Thursday, January 29, 2015
The Department of Theatre & Drama Presents a Job Talk by
Monday, February 2nd, 2015
2439 Walgreen Drama Center
Anne García-Romero’s plays include Provenance (Eugene O’Neill National Playwrights Conference)Paloma (National Latino Playwriting Award runner-up), Earthquake Chica (National Latino Playwriting Award finalist), Mary Domingo (Goodman Theatre Commission) Mary Peabody in Cuba (National Latino Playwriting Award finalist), Land of Benjamin Franklin (Actors Theater of Louisville Ten Minute Play finalist), Girlus Equinus (Ensemble Studio Theater One-Act Marathon finalist), Don Quixote de la Minny, Marta's Magnificent Mundo, Desert Longing, Juanita's Statue and Santa Concepción. Her plays have been developed and produced at the New York Shakespeare Festival/Public Theater, Arielle Tepper Productions’Summer Play Festival (Off-Broadway), The Mark Taper Forum, Hartford Stage, South Coast Repertory, Eugene O’Neill National Playwrights Conference, INTAR, HERE, New Georges, Borderlands Theater, Nevada Repertory Company, Jungle Theater, East L.A. Repertory, National Hispanic Cultural Center, Open Fist Theater Company, Wordbridge Playwrights Laboratory, LoNyLa Writers Lab, The Orchard Project and the Los Angeles Theatre Center. She's received commissions from the NYSF/Public Theater, The Mark Taper Forum and South Coast Repertory. She’s been a Jerome Fellow at the Playwrights Center of Minneapolis as well as a MacDowell Colony fellow.
Ms. García-Romero is currently developing a screenplay adaptation of her play, Mary Peabody in Cuba, with actor/director/producer, Andy Garcia. She has also written for Peninsula Films, Elysian Films and Disney Creative Entertainment.
She is the U.S. translator for the internationally acclaimed The Grönholm Method by Spanish playwright, Jordi Galcerán.
Her plays are published by Broadway Play Publishing, Playscripts, NoPassport Press and Smith & Kraus.
She’s an Assistant Professor in the Department of Film, Television and Theatre at the University of Notre Dame. She’s also taught at USC, Cal Arts, UC Santa Barbara, UC Riverside, Loyola Marymount University, Macalester College and Wesleyan University. Her areas of specialization are playwriting, Latino Theater Studies, dramaturgy and solo performance. Her article on Latina playwrights is published in the Latin American Theatre Review.
Ms. García-Romero holds an MFA in Playwriting from the Yale School of Drama and is an alumna of New Dramatists in NYC. She is a Resident Playwright at Chicago Dramatists.
Saturday, January 17, 2015
The Department of Theatre & Drama Presents a Job Talk by
Arizona State University
Thursday, January 22nd, 2015
2439 Walgreen Drama Center
José Casas received his MFA in Playwriting from Arizona State University. He is the author of La Ofrenda, 14, and Somebody’s Children. His plays have been produced at Rising Youth Theatre, CASA0101, Artists’ Repertory Theatre (Portland), and Cornerstone. He is the winner of Nuestras Voces V National Playwriting Competition, the AATE Best Original Play Award, and was a finalist for ACTF and the Heidman Award/Humana Festival. Reception to follow.
Sunday, January 11, 2015
Theatre students and graduate students interested in theatre:
We are interviewing several people for the playwriting position here in
Theatre and Drama. There will be on Q&A session with each candidate that
is open to all students. Please mark your calendars:
José Casas - January 23rd, 2:30 - 3:30 pm
Frances Ya-Chu Cowhig - January 27th, 3– 4 pm
Anne García-Romero - February 2nd, 3 - 4 pm
Robert Myers - February 6th, 2 – 3 pm
Location for all will be in the Walgreen, the room is TBA.
Tuesday, January 6, 2015
Watch for opportunities to earn graduate credit in the Department of Theatre & Drama starting this term. We will be adding graduate sections to many of our upper-division courses, including:
Theatre 505 (meets with Theatre 285)
Regular TuTh 3:00PM - 5:00PM 2239 WDC Myers, Christianne
Introduction to Puppetry
This course will explore the fundamentals of puppetry, a performance made that spans the globe and the centuries. There will be hands-on workshops developing and creating several styles of puppets, and students will research puppetry in world performance.
Theatre 605 (meets with Theatre 326)
Regular MoWe 12:00PM - 1:30PM B207 WDC Nkanga,Mbala D
Examines how international dramatic literature in translation comments on global lives and lifestyles. Class reads, analyzes and discusses intercultural plays in cultural context. Written assignments and in-class presentations investigate the political, social, ad cultural impact meaning of intercultural dramatic works. Students learn to analyze themes, structures, characters, and language of intercultural/international plays through the lens of cultural studies.
Theatre 605 (meets with Theatre 340)
Second 7 weeks TuTh 3:00PM - 5:00PM 1415 WDC Gonzalez,Anita L
03/09/2015 - 04/21/2015
Lab Section Required
The course is a laboratory course for play development. The class creates collaborative theatrical works from text, visual art, movement, stories and/or contemporary events. The class develops performances through improvisation, then organizes and evaluates their work using principles of dramatic structure, and play analysis. Dramaturgy and directing skills are introduced through studio practice and critique.
Theatre 605 (meets with Theatre 324)
Regular Place and Time TBA
Engages students in research and development of performance projects at a local, community organization or at an international site. The class participates in fieldwork experiences and each individual submits a final project report or thesis at the end of their fieldwork. The Capstone course is collaborative and interdisciplinary and multiple faculty members can supervise and approve student work. This semester, students will work with artists from South Africa.
Theatre 605 (meets with Theatre 399.009)
Regular TuTh 3:30PM - 5:00PM 2415 WDC Lucas,Ashley Elizabeth
Theatre and Incarceration
Artistic practice in prisons has occurred since the inception of prisons themselves, though popular thought tends not to connect the idea of the arts with that of criminal justice systems. This course surveys the history of performance in prisons through the examination of plays written by and about prisoners as well as narratives, which chronicle the process of creating theatre in prisons. More importantly, the course also requires all enrolled students to enter an adult prison once a week throughout the semester to lead a theatre workshop with prisoners. Students will be placed in pairs to facilitate workshops, and each workshop will hold a performance at the end of the semester. Students and prisoners together create social change through their performances, both by bringing two disparate communities (i.e. undergrads and prisoners) into meaningful interaction and also by using theatre to explore significant social issues.
Theatre 605 (meets with Theatre 399.004 or 399.006)
01/07/2015 - 02/27/2015 Najarian,Robert
MoWe 9:00AM - 10:00AM 101 REVELLI
MoWe 10:00AM - 11:00AM 101 REVELLI
The Historical Rapier
This course will include movement directives specific to the skills of historical swordplay from the Elizabethan era. This movement discipline focuses on "Action-Reaction-Completion" with emphasis on balance, partnering, timing, and physical decision-making in heightened psychological states. The class will enhance the performer's spatial awareness and physical readiness for movement while concentrating on the performance of height complex kinetic actions in a relaxed and focused state.
THTREMUS 647 - Intro Perf Studies
This course is designed as an exploration of contemporary theories that develop not only a dialogical relationship between performance and society, but also between culture and performance: with special emphasis on Victor Turner, Linda Hutcheon, Marvin Carlson, and James Clifford. Preference given to students in Center for World Performance Studies certificate program.
The winter 2015 sections have not been added just yet, but will be soon.
For Fall 2015, watch for:
Theatre 605 (meets with Theatre 399-006) - Principles of Comedy
This course will explore the principles of performing comedy, as experienced throughout the dramatic canon, investigating the work of Commedia, Moliere, Noel Coward, and David Lindsay-Abaire. The course will also explore improvisation, status work, and stand-up. We will ask ourselves, are there special considerations when playing comedy as opposed to straight drama? Is there such a thing as comic technique? If so, what is it? What are the technical demands of comic timing, rhythm, builds, and the ability to give and take focus? And are there ways in which we play comedy no differently than any other form of acting? We will also ask ourselves what makes a funny thing funny? Are there common threads through history? Are there universal comic elements that can be defined? We will pursue the course objectives through exercises, games, improvisations, discussions, readings, and group, solo and scene work.
Theatre 506 (meets with Theatre 241-001, Cantor) - Directing I
The history of directors; function and responsibilities of a director; relationships with designers, playwrights, stage managers, technical/artisan staff, actors, dramaturges. Identifying styles of theatre, stage types, floor plans. Also covers script interpretation/analysis, director's research, resources, directorial concepts, conceptualization of a play, interpretation.
Theatre 525 (meets with Theatre 325) Contemporary American Theatre & Drama
Examines works and developments in American theatre and drama from the past twenty years, especially the diverse and multicultural drama of this period. Looks at elements of class and ethnicity, urbanization, family and community, war and technology, commercialism and consumerism, gender, race, and sexuality.
Theatre 637 (meets with Theatre 437) - Theatre Pedagogy
Explores theatre pedagogy in several areas: teaching drama in the secondary school, teaching theatre in higher education, and using drama-in-education techniques in all levels of teaching. We will explore ways to approach teaching and learning that promotes a student-centered, curiosity-driven environment and takes into account a variety of cognitive and learning styles.
Theatre 577 (meets with Theatre 277) – History of Dress
Slide survey course which traces the history of dress from ancient times through the present day, with an emphasis on the societies which produced particular manners and styles of dress.
Theatre 532 (meets with Theatre 332) Performing Archives and Oral Histories
Students use ethnographic or archival sources to create new performance works. Building on histories introduced in 222, they create individual or small group projects. Interpretative text and character work helps to improve individual student performance skills.
For questions about any of the above, please feel free to drop me an email!