Schedule of Classes

Study of genres, terminology, and disciplines of acting; fundamental techniques necessary for performance; scene study from contemporary plays.

Basic principles and techniques of acting through theatre games and improvisation. Introduction to contemporary texts, basic characterization and cold reading techniques. Open to BFA acting majors only.

Individual and group exercises to free the actor physically and emotionally and to stimulate creativity, imagination, and self-expression.

Concentration of imaginative processes which develop the individual characteristics of a dramatic role. Not available for credit to theatre majors.

Introduction to the non-performance areas of theatrical production (administrative, design, and technical fields) through hands-on participation in USC productions.

Development of the artistic process and theatrical design vocabulary of the individual within the environment of collaborative storytelling.

Physiological mechanism of voice: breath control, phonation, resonance, articulation of language for the stage; expressive use of stress, intonation and rhythm.

Application and consolidation of the skills, knowledge and techniques acquired in the study of fundamentals of acting encountered in THTR 101.

a: Techniques of modern dance; elements of dance composition.

a: A continuing study of modern dance skills towards an advanced level of competency.

a: Beginning techniques of classical ballet consisting of basic barre and center work; basic body and arm positions, port de bras, allegro and elementary adagio.

Intermediate techniques of classical ballet with intermediate barre, adagio, allegro combinations and pirouettes; development of a working knowledge of ballet terminology.

Advanced techniques of classical ballet; emphasis on clarity and precision with execution of movement. Study of beats, tours, advanced adagio and allegro, grand combinations, pointe-work.

Beginning techniques and practice of jazz dance.

Continuing study in the techniques of jazz dance.

Advanced techniques of jazz dance: advanced warm-up, rhythmic and isolation exercises, turns and advanced jazz sequences or combinations.

Elements of Hip-Hop dance, including technique, movement, musical rhythm, tempo and phrasing required to develop the skills needed to perform this unique dance form.

Representative ballroom dances: waltz, slow foxtrot, tango, and quickstep. a: Beginning. Graded CR/NC.

Representative ballroom dances: waltz, slow foxtrot, tango, and quickstep. b: Intermediate.

Basic tap rhythms developed into elementary dances with progression of time steps and other combinations of sound.

b: Continuing study of tap dancing including more complicated rhythmic patterns and combinations; polishing technique; combinations to varied music and introduction to advanced steps and combinations.

A multicultural and transnational examination of the history, theory, and practice of theatre from its origins to the age of Shakespeare and Zeami. Recommended preparation: THTR 125.

A multicultural and transnational examination of the history, theory and practice of theatre from the late 19th century to the present date. Recommended preparation: THTR 125.

Training of the actor's body with focus on mask work for the development of precision, strength and expressiveness.

Training and practice in the coordination of the physical apparatus of the actor utilizing various movement techniques through improvisation.

Continuing development of imagination leading to an increased range of dramatic expression through the formalized text of William Shakespeare. Open to BFA acting majors only.

Principles of stage make-up materials and skills allowing the actors to enhance their features and techniques for moderate and extreme aging, injuries, and character roles.

The visualization and communication of design ideas through free-hand and mechanical drawing: orthographics, isometrics, perspective, shades and shadows, plans, sections and elevations.

Historical survey, theory and practice in construction of costume, emphasis on period and style.

Theory and practice of theatrical lighting design including electricity, radiant energy, refraction, reflection, absorption, chromatic variation, and electronic controls.

Development of the voice using material which explores the techniques of Shakespeare and his contemporaries.

Cutting-edge and traditional methods and materials that enhance both the planning stages and realization of the theatrical design.

a: Polishing the actor's skills through analysis and class performance of scenes from plays.

Polishing the actor's skills through analysis and class performance of scenes from plays. Continuation of 252a.

Fundamental movements and composition in modern and aerobic dance; study of popular social dance forms; teaching and evaluation methodologies; course and class planning.

Theoretical aspects of creativity, choreography, accompaniment, dance notation, and production; application in individual and group composition. Lecture, 2 hours; performance laboratory, 6 hours.

Current state of American theatre, through a study of acting, playwriting, criticism, stage design, lighting and dramatic styles.

The plays and theatre of Shakespeare, the influences on his work and his contemporary world. Recommended preparation: THTR 201, THTR 310, THTR 311

Examination of basic directorial principles. Pre-production analysis and rehearsal procedures; relationship of the director to actor; integration of technical aspects of production.

Examination of basic directorial principles. Pre-production analysis and rehearsal procedures; relationship of the director to actor; integration of technical aspects of production.

20th century realism and the avant-garde. Recommended preparation: THTR 201, THTR 310, THTR 311

Actor training anchored by rigorous physical movements. Activities include comedy, clowning, juggling, and mask work. Open to BFA acting majors only.

Advanced physical training and practice for the BA actor utilizing various movement techniques through improvisation.

Further development of range and breadth of performance skills with emphasis on texts of heightened language and style. Open to BFA acting majors only.

The art and techniques of theatrical sound design. The use of music and ambient sound in theatrical presentations. Design elements as metaphor.

Extended development of vocal freedom and range, acquisition of articulate speech. Enhancement of vocal power and resonance, techniques for performing with a dialect. Open to BFA acting majors only.

a: Examination of the individual voice centering on resonance, tone, flexibility, and support through dramatic selections for transmitting meaning and emotion of character.

Examination of the individual voice centering on resonance, tone, flexibility, and support through dramatic selections for transmitting meaning and emotion of character. Continuation of 342a.

Designed to give students confidence and integrity for auditions in musical theatre. Choosing appropriate material and preparation for the audition and performance. Audition required.

a: Building and sustaining character in drama.

Continuation of world drama. Class performance and critique.

Basic approach to the acting and analysis of the highly formalized texts of William Shakespeare. Recommended preparation: THTR 252b.

Essential elements of playwriting through weekly assignments, students' initiative, occasional productions of scenes, and extensive classroom analysis.

Continuation of the work begun in 365.

Roles of dance in pre- technological societies; development of classic and romantic ballet from medieval, baroque, and renaissance periods to contemporary forms.

Aesthetic concepts in dance and related arts; integration of concepts in choreography, performance, and production; philosophical bases of dance criticism; critical analysis of performances. Lecture, 3 hours; performance laboratory, 3 hours.

A focus on American ethnic and multicultural diversity from the perspectives of gender, race, and myth as revealed in plays, film, and other performance media.

Substantive participation in a production sponsored by the School and supervised by the faculty.

An interdisciplinary inquiry into the aesthetics of the performing arts. Examines a dramatic classic and its adaptation into musical theatre, opera, ballet, and film. Duplicates credit in the former THTR 303.

Drawing and rendering techniques appropriate for theater designers. Drawing and drawing theory.

The study of standard American stage dialect using the international phonetic alphabet.

The study of accents and regional dialects.

Advanced physical acting focusing on principles of verbal/non-verbal improvisation and communication. Elements of textual analysis, including development of character mask and of the ensemble. Open to BFA acting majors only.

Introduction to safe and effective portrayals of violence for the stage. Training and practice of unarmed stage combat skills. Recommended preparation: THTR 216.

Contemporary material from plays and screenplays with an emphasis on individual challenges and problems. Open to BFA acting majors only.

Developing and practicing performance skills necessary to give an effective oral presentation.

Application of stage management procedures required in the professional theatre.

Continuation of THTR 330. Evolution of scene design through analysis of script, environmental factors, and styles.

Evolution of costume design through analysis of script, environmental factors, and styles.

Continuation of THTR 332. Evolution of lighting design through analysis of script, environmental factors, and styles.

Drafting style and complex graphic communication. Emphasis on creating professional plates, developing an individual style and graphic problem solving.

Techniques, materials, and equipment of the scenic artist including both historic and modern methods. Recommended preparation: paint and drawing experience

Theory and practice of technical theatre. Emphasis is on technical problem solving and graphic solutions to technical theatre.

Continuation of exercises related to the individual student for the stage. Open to BFA students only.

Advanced exploration of theatrical sound design theory and related technology; creative uses of music, sound effects, and audio equipment in modern theaters.

Acting techniques, recording studio technology and editing for the field of voice acting and voice overs.

Intensive investigation and performance of audition techniques. Scene study skills developed including cold readings, first readings, rehearsal procedure, performance process, camera/taping.

A workshop course taught by the visiting artist holding the George Burns chair. Course topics will be determined by the instructor.

Structure, character and intention in songwriting for the musical theatre. Writing for the voice and examination of how form follows content. Portfolio submission required.

Designed to provide the graduating students with an opportunity to select, prepare and perform for agents, directors and producers in film, television and theatre. Audition required. Open to theatre majors only.

Introduction to the skills, knowledge, and promotional materials that will enable the student to manage an independent career in the performing arts. Recommended preparation: THTR 101 and THTR 252ab.

In this course acting students will learn to develop on-camera acting skills and to collaborate with student directors and cinematographers from the School of Cinematic Arts. Recommended preparation: a 300-level acting course.

A survey of African American theatre and cultural performance traditions as a reflection of both African American culture and American history.

Continuation of (a), bringing developed pieces into production for regional K-12.

A writing-performance workshop in which students write, develop, and rehearse original, autobiographical and character monologues and perform them at the end of the semester.

Structured to address the dynamics of acting in relation to film/television. Refining the students' understanding of the similarities/differences between acting on stage/film. Duplicates credit in former THTR 480.

Continued exploration of acting for film/television. Furthering the student's understanding of the similarities/differences between acting on stage/film

Creative choreography of theatrical dance for television. Emphasis on rhythmic analysis, versatility, composition, notation techniques, stylizing, and composition.

Preparation, rehearsal, and performance of experimental choreography in main stage repertory.

An on-camera, workshop-style introduction to techniques, perspectives and theories unique to performing in television commercials. Recommended preparation: a 300-level acting or voice class

Research and actively develop the theory of theatre as a moving political, social, economic and spiritual force of change within the local community.

Practical experience in the entertainment industry.

Individual research and readings. Not available for graduate credit.

Analysis of all procedures involved in producing theatre (commercial or non-profit) including legal and business guidelines and contracts.

A survey of the influence of historical and cultural events on the evaluation of theatrical styles. Restoration to 20th century.

Overview of fundraising techniques for non-profit theatre including grantsmanship, board development, direct mail soliciting, and money raising activities and events.

Intensive participation in a production sponsored by the school and supervised by the faculty, to increase and develop artistic growth.

Studies in selected areas of theatre art. Intensive practice in role and script interpretation and its psychological relationship to the audience.

Plays for the stage shall be written using public-domain poetry and prose as inspiration and source material, complemented with exploring poetry, prose, and varied dramas as context for the student writer. Students should be well-versed in literature, and have written in one or more genres. Recommended preparation: reading poetry and novels.

Explores the theory and practice of staging community-based popular theatre, including Theatre of the Oppressed, street theatre, witness theatre, agit-prop and festival theatre events.

Advanced exercises in movement for the use of the body in relation to the stage.

Advanced exercises in movement for the use of the body in relation to the stage.

Advanced exercises in movement for the use of the body in relation to the stage.

Advanced training in acting skills; emphasis upon individual needs.

Advanced training in acting skills; emphasis upon individual needs.

Advanced training in acting skills; emphasis upon individual needs.

Analysis of trends, problems, and the work of major figures in the contemporary theatre.

Close textual reading of dramatic texts as a fundamental tool for rehearsal and performance.

Individual work in improving the actor's vocal range.

Individual work in improving the actor's vocal range.

Individual work in improving the actor's vocal range.

A workshop taught by master visiting artist, concentrating on his/her specific expertise in relation to dramatic writing. Course topics determined by the instructor. Recommended preparation: reading or viewing the work of the visiting master artist.

Continued extensive examination of playwriting, dramaturgy, development, and readings of work toward the completion of professionally promising plays.

Theory and practice of Theatre in Education and Theatre for Development as resources for conscientization and liberation of communities at the margins of power.

Introduction to the world of the professional actor.

Intensive overview of career paths for playwrights in a wide array of media as they exist now, and as new opportunities arise.

Advanced creative projects

Borrows from anthropology, popular/community-based theatre, cultural studies, and literature to provide an array of methodologies and approaches to artistic collaboration across cultures and difference.

Supervisory, logistical, and theoretical container for 586a. Engages students in their curricular experiences in the cultural field in partnership with their community-based organizations.

Theory and practice of developing liberatory and Theatre of the Oppressed events, from first community contact to staged public event.

Research leading to the Master's Degree. Maximum units which may be applied to the degree to be determined by the department. Graded CR/NC.

Examination of theories and practices of Participatory Action Research (PAR) to better understand its various forms in community-based contexts using theatre as the research mode.

Credit awarded upon completion of project. Graded CR/NC.

Continued development of thesis plays in a simulated professional development workshop process utilizing dramaturgy and involvement of student actors/directors. Culminates in staged readings.

Substantive participation in productions sponsored by the school and supervised by the faculty.