Department of Theater and Dance
(formerly Dramatic Art and Dance)
Division of Humanities and Fine Arts
Theater and Dance Building 223
Telephone: (805) 893-3241
E-mail: dramadance-ugradadv@mail.lsit. ucsb.edu
Website: www.dramadance.ucsb.edu (will
open in a new browser window)
Chair: Simon Williams
Vice Chair & Director of Dance: Jerry Pearson
Contents:
- Faculty
- Overview
- Undergraduate Program in Theater
- Undergraduate degrees in Theater
- Graduate Program in Theater
- Undergraduate Program in Dance
- Theater Courses
- Dance Courses
Irwin Appel, Diploma (M.F.A. equivalent), The Juilliard School, Drama Division, Associate Professor (acting, directing)
Risa Brainin, B.F.A., Carnegie-Mellon University, Assistant Professor (acting, directing)
Leo Cabranes-Grant, Ph.D., Harvard University, Assistant Professor (Spanish Golden Age literature, Spanish and Hispanic-American drama, intercultural studies)
John V. Chapman, Ph.D., C.N.A.A., Associate Professor (dance history, criticism)
Nancy Colahan, Lecturer (modern, ballet, pedagogy)
Catherine Cole, Ph.D., Northwestern University, Associate Professor (contemporary theory, African theater )
Jody Enders, Ph.D, University of Pennslyvania, Professor (medieval Theater , French drama, performance studies)
Dianne Holly, M.A., San Diego State University, Lecturer with Security of Employment (costume design)
Valerie Huston, B.F.A., University of Utah, Lecturer (ballet)
Naomi Iizuka, M.F.A., UC San Diego, Professor (playwriting)
Suk-Young Kim, Ph.D., Northwestern University; Ph.D. University of Illinois at Chicago, Assistant Professor (East Asian and Russian theater )
William Davies King, D.F.A., Yale School of Drama, Professor (American drama and theater history)
Michael Morgan, B.F.A., New York University School of Arts, Lecturer with Security of Employment (voice)
Carlos Morton, Ph.D, University of Texas, Austin, Professor (playwriting, U.S. Latino Theater , Latin American theater )
Delila Moseley, M.A., UC Santa Barbara, Lecturer (student company, jazz, ballet)
Stephanie Nugent, M.F.A., California State University, Assistant Professor (modern technique, improvisation, contact improvisation, choreography)
Jerry Pearson, B.S., University of Minnesota, Professor (modern technique, choreography, Artistic Director of Santa Barbara Dance Theater )
Christopher Pilafian, The Juilliard School, Lecturer (modern technique, improvisation, choreography, repertory)
Tal Sanders, M.F.A., California Institute of the Arts, Lecturer with Potential Security of Employment (scenic design)
Vickie Scott, M.F.A., UC Los Angeles, Lecturer with Security of Employment (lighting design)
Tonia Shimin, Royal Academy, Professor (modern technique, improvisation, production)
Thomas Whitaker, M.F.A., Carnegie Mellon University, Associate Professor (acting, directing)
Simon Williams, Ph.D., University of East Anglia, Professor (European theater history, dramatic literature)
Alice Condodina, B.A., Temple University, The Juilliard School, Professor Emerita (modern technique, choreography, repertory)
Stanley L. Glenn, Ph.D., Stanford University, Professor Emeritus (acting, directing)
Theodore W. Hatlen, Ph.D., Stanford University, Professor Emeritus
Peter Lackner, Ph.D., Institute for Theater Studies, Freie Universität, Berlin, Professor Emeritus (directing, acting)
Peter Mark, M.S., The Juilliard School, Professor Emeritus (music theater )
Judith Olauson, Ph.D., University of Utah, Senior Lecturer Emerita (acting, directing)
Robert Potter, Ph.D., Claremont Graduate School, Professor Emeritus (playwriting,
dramatic literature)
William R. Reardon, Ph.D., Stanford University, Professor Emeritus (dramatic literature, theory)
Frank W. D. Ries, Ph.D., Indiana University, M.A., Cambridge University, Professor (history, criticism, musical Theater forms)
Rona Sande, M.Ed., College of William and Mary, The Juilliard School, Professor Emerita (modern technique, choreography, dance theory)
Leland K. Strasburg, M.F.A., University of Utah, Senior Lecturer Emeritus (scenic and
lighting design)
(In addition to the regular faculty, Dance offers a program of internationally renowned guest artists. Recent guests have included Peggy Baker, Tandy Beal, Joe Goode, Bella Lewitzky, Donald McKayle, Jennifer Muller, Risa Steinberg, Clay Taliaferro, Doug Varone, and Dan Wagoner, among others.)
The Department of Theater and Dance offers four undergraduate and two graduate degrees: a bachelor of arts (B.A.) and a bachelor of fine arts (B.F.A.) in Dance, a bachelor of arts (B.A.) and a bachelor of fine arts (B.F.A.)in Theater , a master of arts (M.A.) in Theater, and a Doctor of Philosophy (Ph.D) in Theater. The bachelor of fine arts degrees in dance and theater are designed to prepare students for a professional career. The bachelor of arts degrees are more broadly based, with a liberal arts orientation, which allows students wider curricular choices. All degrees provide a strong background in dance or theater studies. The master of arts program is designed to afford a strong foundation for work in educational or professional theater or for further graduate study. The Ph.D. is an intensive program concentrating in literary, critical, and historical research, designed to prepare students for careers in university teaching.
Undergraduate Program in Theater
Students in the bachelor of arts program in theater will choose an emphasis in one of the following areas: design, directing, playwriting, or theater studies. Students in the bachelor of fine arts program will complete an emphasis
in acting.
The major provides ample opportunities for participation in play productions and workshop activities in three campus theaters. Auditions for departmental productions will usually be held in the first week of each quarter. Audition material and information are available in the theater and dance production office at the end of each quarter.
Initial counseling for undergraduates is given in the department office by the staff undergraduate advisor, followed by a meeting with the faculty undergraduate advisor, who will assign each student an individual advisor. Further counseling is provided by the staff undergraduate advisor, faculty undergraduate advisor and the student’s individual advisor. Registration for many theater courses requires department approval.
Candidates who are nominated by the faculty and who elect to complete their degrees with departmental honors must submit a proposal for an undergraduate thesis project to be completed during the senior year. The thesis must represent a significant advanced undertaking in an area of either academic research or creative endeavor. The student will receive 4 to 8 units of academic credit in the Theater Art 193H series. The project must be approved by a member of the faculty who will work closely with the student as project supervisor, and be evaluated by a committee including the supervisor and two additional members of the faculty. Distinction in the Major will be awarded at the time of graduation to those students whose projects are declared acceptable.
Undergraduate degrees in Theater
The aim of the department is to provide a comprehensive undergraduate education in theater based on core requirements, which include practical experience in the theater arts (acting, theater technology, and production) and coursework in dramatic theory and literature. An undergraduate major in theater may lead to specialized creative work in the profession, to graduate work in preparation for teaching and research, or to other careers within or beyond the arts and entertainment industry.
For the B.A. in Theater, students must complete all of the requirements in their chosen emphasis. Prior to declaring an emphasis, students should meet with the faculty undergraduate advisor who will advise how students should plan their course work.
Bachelor of Fine Arts - Theater - Acting Emphasis
The acting emphasis is a highly selective three-year program which students enter in their sophomore year. An audition is required at the end of the freshman year or the beginning of the sophomore year. The program is geared toward preparation for entry into professional conservatory programs, M.F.A. programs, or professional theaters. A more comprehensive description of the philosophy and policies of the B.F.A. acting emphasis is available from the department. Continuation in the program is determined by the acting faculty, using such criteria as clear demonstration of potential talent and professional commitment to the field. Passage to advanced acting uses similar criteria, but more stringent judgment is applied. Transfer students who pass the audition will enter the B.F.A. at the first year of the training program, regardless of class standing with the university. All interested students may request information from the department.
To complete the program for the B.F.A. in acting, the following courses are required, in addition to the core courses:
Lower-division: Theater 1, 5; four units (one course) from 3, 4, or 6; 10A-B-C (must be taken concurrently with 15A-B-C), 11A-B-C (must be taken concurrently with 15A-B-C), 15A-B-C, 26; three units from 29A-B-C-D; 49* (0-4 units); two courses from Dance 44A-B-C-D-E-F; Exercise and Sports Studies 1-13A.
Upper-division: 68-70 units. Theater 110A-B-C-D, 111A-B-C, 112, 149* (0-4 units), six additional units of 149*, 151A-B-C-D-F-G, 188S; four units (one course) from 180A-B-C; four units (one course) from 182AA-ZZ; eight units (two courses) from 180D-E-F-G, 183AA-ZZ, 184AA-ZZ, 194L, additional courses not used above in 180A-B-C or 182AA-ZZ, and may include one from Asian American Studies 125, Chinese 137, or Japanese 149; additional Theater courses to bring total to a minimum of 68 units.
Note: A minimum of four units of Theater 49 and/or 149 is required for core requirements. An additional six units of Theater 149 in performance are required for the acting emphasis. A maximum of 25 units of Theater 49 and 149 combined will be accepted for credit.
Bachelor of Arts - Theater - Design Emphasis
The design emphasis offers a specialization for students who want intensive and practical training in areas of design and production. Objectives include preparation of students as theater artists for work in professional theater or entry into an M.F.A. program. Students who wish to enter the program should request a faculty advisor in the design area.
Students in this program will select beginning and advanced courses in scenic, lighting, and costume design. Students will supplement these courses with related electives concentrating in technical areas of production and design, including drawing, graphics, rendering, stage painting, stage crafts, construction, history, computer application, and stage management.
Preparation for the emphasis: Theater 1, 3, 19, 21 or 31A, 22, 23, 25, 27A or 27B, 29A-B-C-D.
Upper division requirements: 46 units: 119, 124, 129, 132, 149 (4 units), 196; two courses from 122, 123, 125; 4 units from 131A-B, 133A-B, 153P, 190, 191, 194D, 195, 195P, 199; two courses in 180 A-B-C-D-E-F; one course in 181AA-ZZ and 182AA-ZZ; one course from Dance 157; Theater 152, 175, 183AA-ZZ, 184AA-ZZ, 185AA-ZZ, 187AA-ZZ, 188AA-ZZ; Film Studies 111A-B, 148AA-ZZ, 150AA, 165, 166, 169, 190AA-ZZ, 192A-B; Art History 119A-B-C-D-E-F-G.
Bachelor of Arts - Theater - Directing Emphasis
The directing concentration is a structured and specialized area of study within the B.A. program, and is intended to provide serious experience of the director’s function in today’s theater. It offers a sound preparation for an M.F.A. in directing, or for a professional career in the field, which may include directing on various educational levels, including secondary school and college, as well as community and regional theater. The requirements are as follows:
Preparation for the major: Theater 1, 3, 5 and 19; one (four units) of 2, 4, 6, 7, 8, 9, 14, or 75; one unit 29D and one unit 29 A-B-C-D.
Upper division requirements: 44 units. 149 (two units), 152, 152B-C-D-E, 195; one course from 180A-B-C-D-E-F; one course (four units) from 181 AA-ZZ or 182AA-ZZ; one course (four units) from 183AA-ZZ or 184AA-ZZ; two courses (four units) 104A-B-C, 133A-B, 140, 175, 185AA-ZZ, 187AA-ZZ, 188AA-ZZ.
Bachelor of Arts - Theater - Playwriting Emphasis
The playwriting emphasis is based on a series of courses that require students to practice playwriting, and includes public readings, visiting lecturers, the yearly New Works Festival, and periodic departmental productions of original scripts. All courses require permission of the instructor, and further work in this area might include additional courses in theater studies, creative writing, and theater arts, and perhaps an internship as dramaturge on a departmental production. Coursework in screenwriting is available through the Film Studies Program.
Preparation for the emphasis: Theater 1 and 2; four units (one course) from 3, 4, or 6; four units (one course) from 7 or 8; three or four units (one course) in 5, 9, 14, 19, or 75; one unit 29D and one additional unit from 29A-B-C-D
Upper division requirements: 48 units. 24 units from 104A-B-C-D-E and 175 (104B and 175 may be repeated for a maximum of 8 units each); 4 units (one course) from 180A-F; 4 units (one course) from 181AA-ZZ or 182AA-ZZ; four units (one course) from 183AA-ZZ or 184AA-ZZ; 4 units (one course) from 185AA-ZZ, 187AA-ZZ, 188AA-ZZ; eight units from 133A-B, 140, 141, 142, 149, 152, 152B-C-D-E; Dance 151D,163.
Bachelor of Arts - Theater Studies Emphasis
The theater studies emphasis will allow students to achieve broad education in theater as it has been practiced in different historical periods and in various parts of the globe. Students will have the opportunity to engage in the critical, historical, and theoretical aspects of the theater . They will also take practical courses in theater and participate in departmental and class productions. Their studies will culminate in an upper-division seminar, taken in their senior year.
Preparation for the emphasis: Theater 1 and 2; four units (one course) from 3, 4, or 6; four units (one course) from 7 or 8; three or four units (one course) in 5, 9, 14, 19, or 75; one unit 29D and one additional unit from 29A-B-C-D
Upper division requirements: 46 units. Twelve units (three courses) from 180A-B-C-D-E-F, 181AA-ZZ, 182AA-ZZ, 188S; four units (one course) from 183AA-ZZ; four units (one course) from 184AA-ZZ; four units (one course) from 185 AA-ZZ, 187AA-ZZ and 188AA-ZZ; four units from 192; ten units from 104A-B-C-D-E, 132, 133A-B, 140, 141, 142, 149, 152B-C-D-E, 175, and Dance 151D, 151T, 163; eight units (two courses) from Anthropology 102; Art 125; Asian American Studies 125, 127, 142, 147; Chicana/o Studies 158,166,188C; Classics 102, 130; Comparitive Literature 124; Dance 145A, 145B , 145H, 145M, 146, 157; East Asian Studies 149; English 120 147AA-ZZ, 157, 169; Film Studies 101A-B-C, 120, 121, 122AA-ZZ, 124, 125B, 126, 127, 127M, 134, 136, 139, 142, 144, 151AA-ZZ, 161, 163, 165, 166, 169,183; French 119, 136C. 142, 180D; Italian 121, 123X, 124, 124X; Music 113A-B; Spanish 137A-B, 159A-B, 187A-B
Graduate Program in Theater
Admission
In addition to departmental requirements for admission, applicants must also meet the university requirements for admission described in the section "Graduate Education at UCSB."
Candidates for admission to the Ph.D. program must hold a M.A. or M.F.A. degree from UC Santa Barbara or another institution.
Master of Arts - Theater Studies
The M.A. program is designed to afford a strong foundation for work in educational or professional theater or for further graduate study.
Degree Requirements
Forty-eight units are required for the M.A. degree; at least 12 of these must be taken in graduate seminars (Theater 210- 273D). In addition, 16 units must be related to practical study of the theater ; 8 of these units must be from the 261-266 sequence. Degree candidates must complete a satisfactory thesis project and pass a two-hour oral examination upon completion of the work. A minimum of 4 and a maximum of 8 units should be committed to the thesis project. Consult the department for details on courses taken for the master’s degree. When graduate students enroll in upper-division undergraduate courses to fulfill departmental and university requirements, they are normally expected to achieve a higher standard of work than undergraduates enrolled in the same courses.
Masters candidates who have clearly revealed their scholarly and creative ability may petition the department for admission to the Ph.D. program. The deadline for petitions is the same as the deadline for outside application to the Ph.D. program.
Playwriting Program. With the approval of the program director, graduate students may undertake a playwriting project in partial fulfillment of M.A. degree requirements. Interested M.A. applicants should submit a sample of their work to the playwriting program director.
M.A./Ph.D. Track. A limited number of applicants who have only a B.A. at the time of application and who show unusual promise for doctoral study may be admitted to the combined M.A./Ph.D. program. During the first two years, they are expected to fulfill all requirements (coursework and thesis) for the M.A. program. They must also pass a written examination in the middle of the second year, at which point they are admitted to the doctoral program. Students who successfully pursue this track need to complete only one further year of coursework before taking the comprehensive examinations and writing the dissertation. All other degree requirements are as listed in the separate degree program sections.
Doctor of Philosophy - Theater Studies
The Ph.D. program, an intensive program concentrating on literary, critical, and historical research in various areas of world theater and performance, is designed to prepare students for careers in teaching in institutes of higher education.
Degree Requirements
A heavy sequence of courses in dramatic literature, theater history, theory, and criticism in various areas of world theater and performance is taken over a period of two years for students in the Ph.D. program, or three years for M.A./Ph.D. students. All doctoral students are expected to take two seminars a quarter, or the equivalent, in departmental seminars and lectures or in cognate offerings in other departments. All students in the Ph.D. program take a minimum of nine departmental seminars in the first two years; all students in the M.A./Ph.D. program take fourteen departmental seminars in the first three years. They will also have the opportunity of engaging in independent study with members of the graduate faculty in theater art. Graduate students will have the opportunity to study the history and technique of directing, and to apply to take an additional technique course in which they may direct a one-act play. This course may be repeated for credit if space is available. Qualified students may also have the opportunity to direct in the department’s mainstage season or to participate as directors in the development of new work.
All doctoral students must establish reading knowledge of at least one language other than English and proficiency in translation prior to advancing to candidacy. A grade of Pass or better in an upper-division course taught in the chosen language or a B or better in an intermediate language training course will suffice to establish basic competency. Language competency can also be established by taking the departmental translation examination or by taking a placement examination in a foreign language deaprtment and placing into the adcanced level. The translation component of the requirement can be met by taking a graduate seminar in the Department of Theater and Dance (or another department when the seminar is not offered in DA), in which such issues as translation, cultural transmission, and adaptation are addressed. For those writing a dissertation on a non-English subject, demonstrated oral and written proficiency in the relevant language(s) is required. Students cannot take their comprehensive examination until they have completed the language and translation requirement. At the start of the third year for Ph.D. students and the fourth for M.A./Ph.D. students, the candidate must pass a comprehensive examination that is composed of four parts: (1) the creation of three course syllabi in theater history, dramatic literature, theory and criticism, and world theater and performance; (2) two written examinations in areas cognate to the candidate’s research; (3) a preparation of a dissertation prospectus; and (4) an oral defense of the examination answers and material. Upon successful completion of this examination, the student will be recommended for advancement to candidacy.
The third and fourth years in the Ph.D. program and the fourth and fifth in the M.A./Ph.D. program are spent researching and writing the dissertation. Approximately 36 units in the third year for Ph.D. students and the fourth year for M.A./Ph.D. students will be devoted to dissertation work. Students whose dissertations are not completed by the end of the fourth year of the Ph.D. program or the fifth year of the M.A./Ph.D. program will be subject to review by the graduate faculty of the department.
Doctoral students in Theater Art are required to serve as teaching assistants for six quarters.
Optional Ph.D. Emphasis in Women’s Studies
The Women’s Studies Program, with over 30 core and affiliated faculty members in over eleven disciplines, serves as a mode of interdisciplinary work and scholarly collaboration at UCSB. Women’s studies doctoral emphasis students are required to complete successfully four seminars that will enhance their understanding of feminist pedagogy, feminist theory, and topics relevant to the study of women, gender, and/or sexuality. Using an interdepartmental set of conversations and intellectual questions, women’s studies support a multifaceted undergraduate curriculum at UCSB. Graduate emphasis students are encouraged to apply to teach women’s studies courses as teaching assistants and associates as part of their women’s studies training.
Applicants must first be admitted to, or currently enrolled in, a UCSB Ph.D. program participating in the women’s studies graduate emphasis: Anthropology; Comparative Literature; Theater Art and Dance; English; French and Italian; Germanic, Slavic, and Semitic Studies; History; History of Art and Architecture; Religious Studies; Sociology; or Spanish and Portuguese. Candidates complete four graduate courses and select a member of the women’s studies faculty or affiliated faculty to serve on their Ph.D. exam and dissertation committees. Applications to the Women’s Studies Doctoral Emphasis may be submitted at any stage of Ph.D. work; and applications deadlines are November 1, 2007 and May 1, 2008.
Students pursuing the emphasis in women’s studies will successfully complete four graduate courses. Only one may be taken in the student’s home department.
1. Issues in Feminist Epistemology and Pedagogy (Women’s Studies 270). A one-quarter seminar that considers women’s studies as a distinct field. It offers an interdisciplinary exploration of feminist theories of knowledge production and teaching practices. Readings cover past and present critical debates and provide theoretical approaches through which to analyze interdisciplinary epistemological and pedagogical issues
2. Special Topics in Women’s Studies (594 AA-ZZ) A one-quarter seminar offered by a women’s studies faculty member on topics of central concern to the field of Women’s Studies.
Or
Research Practicum (Women’s Studies 280). A cross-disciplinary seminar in which fundamental questions in contemporary feminist research practice are considered in light of students’ own graduate projects. Students may fulfill the Area 2 requirement by taking either a Special Topics Seminar or the Research Practicum.
3. Feminist Theories. A one-quarter graduate seminar in feminist theory offered by any department, including women’s studies.
4. Topical Seminar. A one-quarter graduate seminar, outside the student’s home department, that addresses topics relevant to the study of women, gender, and/or sexuality.
Optional Ph.D. Emphasis in European Medieval Studies
The Medieval Studies Program offers an interdisciplinary doctoral emphasis to students previously admitted to a Ph.D. program in the Departments of Theater Art, English, French and Italian, History, History of Art and Architecture, Music, Religious Studies, and Spanish and Portuguese. Students pursuing the emphasis in European medieval studies must receive a grade of B or better in each of the following: Medieval Latin (Latin 103); one course in a vernacular, western European or Middle Eastern medieval language (English 205, English 230, French 206, Spanish 222A, Spanish 222B, Portuguese 222, Religious Studies 148A, Religious Studies 148 B, Religious Studies 210); Paleography and/or Diplomatics (History 215S, History 215T); Medieval Studies 200A-B-C; and 8 additional units in graduate courses on medieval topics. Students may petition to have appropriate courses from other institutions, or independent study, substituted for these requirements. Medieval Studies 200A-B-C is the program’s colloquium series; graduate students in the emphasis attend the series and write brief papers on each colloquium (one per term), to be reviewed by the chair of the program (2 units). To qualify for the emphasis, at least one member of a Ph.D. candidate’s dissertation committee must be an affiliated faculty member of the European Medieval Studies Program. Contact the European Medieval Studies Program for additional information on faculty interests, course offerings, and program requirements, or visit our website at www.medievalstudies.ucsb.edu.
Undergraduate Program in Dance
The dance major offers two degree programs, the bachelor of arts (B.A.) and the bachelor of fine arts (B.F.A). Although the curriculum for both emphasizes performance and choreography, the bachelor of fine arts degree is highly structured and specifically designed for those students who wish to pursue a professional career in dance or gain entrance into an M.F.A. or M.A. program. The bachelor of arts option is a broadly based liberal arts degree that allows more time for students to take courses in areas other than dance, preparing them for further study in such dance career areas as therapy, administration, history, or education. Graduates from either of the degree programs can teach in a variety of situations. Students with a bachelor’s degree in dance who are interested in pursuing a California Teaching Credential should contact the credential advisor in the Gevirtz Graduate School of Education as soon as possible.
Students who wish to major in dance must pass the department audition. Auditions are held on campus in January and February prior to university admission. Auditions are offered again during fall registration week for those unable to attend the earlier auditions. Admission into the university is no guarantee of admission into the dance major unless an audition has been passed. Likewise, acceptance at the dance audition does not guarantee admission to the university. Audition details may be obtained by writing directly to the Department of Theater and Dance or visiting www.dramadance.ucsb.edu.
As a dance major, a student must take a minimum of eight technique classes per week (modern and ballet). For graduation, the B.A. student must fulfill the minimum proficiency requirement in technique by passing Dance 47F (Ballet II) and Dance 156C (Modern Dance III). The minimum proficiency requirement for the B.F.A. student is Dance 147C (Ballet III) and Dance 156F (Modern Dance IV). For seniors in the B.A. degree program, an option is available which allows a reduced course load in technique once the minimum proficiency is met.
Each student is assigned a faculty advisor, and new and continuing students are strongly urged to meet with their advisor at least once a year, preferably once each quarter. Students also receive quarterly evaluation on their progress in dance courses.
Santa Barbara Dance Theatre is a professional dance company in residence at UCSB. The company of six dancers performs locally and statewide, providing an important resource for the department as well as a valuable outreach program to the community. A select number of advanced students are chosen for the UCSB Dance Company. This student company performs both on and off campus in Santa Barbara, tours regionally, and has been invited to Mexico twice to perform. In addition, the company participates in the American College Dance Festival Association, traveling to other states throughout the U.S. to perform. The UCSB Dance Company participates in 20-25 performances each year, giving its members a chance to experience life on tour with a dance company, preparing them for the professional world.
The Matthew Alan Plaskett Memorial Scholarship is offered annually to an incoming male who wishes to be a dance major or a double major in theater and dance with an interest in musical theater. The Patricia Sparrow Memorial Fund is awarded to dance students to further their education at summer workshops. The annual Sherrill C. Corwin-Metropolitan Theaters Corporation Writing Awards offer prizes for outstanding choreography by UCSB students. The Condodina Award is presented annually for outstanding performance. Further information about these scholarships and awards as well as audition material and a brochure describing course offerings, major requirements, and faculty background information is available from the undergraduate advisor.
Candidates who are nominated by the faculty, and who elect to complete their degrees with departmental honors, must submit a proposal for an undergraduate thesis project to be completed during the senior year. The project must represent a significant advanced undertaking in an area of either academic research or creative endeavor and must be approved by a member of the faculty who will serve as project supervisor. The student will receive 4 to 8 units of academic credit in the Dance 193H series. The project will be evaluated by a committee including the supervisor and two additional members of the faculty. Distinction in the Major will be awarded at the time of graduation to those students whose projects are declared acceptable.
Preparation for the major. Dance 36, 45, 47A-B-C-D-E-F, 50, 51, 56A-B-C-D-E-F, 58, 70; Theater 5, 19, 23D, 2 units of 29 series or 49; Music 15; Exercise and Sports Studies 47
Upper-division major. Note: Entry into the B.F.A. program is by recommendation of dance faculty for currently enrolled students, and by special audition at the beginning of the junior year for transfer students. Completion of the program depends upon successful progress and recommendation of the dance faculty. Assessment of a B.F.A. student’s progress is made on a quarterly basis, and provision is made for students who appear unable to complete the B.F.A. program requirements to graduate with the less specialized B.A. degree providing they maintain the standards for that degree. Sixty-eight upper-division units are required, as follows: One course from Dance 145A-B-H-M-W or 157; 147A-B-C, 149 (4 units), 151A-B-C, 156A-B-C-D-E-F, 171, 172, 191, as well as 12 additional units selected from Dance 139, 145A*-B*-H*-M*-W*, 146, 147A-B-C beyond units used above, 147PA-PB-PC, 149, 151D, 151E, 151T, 157*, 158, 160, 161A, 163, 186, 189, 190, 193H, 194, 199.
* if not chosen above.
Preparation for the major. Dance 36, 45, 47A-B-C-D-E-F, 50, 51, 56A-B-C-D-E-F, 58, 70; Theater 19, 23D, 2 units of 29 series or 49; Music 15; Exercise and Sports Studies 47.
Upper-division major. Note: Technical ability and theoretical knowledge must be demonstrated to the satisfaction of the dance faculty before entrance to upper-division study. Students should contact the dance faculty for program planning advice, in order to insure the best possible sequence of study. Thirty-six upper-division units are required, as follows: One course from: Dance 145A-B-H-M-W or 157, 149 (1 unit), 151A-B-C, 156A-B-C, as well as 10 additional units selected from Dance 139, 145A*-B*-H*-M*-W*, 146, 147A-B-C, 147PA-PB-PC, 149, 151D-E-T, 156A-B-C beyond units used above, 156D-E-F, 157*, 158, 160, 161A, 163, 171, 172, 186, 189, 190, 193H, 194, 199.
* if not chosen above.
Theater Courses
(formerly Dramatic Art Courses)
1. Play Analysis
(4) Staff
Provides the theater artist with practical tools for text analysis. Studying five major works ranging from Shakespeare to a living playwright, the course examines such concepts as language, style, period, character, themes, and structure.
2. Performance in Global Contexts
(4) Cabranes-Grant
An introduction to theater and performance in the non-European world. Topics in any given year could include African Popular Culture, Asian Theater, Comparative World Theater, and Latin American Theater.
3. Performance in Global Contexts
(4) Appel
An introduction to live theater and an exploration of its components, from acting, directing and design to production, dramaturgy and playwriting. Students attend a wide variety of theatrical presentations, as well as read plays and other dramatic writings.
4. Performing the Here and Now
(4) Iizuka
Students explore how contemporary theater responds to a twenty-first century world. Looking at the work of cutting-edge playwrights, solo performers, and ensemble theater groups, the course examines how theater grapples with political and social issues facing us at the start of a new century.
5. Introduction to Acting
(3) Staff
Introduction for majors and nonmajors to the multiple problems of the actor’s art and craft. (F,W,S)
6. Behind the Scenes
(4) Staff
Course features guest artists ranging from producers, actors, designers, musicians, and singers. Students gain knowledge of the performers experience and process through lectures and discussion in an informal atmosphere.
7. Performance of the Human Body
(4) Kim
A study of how various kinds of performance genres represent the human body in modern and contemporary American culture. Material includes traditional stage performance, film, freak shows, beauty pageants, dance, sports, music videos, and fashion.
8. European Theater History
(4) Williams
A survey of European theater history from the ancient Greeks to the present day.
9. Playwriting
(4) Iizuka
Prerequisite: open to Theater and theater majors only.
An introduction to playwriting.
10A-B-C. Movement for the Stage
(2-2-2) Donlon
Prerequisites: Theater 5; concurrent enrollment in Theater 15A (for Theater 10A); audition: concurrent enrollment in Theater 15B (for Theater 10B); audition: concurrent enrollment in Theater 15C (for Theater 10C); audition.
May be repeated once for credit with recommendation of instructor.
Intense physical training designed to produce a neutral, dynamic, and expressive bodily instrument. (F,W,S)
11A-B-C. Voice Laboratory
(2-2-2) MOrgan
Prerequisites: Theater 5; concurrent enrollment in Theater 15A (for Theater 11A); audition: concurrent enrollment in Theater 15B (for Theater 11B); audition: concurrent enrollment in Theater 15C (for Theater 11C); audition.
May be repeated once for credit with recommendation of instructor.
A fundamental approach to voice for the actor with emphasis on vocal production, articulation, and quality; plus physical relaxation techniques. (F,W,S)
14. Acting Workshop
(3) Staff
Prerequisites: Theater 5; not open to freshmen.
Designed for nonspecialists in drama.
Exploration, performances, and criticism of scenes from a broad range of dramatic scripts with focus on the actor’s perspective. Practical skills are taught to make the physical exploration of the text a valid exercise.
14S. Summer Acting Workshop
(2-4) Staff
Laboratory for voice, movement, and acting. (SS)
15A-B-C. Fundamentals of Acting
(4-4-4) Staff
Prerequisites: Theater 5; concurrent enrollment in Theater 10A and 11A (for Theater 15A); audition: concurrent enrollment in Theater 10B and 11B (for Theater 15B); audition: concurrent enrollment in Theater 10C and 11C (for Theater 15C); audition.
May be repeated once for credit with recommendation of instructor.
Development of the ntermediate actor’s foundational work in improvisation, technique, scene study, textual analysis, and characterization while exploring creative capacity.
16A. Fundamentals of Voice
(3) Morgan
Prerequisite: not open to theatre majors.
Not open for credit to students who have completed Dramatic Art 16.
A basic approach for the actor in freeing the voice, dismantling tension, centering sound, releasing breath, developing range and expressive power, culminating in an hour-long warm-up to be utilized for rehearsal and performance.
16B. Phonetics for Actors and Public Speakers
(3) Morgan
Prerequisite: not open to theatre majors; not open to freshmen.
An introduction to general American with an emphasis on the international phonetic alphabet and the rules governing standard English to be utilized in the performance of various famous speeches.
17. Fundamentals of Movement for Theatre
(3) Donlon
Prerequisite: not open to theatre majors.
The fundamental exploration of actor movement training for non-B.F.A. actors, directors. and dancers.
19. Design Fundamentals for Dance and Theatre
(4) Staff
Not open for credit to students who have completed DA 19 or 19D.
Lectures, demonstrations and projects to provide an understanding of the stage design process for theatre and dance. Study of the elements, principles, terminology, and basic techniques. Exploration of the communicative and collaborative process between designer and choreographer/director. Concentration in scenic, costume, and lighting design.
21. Stagecrafts
(2) Staff
Practical introduction to technical theatre and includes attention to such aspects of design and production as scenery, lights, sound, costumes, and stage management.
22. Scenic Design
(4) Sanders
Prerequisites: Theater 1 and 19.
Projects in the interpretation of plays through scenic elements with concentration on the design process and the dramatic use of space. Drafting projects including floor plans, elevations, and basic perspective drawing.
23. Stage Lighting Design
(4) Scott
Prerequisite: Theater 19.
Lecture-demonstration in instrumentation, color in light, control equipment and basic lighting theories. Technical drawing including light plots, scheduling and organization for lighting design. Some practical application through laboratory and studio exercise.
23D. Dance Lighting Design
(3) Scott
Prerequisite: Theater 19D.
Lecture-demonstration in instrumentation, color in light, control equipment, and basic lighting theories. Practical application through laboratory assignments and studio productions.
25. Costume Design
(4) Holly
Prerequisite: Theater 19.
Exploration of the basic elements and principles of theatre costume design. Projects in the interpretation of plays through costume elements with concentration on the design process. Emphasis on figure drawing.
26. Stage Makeup
(2) Staff
The theory, history, and practical application of stage makeup including character, age, period, and special effects techniques.
27A. Theater Graphics and Figure Drawing
(3) Holly, Sanders
Introduction to sketching and drawing styles for the theater designer. Includes light and shade, perspective, and line drawing. Focus on drawing the human form, rendering of fabric, texture and movement.
27B. Theatre Drafting
(2) Sanders, Scott
Introduction to drafting conventions for the scenic and lighting designer. Includes orthographic and isometric drawings.
28. Computing For Theater Arts
(4) Sanders
Macintosh platform using VectorWorks software. Advanced applications for graphics and rendering software for the theater designer and a survey of specialized support software such as LightWright.
29A. Scenic Practicum
(1) Staff
Letter grade only.
Empirical understanding of methods of assembly and materials for stage scenery. Shop organization and operation are experienced during the construction process.
29B. Lighting Practicum
(1) Scott
Letter grade only.
Empirical understanding of optical properties of lighting units, available hanging positions and apparatus, lighting control, electrical safety and stage crew organization.
29C. Costume Practicum
(1) Holly
Letter grade only.
Empirical understanding of methods of assembly and materials for stage dress. Costume shop organization and operation are experienced during the construction process.
29D. Run Crew Practicum
(1) Holly, Scott
Letter grade only.
Empirical understanding of backstage organization and operation during live performance.
31A. Costume Construction
(2-4) Staff
Prerequisite: Theater 29C.
Introduction to materials and construction techniques used in the production of theatrical costumes.
31B. Costume Techniques
(2-4) Staff
Prerequisite: Theater 29C.
Introduction to process of constructing specialized costume crafts such as millinary, masks, and theatrical wigs. Subject matter varies by quarter.
42.I.V. Live
(2) Staff
Prerequisite: lower-division standing.
A maximum of 16 units of Dramatic Art 42 and 142 combined may be accepted for credit in the major.
This course produces a weekly performance series in Isla Vista. Students get first-hand experience in the rigors of theatrical production, as they learn to execute all logistical, technical, and promotional details. The course is affiliated with Isla Vista Arts (www.islavista-arts.org).
49. Theatre Workshop
(1-6) Staff
Prerequisite: lower-division standing.
A maximum of 25 units of Dramatic Art 49 and 149 combined may be accepted for credit in the major.
Projects in costume, scenery, lighting, acting, directing.
65. Public Speaking
(4) Enders
Practical and historical introduction to the art of public speaking in a variety of contexts (legal, political, corporate, artistic, dramatic, educational, etc.). Main lecture focuses on critical and historical analysis of actual speeches; lab offers practical training in performing them.
75. Summer Theater Laboratory
(4) Iizuka
Workshops in playwriting, solo performance, acting, directing, and choreography. Students develop their own projects and take master classes with nationally prominent guest artists. Students also have the opportunity to perform in projects by guest artists.
90. Community Theatre
(3) Staff
May be repeated for credit to a maximum of 9 units, but only 3 units may be applied to the major.
Recommended preparation: Dramatic Art 5.
Preparation and creation of performances in UCSB community related to student health isues (i.e., binge drinking, sexual health, eating disorders, relationship success) adapted to campus life.
91. Summer Theatre in Orientation
(3) Staff
May be repeated for credit to a maximum of 9 units, but only 3 units may be applied to the major.
Exploration of relationships between health, social setting, and health behaviors. Students study the principles and skills of community health using drama as a behavioral change tool. Students are trained to be peer health educators.
94. Group Studies for Lower-Division Students
(1-4) Staff
Prerequisite: open to freshmen and sophomores only.
May be repeated fro credit to a maximum of 8 units.
Special opportunities for study, research, and project preparation.
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Upper Division
104A. Essentials of Playwriting
(4) Iizuka
Prerequisites: Not open to freshmen; consent of instructor.
May be repeated for credit to a maximum of 8 units.
An exploration of the essential components of playwriting. Exercises focus on writing dialogue, monologue, creating three-dimensional characters, building effective story structures, and developing action through language and stage images. A series of written assignments.
104B. The Writer’s Voice
(4) Iizuka
Prerequisite: consent of instructor.
May be repeated for up to 8 units of credit.
A continued exploration of the essential components of playwriting. Writing exercises in dialogue, monologue, character, story structure, action, and stage images. Students focus on developing their individual writing voice. A series of written assignments.
104C. From Page to Script
(4) Iizuka
Prerequisite: Theater 104A or 104B or 104D.
May be repeated for up to 8 units of credit.
An exploration of the ways in which plays move from the written page to the stage. Focuses on how playwrights collaborate with directors, actors, and designers in staging new plays.
104D. Story Structure
(4) Iizuka, Morton
Prerequisites: not open to freshmen; consent of instructor.
May be repeated for credit to a maximum of 8 units.
An exploration of different kinds of story structures and techniques. Students look to stories from their own lives and/or to found texts for source material. A series of written assignments.
104E. Solo Performance
(4) Iizuka
Prerequisite: consent of instructor.
May be repeated for credit for up to 8 units.
Writing and developing solo performance texts. Analysis of different kinds of solo performance texts and writing styles. Emphasis is on non-traditional forms of storytelling and developing each writer’s individual writing voice. A series of written assignments.
106. Dramatic Theory and Criticism
(4) King
Prerequisite: upper-division standing.
Intensive discussion of several major theories of the drama and an application of those theories to selected plays.
110A-B-C. Advanced Movement for the Stage
(2-2-2) Donlon
Prerequisites: Theater 10C; concurrent enrollment in 151A (for Theater 110A): concurrent enrollment in 151B (for Theater 110B): concurrent enrollment in 151C (for Theater 110C).
May each be repeated once for credit by recommendation of instructor.
A continuation of the Dramatic Art 10 series with increased focus on physical characterization and technical skills.
110D. Advanced Performance Projects
(3) Donlon
Prerequisite: Theater 110C.
Advanced studio projects utilizing the actor’s physical and vocal skills to develop orginal theatre.
111A-B-C. Advanced Voice Laboratory
(2-2-2) Morgan
Prerequisites: Theater 15A-B-C; concurrent enrollment in 151A (for Theater 111A): concurrent enrollment in 151B (for Theater 111B): concurrent enrollment in 151C (for Theater 111C).
May each be repeated once for credit by recommendation of instructor.
Advanced problems in voice for the actor with continued emphasis on craft, plus the creative and expressive uses of the voice with the body.
111D. Dialects for the Stage
(3) Morgan
Prerequisite: not open to freshmen.
The study of dialects that are often necessary for students pursuing a professional career in theatre. Use of video and audio tapes as well as phonetics to analyze and physicalize a minimum of six dialects.
112. Senior Voice Laboratory
(2) Morgan
Prerequisite: Theater 111C.
May be repeated once for credit.
Seminar in advanced voice work for senior students in B.F.A.-Acting program. Concentration on projects to find a personal voice in the theater.
113AA-ZZ. Advanced Speech for the Stage
(4) Morgan
Prerequisite: upper-division standing.
May be repeated if letter designations are different.
The Study of European based accents, varieties of American regional speech, and accents of international English through the use of phonetics, audio visual tools, monologues and scenes.
119. Design Critical Studies
(3) Scott
Prerequisite: Theater 19.
May be repeated for credit to a maximum of 6 units with instructor consent.
Advanced investigation of the communication and collaboration process between designers and directors. Concentration on the script analysis process for mounting a production.
121. Advanced Theatre Production
(2) Staff
Prerequisites: Theater 21; and, Theater 22 or 23, or 25; consent of department.
May be repeated for credit to a maximum of 6 units with consent of instructor.
An investigation of problems in planning, drafting, construction, scenic crafts, special effects, properties, automated fixtures, show control, safety, and rigging of stage scenery.
122. Advanced Scenic Design
(2-4) Sanders
Prerequisites: Theater 1 or 60; and Theater 19, 22 and 27B; consent of department.
May be repeated for credit to a maximum of 7 units with consent of instructor.
Concentration on various set design problems including period and style. Includes drawing, drafting of plans and elevations and rendering techniques.
123. Advanced Stage Lighting Design
(2-4) Scott
Prerequisites: Theater 1, 19, 23, and 27B.
May be repeated for credit to a maximum of 7 units with consent of instructor.
Lecture-demonstration of controllable properties and functions of light. Includes technical drawing: light plots, scheduling and organization for lighting design, drawing using light and shadow, perspective drawing. Practical application through studio exercise.
124. Design Portfolio
(2-4) Holly, Sanders, Scott
Prerequisites: Theater 122 or 123 or 125; upper-division standing.
May be repeated for credit to a maximum of 7 units with consent of instructor.
Exploration of advanced design projects with concentration on individual portfolios.
125. Advanced Costume Design
(2-4) Holly
Prerequisites: Theater 1, 19, and 25.
May be repeated for credit to a maximum of 7 units with consent of instructor.
Execution of theoretical costume design projects. Concentration on various costume design problems including period, style, rendering techniques and figure drawing.
129. Painting for the Stage
(2) Sanders
Prerequisite: consent of department.
May be repeated for credit to a maximum of 8 units with instructor consent.
Advanced work in scenic painting including special textures, foliage, trompe-l’oeil effects as used for stage.
131A. Advanced Costume Construction
(2-4) Holly
Prerequisites: Theater 29C and 31A.
May be repeated for credit to a maximum of 7 units with instructor consent.
Exploration of advanced draping, drafting, and tailoring techniques used in theatrical costume design.
131B. Advanced Costume Techniques
(2-4) Holly
Prerequisites: Theater 29C and 31A.
May be repeated for credit to a maximum of 7 units with instructor consent.
Exploration of advanced costume crafts techniques including pattern development as it relates to corset construction. Period undergarment research and construction. Subject matter varies by quarter.
132. History of Decorative Styles
(4) Holly, Sanders, Scott
A survey of the evolution of design styles and production trends in western theater, emphasizing the history of design and designers, including a study of both interior and exterior decoration with concentration on furnishing, accessories and the changing patterns of culture.
133A. History of Costume I
(4) Holly
Not open for credit to students who have completed Theater 133.
A survey of the development of western clothing and costume from Biblical times to the Restoration as related to the changing patterns of culture. Short survey of non-Western clothing and costume.
133B. History of Costume II
(4) Holly
Not open for credit to students who have completed Theater 133.
A survey of the development of western clothing and costume from early Georgian to the present as related to the changing patterns of culture. Short survey of non-Western clothing and costume.
140. Advanced Acting Workshop
(4) Staff
Prerequisites: Theater 5 and 14; upper-division standing.
Advanced exploration, performances, and criticism of scenes from a broad range of dramatic scripts with focus on the actor’s perspective. Practical skills are taught to make the physical exploration of the text a valid exercise.
142.I.V. Live
(2) Staff
Prerequisite: upper-division standing.
A maximum of 16 units of Dramatic Art 42 and 142 combined may be accepted for credit in the major.
This course produces a weekly performance series in Isla Vista. Students get first-hand experience in the rigors of theatrical production, as they learn to execute all logistical, technical, and promotional details. The course is affiliated with Isla Vista Arts (www.islavista-arts.org).
144A-B. Shakespeare Production
(3-3) Appel
Prerequisite: consent of instructor.
A 2-quarter, in-progress sequence with both grades given upon completion of Dramatic Art 144B.
Students study, rehearse and produce one of Shakespeare’s plays. The class culminates with performances that are open to the public during the final week. Students can participate as actors, assistant directors, designers or stage managers. (M)
145. Oregon Shakespeare Festival Tour
(1-4) Appel
There is a separate materials fee for this course that includes admission to all events and lodging in Oregon. Travel and meals are not included and are the responsibility of each student.
Students study one or more plays being performed at the Oregon Shakespeare Festival. While in Ashland, students attend 7-8 performances, take a backstage tour and participate in workshops and lectures led by members of the company.
149. Theatre Workshop
(1-6) Staff
Prerequisite: upper-division standing.
A maximum of 25 units of Dramatic Art 49 and 149 combined may be accepted for credit in the major.
Projects in costume, scenery, lighting, acting, directing.
151A-B-C. Advanced Acting
(4-4-4) Staff
Prerequisites: Theater 15C and 162; and concurrent enrollment in Dramtic Art 110A and 111A (for Theater 151A): concurrent enrollment in 110B and 111B (for Theater 151B): concurrent enrollment in 110C and 111C (for Theater 151C).
May each be repeated once for credit by recommendation of instructor.
Scene work and exercises exploring various acting styles which may include Greek, Artaud, Shakespeare, period comedy and farce, and Absurd.
151D. Advanced Acting: Modern Trends
(4) Staff
Prerequisite: Theater 151C.
Study and performance of contemporary acting developments.
151F. Senior Auditions
(3) Staff
Prerequisites: Theater 151C.
May be repeated once for credit.
Preparation and study of material and techniques for professional and graduate school audition.
151G. Alternate Acting Styles
(4) Staff
Prerequisite: Theater 151C.
Continued work in performance styles and other skills.
151S. Senior One-Person Shows
(3) Staff
Prerequisite: Theater 151C.
Individually researched performance projects.
152. Introduction to Stage Directing
(4) Whitaker, Apple, Brainin
Prerequisites: upper-division standing; consent of instructor.
Recommended preparation: Dramatic Art 1, 5, 14, 19, and 29A-B-C-D
Basic principles and practice of directing. Lectures, demonstrations, and projects to give the nonspecialist and potential directorial emphasis student a general idea of the directorial process.
152B. Techniques of Directing
(4) Staff
Prerequisites: Theater 1, 14, 19, and 152.
Laboratory in directorial scene work.
152C. Advanced Directing
(4) Staff
Prerequisites: Theater 152B.
Advanced directing techniques and scene work, including departures of realism.
152D. Advanced Acting: Modern Trends
(4) Staff
Prerequisites: Theater 152C.
Study and performance of contemporary acting developments.
152E. Projects in Directing
(4) Staff
Prerequisites: Theater 152D.
Special projects for the advanced director.
153P. Projects in Design and Production
(1-6) Staff
Prerequisite: upper-division standing.
Special projects in each area of concentration.
175. Summer Theatre Laboratory
(4) Iizuka
May be repeated for credit to a maximum of 8 units.
Workshops in playwriting, solo performance, acting, directing, and choreography. Students develop their own projects and take master classes with nationally prominent guest artists. Students also have the opportunity to perform in projects by guest artists.
180A. American Drama to 1940
(4) King
Not open for credit to students who have completed Dramatic Art 155A.
History of the American drama and theatre from early years to 1940. Important plays, performers, institutions, and styles of production will be given selective attention.
180B. American Drama 1940 to Present
(4) King
Not open for credit to students who have completed Dramatic Art 155B.
History of the American drama and theatre from 1940 to the present. Important plays, performers, institutions, and styles of production are given selective attention.
180C. Contemporary American Drama and Theatre
(4) Iizuka
Not open for credit to students who have completed Dramatic Art 155C.
Close study of major playwrights, directors, solo performace artists, and other artists of the contemporary American theatre, mainstream and avant-garde. Writing assignments focus on developing critical arguments about new work.
180D. Hispanic-American Theater and Performance
(4) Cabranes-Grant
Not open for credit to students who have completed Dramatic Art 155D.
Survey of Hispanic-American drama and theory including authors like Carballido, Gambaro, Marques, Triana, Valdez, and others.
180E. Culture Clash: Studies in U.S. Latino Theatre
(4) Morton
Not open for credit to students who have completed Dramatic Art 155E.
A survey, in English, of the dramatic literature of U.S. Latinos from 1965 to the present. Includes history and criticism of the theatre of Chicano, Puerto Rican, Cuban, and other Americans of Hispanic origin in the U.S.
180F. Asian American Theatre
(4) Kim
Not open for credit to students who have completed Dramatic Art 155F.
Overview of the Asian American theatre movement, its political and artistic achievements. Issues addressed include race and ethnicity, generational difference, gender, sexuality, and relationship to root cultures. Artists covered include Frank Chin, David Henry Hwang, Elizabeth Wong, Chay Yew, and Margaret Cho.
180G. Race, Gender, and Performance
(4) Cole
Prerequisite: upper-division standing.
Not open for credit to students who have completed Dramatic Art 163.
Comparative analysis of contemporary American plays and performances by artists of diverse gender, sexual, ethnic, and racial backgrounds. Students learn to perceive and critically respond to race and gender issues in plays and the theatrical production.
181AA-ZZ. National Studies in European Theater and Drama
(4) Staff
Prerequisite: upper-division standing.
May be repeated for credit provided letter designations are different.
Special topics in European theater and drama.
182AA-ZZ. Transnational Studies in European Theater and Drama
(4) Staff
Prerequisite: upper-division standing.
May be repeated for credit provided letter designations are different.
Special topics in transnational studies in European theater and drama.
183AA-ZZ. Asian Theater and Performance
(4) Staff
Prerequisite: upper-division standing.
May be repeated for credit provided letter designations are different.
Special topics in Asian theater and performance.
184AA-ZZ. African and Caribbean Performance
(4) Staff
Prerequisite: upper-division standing.
May be repeated for credit provided letter designations are different.
Special topics in African and Caribbean performance.
185AA-ZZ. Cross-Cultural Studies in Theater and Drama
(4) Staff
Prerequisite: upper-division standing.
May be repeated for credit provided letter designations are different.
Special topics in cross-cultural studies in theater and drama.
186. Dance Production
(1-4) Holly, Sanders, Scott
Prerequisite: Theater 19; and, Theater 22 or 123 or 125; consent of instructor.
May be repeated for credit to a maximum of 16 units, but only 8 units may be applied toward the major.
Exploration of the process of collaboration between dance choreographers and theatre designers in the development of designs for dance productions. Final project will be a public performance of the choreographers’ and designers’ work.
187AA-ZZ. Performance Studies
(4) Staff
Prerequisite: upper-division standing.
May be repeated for credit provided letter designations are different.
Special topics in performance studies.
188AA-ZZ. History of Performance
(4) Staff
Prerequisite: upper-division standing.
May be repeated for credit provided letter designations are different.
Special topics in the history of performance.
190. Production Administration
(3) Staff
Prerequisite: upper-division standing.
May be repeated for up to 6 units of credit.
Workshop for advanced students functioning as assistants to directors, designers, and technical directors. Portfolio, promptbook, or paper required.
191. Theatre Management
(4) Staff
Business organization and management for the educational, community, and professional theatre, including budgeting, publicity, public relations, and box office principles.
192. Upper-Division Seminar
(4) Staff
Prerequisite: not open to freshmen.
Designed for majors.
A seminar course for upper-division students in the Theater Studies emphases. Topics are selected according to the interests of the students.
193H. Senior Honors Project
(4) Staff
Prerequisite: senior standing.
Students must have a 3.0 university grade-point average and a 3.4 departmental grade-point average, unless exempt by petition; faculty nomination. This course is for students who will complete their projects in one quarter. A final grade will be assigned upon completion.
Advanced thesis project in either academic research or creative activity, supervised by a faculty advisor. Students successfully completing the project, as evaluated by a three-person committee, will graduate with Distinction in the Major.
193HA-HB-HC. Senior Honors Project
(2-4, 2-4, 2-4) Staff
Prerequisite: senior standing: Theater 193HA for 193HB: Theater 193HA or 193HB for 193HC.
Students must have a 3.0 university grade-point average and a 3.4 departmental grade-point average, unless exempt by petition; faculty nomination. 4 to 8 units required in honors sequence; minimum of 2 units per quarter.
HA: This course is the first in the sequence for students who will complete their projects in either two or three quarters. An “in-progress” grade will be assigned; students may then enroll in either Dramatic Art 193HB or 193HC.
HB: Dramatic Art 193HA; this course is the second in the sequence for students who will complete their projects in three quarters. An “in-progress” grade will be assigned; students will then enroll in Dramatic Art 193HC.
HC: Dramatic Art 193HA or 193HB; this course is the final in the two or three-quarter sequence. A final grade will be assigned upon completion.
Advanced thesis project in either academic research or creative activity, supervised by a faculty advisor. Students successfully completing the project, as evaluated by a three-person committee, will graduate with distinction in the major.
194D. Group Studies in Design
(1-4) Staff
Prerequisite: upper-division standing.
May be repeated for credit to a maximum of 16 units.
Intensive study, research, and project preparation in theatrical design.
194L. Group Studies in Literature
(1-4) Staff
Prerequisite: upper-division standing.
May be repeated for credit to a maximum of 16 units.
Intensive study, research, and project preparation in dramatic literature.
194T. Group Studies in Theatre
(1-4) Staff
Prerequisite: upper-division standing.
May be repeated for credit to a maximum of 16 units.
Intensive study, research, and project preparation in theatre.
195. Principles of Stage Management
(2) Staff
Prerequisite: Theater 1 or 60.
Discussion and research into the duties of the stage manager from pre-production through strike. Areas covered include communication, rehearsal procedures, and performance skills. Discussions with directors, designers, and invited guests employed in the field.
195P. Stage Management Practicum
(2-4) Staff
Prerequisite: Theater 195.
May be repeated for credit to a maximum of 16 units.
Production oriented course allowing student practical experience in stage management training. Student will serve as assistant stage manager or stage manager for main stage or student directed departmental production.
196. Dance Production
(1-4) Holly, Sander, Scott
Prerequisites: Theater 19; 22 or 123 or 125; upper-division standing; consent of instructor.
May be repeated for credit to a maximum of 16 units, only 8 units may be applied toward the major.
Exploration of the process of collaboration between dance choreographers and theater designers in the development of designs for dance productions. Final project is a public performance of the choreographers’ and designer’s work.
199. Independent Studies in Dramatic Art
(1-5) Staff
Prerequisites: upper-division standing; completion of two upper-division courses in Theater.
Students must have a minimum 3.0 grade-point average for the preceding three quarters and are limited to 5 units per quarter and 30 units total in all 98/99/198/199/199AA-ZZ courses combined.
199RA. Independent Research Assistance in Dramatic Art
(1-5) Staff
Prerequisites: upper-division standing; completion of two upper-division courses in Theater.
Students must have a minimum 3.0 grade-point average for the preceding three quarters and are limited to 5 units per quarter and 30 units total in all 98/99/198/199/199AA-ZZ courses combined.
Supervised assistance in faculty research project.
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Graduate Courses
210A. Methodology and Historiography
(4) Cabranes-Grant, Cole
Prerequisite: graduate standing.
By analyzing leading examples of theatre scholarship, this course serves as a workshop, helping students to formulate original research questions and utilize creative interdisciplinary research methods. Course addresses how to write a dissertation prospectus and grant proposal.
210B. Advanced Critical Writing
(4) Cole, Enders
Prerequisite: graduate standing.
Workshop on the style, structure, and ideology of crafting persuasive critical arguments and creating authority in writing. Focus on introductions, conclusions, definitions, proofs, refutation, and interaction with sources through analysis, critique, practice, and peer review. (Offered every year in rotation with DA 210A and 210C.)
210C. Professional Studies
(4) Staff
Prerequisite: graduate standing.
Content varies from year to year. Offerings may include preparation for publication and conference presentations, orientation to the academic job market, and issues related to pedagogy. (Offered every year in rotation with DA 210A and 210B.)
221. The History and Theory of Directing
(4) Williams
Prerequisite: graduate standing.
Readings in the major theorists of directing and in the history of directing in the modern and contemporary theatre.
223. History and Theory of Acting
(4) Williams
Prerequisite: graduate standing.
The history and theory of acting in Europe and Asia from classical times to the present. Documents that address phenomenology of acting are studied.
230. Dramatic Theory: Aristotle to Nietzsche
(4) King
Prerequisite: graduate standing.
Detailed study of theories from The Poetics to The Birth of Tragedy.
232. Modern and Contemporary Theory
(4) Cabranes-Grant, Cole
Prerequisite: graduate standing.
A graduate-level introduction to twentieth and twenty-first century critical theory. Topics vary and may include Marxism, Brecht, Artaud, theories of the avant-garde, psychoanalysis, feminism, structuralism, post-structuralism, postmodernism, and postcolonialism.
234. Reading Intercultural Drama
(4) Cabranes-Grant
Prerequisite: graduate standing.
Examination of intercultural theory, practice, and dramatic literature. Material may include playwrights ranging from Shakespeare to David Henry Hwang, and practitioners and theorists such as Augusto Boal, Eugenio Barba, and Anne Bogart.
250. Topics in Dramatic Literature and Theatre History
(4) Staff
Prerequisite: graduate standing.
May be repeated for credit.
Varies in content from year to year. Recent offerings have included classics in performance, translating drama, violence in drama, dramatic genre, and literature and theatre.
251. Performance Studies
(4) Cole, Enders
Prerequisite: graduate standing.
Varies in content from year to year, but offerings may include studies of the avant-garde and performance art, sport as ritual and performance, theatre on trial, politics and war as performance.
253. Music and Theatre
(4) Cabranes-Grant, Williams
Prerequisite: graduate standing.
Studies in the use of music as a dramatic and theatrical language. Genres vary from course to course, but may include opera, operetta, the musical, burlesque, and music theatre.
254. Performance of Physicality
(4) Kim
Prerequisite: graduate standing.
Explores various case studies of the theatrical representation and perception of the human body in Europe, the Americas, and Asia in the twentieth century especially related to the construction of gender, race, class, nation, and sexuality.
261. Directing for Graduate Students
(4) Whitaker
Prerequisites: graduate standing; consent of instructor.
May be repeated for credit to a maximum of 8 units.
An investigation of the fundamentals and techniques of directing, including principles of staging, text analysis, and actor coaching.
262. Practice in Design
(2-4) Staff
May be repeated for credit to a maximum of 8 units.
Projects and study in design; practical application projects.
263. Practice in Dramaturgy
(2) Iizuka, King
Prerequisites: graduate standing; consent of instructor.
May be repeated for credit to a maximum of 8 units.
Projects in dramaturgy; practical application and projects.
264. Practice in Directing
(4) Staff
Prerequisites: Theater 221 or 261; graduate standing; consent of instructor.
May be repeated for credit to a maximum of 8 units.
Advanced problems in directing, practical application and projects. Culminates in directing one-act plays.
265A. Practice in Playwriting
(1-4) Iizuka, Morton
Prerequisites: graduate standing; consent of instructor.
May be repeated for credit to a maximum of 8 units.
An independent study in Playwriting. Students may work on a full-length play, a one act play, or a solo performance text.
265B. Practice in Adaptation
(4) Iizuka, Morton
Prerequisites: graduate standing; consent of instructor.
May be repeated for credit to a maximum of 8 units.
An independent study in adapting work to the stage. Students may adapt work from other genres, plays written in a previous era, and/or works written in other languages.
266. Practice in Theatre and Dance
(1-4) Staff
Prerequisites: graduate standing; consent of instructor.
Projects in various areas of theatre and dance, including acting, stage management, production, and directing.
270A. African Theatre and Drama
(4) Cole
Prerequisite: graduate standing.
May be repeated for credit.
Readings in the dramatic literature and staged theatre of Africa and the African diaspora. Topics may include Soyinka, Ngugi, Fugard, Aidoo, and theatre for development.
270B. African Performance Studies
(4) Cole
Prerequisite: graduate standing.
May be repeated for credit.
Examines the broad field of performance in Africa and the African diaspora, including ritual, storytelling, oral traditions, masquerades, festivals, dance, truth commissions, and spirit possession.
271A. Asian Theatre and Drama
(4) Kim
Prerequisite: graduate standing.
May be repeated for credit.
Dramatic literature and staged theatre of Asia. Coverage varies from traditional to contemporary dramatists and theatre styles from East Asia to India and/or Southeast Asia. Reception of Asian theatre in non-Asian contexts is often considered.
271B. Asian Performance Studies
(4) Kim
Prerequisite: graduate standing.
May be repeated for credit.
Performance modes examined in this course may include shaman ritual, puppetry, masked performance, religious ceremonies, mass movements, and political events from various regions of Asia and the Pacific. Performances are considered in their tourist and cross-cultural contexts as well as in terms of more conventional settings and aesthetics.
272A. European Theatre and Drama
(4) Cabranes-Grant, Enders, Williams
Prerequisite: graduate standing.
May be repeated for credit.
An examination of theatrical traditions of Europe. Offerings vary but may include ancient and medieval drama and theatre as well as Enlightenment, Sturm and Drang and Romanticism, Realism, Naturalism, and Symbolism.
272B. European Performance Studies
(4) Cabranes-Grant, Enders, Williams
Prerequisite: graduate standing.
May be repeated for credit.
Studies in ritual, ceremony, and performance in European public life.
273A. Theatre and Drama of the Americas
(4) Cabranes-Grant, King, Morton
Prerequisite: graduate standing.
May be repeated for credit.
An examination of pan-American trends and traditions in drama. Readings may range widely beyond national and continental borders to focus on specific countries and/or movements in Latin America, the United States, and Canada.
273B. Performance Studies of the Americas
(4) Cabranes-Grant, King, Morton
Prerequisite: graduate standing.
May be repeated for credit.
An examination of pan-American trends and traditions in performance. Readings may range widely beyond national and continental borders to focus on specific countries and/or movements in Latin America, the United States, and Canada.
273C. Theatre and Drama of the United States
(4) Cabranes-Grant, Iizuka, King
Prerequisite: graduate standing.
May be repeated for credit.
An examination of trends and traditions in the theatre of the United States. Offerings vary but may include: Roots of Broadway, U.S. Latino theatre, melodrama, the Group Theatre and its legacy, multicultural theatre and contemporary theatre.
273D. Performance Studies of the United States
(4) Cole, King
Prerequisite: graduate standing.
May be repeated for credit.
An examination of trends and traditions in performance in the United States. Offerings vary but may include: U.S. Latino performance, Asian American performance, intercultural performance, and the avant-garde.
500. Teaching: Methods and Practice
(4) Staff
Prerequisites: graduate standing and current appointment as a departmental teaching assistant.
Required of all teaching assistants. May be repeated for credit. With the exception of fulfilling the teaching requirement, no credit allowed toward advanced degrees. S/U grade.
Introduction to the problems and techniques of teaching dramatic art, through teaching responsibilities in departmental courses and through consultation with supervising faculty members.
501. Pedagogy Practicum
(4) Staff
Prerequisites: graduate standing; consent of instructor.
May be repeated for credit with consent of instructor.
Taken in conjunction with departmental upper-division undergraduate course in literature, history of theory. Graduate students conduct additional outside reading, write a substantial final paper, and receive training in pedagogy including syllabus design, lesson planning, lecture composition, and discussion facilitation.
596. Directed Reading and Research
(2-8) Staff
Prerequisite: consent of instructor.
Individual tutorial. A written proposal for each tutorial must be approved by the department chair.
598. Master’s Thesis Project, Research and Creative
(1-8) Staff
Prerequisite: consent of instructor.
May be repeated for credit to a maximum of 8 units. S/U grade. No credit allowed toward advanced degrees.
599. Dissertation Research and Preparation
(1-12) Staff
Prerequisite: consent of chair of student’s doctoral committee.
May be repeated for credit to a maximum of 108 units. S/U grading. No credit allowed toward advanced degrees.
Dissertation research and preparation.
35. History and Appreciation of World Dance
(4) Chapman
Introduction to dance as cultural and social expression in a variety of cultures. Forms covered include Flamenco, Ballet, African, Mexican, and East Indian.
36. History of Modern Dance
(4) Staff
Historical development of modern dance in the United States and Europe in the twentieth century. Emphasis on visionary, feminist, and radical aspects of the form.
40. Summer Ballet
(2-4) Staff
May be repeated for credit to a maximum of 12 units.
Fundamentals of ballet techniques. (SS)
41. Summer Modern Dance
(2-4) Staff
May be repeated for credit to a maximum of 12 units.
Fundamentals of modern dance technique. (SS)
42A-B-C. Beginning Ballet
(1-1-1) Staff
May be repeated for credit to a maximum of 2 units each.
Introduction to basic elements of ballet.
42D-E-F. Beginning Ballet
(2-2-2) Staff
May be repeated for credit to a maximum of 4 units each.
Recommended preparation: Dance 42C.
Further study of basic elements of ballet.
44A-B-C. Beginning Modern Dance
(1-1-1) Staff
May be repeated for credit to a maximum of 2 units each.
Introduction to basic elements of modern dance.
44D-E-F. Beginning Modern Dance
(2-2-2) Staff
May be repeated for credit to a maximum of 4 units each.
Recommended preparation: Dance 44C.
Further study of basic elements of modern dance.
45. History and Appreciation of Dance
(4) Staff
Introduction to dance as an art form. A study of the historical periods of dance in close relationship to the other forms of cultural expression.
47A-B-C. Ballet I
(2-4, 2-4, 2-4) Huston, Moseley
Prerequisite: audition by dance faculty.
Open to non-majors by audition. May be repeated for credit to a maximum of 8 units each by dance, dramatic art, and theatre majors only.
Analysis and exploration of technical and expressive elements of the ballet. For dance majors. (F,W,S)
47D-E-F. Ballet II
(2-4, 2-4, 2-4) Huston
Prerequisite: Dance 47C.
May be repeated for credit to a maximum of 8 units each by dance, dramatic art, and theatre majors only. Open to non-majors by audition.
Further analysis and exploration of technical and expressive elements of ballet. For Dance majors. (F,W,S)
50. Fundamentals of Choreography
(3) Staff
Prerequisite: Dance 51.
A study of the basic elements pertaining to the craft of choreography. Emphasis on exploration of movement variation, breath rhythm, the development of dance phrases, and the use of stage space. For Dance majors.
51. Improvisation
(3) Staff
Prerequisites: Dance 56C; dance majors only.
May be repeated for credit to a maximum of 6 units.
The fundamental exploration of movement potential with particular focus on the individual and group dynamics.
56A-B-C. Modern Dance I
(2-4, 2-4, 2-4) Staff
Prerequisite: audition by dance faculty.
May be repeated for credit in combination with Dance 46A-B-C to a maximum of 8 units each by dance, dramatic art, and theatre majors only. Open to non-majors by audition.
Analysis and exploration of the technical aspects of movement as an expressive medium. For dance majors.
56D-E-F. Modern Dance II
(2-4, 2-4, 2-4) Staff
Prerequisite: Dance 56C.
May be repeated for credit in combination with Dance 46D-E-F to a maximum of 8 units each by dance, dramatic art, and theatre majors only. Open to non-majors by audition.
Analysis and exploration of the technical aspects of movement as an expressive medium at the intermediate level. For dance majors. (F,W,S)
58. Pedagogy I
(3) Staff
Prerequisites: Dance 47A and 56A.
Theory, principles, and methods of teaching dance, including study of movement concepts, communication skills and class dynamics. Includes practical experience in leading groups through movement sequences.
60. Summer Jazz Dance
(2-4) Staff
May be repeated for credit to a maximum of 12 units.
Fundamentals of jazz technique. (SS)
70. Music for Dance: Rhythm
(3) Staff
Not open for credit to students who have completed Dance 43.
The study of principles of rhythm related to dance, including historical and cultural orientations. Practical instruction in notation, rhythmic movement, and percussion instruments.
71. Digital Audio Production for Dance and Drama
(3) Staff
Prerequisite: open to dramatic art and dance majors only.
Focuses on techniques for recording and editing audio for use in dance and theatrical performance. Areas studied include stereo and multi-tracking editing, recording of voice, musical instruments, and non-musical sounds, and basic mastering techniques.
94. Group Studies for Lower-Division Dance Students
(1-4) Staff
Prerequisite: lower-division standing.
May be repeated for credit to a maximum of 16 units, but only 8 units may be applied toward the major.
Group studies in selected areas of emphasis.
145A. Studies in Dance History to 1789
(4) Chapman
Prerequisite: upper-division standing.
Recommended preparation: Dance 36 or 45.
The study of dance as a reflection of cultural, social, and political history and its development as a theatrical art form from primitive cultures until the eve of the French Revolution.
145B. Studies in Dance History: Ballet
(4) Chapman
Prerequisite: upper-division standing.
Recommended preparation: Dance 36 or 45.
The historical evolution of ballet from the French Revolution to the present day. Topics include the romantic and Russian ballets, the Age of Diaghilev, and the development of ballet companies in America and Europe.
145H. History and Perspectives on the Male Dancer
(4) Staff
Prerequisite: Dance 45.
A selective investigation into aspects of the history of the male dancer from ancient times to the present. Topics vary, mainly focusing on the male dancer within religious rituals, court politics, theatrical performance, and dealing with his sexual identity.
145M. Studies in Dance History: American Musical Theater
(4) Staff
Prerequisite: upper-division standing.
Recommended preparation: Dance 45.
A study of the evolution of dance in the American musical theatre from the mid-nineteenth century to the present day. Analysis of dance styles on both stage and screen and its reflection of contemporary culture.
147A-B-C. Ballet III
(2-4, 2-4, 2-4) Huston
Prerequisite: Dance 47F.
May be repeated for credit to a maximum of 16 units each, but only 8 units of each may be applied toward the major. Open to non-majors by audition.
Advanced analysis and exploration of the technical and expressive elements of ballet. For dance majors. (F,W,S)
147PA-PB-PC. Ballet: Pointe
(1-2, 1-2, 1-2) Huston
Prerequisite: Dance 47C.
May be repeated for credit in combination with Dance 147P to a maximum of 10 units each, but only 6 units of each may be applied toward the major.
Basic pointe work, including barre and center practice. For dance majors.
149. Dance Workshop
(1-4) Staff
Prerequisite: audition by dance faculty.
May be repeated for credit to a maximum of 12 units, but only 6 units will count toward major. Open to non-majors by audition.
Projects in performance, production, choreography, and directing. (F,W,S)
151A-B-C. Choreography
(3-3-3) Staff
Prerequisites: Dance 50 and 51 and Dramtic Art 19D.
Analysis of the elements of choreographic form; styles and trends with experience in development of dance studies; theory and technique of advanced group choreography. (F,W,S)
151D. Environmental Choreography
(3) Shimin
Prerequisite: Dance 151C.
A process-oriented study of scoring, designing, and performing dance works in natural landscapes.
151T. Digital Choreography
(3) Pearson
Prerequisites: Dance 50 and 151A.
May be repeated for credit to a maximum of 6 units.
Composing, shooting, and editing digital video using the principles of modern dance choreography.
156A-B-C. Modern Dance III
(2-4, 2-4, 2-4) Staff
Prerequisite: Dance 56F.
May be repeated for credit to a maximum of 8 units each by dance, dramatic art, and theatre majors only. Open to non-majors by audition.
Advanced analysis and exploration of the technical aspects of dance as an expressive medium. For dance majors. (F,W,S)
156D-E-F. Modern Dance IV
(2-4, 2-4, 2-4) Staff
Prerequisite: Dance 156C.
May be repeated for credit to a maximum of 8 units each. Designed for majors. Open to non-majors by audition.
Further analysis and exploration of the technical aspects of dance as an expressive medium. (F,W,S)
157. Writing for Dance
(4) Chapman
A creative approach to writing about dance with practical applications in viewing, reviewing, and criticism.
158. Pedagogy II
(2-3) Staff
Prerequisites: Dance 56F and 58.
Further analysis of the theory and practice of teaching dance, including function and esthetics in the development of movement vocabulary, application of anatomy, kinetics and musicality. Includes practical experience teaching dance classes.
161B. Musical Comedy Dance
(4) Staff
Recommended preparation: Dance 61A or 61B.
Dance sequences from musicals, utilizing theatrical dance styles from the 1920’s to the present.
163. Advanced Improvisation
(2) Nugent
May be repeated for credit to a maximum of 4 units, but only 2 units may be applied to the major.
Recommended preparation: Improvisation - Dance.
Designed for students with previous dance improvisation experience. Subjects include contact improvisation (sharing of weight between partners) and ensemble improvisation (development of group awareness in choreographic and spontaneous dance performance). Kneepads are required.
171. Music for Dance: Listening Based Survey of Contemporary Aesthetics
(3) Staff
Prerequisite: Dance 70.
Overview of form, structure, and tonality in western music, including global and historical influences. Examination of styles of music composition and performance, related to dance and choreography.
172. Music for Dance: Structural Relationships
(3) Staff
Prerequisite: Dance 171.
In-depth examination of music terminology, methodology, and composition for choreographers and dancers. Musical scoring and analysis related to choreographic works. Collaborative process. Exploration of historical, multi-cultural and contemporary music resources for choreographers.
186. Dance Production
(1-4) Staff
Prerequisites: Dance 151C.
May be repeated for credit to a maximum of 8 units.
Exploration of the process of collaboration between dance choreographers and theatre designers in the development of designs for dance productions. Final project will be a public performance of the choreographers’ and designers’ work.
190. UCSB Dance Company
(2-4) Moseley
Prerequisite: consent of instructor.
May be repeated for credit to a maximum of 16 units, but only 8 units may be applied toward the major.
Selected students work as dancers in the UCSB Dance Company, studying and analyzing choreography and performance. The company performs locally and/or on tour. Students experience the integral workings of a company.
191. Senior Project
(3) Staff
Prerequisite: Dance 151C.
Choreographic or performance project produced as the culminating presentation for the B.F.A. degree. Course includes detailed documentation of the procedure followed during the creation of the final project.
193H. Senior Honors Project
(4) Staff
Prerequisite: senior standing.
Students must have a 3.0 university grade-point average and a 3.4 departmental grade-point average, unless exempt by petition; faculty nomination.
This course is for students who will complete their projects in one quarter. A final grade will be assigned upon completion.
Advanced thesis project in either academic research or creative activity, supervised by a faculty advisor. Students successfully completing the project, as evaluated by a three-person committee, will graduate with Distinction in the Major. (F,W,S)
193HA-HB-HC. Senior Honors Project
(2-4,2-4,2-4) Staff
Prerequisite: senior standing.
Students must have a 3.0 university grade-poi