Fall Courses

COURSE OFFERINGS FOR FALL 2009

JUST ADDED:
Fall Mini Course “Contemporary Song-Based Performance Art” (Theater 166:5 – download flyer)

UNDERGRADUATE COURSES:

Theater R1A (section 1) – Introduction to Dramatic Literature – The Poetics and Politics of Museum Display: Ways of Looking, Ways of Knowing: How do museums perform their institutional authority? What is the relationship between power and looking? In this class, we will focus on museums as sites that create ways of knowing and categorizing, sites that narrativize and naturalize information, making it visible and legible. We will ask important questions about how information is contained, remembered, and passed along: work in the field of performance studies complicates and questions what is supposedly permanent and objective in traditional definitions of archives and museums with constructions of the “repertoire,” of performance, of embodied and situated knowledge. We will be thinking about museums across a range of genres and attending more generally to a range of questions that surround them. Readings are taken from critical analyses, monographs and exhibition catalogues; we will be visiting virtual and actual museum collections, as well as reading and viewing works by theorists, artists, and playwrights who have complicated what “museums” mean and how they function. In order to address key issues in critical reading and analytical writing practices and to build students’ skills in these areas, we will engage in a variety of weekly reading and writing activities. Bridging the goals of R1A as both a writing course and as a course about museums, display, and the production of knowledge, we will not only be reading works published by and about museums and analyzing the ways in which the authors of these texts build cases and make arguments. In addition, as we consider museums to be sites that produce knowledge and put it on display, we will analyze what, in each context, counts as “true,” how data is transformed into evidence, and how museums and museums displays are themselves in the business of making arguments. This process will assist our own critical reading and writing.
Prerequisite: UC Entry Level Writing Requirement or UC Analytical Writing Placement Exam.

Instructor: Shannon Steen and Kate Kokontis, TuTh 2-3:30, 235 Dwinelle, 4 units, CCN 88003.

Theater R1A (section 2) – Introduction to Dramatic Literature – Social Protest Performance in the United States: What is “social protest performance?” What are these performances protesting and what kind of change are they trying to make? In this course we look at a number of examples of different kinds of performances –including plays, protests, community-based art projects, and radical performance ensembles. In addition, we will read some of the writing about these performances. For each of these performances we will be asking: What do these projects do, and how? How effective are they are creating change? How important is it to use “efficacy” as a mode of assessing these types of performances? Furthermore, because this course is an R1A course, it will stress the importance of critical reading, writing and analytical skills. Students will gain familiarity with writings on social protest performance, but the primary focus will center on analysis and composition of effective writing. Students should emerge from this class with the ability to read critically, to analyze a variety of writing styles, to craft clear and concise prose, to give constructive feedback on the work of their peers, and to apply modes of performance criticism suited to social protest performance.
Required texts will include:
Augusto Boal, “Theater of the Oppressed;” Jan Cohen-Cruz, “Local Acts: Community-Based Performance in the United States;” Anna Deveare-Smith, “Fires in the Mirror;” David Rossenwasser and Jill Stephen, “Writing Analytically” 5th Edition, and a course reader.
Prerequisite: UC Entry Level Writing Requirement or UC Analytical Writing Placement Exam.

Instructor: Shannon Steen and Kate Duffly, TuTh 11-12:30, 156 Dwinelle, 4 units, CCN 88006.

Theater R1A (section 3) – Introduction to Dramatic Literature – Revolutionary Stages: Brecht & Beyond: We need a type of theatre which not only releases us from feelings, insights and impulses possible within the particular historical field of human relations in which the action takes place, but employs and encourages those thoughts and feelings which help transform the field itself. —Bertolt Brecht, “A Short Organum for the Theatre”.

How might theatre and performance concern themselves with social and political change? Why is performance a privileged and/or progressive aesthetic medium through which to “transform” the realm of the political? This course will perform a sustained investigation of selected plays, poetry, and theoretical musings of Bertolt Brecht, the legendary German playwright/director/poet/theorist. We will seek a nuanced understanding of the dramaturgical innovations and political motivations behind Brecht’s epic theatre: a theatre of “socially practical significance”; a theatre that aimed to “intervene socially.” We will also examine selected stagings of Brecht’s plays that have aimed to engage (and to challenge) his legacy, both politically and aesthetically. We will concern ourselves with the ever-evolving question: In what ways, if at all, does Brecht continue to serve as a reference point for contemporary radical theatre and performance? Through class discussions, short writing assignments, and longer essays, we will also continue to hone our skills as critical thinkers, critical readers, critical writers, and critical researchers. We will focus extensively on different methods of analyzing performance, crafting persuasive arguments, and forging clear, concise, and engaging prose.
Prerequisite: UC Entry Level Writing Requirement or UC Analytical Writing Placement Exam.

Instructor: Shannon Steen and Brandon Woolf, TuTh 9:30-11, 215 Dwinelle, 4 units, CCN 88009.

Theater R1A (section 4) – Introduction to Dramatic Literature – Documentary Theatre: In her recent talk at UC Berkeley writer-performer-documentarian Anna Deavere-Smith spoke of her approach to theatre as being allowed to “walk in someone else’s words.” Documentary theatre uses the words and experiences of real people and the medium of performance to explore complex social issues. Originally a product of social justice grassroots theatre groups’ attempts to give voice to the experiences of marginalized communities, Documentary Theatre has in the past 30 years exploded onto the world stage. Standing as a challenge to traditional theatrical forms of representation, Documentary Theatre troubles the idea of performing “the real,” by taking it out of the privileged world of the theatre and blending it with the everyday voices of the street. This class will explore various examples of documentary playmaking, the impact that these pieces have on their various audiences, and, in the process, learn how to think and write critically about performance, both on-stage and off. Starting with “verbatim” texts by Deavere-Smith (Twilight: Los Angeles), the Tectonic Theatre Project (the Laramie Project), Emily Mann (Still Life), Jessica Blank and Eric Jensen (The Exonerated), we will question and expand the definition of Documentary Theatre to explore plays with a more interpretive spin such as South Africa’s Handspring Puppet Company’s Ubu and the Truth Commission and David Hare’s Stuff Happens. Finally, we will interrogate the relationship between art and life and the issues that arise when trying to represent others’ experiences.
Prerequisite: UC Entry Level Writing Requirement or UC Analytical Writing Placement Exam.

Instructor: Shannon Steen and April Sizemore-Barber, TuTh 12:30-2, 103 Wheeler, CCN 88012.

Theater R1A (section 6) – Introduction to Dramatic Literature- Performance and Persuasion: Theatrical Agents of Change: This course centers on a single—though undoubtedly complex—question: What do we do to make change happen? Assuming that change is more than just a buzzword, it recasts change from something that simply is to something that must be performed. Framing change as a performance spotlights the purposeful and rehearsed choices change agents make in order to move their audiences toward action. We will begin by developing a vocabulary of theater and applying our knowledge of theatricality to the obvious: the stage production. Simultaneously, we will dissect theatrical work to ask how theater might serve as a catalyst for change. Next, we will view film adaptations of plays to interrogate how visual media at large can serve the purposes of social change. We will turn to the genre of documentary drama, examining how theater artists have used oral histories and primary sources to begin blurring art and real life, entertainment and activism. Finally, we will break through the walls of theater and find theatricality in the everyday and elsewhere. How, for example, can we use theater as a lens to view court trials, protests, tourist sites, or campaigns? In what ways do theater and performance provide a privileged language to talk about how change happens both culturally and politically, whether in theaters or not? Throughout the semester, we will synthesize these sites and investigations by engaging in various writing activities and projects, operating with the mindset that well-crafted arguments become change agents unto themselves.
Prerequisite: UC Entry Level Writing Requirement or UC Analytical Writing Placement Exam.

Instructor: Shannon Steen and Godfrey Plata, TuTh 11-12:30, 109 Wheeler, 4 units, CCN 88018.

Theater R1A (section 7) – Introduction to Dramatic Literature – Transnational Feminism(s) and Performance: In this course, we will consider the intersection of three key terms: “transnational,” “feminist,” and “performance.” We will examine key texts, performances, popular culture events/artifacts and films that confront the overlapping themes of these areas of inquiry. Recognizing that these terms have very specific genealogies, how does a contestation of their intersectionalities provide a context for the formation of the (transnational) feminist critic in an era of globalization and mass migration? We will investigate how bodies travel, perform and are understood in national, diasporic, and global media contexts through lenses of gender, race, ethnicity, class, sexuality, religion and (dis)ability. How can we push against easy assumptions of feminism as a “universal” concept, and rather seek to understand the multiple investments of gendered bodies and causes, especially when deployed in transnational space and/or claimed for “feminism” among other political designations? Working outwards from our perspective as residents/citizens of the United States, the texts, performances, and films chosen for this class will be unable to represent the breadth of feminist or woman-centered performance globally. Therefore, this class will examine material that emanated within or had a huge impact within the U.S. We will engage with these areas of discourse through an examination of scholarly writing and style that develops our practice as writers and critics. Work in this class will range from traditional writing assignments based on style, crafting a thesis, formulating a research question, proper citation practice, etc. to creative writing and performance-based exercises. You will be expected to produce weekly writing assignments as well as full-length papers. Topics/texts covered will include: the representation of Islamic/Middle-Eastern women in the U.S. and abroad post 9/11 (Heather Raffo’s Nine Parts of Desire); debates around the voices of women of color in feminist criticism (This Bridge Called My Back, edited by Cherrié Moraga and Gloria Anzaldúa); the transnational reception and success of films such as Bend it Like Beckham, Fire and Persepolis; The Vagina Monologues and framing “women’s issues”-centered activism in an international context; as well as gender, race and agency in transnational media cultures (Gwen Stefani, the Harajuku Girls, and their fashion/creative industry).
Prerequisite: UC Entry Level Writing Requirement or UC Analytical Writing Placement Exam.

Instructor: Shannon Steen and Charlotte McIvor, TuTh 3:30-5, 283 Dwinelle, 4 units, CCN 88021.

Theater R1B – Introduction to Dramatic Literature – Art Against the Current: Politics of Mobility and Migration in Europe: The ‘New Europe’ in the post-cold war era is continuously being reconfigured by contingent acts of mobility and fixation. Europe has undergone some of the most important changes in its history in the opening years of the 21st century: the addition of ten ‘post-socialist’ countries into the EU, ongoing accession process of countries like Turkey and Croatia, increasing visibility of Euro Islam, and new waves of migration with new points of departure and arrival. These transformations are further intensified by an increasingly global world characterized by the expanding dominance of late capitalist structures and service industry, the weakening of national borders, and the fast spread of communication and information technologies. From the early days of the European Common Market to today’s EU, treaties succeeded each other in adopting measures to increase the movement of goods, capital, services and people across European borders. However, the EU’s discourse of freedom of movement, harmonization, unity in diversity, and openness has gone hand in hand with the increasing reinforcement of border policing and identity checks; as well as with the intense contestation, anxiety and debate around immigration. Against this backdrop, an increasing body of artistic projects has concerned contemporary European mobilities and immobilities as entangled with the wider questions of space, place and identity. In this class, we will investigate contemporary art works and films which concern issues of transnational capital and disenfranchised labor, gender, ethnic and cultural difference, border fortifications, mobility infrastructures, and forced or voluntary migration within and beyond shifting European borders. We will look at works of Esra Ersen, Ursula Biemann, Angela Melitopoulos, Kutlug Ataman, Fatih Akin, and Ayse Polat, among others. We will explore questions such as: How have complex mobilities been negotiated and critiqued through artistic practice? How do contemporary artistic practices respond to the geopolitical changes, reconfiguration of national and transnational borders and hardening immigration policies in Europe? Furthermore, building on the critical thinking and writing skills introduced in R1A, our objective will be to develop effective strategies for conducting research and using secondary sources in constructing an argument.
Prerequisites: R1A or its equivalent.

Instructor: Shannon Steen and Nilgun Bayraktar, MW 4-5:30, 206 Dwinelle, 4 units, CCN 88024.

Theater 10 – Introduction to Acting: This course is a gateway class to the more advanced acting sequence. It is a theory and performance course which provides an overview of the actor’s creative process. Fundamental acting techniques are presented in conjunction with exercises, improvisation, and text work designed to enhance concentration, imagination, vocal resonance and projection as well as self confidence and communication skills. 3 units, audition required, CCN provided after audition.

For audition information, look under Theater, Dance, and Performance Studies in the Schedule of Classes for Fall 2009.

Instructors: Kelly Rafferty, Marc Boucai, Chris Herold.
GSI Supervisor: Martin Berman
Section 1: MWF 9-11, Durham Studio
Section 3: MWF 12-2, 317 Zellerbach
Section 4: MWF 2-4, 7 Zellerbach

Theater 11 – Scene Study and Characterization: In this course the emphasis of the students’ studies shifts from the development of basic skills to the development of skills necessary to the character actor. Whereas Theater 10 students are required to develop and perform characters who are close to themselves in age and background, Theater 11 students are encouraged to stretch their abilities into the development of characterizations which lie outside their personal experience. Students continue to employ the basic acting and vocal techniques introduced in Theater 10. Audition required, CCN provided after audition. 3 units

For audition information, look under Theater, Dance, and Performance Studies in the Schedule of Classes for Fall 2009.

Section 1: MWF 2-4, 317 Zellerbach
Section 2: MWF 10-12, 7 Zellerbach
Instructors: Christopher Herold, Scott Wallin
GSI Supervisor: Martin Berman

Theater 24 – Freshman Seminar – Documentary Playmaking: School Integration, Little Rock, 1957-58: On the fateful morning of September 4, 1957, a small group of African-American students walked up to the doors of Central High, Little Rock, to enroll in school — and were turned away by the armed National Guard. Arkansas State Governor Faubus had called out the Guard to surround the building. “Blood will run in the streets,” said Faubus, “if Negro pupils should attempt to enter Central High School.” A racist mob seethed out front. Eventually the courageous group of children did enter. The first of them graduated in the spring of 1958. They came to be known as The Little Rock Nine; Central High as the first major integrated high school in the South. Nowadays many people regard their mentor, Daisy Bates, on a level with Martin Luther King, Jr. Each student in our Freshman Seminar will select a person who participated in the integration of Central High, study historical documents linked with that individual, and develop a monologue in the role of the person, perhaps as one of the Little Rock Nine or as the Governor or as the principal of Central High. We will encourage each student to experiment with a role different from his or her own gender and cultural background.
This seminar will meet for 8 weeks beginning September 14 and ending November 2.
Professor Dunbar H. Ogden has just published a book, entitled My Father Said Yes, about the integration crisis at Central High School, Little Rock. He has developed this civil rights book in conjunction with students in his Freshman Seminars since 2000. Professor Ogden has books on actors, set design, and theatrical space.

Instructor: Dunbar H. Ogden, Mon 2-4, 8 Zellerbach, 1 unit, P/NP, CCN 88048.

Theater 26 – Introduction to Performance Studies: What is performance? In the Arts? In the social world? Do people only perform when they are onstage, or do they perform in everyday life as well? Under what circumstances do they do so? What do we mean when we say that a stock portfolio or an automobile performs well? How does one go about analyzing a performance, onstage or off?
This course serves as an introduction to the fundamental concepts and practices of the contemporary study of performance. Together, we will explore a range of methods for discussing, analyzing, and understanding performance—methods drawn from anthropology and ethnography, from the theory of dance and theater, from literary and cultural theory. Through these methods, we will examine the ways performance negotiates a range of boundaries, between performers and audiences, among identities, and across the frontiers of global cultures. Throughout the semester, we will read performance and theoretical texts, view live and recorded performance, all while learning about and applying these theoretical concepts.

Instructor: Shannon Steen, TuTh 12:30-2, 110 Barrows, 4 units, CCN 88051.
Enroll in one discussion section:
101: Th 3-4, 205 Dwinelle, CCN 88054
102: Th 4-5, 205 Dwinelle, CCN 88057
GSI: Michelle Baron

Theater 40A – Beginning Modern Dance Technique: This course introduces students to the elementary principles, concepts and practices found within contemporary/modern dance. The course will immerse students in an engaging, challenging and kinesthetic dance experience that will focus on improving flexibility, strength, alignment, coordination, and muscular endurance. Students will also be exposed to: basic musical structures, phrasing of dance sequences, and modes of improvisation. The primary goal of this course is to expose students to dance as art form and to inspire future study of dance.
This is the first level of modern dance technique taught in a four-level sequence. Attendance is required. There is an audition on the first day of class. No special preparation is required for the audition. Footless tights, leotards, or fitted gym clothes are suggested attire.

Instructor: Lisa Wymore, MWF 3-5, 2401 Bancroft, 2 units, CCN 88060.

Theater 52AC – Reflections of Gender, Culture and Ethnicity in American Dance: Working with the premise that the context, content and form of any dance event serve as a window on culture, we focus on dance associated with at least three of the following groups: African Americans, Asian Americans, Indigenous Peoples of the United States, Chicano/Latinos and European Americans. We will look at traditional dance events as well as transcultural currents in American Dance.

Instructor: Jenefer Johnson, TuTh 12:30-2, 3 LeConte, 3 units, CCN 88063.

Theater 60 – Stagecraft: This is an introductory course focusing on various technical aspects of theatrical production. Course ranges from theatrical conception to actual performance and includes emphasis on safety, collaborative process, shop tools, set construction, lighting, rigging, costumes, props and scenic treatments. Course involves a laboratory dimension: students will work on departmental productions in Zellerbach Playhouse, 7 Zellerbach or Durham Studio Theatre. ATTENDANCE TO THE FIRST CLASS ORIENTATION IS MANDATORY AND THE CLASS WILL BE CLOSED AFTER THE FIRST MEETING DATE.

Instructor: Chris Killion, MW 12-1, Zellerbach Playhouse, 3 units, CCN 88066.

Theater 110A – Intermediate Acting: The first five weeks of the semester are a review of the material learned in the first year, culminating in a 5-7 minute modern realistic scene. This review provides all continuing and transfer students with a common base and vocabulary. The next ten weeks are devoted to plays from the turn of the century by Chekhov, Ibsen, Shaw, Strindberg, and Wilde. Students perform one 2-3 minute monologue and one 5-7 minute scene.

Instructors: Marty Berman and Deborah Sussel, TuTh 9:30-12:30, 413 and 7 Zellerbach, 3 units. Audition required, CCN provided after audition.

For audition information, look under Theater, Dance, and Performance Studies in the Schedule of Classes for Fall 2009.

Theater 111 – Advanced Acting: This is the final acting class in the progression which begins with Theater 10. The instructor works individually with students to stretch and strengthen basic acting, voice, movement, speech, and style techniques. Students also develop audition material and resumes and practice audition and rehearsal techniques.
Theater 111 must be taken for a letter grade and attendance is mandatory.

Instructor: Lura Dolas, TuTh 9:30-12:30, Durham Studio, 3 units. Audition required, CCN provided after audition.

For audition information, look under Theater, Dance, and Performance Studies in the Schedule of Classes for Fall 2009.

Theater 119 – Performance Theory: Asian/American Performance Across Media: This course will examine Asian and Asian American performance from a variety of perspectives. Topics will include: traditional Asian theatrical styles, Asian actors and Asian characters (who have not always been portrayed by Asian actors) in Hollywood and European cinema and television, the similarities and differences between Asian and Western performance and narrative methods, “Techno-Orientalism” (the tendency of both Hollywood and Asian films to equate Asianness with hi-tech futurism), and Asian performance in digital genres such as DJ’ing and video gaming.

Instructor: Gail De Kosnik, TuTh 12:30-2, 122 Wheeler, 4 units, CCN 88102.
Also listed as NWMEDIA 190, section 1.

Theater 122 – African Theater and Performance (Performance and Culture): Playwrights and performers throughout Africa have responded very differently to the tumultuous social changes wrought by colonialism and its aftermath. Some have used European languages to engage Western ideologies and literary conventions in a dialogue with African knowledge systems and oral traditions. Other artists perform exclusively in African languages while freely appropriating Western theatre conventions such as proscenium staging. Using source materials that are neither “traditional” nor “modern,” “African” nor “European,” but a complex amalgamation of influences, African performances defy these limited but nevertheless tenacious dichotomies. This course will examine a range of African performance forms, including theatre, dance, music, oral traditions, storytelling, masquerading, and ritual. No prior knowledge of Africa is required.

Instructor: Catherine Cole, TuTh 2-3:30, 182 Dwinelle, 4 units, CCN 88105.

Theater 125 – Performance and History – Discipline, Sex and the Dancing Body: Ballet from the Renaissance through the Nineteenth Century: In this class we explore ballet from its early incarnation as European political ritual through its development as professional theater. In addition to comparing and interpreting extant historical texts we will analyze and contextualize twentieth and twenty-first century reimaginings/reconstructions of period works– including popular ballets such as Coppelia, Giselle, Swan Lake and Sleeping Beauty. Course requirements: Attendance at all class meetings; regular reading and video viewing; one analytical essay; one midterm; and a cumulative final exam.

Instructor: Jenefer Johnson, TuTh 3:30-5, 109 Dwinelle, 4 units, CCN 88108.

Theater 125 (section 2) – Performance and History – Performing History: A Survey of the Intersections of History and Performance: From HBO’s John Adams to Colonial Williamsburg’s re-enactments, Ron Howard’s Frost/Nixon or Spielberg’s Amistad to contemporary people learning the dances of Jane Austen’s era, this course examines the different processes historians and artists employ to present history to the public, and the ethics and efficacy of these performances. “Performance” in this course extends from the “traditional” (i.e. theatre, film, and television) to the non-traditional (i.e. first person interpretation in living history museums, pageantry, the digital and philosophies of history as a performance itself). At the juncture of theory and practice, this course aims to make students well-versed in critically studying and practicing historical performances. In addition to readings, students will watch and/or interact with various performances including but not limited to the examples previously mentioned. Each session will feature a discussion of the critical readings and a practical element (e.g. analyzing performances, trying specific performance techniques, etc.). For final projects, students will have the option of either: (1) submitting a 10-15 pg. research paper addressing the ethics and efficacy of a historical performance; or (2) devising a historical performance based on primary research.
Grading:
* Final Projects (50% total, including Final Paper/Project Proposal)
* In-class presentation on reading (10%)
* Two-page response papers to a set of critical readings and performance analysis of student’s choice per section (i.e. 1 paper for Section I: Theories at Work; 1 paper for Section II: Embodied History, etc.) (10 %)
* Class discussion and attendance (30%)

Instructor: Amma Ghartey-Tagoe, TuTh 2-3:30, 243 Dwinelle Hall, 4 units, CCN 88109.

Theater 126 – Performance Literature – Russian Drama: Text and Performance: The course is devoted to major works of Russian dramatic literature of the 19th-20th centuries and their stage representations. Its dual focus will be on contemporary implications of dramatic texts and on their theatrical life in and through time, in various historical, political, and national frameworks. We will read ten plays central to the Russian literary and dramatic tradition and also associated with the idea of the Russian theater in the West. The course will address their contemporary historical and cultural subtexts, thematic and conceptual properties, and formal idiom. We will then follow stage history of these dramatic texts and discuss most significant interpretations of Russian classics by leading artists of the 20th century theater and film.
The course will include plays by Nikolai Gogol, Ivan Turgenev, Anton Chekhov, Vladimir Mayakovsky, as well as some of the most recent work of Russian playwrights; and discuss the work of such directors as Konstantin Stanislavsky, Vsevolod Meyerhold, Aleksandr Tairov, as well as important Western interpretations of Russian drama.
No prerequisites. All readings are in English.

Instructor: Anna Muza, MW 4-5:30, 123 Wheeler, 4 units, CCN 88110.
Also listed as Slavic 140.

Theater 141A – Intermediate Modern Dance Technique: This course is designed for students with some dance experience who are ready to refine their skills and accept new kinesthetic challenges. The primary goal of this course is to teach students how to practice dance and how to improve their dance skills. Students will be exposed to movement styles of the African Diaspora (i.e. Hip Hop, Afro Cuban, Afro Brazilian, Capoeira), and learn how these forms are connected to contemporary/modern dance. Students will not only continue developing their basic dance skills they will be asked to expand their movement vocabulary, work with different musical structures and tempos, develop more articulation and differentiation of body patterns, and continue to be exposed to basic improvisational structures and basic partnering.
This is the second level modern dance technique taught in a four-level sequence. Enrollment is decided by audition on the first day of class. The prerequisite for this course is Beginning Modern Dance Technique, 40A or 40B, or by audition.

Instructor: Amara Tabor Smith, MWF 1-3, 2401 Bancroft, 2 units, CCN 88111.

Theater 142A – Modern Dance Technique Advanced I: The primary goal of this course is to teach students how to use the training they received in Beginning (40A/B) and Intermediate (141A/B) Modern Dance Technique to transcend pure technical knowledge and become more fully realized dancers. To this end students will be asked to: learn longer dance combinations, dance with confidence and commitment, learn more complex floor patterns and rhythmic structures, learn through peer feedback, contribute compositional ideas to the class, and experience dance as performance. Students will continue to be exposed to dance improvisation and basic partnering.
This is the third level of modern dance technique taught in a four-level sequence. Enrollment is decided by audition on the first day of class. The prerequisite for this course is Intermediate Modern Dance Technique, 141A or 141B, or by audition.
Instructor: Felipe Barrueto Cabello, MWF 9-11, 2401 Bancroft, 2 units, CCN 88114.

Theater 143A – Modern Dance Technique Advanced II: This is a daily course that meets for 1 1/2 hours. Attendance is required. The main goal of this course is to teach students how to integrate the skills and techniques learned in Beginning (40A/B), Intermediate (141A/B), and Advanced 1 (142A/B) Modern Dance Technique classes. I In order to take this course students are expected to demonstrate a sophisticated understanding of the underlying supportive techniques necessary to perform highly physical and technical dancing. Students will be asked to: imbue movement with their own particular nuance and feeling, investigate the depth and range of movement, be responsible for making decisions about movement phrasing, be fully present in the moment of movement and dance with full-bodied dynamic range. Extensive floor work, partnering, and choreographic structures will be utilized within this technique level.
This is the fourth level of modern dance technique taught in a four-level sequence. Enrollment is decided by audition on the first day of class. The prerequisite for this course is Advanced 1 Modern Dance Technique, 142A or 142B, or by audition.

Instructors: Jessica Swanson and Kathleen Hermesdorf, MTWThF 11-12:30, 2401 Bancroft, 2units, CCN 88117.

Theater 144 – Sources of Movement: This course introduces students to basic underlying sources and techniques necessary for creating dance choreography. It is open to non-majors and can be used to satisfy a pre-requisite for 146A (Choreography). The curriculum consists of assignments that explore various processes for sourcing movement – whether that seed source comes from within the body/psyche or whether that source originates from without. In either case, the student will be creating movement and developing conceptual ideas into choreographic statements. Fundamental to this class is the notion that the body moves through space in dynamic ways – constantly changing patterns and shapes in relationship to the environment, community and culture. It is a chance to begin to locate one’s own personal movement style. There are no prerequisites for this class. Admission to this course is by consent of instructor.

Instructor: Peggy Hackney, TuTh 9-11, 2401 Bancroft, 3 units, CCN 88120.

Theater 146B – Choreography: This course is designed for students interested in expanding their understanding of choreography. Students will be encouraged to draw upon tools found within experimental dance theater, and other choreographic practices, to explore new modes of choreographic expression. Utilizing processes that include questioning and investigating movement possibilities, students will be expected to create choreographic studies that demonstrate an understanding of complex compositional strategies. It is required that students show their final choreographic works, created within the course in the Fall Choreography Workshop Production which is held at the end of the semester on December 4, 2009. Admission to this course is by consent of instructor only.

Instructor: Joe Goode, TuTh 3-6, 2401 Bancroft, 1-3 variable units, CCN 88123.

Theater 162 – Fundamentals of Stage Directing: This course introduces students to the basic skills required of stage directors and trains them in their use. Emphasis will be placed upon script analysis and dramaturgy, communicating with actors and guiding them to effective choices and performances, use of space, and developing a concept. These topics will be examined through a combination of in-class scene work and critiques, readings, viewing plays, and conversations with visiting artists. Requirements will include directing and acting in scenes for the class, reading plays and essays, contributing to discussions, and brief weekly written critiques of a scene, reading, or play. Some degree of classroom training as an actor is usually considered a prerequisite for Theater 162. Students MUST attend the first class meeting for admission into the course. Course control number released by instructor upon admission.
Instructor: Peter Glazer, TuTh 1-3, 7 Zellerbach, 3 units.

Theater 166 (section 1) – Special Topics – Interactive Theater: Acting for Social Change: This course deals with the theory and practice of social justice theater, exploring complex issues around race, class, sexuality, ability, and status. Through acting training, research, improvisation, process arts, and diversity work, students will bring scripts to life that tell the story of UCB’s campus climate — rehearsal for 8 weeks and then into performance on campus for 8 weeks in an interactive theater workshop and training model. Creating an interactive theater ensemble in service to the greater UCB campus is the ultimate goal for this work. Participants will learn more about theater and its inherent potential for activism, community education, and transformational change work. Auditions for course entry will be held the first day of the semester and CCN’s released at that point. This course is unique in that undergraduates, graduates, staff, faculty, and administration are all welcome to become a part of this acting company for social change project. Students may repeat this course. In addition to actors, people interested in stage management and facilitation skills are also welcome to take this course.
Instructor: Michael Mansfield, MW 4-6, 170 Zellerbach, 4 units, CCN 88129.

Theater 166 (section 3) – Special Topics Video Production for Performance: Though a series of exercise video shoots students learn the fundamentals of video production, including basic optics, camera angles and movement, sound recording, and editing. With an additional emphasis on concept and planning, students prepare for and execute a sustained video project, either the documentation of a staged performance or the generation of a freestanding video program.
Instructor: Kwame Braun, MW 11-1, 413 Zellerbach, 3 units, CCN 88135.

Theater 166 (section 5) – Special Topics Contemporary Song-Based Performance Art: This one-credit course is an introduction to contemporary performers incorporating movement, theater, video, and other media into work that orients primarily around songwriting and/or adaptation of lyrical popular and traditional song. The class will view and discuss video of contemporary artists working in the field who explore song-based performance in venues not strictly geared towards music: theaters, performance art presenters, national and international festival circuits, etc. The course will explore both the artistic impulses moving musical artists out of music venues as well as the shift in creative possibilities, audience experience and performance expectation implicit with the shift in context. Some of the contemporary artists to be included are Cynthia Hopkins, John Kelly, Anna Oxygen, Corey Dargel, Holcombe Waller, Faith Helma, Neil Medlyn, Larry Krone, Reggie Watts, and others. We will also reference significant artists who have laid the groundwork for these artists, including Meredith Monk and Laurie Anderson, as well as various traditional forms of song-based storytelling and ritual. Weekly reading will serve as a lens for discussing these contemporary working artists.
Visiting Artist: Holcombe Waller
Instructor of Record: Joe Goode, 6 class sessions only, F 1-3:30p, September 11, 18, 25, October 2, 16, 23, Dwinelle Annex 126, 1 unit, CCN 88140.

Theater 167 – Technical Theater: Performance Practice: Hours to be arranged. Participation in technical theater practice associated with department theater and dance productions to include technical run crew for live performance in one of: lighting, sound, video, properties, costumes, make-up, scenery, deck, rail.
Instructor: Kate Mattson, 1-3 variable units.

Theater 168 – Technical Theater: Shop Practice: Hours to be arranged. Participation in technical theater practice associated with department theater and dance productions to include workshop activities (fabrication, treatment, and installation) in one or more of: costume, hair, make-up, scenery, properties, lighting, video, and sound for live performance.
Instructor: Kate Mattson, 1-3 variable units.

Theater 169 – Advanced Technical Theater Practice: Hours to be arranged. Participation in advanced technical theater practice associated with department theater and dance production to include lead, head, or coordinator position with technical run crew for live performance in one of: lighting, sound, video, properties, costumes, make-up, scenery, deck, rail or advanced application of workshop activities (fabrication, treatment, and installation) in one or more of: costume, hair, make-up, scenery, properties, lighting, video, and sound for live performance. Intended for a student who has completed introductory level application of theater practice and is training in advanced techniques and applications and/or assuming additional responsibilities in relation to production.
Instructor: Kate Mattson, 1-3 variable units.

Theater 170 – Theater Laboratory: Non-performing participation in the University Theatre to include: crew assistance in lighting, sound, properties, costumes, make-up, backstage; technical assistance in scene or costume shop. Instructor: Kate Mattson, 1-3 variable units, P/NP. Course control number will be released to students by instructor once the two have met and discussed laboratory assignment. Visit instructor during office hours.

Theater 171 – Theater Performance: Practice in acting and/or dance in departmental productions (directed or choreographed by an undergraduate) in Durham Studio or 7 Zellerbach (Black Box). See director or stage manager of production you are cast in for more information. 1-3 variable units, P/NP.

Theater 172 – Advanced Production Study – Stage Management: This course is a practical introduction to the theory and execution of stage management for the theater. One major production assignment on a departmental production is required. There will be special emphasis on production organization and problem solving in connection with the production assignment dimension of the course.
Instructor: Kate Mattson, MW 9:30-11, 126 Dwinelle Annex, 3-4 variable units, CCN 88165.

Theater 173A – Scenography: Scenic Design for the Theater: The fundamentals of theatrical set design are explored through projects involving sketches, drafting, and models. Strong visual design begins with textual analysis, research, and collaboration, and culminates in the creation of a lively, and visually engaging, scenic environment. This course combines lectures, discussion and studio work. Although previous studio art training is helpful, all students are welcome. The student provides his/her own materials.
Instructor: Melpomene Katakalos, TuTh 10-12, D37 Hearst Field Annex, 3 units, CCN 88171.

Theater 174A – Scenography: Costume Design for the Theater:
This introductory course teaches some fundamentals of costume design for the stage. The course approaches theater design as an integration of all the performative tools – text, visuals, sound, etc, with particular focus on the scenographic role of the performer.
Students will be given some basic tools allowing them to conceptualize, communicate and realize costumes.
Individual aesthetic development will be encouraged. Previous art training is helpful, but not a prerequisite – all students are welcome.
Creative work and assessments will often be collaborative, reflecting the costume designer’s process.
We will look at how to analyze, conceptualize and communicate character using the theme of The Seven Deadly Sins.
We will focus on short, contemporary playtexts as we analyze how the costume designer can support and broaden the concepts of a developing production. Period clothing and historical research will be addressed as individual portfolios of costume designs are created for a classic play or opera.
Instructor: Smart, TuTh 11-12:30, 8 Zellerbach, 3 units, CCN 88174.

Theater 175A – Scenography: Lighting Design for the Theater: This course will introduce you to the tools, terms, and techniques of stage lighting. Lectures cover explanations of lighting concepts and equipment. Working as part of a production crew will demonstrate those tools, terms, and techniques in their applications on stage. The goal of the course is to equip you with the skills needed to be an active participant in the production process while providing you with a background in the methods and materials of stage lighting as a foundation for the study of stage lighting design.
Instructor: David K. H. Elliott, TuTh 11-12:30, 130 Zellerbach, 4 units, CCN 88177.

Theater 176 – Applied Theatrical Design: Students of lighting design are provided experience, structure, and support in the practical application of design to the stage in departmental productions. Contact instructor for information about participation and course control numbers.

Instructor: David K. H. Elliott, 1-3 variable units.

Theater 179 – Supervised Theatrical Design: Students are trained in the working methods of set or costume design; supervised preparation and implementation of designs in the department’s production season, from initial discussions through opening night. Contact instructor for information about participation and course control numbers.

Instructors: Staff, 1-3 variable units.

Theater 180 – Theatrical Realization of Dance: This class is designed for students who are seriously interested in dance performance. There are two sections of the course: 180.1 involves working with Lisa Wymore on a new dance theater piece which will be performed in the Berkeley Dance Project in spring 2010. The second section 180.2 involves working with a guest choreographer, to be decided. Those cast in 180.2 will also perform in the Berkeley Dance Project in spring 2010. It is required that students enroll in 180.1 and/or 180.2 in the spring term as well to account for the production aspect of the course. Audition is required: date to be announced. Please note that this course will begin regular meeting times on October 19, 2009, after the conclusion of the Joe Goode Main Stage Production (Theater 181).

Instructor: Lisa Wymore (section 1), MW 6-9, 2401 Bancroft, .5-3 variable units.
Instructor: Peggy Hackney (section 2)

Theater 181 – Theatrical Realization of Dramatic Texts: This course involves working with choreographer Joe Goode on a new dance theater piece, which will be created with the students enrolled in the class. The lectures are based on the analysis and processing of the work being presented. Laboratory hours are spent in attendance at rehearsal, coaching sessions, and the performance of the play or concert. The performance takes place October 9-18, 2009. Audition is required: date to be announced.

Instructor: Joe Goode, time and space to be announced, 1-4 variable units.

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COURSES OFFERED OUTSIDE OF THE DEPT. OF THEATER, DANCE, AND PERFORMANCE STUDIES WHICH MAY BE OF INTEREST TO THEATER AND DANCE MAJORS, MINORS AND Ph.D STUDENTS IN PERFORMANCE STUDIES:
TBA.