craft personal narratives of our own, tracing first memories, childhood scenes, and coming-of-age thresholds. These pieces reflect careful thinking about theories of selfhood, as well as specific writing tools, studied throughout the term. (HL) Gertz.

      Fall 2018, ENGL 413-01: Senior Research and Writing: From Jane Eyre to Jane Steele: Adaptation, Homage, and Literary Fan Culture (3). From the 18th-century fascination with Shakespeare to the 21st-century obsession with Austen, adaptation and homage is a major part of literary culture. Sometimes, these adaptations become literary classics themselves: Jean Rhys's Wild Sargasso Sea imagines the life and history of Jane Eyre's madwoman in the attic; similarly, Michael Cunningham's The Hours updates Mrs. Dalloway for the 1990s. Other times, however, these adaptations are pure fun: Arthur Conan Doyle's classic detective fiction has been recently rewritten as The Lady Sherlock series; Austen's work has been peppered with zombies and sea monsters; and the famously independent heroine of Brontë's Jane Eyre has been reimagined as the homicidal protagonist of Lyndsay Faye's Jane Steele. This course puts several instances of adaptation—both highbrow and lowbrow—in conversation with the critical theory on adaptation, homage, and fan culture. This reading prepares students to embark on an individual guided research project in the second half of the term. (HL) Walle.


    • FILM 195 - Topics in Film Studies
      FDRHA
      Credits3 credits in Fall or Winter; 4 credits in Spring
      PrerequisiteCompletion of FW FDR requirement, and other prerequisites may vary with topic

      Selected topic in film studies, focused on one or more of film history, theory, production, or screenwriting. May be repeated for degree credit if the topics are different.


    • FILM 196 - Topics in Film and Literature
      FDRHL
      Credits3 credits in Fall or Winter; 4 credits in Spring
      PrerequisiteCompletion of FW FDR requirement, and other prerequisites may vary with topic

      Selected topics in film and literature. May be repeated for degree credit if the topics are different.


    • ITAL 295 - Topics in Italian Culture
      Credits3
      PrerequisiteITAL 163 or equivalent

      A second-year topics course focusing on issues and texts related to Italian literature and culture. All discussion, writing, and exercises are in Italian. May be repeated for degree credit with permission and if the topics are different.

      Fall 2018, ITAL 295A-01: Contemporary Italy through Literature and Film (3). Prerequisite: ITAL 163. A panorama of issues and debates of contemporary Italy. All material is introduced and examined through the lens of film, media, and contemporary literature, and students have ample opportunity to improve their listening and speaking skills through discussion of texts, films, and media clips. Topics include immigration, university life, women and gender, work and unemployment, gastronomy, travel, and history. An important goal of this course is also to review and develop grammar and vocabulary. Students practice targeted linguistic forms through the context of contemporary Italian culture and society. All classes, discussions, homework and projects are conducted entirely in Italian. McCormick.

       


    • LIT 295 - Special Topics in Literature in Translation
      FDRHL
      Credits3-4
      PrerequisiteCompletion of FW requirement

      A selected topic focusing on a particular author, genre, motif or period in translation. The specific topic is determined by the interests of the individual instructor. May be repeated for degree credit if the topics are different.

      Spring 2019, LIT 295-01: Literary Reflections on National Socialism (3). Prerequisite: Completion of FDR FW requirement. The literature of post World War II Germany that reflects on and attempts to come to terms with the atrocities of the Nazi regime. Readings, discussion, and writing in English. (HL). Crockett.

      Spring 2019, LIT 295-03: Topic: The African Child-Soldier (3). Prerequisite: Completion of FDR FW requirement. Who is a child? Who is a child-soldier? Did the child have a childhood in a home and family before becoming a soldier? What is childhood? How does the definition of childhood (legal or otherwise) jibe with the child's own perception or understanding of his/her place in society? Does s/he return home, and to a family after combat? Are home and family still the same? This course engages these and other questions as they relate to the representation of the child-soldier in African literary texts and in film. In so doing, we interrogate the larger question of agency, victimhood, and the human capacity to transcend adversity, focusing specifically on how the child (or child-soldier) negotiates the meandering road upon which s/he has been thrusted by people and circumstances, with no properly functioning compass. (HL) Kamara.

      Fall 2018, LIT 295B-01: Arabic Literature in Translation: The Arab Spring in Literature and Media (3). Prerequisites: Completion of FW requirement. The year 2011 marked the moment in which demonstrations and sit-ins against tyranny erupted simultaneously throughout the Arab World. Revolutionaries, mostly under the age of 30, demanded freedom of speech, an end to corruption, and the establishment of democratic states. These uprisings, called The Arab Spring, left a strong footprint on Arabic literature and media. This course introduces students to political, social, and economic issues in the Arab World through different literary genres (such as novels and short stories, political satire, movies, music, poetry and social media) that reflect the aspirations, disappointments, and concerns of the Arabs before, during, and after the revolutions. (HL). Hala Abdelmobdy.

       


    • ROML 296 - Spring-Term Topics in Romance Languages
      Credits4
      Prerequisitevary with topic

      Nature and content of the course is determined by the interests of the instructor(s) and student(s). May be repeated for degree credit if the topics are different. Staff. Offered when interest is expressed and departmental resources permit.


    • SPAN 290 - Topics in Latin American Culture and Literature
      Credits4
      PrerequisiteMay vary with topic

      This course offers students the opportunity to further their knowledge of the culture and literature of a specific Latin American country, and their awareness of Latin America in general, through the study of special cultural and literary topics. Readings, discussions, and assignments occur primarily in Spanish. May be repeated for degree credit if the topics are different.


    • SPAN 295 - Special Topics in Conversation
      Credits4
      PrerequisiteThree credits from any 200-level Spanish course or instructor consent

      Further development of listening and speaking skills necessary for advanced discussion. Acquisition of both practical and topic-specific vocabulary. Appropriate writing and reading assignments, related to the topic, accompany the primary emphasis on conversational skills. Recent topics include: Hispanic Cinema and La Prensa. May be repeated for degree credit if the topics are different.


  5. Visual Culture and Analysis Courses:
    • ARTH 200 - Greek Art & Archaeology
      FDRHA
      Credits3
      FacultyLaughy

      An introduction to ancient Greek art and archaeology. We encounter some of the greatest works of art in human history, as we survey the development of painting, sculpture, architecture, and town planning of the ancient Greeks. We encounter the history of the people behind the objects that they left behind, from the material remains of the Bronze Age palaces and Classical Athenian Acropolis to the world created in the wake of Alexander the Great's conquests. We also consider how we experience the ancient Greek world today through archaeological practice, cultural heritage, and the antiquities trade.


    • ARTH 255 - Northern Renaissance Art
      FDRHA
      Credits3
      FacultyBent

      A survey of Northern painting from 1300 to 1600, examined as symbols of political, religious, and social concerns of painters, patrons, and viewers. Among the artists covered are Campin, van Eyck, van der Weyden, Dürer, Holbein, and Brueghel. Emphasis placed on interpretation of meaning and visual analysis.


    • ARTH 258 - Baroque and Rococo Art
      FDRHA
      Credits3
      FacultyLepage

      A survey of the art and architecture of Europe during the 17th and 18th centuries. The course focuses on the stylistic and ideological issues shaping western art during the age of Religious Wars. This course considers the stylistic innovations of Caravaggio, Bernini, Rubens, Rembrandt, Velasquez, Poussin, Watteau, Boucher, and Fragonard, as well as the function of- and interest in-artistic production within the context of 17th- and 18th-century society.


    • ARTH 261 - History of Photography
      FDRHA
      Credits3
      FacultyKing

      An art-historical introduction to the history of photography, from its origins in the 19th century to the present day. Lectures and discussions examine photography's aesthetic, documentary, and "scientific" purposes; important contributors to photography and its history; the evolution of the camera and related technical processes; and issues of photographic theory and criticism. Photography is considered as a medium with its own rich history - bearing in mind stylistic shifts and changes in subject matter related to aesthetic, social, and cultural concerns - but also as a key component in the wider narrative of modern art.


    • ARTH 262 - 19th-Century European Art
      FDRHA
      Credits3
      FacultyKing

      This course begins in the late 18th century and covers major European art movements and criticism up to c.1900. Topics include the art of the French Revolution as an instrument of propaganda; the rise of Romanticism; the advent and impact of early photography; and the aesthetic and ideological origins of Modern Art.


    • ARTH 263 - 20th-Century European Art
      FDRHA
      Credits3
      FacultyKing

      This course covers major European art movements and criticism from the late 19th century through the 20th century. Lectures and discussions explore the implications of what it means for art to be/appear "modern," the social and aesthetic goals of the early avant-garde, the "rise and fall" of abstraction, and artistic responses to post-war mass culture. Movements discussed include Fauvism, Cubism, Futurism, Dada, Surrealism, Abstract Expressionism, and New Realism.


    • ARTH 266 - American Art to 1945
      FDRHA
      Credits3
      FacultyKing

      A survey of painting and sculpture in the United States from its earliest settlement to about 1945. Lectures and discussions emphasize the English eastern seaboard development in the 17th and 18th centuries, though other geographical areas are included in the 19th and 20th centuries. Topics include art of the early colonies, the Hudson River School, Realism and Regionalism, and the reception of abstract art in the United States.


    • ARTH 267 - Art Since 1945
      FDRHA
      Credits3
      FacultyKing

      This course introduces students to art and art theory from 1945 to the present. The objectives of the course are: (1) to enhance student knowledge of the major works, artists, and movements of art in Europe and the United States since 1945; (2) to integrate these works of art within the broader social and intellectual history of the period; and  (3) to help students develop their skills in visual analysis and historical interpretation. Among the issues we examine are the politics of abstract art; the ongoing dialogue between art and mass culture; the differences between modernism and postmodernism; and contemporary critiques of art history's prevailing narratives. This is a lecture course with a heavy emphasis on in-class discussion.


    • ARTH 273 - Arts of Modern Latin America
      FDRHA
      Credits3
      FacultyLepage

      This lecture course surveys the art and architecture of Latin America from circa 1900 to the present. Students explore the relationship between the arts in Europe and Latin America, trace the development of modern art in Latin America, and consider topics such as the rise of modernismo in Latin America, art in service of nationalism, indigenismo, and the growing Chicana/o movement in the United States. Among the artists covered are Diego Rivera, Frida Kahlo, Tarsila do Amaral, Joaquin Torres-Garcia, Wilfredo Lam, Lygia Clark, and Francisco Botero.


    • ARTH 274 - Art and Revolution: Mexican Muralism
      FDRHA
      Credits3
      FacultyLepage

      A survey of public monumental art produced by Mexican artists Diego Rivera, José Clemente Orozco, and David Alfaro Siqueiros in Mexico and the United States from 1910 to the 1970s. These artists used art to promote the social ideals of the Mexican Revolution (1911-1920). Through this muralist movement, they attempted to build a new national consciousness by celebrating the cultural heritage of the Mexican people. Quickly, the muralists and their patrons came into conflict with one another concerning how to best achieve their utopian goal of equality for all Mexicans. This lecture course examines the various ideologies of the Mexican muralists and considers reactions to muralism by other artists and the public. Students also examine the impact of muralism throughout Latin America and the United States.


    • ARTH 356 - Science in Art: Technical Examination of 17th-Century Dutch Paintings
      FDRHA
      Credits4
      PrerequisiteCHEM 156 in the preceding winter term
      FacultyUffelman

      Spring Term Abroad course. A survey of 17th-century Dutch history, art history, politics, religion, economics, etc., which links the scientific analysis of art to the art and culture of the time. The course begins on campus and then history, etc., will occur for a few days in Lexington and then proceed to Center for European Studies, Universiteit Maastricht, The Netherlands. Students visit numerous museums, hear guest lectures from faculty at Universiteit Maastricht, and observe at conservation laboratories at some of the major Dutch art museums. Students are graded by their performance on two research projects involving presentations and journals. Though students are not required to learn a foreign language to participate in the program, they are expected to learn key phrases in Dutch as a matter of courtesy to citizens of the host country.


    • ARTH 363 - Surrealism
      FDRHA
      Credits3
      FacultyKing

      Surrealism was one of the most multi-faceted and influential intellectual movements of the 20th century with a legacy and practice that continues today. This seminar examines the key writings and ideas that underlie surrealism with a focus on its artistic practice. We will consider works by artists including Salvador Dalí, René Magritte, and Max Ernst; watch surrealist films; discuss the significance of dreams; and play surrealist "games of chance."


    • ARTH 364 - Seminar on Art of the 1960s
      FDRHA
      Credits3
      FacultyKing

      An exploration of the art produced during the decade of the 1960s. A seminal period, it includes Pop Art, Post-Painterly Abstraction, Minimalism, and socially conscious and politically oriented art reflecting feminism and black radicalism. Emphasis is placed not only on the major artistic currents of the period but also on the broader cultural reflections of these movements. .


    • ARTS 223 - Paris: History, Image, Myth, Part II
      FDRHA
      Credits4
      PrerequisitePrerequisite: ARTS 222 and instructor consent. Recommended: ARTS 120
      FacultyBowden

      Students may not take this course and HIST 210. Participants in this course spend four weeks in Paris asking the following questions: how can photography capture Parisian life and Parisian spaces to document a sense of place? How can we use photography to observe the city's changing landscape as well as understand its rich past? Indeed, how has photography--the development of which is closely tied to Paris's history--altered the fabric of the city? Topics include the social and political transformations of the 19th century, the shifting geography of artistic Paris, and contemporary trends such as immigration and gentrification. Numerous museum and gallery visits will also play an important role in our time in Paris. This course is taught in close collaboration with HIST 210, creating an interdisciplinary context for students to explore the relationship of photography to the modern history and contemporary issues of Paris.


    • DANC 220 - Dance Composition
      FDRHA
      Credits3
      PrerequisiteDANC 120
      FacultyDavies

      A studio course exploring the craft and art of creating dance performances in a variety of styles and contexts. Images, text, music, improvisation and the elements of time, space and energy are examined as sources for dance material leading to group choreography. This course focuses on creating a finished performance piece for presentation.


    • DANC 240 - Contemporary Modern Dance History
      FDRHA
      Credits3
      FacultyDavies

      This course is a study of the manifestations of American modern dance from the beginning of the 20th century to the present. Students explore the relationship between dance and developments in U.S. culture and study the innovators of the art form and their techniques, writings, and art works through readings, video and lectures.


    • DANC 340 - Contemporary Dance Observation and Analysis
      FDRHA
      Credits3
      PrerequisiteInstructor consent
      FacultyDavies

      The observation and analysis of live and recorded contemporary dance focusing on the work of emerging and established choreographers. Exploration of methods for describing the moving body in space. Emphasis is placed on the written and verbal critique of contemporary dance in performance.


    • CHEM 156 - Science in Art
      FDRSC
      Credits3
      PrerequisiteInstructor consent
      FacultyUffelman

      This course develops students' fundamental understanding of certain physical, chemical, biological, and geological concepts and utilizes that vocabulary and knowledge to discuss 17th-century Dutch art. The emphasis is on key aspects of optics, light, and chemical bonding needed to understand how a painting "works" and how art conservators analyze paintings in terms of conservation and authenticity, using techniques such as X-ray radiography, X-ray powder diffraction, scanning electron microscopy, Raman microscopy, infrared spectroscopy, infrared microscopy, infrared reflectography, gas chromatography, liquid chromatography, mass spectrometry, UV-vis spectroscopy, UV photography, and laser ablation methods. When possible, the course develops modern notions of science with those of the 17th century in order to see how 17th-century science influenced 17th-century art.


    • FREN 331 - Etudes thématiques
      FDRHL
      Credits3
      PrerequisiteThree courses at the 200 level

      This course gives students a general knowledge of the evolution of French literature and ideas over the centuries through the study of one main theme. Recent offerings include: L'Exil; Regards sur la ville; Le dépaysement; Le voyage dans la literature française; L'esprit critique au XVIIIe siècle. May be repeated for degree credit if the theme is different.


    • HIST 105 - Scenes from Chinese History
      FDRHU
      Credits3
      FacultyBello

      Film is one of the 20th century's most influential forms of mass communication and, consequently, has been one medium for the creation and maintenance of nation-states. In this sense, no film can be considered as mere entertainment entirely divorced from the social, political, economic and, ultimately, historical context in which it was produced. This is particularly true of modern nation-states "invented" during the 20th century like the People's Republic of China (PRC). This course is intended to explore how contemporary PRC cinema has interpreted Chinese history, as represented by some of that history's pre-PRC milestones of conflict in the Qin and Qing dynasties as well as the Republican period. Students evaluate the films critically as historical products of their own times as well as current historical narratives of the past by examining each event through a pair of films produced at different times in PRC history. Students also examine post-1949 changes in China and its interpretation of its pre-1949 history, and so, by seeing how a country interprets its history at a given time.


    • JOUR 270 - Digital Media and Society
      Credits4
      FacultyArtwick

      Facebook, YouTube, and iPhones are popular, if not essential elements in college students' busy lives. Being born into the digital age, students have grown up with profound and rapidly changing media and communication technologies, yet likely take them for granted. This course takes an in-depth look at digital media, exploring the relationship between technology and social change. The concept of technological determinism guides our examination of social networking, online news/information, digital entertainment, and health online.


    • PHIL 264 - Aesthetics
      FDRHU
      Credits3
      FacultyMcGonigal

      This course offers a wide-ranging, reflective overview of contemporary debates in the philosophy of art. We discuss the following kinds of questions: How are artistic experience and value interrelated? In what does beauty consist? What is the nature of aesthetic experience? Should we value works of art for what we can learn from them? How do pictures represent? What constitutes artistic expression? In what ways is the imagination involved in engaging with artworks? Can emotional responses to fiction be genuine and rational? Is artistic intention relevant to the interpretation of artworks? Are there general principles of aesthetic evaluation? What are the relations between the moral and aesthetic values of art?


    • POL 290 - Seminar in Politics, Literature and the Arts
      FDRSS2
      Credits3
      PrerequisiteSet by instructor, varies with topic

      In this course, we study how literature, film, and other media are used to examine political themes and how they are used to achieve political ends. We address how politics shapes the arts and how the arts shape politics. The topic is announced at registration. May be repeated for degree credit if the topics are different. Only one such seminar may be counted towards the politics major.

      Spring 2019, POL 290-01: Politics and Culture: Seminar in Politics, Literature, and the Arts (3). Prerequisite: POL 100. In this American politics course, we study how literature, film, and other media are used to examine political themes and how they are used to achieve political ends. We explore the interplay between politics and culture from William Shakespeare's King Lear to Mark Twain's Tom Sawyer to Lin Manuel Miranda's Hamilton, with a particular focus on the role of political humor in reflecting and molding political mores and opinions. Movies include Casablanca and Mr. Smith Goes to Washington. We address how politics shapes the arts and how the arts shape politics. Political science texts supplement the artistic sources assigned. (SS2) Connelly.


    • REL 153 - Jesus in Fact, Fiction, and Film
      FDRHU
      Credits3
      FacultyBrown

      A study of representations of Jesus in history, fiction, and film and the ways in which they both reflect and generate diverse cultural identities from antiquity to the present. The course begins with the historical Jesus and controversies about his identity in antiquity and then focuses on parallel controversies in modern and postmodern fiction and film. Readings include early Christian literature (canonical and non-canonical), several modern novels and works of short fiction, and theoretical works on the relationship of literature to religion. In addition, we study several cinematic treatments of Jesus dating from the beginnings of filmmaking to the present.


  6. Production Courses:
    • ARTS 111 - Drawing I
      FDRHA
      Credits3
      PrerequisiteInstructor consent
      FacultyBeavers, Olson-Janjic

      Development of skills and visual awareness through the study of the basic elements of drawing. Variety of media, including pencil, charcoal, ink and crayon. Lab fee required.


    • ARTS 112 - Drawing II
      FDRHA
      Credits3
      PrerequisiteARTS 111 and instructor consent
      FacultyBeavers, Olson-Janjic

      Continuation of Drawing I. Lab fee required.


    • ARTS 120 - Photography I
      FDRHA
      Credits3
      PrerequisiteInstructor consent
      FacultyArcher, Bowden

      An introduction to the methods and materials of black and white film photography, with an emphasis on composition, exposure, and darkroom technique. The course includes a combination of image presentations, technical demonstrations, studio instruction, and group critiques. Lab fee required; cameras are available for check-out.


    • ARTS 131 - Design I
      FDRHA
      Credits3
      PrerequisiteInstructor consent

      An introduction to the elements and concepts of two-dimensional design within the context of current digital technology, with an emphasis on contemporary computer software programs.


    • ARTS 217 - Painting I
      FDRHA
      Credits3
      PrerequisiteInstructor consent
      FacultyOlson-Janjic

      Emphasis on color, design and spatial relationships. Work from observation and imagination in oil and acrylic. Lab fee required.


    • ARTS 218 - Painting II
      FDRHA
      Credits3
      PrerequisiteARTS 217 and instructor consent
      FacultyOlson-Janjic

      Continuation of ARTS 217. Lab fee required.


    • ARTS 219 - Painted Light: Interpreting the Landscape
      FDRHA
      Credits4
      PrerequisiteARTS 217 or instructor consent
      FacultyOlson-Janjic

      This course begins with the introduction of en plein air, a French expression which means "in the open air" and is used to describe the act of painting outdoors. We examine artists who have worked en plein air, past and present, study their work and methods, and then apply this knowledge to painting outdoors. Emphasis is on the way light and color define form and space. Students build on their knowledge of color theory through observation and implementation. Beginning with the concept of plein air, we quickly branch out to more interpretive and subjective uses of the landscape in painting, resulting in a cohesive body of work. Lab fee required.


    • ARTS 220 - Photography II
      FDRHA
      Credits3
      PrerequisiteARTS 120 and instructor consent
      FacultyBowden

      An introduction to digital photography, explored through a combination of technique and creative problem solving. Methods and approaches for editing, sequencing, and presentation are investigated. The course includes a combination of demonstrations, studio instruction, and group critiques, as well as image presentations, readings, and discussions related to historical and contemporary movements in the medium. Lab fee required; cameras are available for check-out.


    • ARTS 221 - Antique Photographic Processes
      FDRHA
      Credits3
      PrerequisiteARTS 120
      FacultyBowden

      An exploration of 19th-century photographic processes within the context of the history of photography. Individual processes are learned through studio demonstration and intensive hands-on lab sessions. Processes covered in this course include salt printing, cyanotype, Van Dyke, kallitype, and platinum and palladium printing and toning, as well as wet plate collodion processes such as tintypes and ambrotypes. Students learn how to make enlarged digital negatives for contact printing from photographs that originate in either film or digital formats. In addition to technique, students learn the historical background of each process, as well as contemporary trends and artists working with these methods.


    • ARTS 223 - Paris: History, Image, Myth, Part II
      FDRHA
      Credits4
      PrerequisitePrerequisite: ARTS 222 and instructor consent. Recommended: ARTS 120
      FacultyBowden

      Students may not take this course and HIST 210. Participants in this course spend four weeks in Paris asking the following questions: how can photography capture Parisian life and Parisian spaces to document a sense of place? How can we use photography to observe the city's changing landscape as well as understand its rich past? Indeed, how has photography--the development of which is closely tied to Paris's history--altered the fabric of the city? Topics include the social and political transformations of the 19th century, the shifting geography of artistic Paris, and contemporary trends such as immigration and gentrification. Numerous museum and gallery visits will also play an important role in our time in Paris. This course is taught in close collaboration with HIST 210, creating an interdisciplinary context for students to explore the relationship of photography to the modern history and contemporary issues of Paris.


    • ARTS 224 - Color Photography
      FDRHA
      Credits3
      PrerequisiteARTS 120 and instructor consent
      FacultyBowden

      An exploration of the visual and technical principles of color photography, as applied in the digital realm. Students learn the concepts of color photography through studio projects, as well as image presentations, readings, and discussions of methods and artists, historical and contemporary. Students photograph in digital format and learn the craft of fine color printing in the digital darkroom. Lab fee required; cameras are available for check-out.


    • DANC 120 - Introduction to Contemporary Modern Dance
      FDRHA
      Credits3
      FacultyStaff

      This course combines the exploration of individual and ensemble artistic expression in contemporary modern dance with the study of the history of modern dance. The course culminates in a performance presentation.


    • FILM 255 - Seven-Minute Shakespeare
      FDRHA
      Credits4
      PrerequisiteCompletion of the FDR FW and HL requirements
      FacultyDobin

      After intensive collective reading and discussion of four Shakespeare plays in the first week, students organize into four-person groups with the goal of producing a seven-minute video version of one of the plays by the end of the term, using only the actual text of the play. The project requires full engagement and commitment, and includes tasks such as editing and selecting from the text to produce the film script, creating storyboards, casting and recruiting actors, rehearsing, filming, editing, adding sound tracks and effects. We critique and learn from each other's efforts.


    • JOUR 266 - Cross-Cultural Documentary Filmmaking
      Credits3
      FacultyFinch

      The United States is a melting pot of nationalities and cultures. As people move to the U.S. from other countries they go through cross-cultural adaptation, and identity becomes an issue for everyone. Students in this course work in three-person teams to produce five-minute documentaries on cross-cultural adaptation by an ethnic community in our region or by selected international students at Washington and Lee. Students are expected to immerse themselves in learning about the home countries and current communities of their subjects. The course includes instruction in the techniques of documentary film-making, allowing students to develop their writing, storytelling, shooting and editing skills.


    • THTR 121 - Script Analysis for Stage and Screen
      FDRHL
      Credits3
      FacultySandberg, Levy, Collins, Evans

      The study of selected plays and screenplays from the standpoint of the theatre and screen artists. Emphasis on thorough examination of the scripts preparatory to production. This course is focused on developing script analysis skills directly applicable to work in production. Students work collaboratively in various creative capacities to transform texts into productions.


    • THTR 141 - Stage Acting I
      FDRHA
      Credits3
      FacultyLevy, Mish

      An introduction to acting for the stage. In this hands-on class, students learn and develop physical and vocal techniques for text-based and improvisational performance, focusing on relationships, objectives, and actions. Work includes in-class scene presentations from modern scripts.


    • THTR 220 - Playwriting
      FDRHA
      Credits3
      PrerequisiteInstructor consent

      An introductory workshop in creative writing for the theater that will focus on traditional forms of scene and script writing. Opportunities for collaborative writing and devised theater may be included. Weekly writing and reading assignments are required. Limited enrollment.


    • THTR 241 - Stage Acting II
      FDRHA
      Credits3
      PrerequisiteTHTR 141 and instructor consent
      FacultyLevy

      A studio course continuation of THTR 141 with greater emphasis placed on research techniques and performance.


    • THTR 242 - Musical Theater
      FDRHA
      Credits3
      FacultyMish

      Students learn, through study of seminal texts and video clips of performances and interviews with performers, a basic history of the American musical theater as an art form, combining the talents of composers, lyricists, directors, choreographers, set and costume designers, and others. Students research musical dramatic literature and apply musical and acting skills in the development and performance of excerpts from distinctive musicals of various eras. Students develop constructive, critical methods in the process of practicing and viewing musical theater performance.


    • THTR 251 - Introduction to Performance Design
      FDRHA
      Credits3
      FacultyCollins, Evans

      An introduction to the history, fundamentals and aesthetics of design for theater and dance with an emphasis on the collaborative nature of the design disciplines. Design projects are required. Lab fee required


    • THTR 253 - Digital Production
      FDRHA
      Credits3
      FacultyEvans

      Digital technologies and multimedia interaction are increasingly utilized to produce, enhance, and innovate theatrical production. Students examine and experiment with various digital technologies as they relate to theater and dance performance. Students create digital audio, video, design rendering, and animation projects for theatrical performances.


    • THTR 336 - Lighting Design
      FDRHA
      Credits3
      FacultyEvans

      A study of the practice of stage lighting, focusing on styles of production, historical methods and artistic theory. Culminates in a light design for a public theatrical production. Lab fee required.


    • THTR 337 - Scene Painting and Scenic Art
      FDRHA
      Credits3
      PrerequisiteInstructor consent
      FacultyCollins

      This course is an exploration and application of the methods and materials used in painting and finishing scenery for the theater. The course covers both historical and current scene painting techniques, as well as the tools and paints that have been developed to support those techniques. Outside projects are required. Lab fee required.


    • THTR 338 - Costume Design
      FDRHA
      Credits3
      FacultyStaff

      A study of stage costuming with emphasis on design and construction. The course includes lecture and lab sessions. Lab fee required.


    • THTR 361 - Stage Directing 1
      FDRHA
      Credits3
      PrerequisiteTHTR 141 and instructor consent
      FacultyLevy

      An introduction to directing for the stage.  In this hands-on class, students learn and develop basic techniques for integrating work with scripts, performers, and designers into a cohesive stage performance.  Students direct scenes from realistic modern or contemporary plays, focusing on collaboration, clarity, imagination, and analysis to create stage pictures and character relationships that tell a specific story on stage.  The class culminates in invited classroom performances.


    • and, when appropriate,
    • FILM 195 - Topics in Film Studies
      FDRHA
      Credits3 credits in Fall or Winter; 4 credits in Spring
      PrerequisiteCompletion of FW FDR requirement, and other prerequisites may vary with topic

      Selected topic in film studies, focused on one or more of film history, theory, production, or screenwriting. May be repeated for degree credit if the topics are different.


Theater minor

A minor in theater requires at least seven courses. A student may not complete both a major and a minor in theater. In meeting the requirements of this discipline-based minor, a student may not use more than nine credits that are also used to meet the requirements of another major or minor.

  1. Performance: THTR 109, 121 (FILM 121), 141
  2. Literature: One course chosen from THTR 210, 211, 215
  3. Design/Technology: Choose one of the following: THTR 131, 209, 236, 238, 251, 253, 336, 337, 338
  4. Electives: Two additional courses chosen from the following, with at least one at the 300 level

THTR 100, 131, 202, 204, 209, 210, 211, 215, 220, 236, 238, 239, 241, 242, 245, 251, 253, 290, 336, 337, 338, 341, 361, 397, 423, 453, 493
DANC 120, 202, 215, 220, 225, 230, 233, 240, 250, 292, 330, 340, 390
FILM 195, 196, 233, 236, 255

  1. Performance:
  2. Required courses:

    • THTR 109 - University Theater
      Credits1
      PrerequisiteInstructor consent
      FacultyStaff

      Participation in a university theater production for a minimum of 40 hours. A journal recording the production process is required. May be repeated for degree credit with permission. Maximum seven credits for students with a major or minor in theater, eight credits for others.


    • THTR 121 - Script Analysis for Stage and Screen (FILM 121)
      FDRHL
      Credits3
      FacultySandberg, Levy, Collins, Evans

      The study of selected plays and screenplays from the standpoint of the theatre and screen artists. Emphasis on thorough examination of the scripts preparatory to production. This course is focused on developing script analysis skills directly applicable to work in production. Students work collaboratively in various creative capacities to transform texts into productions.


    • THTR 141 - Stage Acting I
      FDRHA
      Credits3
      FacultyLevy, Mish

      An introduction to acting for the stage. In this hands-on class, students learn and develop physical and vocal techniques for text-based and improvisational performance, focusing on relationships, objectives, and actions. Work includes in-class scene presentations from modern scripts.


  3. Literature:
  4. One course chosen from:

    • THTR 210 - Ancient and Global Theater
      FDRHL
      Credits3
      FacultySandberg, Levy

      This course examines the history of theater and dramatic literature from its foundations in ancient world cultures through the Renaissance. Since this history course covers over 2000 years of time, class meetings sometimes move at a fast pace. Students gain a general world-wide cultural understanding of the art and history of the theater from its beginnings, and how theater spread as a phenomenon across the globe. Since theater is primarily a cultural institution, we simultaneously examine politics, philosophy, religion, science, and other factors that influence how the art form is created, maintained, and culturally preserved. We also examine history itself as an important cultural tool for assessing the events of the past.

       

       

       


    • THTR 211 - Western Theater History
      FDRHL
      Credits3
      FacultySandberg, Levy

      This course examines theater from the Renaissance period up to the modern era. Students read, analyze, and perform texts from this period, studying in detail how the theater is culturally created and maintained. The goal of the course is to gain a general overview of how the theater came to be what it is today. Since theater is primarily a cultural institution, we simultaneously examine politics, philosophy, religion, science, and other factors that influence how the art form is created, maintained, and culturally preserved. We also examine history itself as an important cultural tool for assessing the events of the past.


    • THTR 215 - Modern Drama
      FDRHL
      Credits3

      This course explores the principal movements and aesthetics in the modern period in European and American theater history from the end of the 19th century to the middle of the 20th century. Significant plays, playwrights, theatre artists and theorists are studied in context of the successive waves of modern movements: realism, symbolism, expressionism, surrealism, epic theater and theater of the absurd. Oral presentations, short research papers and performance projects will be required.


  5. Design/Technology:
  6. Choose one of the following:

    • THTR 131 - Fundamentals of Theater Art
      FDRHA
      Credits3
      PrerequisiteCorequisite: THTR 132
      FacultyStaff

      An introduction to modern theater practice involving two hours of lecture per week and participation of approximately 45-60 hours of work in a large-scale production spread throughout the term. A practical course, emphasizing scene-craft, stage lighting, and prop making. The student applies the methods and theories discussed in class to work on actual productions. Laboratory course with THTR 132.


    • THTR 209 - Stage Management
      FDRHA
      Credits3
      FacultyEvans

      Stage management is an essential position for all theatrical productions. Students develop personal management style through the study of techniques and skill sets necessary to manage and run stage and film productions. Students hone their management techniques by applying management solutions to specific production problems of a theatrical, dance, or film project produced by the department. Students are required to participate in a production in a stage-management capacity.


    • THTR 236 - Special Effects for Theater
      FDRHA
      Credits4
      PrerequisiteAdditional course fee required, for which the student is responsible after Friday of the 7th week of winter term
      FacultyCollins

      In this hands-on, project-based course, students apply the process of iterative design and use critical thinking to provide creative solutions to solve the artistic effects required to tell stories in theater. Starting with textual analysis of given scripts, students develop the parameters required for various effects, figure out a process to create those effects, and make them.


    • THTR 238 - 3D Printing & Desktop Manufacturing for the Theater
      FDRHA
      Credits3
      FacultyCollins

      Desktop manufacturing has revolutionized the design and prototyping of objects. This course is an introduction to the use of desktop manufacturing technologies. Students learn how to create digital designs, publish them electronically and create physical versions of those digital ideas. The course concentrates on how these technologies can be used in theater design and technology.


    • THTR 251 - Introduction to Performance Design
      FDRHA
      Credits3
      FacultyCollins, Evans

      An introduction to the history, fundamentals and aesthetics of design for theater and dance with an emphasis on the collaborative nature of the design disciplines. Design projects are required. Lab fee required


    • THTR 253 - Digital Production
      FDRHA
      Credits3
      FacultyEvans

      Digital technologies and multimedia interaction are increasingly utilized to produce, enhance, and innovate theatrical production. Students examine and experiment with various digital technologies as they relate to theater and dance performance. Students create digital audio, video, design rendering, and animation projects for theatrical performances.


    • THTR 336 - Lighting Design
      FDRHA
      Credits3
      FacultyEvans

      A study of the practice of stage lighting, focusing on styles of production, historical methods and artistic theory. Culminates in a light design for a public theatrical production. Lab fee required.


    • THTR 337 - Scene Painting and Scenic Art
      FDRHA
      Credits3
      PrerequisiteInstructor consent
      FacultyCollins

      This course is an exploration and application of the methods and materials used in painting and finishing scenery for the theater. The course covers both historical and current scene painting techniques, as well as the tools and paints that have been developed to support those techniques. Outside projects are required. Lab fee required.


    • THTR 338 - Costume Design
      FDRHA
      Credits3
      FacultyStaff

      A study of stage costuming with emphasis on design and construction. The course includes lecture and lab sessions. Lab fee required.


  7. Electives:
  8. Two additional courses chosen from the following, with at least one at the 300 level:

    • THTR 100 - Introduction to Theater
      FDRHA
      Credits3
      FacultyStaff

      An introduction to drama and the theater arts, including a brief historical survey, selected examples of dramatic literature, and a sequence on theater disciplines such as acting, designing, and directing.


    • THTR 131 - Fundamentals of Theater Art
      FDRHA
      Credits3
      PrerequisiteCorequisite: THTR 132
      FacultyStaff

      An introduction to modern theater practice involving two hours of lecture per week and participation of approximately 45-60 hours of work in a large-scale production spread throughout the term. A practical course, emphasizing scene-craft, stage lighting, and prop making. The student applies the methods and theories discussed in class to work on actual productions. Laboratory course with THTR 132.


    • THTR 202 - Supervised Study Abroad
      FDRHA
      Credits4
      PrerequisiteInstructor consent
      FacultyCollins, Martinez

      A Spring Term Abroad course. An intensive exposure to English theater and the current season in London. In addition to a full schedule of theater attendance, the course includes a study of theater training, production techniques and representative styles and periods of English drama.


    • THTR 204 - Study Abroad in Swedish Theater
      FDRHA
      Credits4
      FacultyEvans

      This course provides a broad impact on student's cross-cultural skills and global understanding, enhancing their worldview. Students have the opportunity to acquire critical intercultural knowledge, appreciation of cultural and social differentness, and exposure to perspectives critical for global leadership. The course focuses on examining cultural differences between Sweden and United States through the exploration of the arts; however, because of the size of the class students are encouraged to examine Swedish culture from their own disciplinary interest.


    • THTR 209 - Stage Management
      FDRHA
      Credits3
      FacultyEvans

      Stage management is an essential position for all theatrical productions. Students develop personal management style through the study of techniques and skill sets necessary to manage and run stage and film productions. Students hone their management techniques by applying management solutions to specific production problems of a theatrical, dance, or film project produced by the department. Students are required to participate in a production in a stage-management capacity.


    • THTR 210 - Ancient and Global Theater
      FDRHL
      Credits3
      FacultySandberg, Levy

      This course examines the history of theater and dramatic literature from its foundations in ancient world cultures through the Renaissance. Since this history course covers over 2000 years of time, class meetings sometimes move at a fast pace. Students gain a general world-wide cultural understanding of the art and history of the theater from its beginnings, and how theater spread as a phenomenon across the globe. Since theater is primarily a cultural institution, we simultaneously examine politics, philosophy, religion, science, and other factors that influence how the art form is created, maintained, and culturally preserved. We also examine history itself as an important cultural tool for assessing the events of the past.

       

       

       


    • THTR 211 - Western Theater History
      FDRHL
      Credits3
      FacultySandberg, Levy

      This course examines theater from the Renaissance period up to the modern era. Students read, analyze, and perform texts from this period, studying in detail how the theater is culturally created and maintained. The goal of the course is to gain a general overview of how the theater came to be what it is today. Since theater is primarily a cultural institution, we simultaneously examine politics, philosophy, religion, science, and other factors that influence how the art form is created, maintained, and culturally preserved. We also examine history itself as an important cultural tool for assessing the events of the past.


    • THTR 215 - Modern Drama
      FDRHL
      Credits3

      This course explores the principal movements and aesthetics in the modern period in European and American theater history from the end of the 19th century to the middle of the 20th century. Significant plays, playwrights, theatre artists and theorists are studied in context of the successive waves of modern movements: realism, symbolism, expressionism, surrealism, epic theater and theater of the absurd. Oral presentations, short research papers and performance projects will be required.


    • THTR 220 - Playwriting
      FDRHA
      Credits3
      PrerequisiteInstructor consent

      An introductory workshop in creative writing for the theater that will focus on traditional forms of scene and script writing. Opportunities for collaborative writing and devised theater may be included. Weekly writing and reading assignments are required. Limited enrollment.


    • THTR 236 - Special Effects for Theater
      FDRHA
      Credits4
      PrerequisiteAdditional course fee required, for which the student is responsible after Friday of the 7th week of winter term
      FacultyCollins

      In this hands-on, project-based course, students apply the process of iterative design and use critical thinking to provide creative solutions to solve the artistic effects required to tell stories in theater. Starting with textual analysis of given scripts, students develop the parameters required for various effects, figure out a process to create those effects, and make them.


    • THTR 238 - 3D Printing & Desktop Manufacturing for the Theater
      FDRHA
      Credits3
      FacultyCollins

      Desktop manufacturing has revolutionized the design and prototyping of objects. This course is an introduction to the use of desktop manufacturing technologies. Students learn how to create digital designs, publish them electronically and create physical versions of those digital ideas. The course concentrates on how these technologies can be used in theater design and technology.


    • THTR 239 - Total Theater
      FDRHA
      Credits4
      PrerequisiteThree credits in theater or dance and instructor consent
      FacultyStaff

      A practical study of design, directing, production and acting problems in a specific style of dramatic literature, culminating in a public theatrical production.


    • THTR 241 - Stage Acting II
      FDRHA
      Credits3
      PrerequisiteTHTR 141 and instructor consent
      FacultyLevy

      A studio course continuation of THTR 141 with greater emphasis placed on research techniques and performance.


    • THTR 242 - Musical Theater
      FDRHA
      Credits3
      FacultyMish

      Students learn, through study of seminal texts and video clips of performances and interviews with performers, a basic history of the American musical theater as an art form, combining the talents of composers, lyricists, directors, choreographers, set and costume designers, and others. Students research musical dramatic literature and apply musical and acting skills in the development and performance of excerpts from distinctive musicals of various eras. Students develop constructive, critical methods in the process of practicing and viewing musical theater performance.


    • THTR 245 - Talk to Us: How to Make Friends and Influence People
      FDRHA
      FacultyLevy

      An investigation, using theatre, film, television, performance art, and stand-up comedy, of the ways in which speaking directly to an audience can or should influence them. In particular, we talk about the use of rhetoric to make an argument, and the relationship between performer/speaker and audience. Students evaluate the use of direct address in various media, and the class includes some domestic travel to attend live events. The course culminates with a public performance by the students.


    • THTR 251 - Introduction to Performance Design
      FDRHA
      Credits3
      FacultyCollins, Evans

      An introduction to the history, fundamentals and aesthetics of design for theater and dance with an emphasis on the collaborative nature of the design disciplines. Design projects are required. Lab fee required


    • THTR 253 - Digital Production
      FDRHA
      Credits3
      FacultyEvans

      Digital technologies and multimedia interaction are increasingly utilized to produce, enhance, and innovate theatrical production. Students examine and experiment with various digital technologies as they relate to theater and dance performance. Students create digital audio, video, design rendering, and animation projects for theatrical performances.


    • THTR 290 - Topics in Performing Arts
      FDRHA
      Credits3 credits in fall or winter, 4 in spring
      PrerequisiteThree credits in theater and instructor consent, but may vary with topic

      Selected studies in theater, film or dance with a focus on history, criticism, performance or production. May be repeated for degree credit if the topics are different.

      Winter 2019, THTR 290-01: Topics in Performing Arts: The American Dream in Post-1954 Black Drama (3). No prerequisites or consent necessary for this section. While Alain Locke, as early as the Harlem Renaissance, prophesied great things for African American dramatists, it was not until the early days of the Civil Rights Movement that his optimism was fully gratified. After Lorraine Hansberry's A Raisin in the Sun appeared though, black Americans garnered multiple Pulitzer prizes and, by most accounts, became vibrant contributors to a national theater. In part, this contribution has been defined by an ironic view of that success narrative known as "The American Dream." This course explores African American drama since 1954, focusing on the interplay between black selfhood and the evolving notion of an American Dream. Examining pivotal plays from this period, we analyze what makes the struggle for progress an ambiguous, yet attractive topic for black playwrights. (HA) M. Hill.


    • THTR 336 - Lighting Design
      FDRHA
      Credits3
      FacultyEvans

      A study of the practice of stage lighting, focusing on styles of production, historical methods and artistic theory. Culminates in a light design for a public theatrical production. Lab fee required.


    • THTR 337 - Scene Painting and Scenic Art
      FDRHA
      Credits3
      PrerequisiteInstructor consent
      FacultyCollins

      This course is an exploration and application of the methods and materials used in painting and finishing scenery for the theater. The course covers both historical and current scene painting techniques, as well as the tools and paints that have been developed to support those techniques. Outside projects are required. Lab fee required.


    • THTR 338 - Costume Design
      FDRHA
      Credits3
      FacultyStaff

      A study of stage costuming with emphasis on design and construction. The course includes lecture and lab sessions. Lab fee required.


    • THTR 341 - Acting 3: Styles
      Credits3
      PrerequisiteTHTR 141 or instructor consent

      An advanced acting class focused on performing the work of a particular playwright or playwrights. In this course, students enhance their scene work by examining the theatrical and historical context in which the plays were written, thereby achieving a deeper understanding of a performance style other than contemporary realism. Topics change regularly. May be repeated twice for degree credit if the topics are different. 


    • THTR 361 - Stage Directing 1
      FDRHA
      Credits3
      PrerequisiteTHTR 141 and instructor consent
      FacultyLevy

      An introduction to directing for the stage.  In this hands-on class, students learn and develop basic techniques for integrating work with scripts, performers, and designers into a cohesive stage performance.  Students direct scenes from realistic modern or contemporary plays, focusing on collaboration, clarity, imagination, and analysis to create stage pictures and character relationships that tell a specific story on stage.  The class culminates in invited classroom performances.


    • THTR 397 - Seminar in Theater Topics
      Credits3
      PrerequisiteSix credits in theater or dance courses and instructor consent

      A seminar in theater history, literature/ criticism or production with a specific topic and scope to be announced prior to registration. Work in the seminar is based on research, discussion and assigned papers and/or projects. Lab fee required for certain topics. May be repeated for degree credit if the topics are different.


    • THTR 423 - Directed Individual Project
      Credits3
      PrerequisiteInstructor consent
      FacultyStaff

      This course permits the student to follow a program of specialized applied research in order to widen the scope of experience and to build upon concepts covered in other courses. May be repeated for degree credit if the topics are different.


    • THTR 453 - Internship
      Credits3
      PrerequisiteDepartmental consent
      FacultyMish

      After consultation with a theater faculty member and a representative of a departmentally approved theater or dance company, students submit a written description of a proposed summer internship with the company. Specific conditions of the internship and of required on-campus, follow-up projects must be approved by the department. Cedit is awarded after completion of the required on-campus, follow-up projects.


    • THTR 493 - Honors Thesis
      Credits3-3
      PrerequisiteCompletion of the required courses for the major, a 3.500 grade-point average in courses used for the major, and permission of the department. Students must have completed advanced theater courses in their area of interest, demonstrated ability in the area of interest as evidenced by course work, performance and/ or production experience, and completion of additional area-specific requirements
      FacultyStaff

      An advanced theater course that serves as a capstone to the major. Theater majors selected by the department conduct advanced theater research and individual artistic preparation, contribute artistically to the department's performance season, and produce a significant written thesis under the guidance of a thesis adviser.


    • DANC 120 - Introduction to Contemporary Modern Dance
      FDRHA
      Credits3
      FacultyStaff

      This course combines the exploration of individual and ensemble artistic expression in contemporary modern dance with the study of the history of modern dance. The course culminates in a performance presentation.


    • DANC 202 - Dance Europe
      FDRHA
      Credits4
      FacultyDavies

      Contemporary modern dance is an art form that explores questions about the body, identity, and globalization. Choreographers experiment with their craft by examining the way in which we relate to the world around us. The globalization of dance leads to cultural interchange and critical thinking about our place in a larger society and includes an exchange of styles and ideas and a cultural reflection on how and why dance is made. Globalism creates a rich artistic atmosphere and contributes to a wide variety of styles. Students travel to the four centers of contemporary modern dance in Europe: Paris, London, Amsterdam, Brussels. We explore contemporary aesthetics of particular regions, how culture influences movement choices, and the new ways in which European audiences are adapting to new forms of expression.


    • DANC 215 - World Dance Technique
      FDRHA
      Credits2
      FacultyStaff

      This dance class reflects the world dance form that is the specialty of the dance artist-in-residence. The basic dance techniques of that specific form are taught and movement is tied to the historical narrative of the country.


    • DANC 220 - Dance Composition
      FDRHA
      Credits3
      PrerequisiteDANC 120
      FacultyDavies

      A studio course exploring the craft and art of creating dance performances in a variety of styles and contexts. Images, text, music, improvisation and the elements of time, space and energy are examined as sources for dance material leading to group choreography. This course focuses on creating a finished performance piece for presentation.


    • DANC 225 - Intermediate Contemporary Modern Dance Technique
      Credits2
      FacultyDavies

      A studio course devoted to refining effort/shape values and pursuing performance quality phrasing and style in "Horton" modern dance technique. Students investigate self-directed reverse combinations, deconstruct movement phrases into sequential elements, and learn methods for written and oral analysis of dance. Students practice listening to the body by connecting movement phrases with kinesthetic experiences. May be repeated for up to eight credits.


    • DANC 230 - Musical-Theater Dance Technique
      Credits2
      FacultyStaff

      A studio exploration of choreography in musical theater from the 1940s to the present. Composition, theme, and form are discussed in concert with practical work in restaging historically significant musical dance numbers. Of particular interest are the choreographers' styles and the many dance techniques prevalent in musical theater. These issues are experienced through dance practica as original choreography is taught. May be repeated for up to six degree credits.


    • DANC 233 - Movement for Actors
      FDRHA
      Credits3
      FacultyDavies

      This course exams an array of methods that provide a vocabulary for thinking about, acting upon, and talking about movement and gesture and the physical integration of voice, breath, speech, and movement. We explore Alexander Technique and create an awareness of physical habits of 'misuse' and transform them by focusing on breathing and vocal work. Students examine viewpoints as a method for vocabulary to discuss work and as a tool for creating it. Laban Movement Analysis looks at these same concepts as a language for interpreting and documenting human movement. Class meetings include lecture, studio work, and individual projects, and the course culminates in individual performance works that explore the synthesis of muscle coordination, sensory perception, and knowledge.


    • DANC 240 - Contemporary Modern Dance History
      FDRHA
      Credits3
      FacultyDavies

      This course is a study of the manifestations of American modern dance from the beginning of the 20th century to the present. Students explore the relationship between dance and developments in U.S. culture and study the innovators of the art form and their techniques, writings, and art works through readings, video and lectures.


    • DANC 250 - Aerial Dance Techniques
      FDRHA
      Credits3
      FacultyDavies

      This course examines a unique array of techniques from across the aerial arts and a diversity of experimental approaches to movement in the air. The history of the form as well as lineage of style and current techniques are expressed through lecture, studio work, required readings and videos, masterclasses, performances, and written responses. Course fee required.


    • DANC 292 - Ballet Technique
      Credits2
      FacultyStaff

      This studio course is devoted to the practice of classical ballet technique and to the exploration of classical and contemporary ballet in performance. The course culminates in a performance presentation. This course may be repeated for degree credit for up to six degree credits.


    • DANC 330 - Experiential Anatomy
      FDRHA
      Credits3
      PrerequisiteInstructor consent
      FacultyDavies

      A study of human motion as it relates to the locomotor and physical activities of the dancer. The course covers the planes of the body; vocabulary of the skeleton; and specific muscles, their actions, and how they relate to the dancer's body. Injury prevention through alignment and proper movement is considered, as well as the reversal of body alienation. Attention is given to the application of course information to technique class and performance.


    • DANC 340 - Contemporary Dance Observation and Analysis
      FDRHA
      Credits3
      PrerequisiteInstructor consent
      FacultyDavies

      The observation and analysis of live and recorded contemporary dance focusing on the work of emerging and established choreographers. Exploration of methods for describing the moving body in space. Emphasis is placed on the written and verbal critique of contemporary dance in performance.


    • DANC 390 - Special Topics
      Credits3 in fall or winter, 4 in spring
      PrerequisiteInstructor consent

      An advanced studio course for experienced dancers exploring various choreographic styles and methods and the intersections between technique, aesthetics and creative collaboration. This course permits the student to follow a program of specialized applied research in order to widen the scope of experience and to build upon concepts covered in other courses. The course culminates in a performance piece for presentation. May be repeated for degree credit if the topics are different.


    • FILM 195 - Topics in Film Studies
      FDRHA
      Credits3 credits in Fall or Winter; 4 credits in Spring
      PrerequisiteCompletion of FW FDR requirement, and other prerequisites may vary with topic

      Selected topic in film studies, focused on one or more of film history, theory, production, or screenwriting. May be repeated for degree credit if the topics are different.


    • FILM 196 - Topics in Film and Literature
      FDRHL
      Credits3 credits in Fall or Winter; 4 credits in Spring
      PrerequisiteCompletion of FW FDR requirement, and other prerequisites may vary with topic

      Selected topics in film and literature. May be repeated for degree credit if the topics are different.


    • FILM 233 - Introduction to Film
      FDRHL
      Credits3
      PrerequisiteCompletion of FW FDR requirement
      FacultyStaff

      An introductory study of film taught in English and with a topical focus on texts from a variety of global film-making traditions. At its origins, film displayed boundary-crossing international ambitions, and this course attends to that important fact, but the course's individual variations emphasize one national film tradition (e.g., American, French, Indian, British, Italian, Chinese, etc.) and, within it, may focus on major representative texts or upon a subgenre or thematic approach. In all cases, the course introduces students to fundamental issues in the history, theory, and basic terminology of film.


    • FILM 236 - Science Fiction & Fantasy: From Page to Screen and Beyond
      FDRHL
      Credits4
      FacultyAdams

      Film, almost from origins, has been fascinated by the evocation of fantasy worlds and by the effort to imagine and represent future worlds filled with technological marvels.(Film is, of course, a medium obsessed by its own technological improvements from sound and color to 30 and virtual reality.) From such major directors as Lang and Kubrick to Lucas and Spielberg, science fiction has attracted some of the finest and most innovative directors. In this course, we study major examples of this phenomenon along with the technological history and philosophical speculations contributing to it.


    • FILM 255 - Seven-Minute Shakespeare
      FDRHA
      Credits4
      PrerequisiteCompletion of the FDR FW and HL requirements
      FacultyDobin

      After intensive collective reading and discussion of four Shakespeare plays in the first week, students organize into four-person groups with the goal of producing a seven-minute video version of one of the plays by the end of the term, using only the actual text of the play. The project requires full engagement and commitment, and includes tasks such as editing and selecting from the text to produce the film script, creating storyboards, casting and recruiting actors, rehearsing, filming, editing, adding sound tracks and effects. We critique and learn from each other's efforts.