Theatre (THEA)

An exploration of significant questions and integrative concepts in Theatre, their grounding in the process of scientific discovery and application, and their broader relevance to society. Designed for first-year students. Although topics vary, the courses also seek to improve students’ communication skills beyond the written word.

An exploration of a specific topic in Theatre. A grade of C- or better fulfills the COLL 150 requirement. Although topics vary, the courses emphasize academic writing skills, reading and analysis of texts, and discussion.

Participation in various aspects of William and Mary Theatre’s production program, including acting, directing, technical or orchestral pit assignments; 50 hour minimum per production. Maximum of 4 credits may be applied to the 120 credit graduation requirement. Instructor permission and course contract required.

This course offers both atheoretical and practical introduction to theatre. We will be thinking about what theatre is and can be, what it means for those who make it (audiences and practitioners alike) and how it gets made. Analysis of different approaches to theatre, including classical models of dramaturgy, realisms, through to postmodern experiments with form, devising from non-dramatic sources, performance art and community-engaged theatre, accompanies practical applications of playwriting, acting and performance, scenography, theatrical criticism. Each section includes some shared topics as well as distinct topics relating to the area of expertise of the instructor. Students will engage in 3 hours of lecture weekly, in addition to completion of lab hours in production roles either for WMTP mainstage or as part of an independent or class project (approximately 50 hours).

Practical immersion in the collaborative process of theatre production through work on preparation crews, running crews, costume crews, and/or box office. Students complete a minimum of 50 hours as a member of one or more crews for the mainstage theatre and dance productions.

An introduction to the art and craft of acting. Development of vocal, physical, and improvisational skills through active exercises, play readings, and a rigorous approach to scene and character analysis for individuals and small groups.

Study of scene-painting techniques and an introduction to basic equipment, supplies, color-mixing, color theory and methods of application. Students prepare exercises and function as scene painters for William and Mary Theatre productions. An additional course fee is required for this class.

Study and practice in technical problems, working drawings, construction, rigging, and handling of scenery, properties and backstage organization. Students act as scenic technicians for William and Mary Theatre productions. Lecture and workshop six hours. Workshop is the practical application of skills learned in the lecture as demonstrated through construction elements of W&M Theatre productions.

Basic principles of makeup for theatre, television and other performance arts; a varied series of projects to develop individual skills and an awareness of how the actor enhances his "living mask" to create imaginative characterizations. Production involvement required.

This course is an introduction to the art of theatrical combat for stage and screen.  This course provides a foundation for unarmed stage and screen combat as well as an academic introduction to theatrical weaponry.

Methods and materials of stage lighting, with emphasis on the study of the functions and qualities of light, instruments, control equipment, and procedure. Students act as technicians for William and Mary Theatre productions.

This is an introductory course in musical theatre history and performance for students entertaining their first experience with acting and singing, or, for those who wish to expand on their previous high school training. The course deals with the exploration and study of musical theatre perform ers, literature and history through video and recordings, and preparation of musical theatre repertoire for the audition process. Some previous singing or acting experience is suggested.

This course will address how popular screen "embodiments" of women visualize ideologies of discipline and desire. In a culture in which her body has become a representation of the ability to control appetites, size and shape, its rehabilitation has become a project of endless reconstruction, redesign and maintenance. Throughout the course we will draw from feminist film theory, and women's, gender, and cultural studies to explore the intersection of feminism and media culture, and the construction of gender identity.

Through a series of creative projects, students will investigate and respond to the social, cutural, economic and religious attributes of the Camino de Santiago. Offered onsite in Santiago de Compostela.

In-depth exploration of a specific topic in performance studies, with emphasis on performance as an integral element of social and cultural life. Course format may include a mix of lecture, discussion and practice. If there is no duplication of topic, may be repeated for credit.

An introduction to the elements and principles of design and to the methods and materials of visual expression in the theatre.

Concentration on the development of performance skills and the use of the dramatic imagination through character studies and preparation of scenes and monologues from the modern theatre for classroom presentation. Students are urged to allow one semester between acting classes in order to apply theories and training in productions sponsored by the department. An audition may be considered for enrollment if pre-requisites not met.

Study and practice of advanced technical practices through lecture, discussion, research and individual projects. Emphasis is placed on construction, analysis, computer assisted drafting, graphics, material selection, scene shop topography and maintenance, and technical direction.

An introduction to the principles and skills basic to patterning and construction of costume garments and accessories for both period and modern production. Students prepare exercises and function as technicians for the William and Mary Theatre productions.

History of period costume and clothing from Egyptian to 20th century fashion; lecture, research and field trips.

Principles of designing costumes for theatre are presented through lecture, demonstration and discussion. A series of design projects develops skills in research, sketching and rendering.

A comprehensive exploration of the scenic environment associated with contemporary stage design. In addition to script analysis , period research, and graphic presentation, this course places emphasis on sketching, drafting, perspective rendering, and model building.

An introduction to the tools, techniques, and processes of sound and music for the theatre with a series of exercises and discussions on the structure of audio systems, digital audio editing and playback, play analysis, and the creative enhancement of the dramatic environment.

Theory and technique of stage lighting design, with emphasis on artistic choices made through script analysis and understanding of the qualities and functions of lighting. Includes lighting projects reflecting a number of production styles. Students serve as technicians for William and Mary Theatre productions.

This course is a writing workshop which introduces the student to the fundamentals of the dramatic theory and creative process of playwriting. By the end of the course, students will have composed a one-act play.

Discussions, demonstrations, and projects introduce the organizational, technical, and interpersonal skills needed by a theatrical stage manager.

In-depth exploration of a specific topic in theatre history and literature. If there is no duplication of topic, may be repeated for credit.

An examination of representative plays and staging practices, focusing on the Greek, Roman, Medieval, Renaissance, Neoclassical, Restoration, and early 18th-century periods, and including selected non-western theatrical developments such as Noh Theatre and Kathakali.

An examination of representative plays and staging practices, focusing on the late 18th century, the Romantic, Modern, and Postmodern periods, and including selected non-western theatrical developments such as Peking Opera, Malaysian, and African forms.

Readings in contemporary feminist theory (psychoanalytic, materialist, Brechtian, and others) as these pertain to the body onstage, character construction, playwriting, and audience reception. Course also investigates feminist performance art, scripts, and revisionings of the dramatic canon.

This course introduces students to a variety of South Asian performance and theatre traditions, exploring how they worked in the period they were generated and how they are reconfigured in twentieth century revivalist projects and current political, religious, and social usages. Instances of classical, popular, colonial, and political theatrical forms and practices will be studied in their diverse incarnations and socio-cultural contexts. Students will be expected to participate in and lead class discussions, engage in immersive in-class performance activities, write critical response papers, and undertake independent research. 

Students will explore techniques to develop the speaking voice for stage performance, including exercises for release of tension, physical alignment, organic breathing, resonance, and timbre. Students will also study speech sounds through the use of phonetics with the goal of developing clear diction and standardized pronunciations.

This course will examine African-American dramatic literature and performance from its origins in indigenous African theatre through significant periods that conclude with the Civil Rights Movement.

This course will examine African-American dramatic literature and performance beginning with the Black Arts Movement through significant periods that conclude with contemporary manifestations.

This course is an interdisciplinary investigation of playwright, August Wilson and the dramaturgy of his American Century Cycle, a 10-play chronicle of the Black American experience in the 20th century (1904-1997). The American Century Cycle is “a series of . . . passages” as described by Ira Berlin in The Making of African America (2010) into fictionalized elements of a localized Black community that had a significant impact in shaping August Wilson’s politics, spirit, and dramaturgy. Students will consider the extent to which Wilson’s location specific project explores broader concerns in Black communities and archives attributes of African diasporic culture.

This course examines the compositional theory and movement practice necessary to transform a personal experience into an artistic communication.

This course is an introduction to storytelling through movement with content inspired by both personal and societal issues. Students will develop skills through a range of physical theatre techniques. As students develop collaborative projects, they will learn to balance individual impulses within an ensemble, use compositional tools, develop physically-inspired characters, shape their environment, and provide feedback to others. Students will present an overview of one physical theatre approach as well as engage with readings, video viewings, discussions, and written responses.

Theory, history, and techniques of photography as applied to the needs of theatrical production. Emphasis will be placed on close-ups and medium shots in available light, and full stage compositions under theatrical lighting. Students must supply their own digital cameras, which must be able to function in manual mode.

Immersion in the production of a new or already developed full length musical incorporating more advanced and specialized training. Besides the performance of your role in this production, the whole class will be involved in dramaturgy from the period of the musical, and contribute to various technical elements of the workshop production. These may include assistance with sound, properties, lighting, or wardrobe. This process is designed to be as similar as possible to a professional theatre’s Workshop level of production and will involve contributions to staging, choreography, and character development through both dialogue and action.

In-depth engagement with specific forms and practices of performance, ranging from solo performance, theatrical storytelling and group devising to applied community-based theatre. If there is no duplication of topic, may be repeated for credit.

Substantive participation in a major production sponsored by the department and supervised by faculty. The objective is to apply theoretical knowledge to practical in-depth experience.

The course may be repeated twice for credit, but work must be in different production areas each time. Permission of the supervising faculty member is required.

Through research and the preparation of scenes, students will develop techniques for acting in period and nonrealistic plays. Students are urged to allow one semester between acting classes in order to apply theories and training in productions sponsored by the department. An audition might be required for enrollment.

Study and practice in the principles of play analysis, play selection, casting, rehearsal techniques and performance. Special emphasis is placed upon the direction of a one-act play for a studio theatre production.

Independent study on a special problem for the advanced student, arranged on an individual basis with credit according to work done.

The Senior Capstone Project provides students with a scholarly and practical experience that integrates concepts and techniques learned throughout their undergraduate studies and enables them to make original scholarly contributions to their academic disciplines. The Senior Capstone Project must focus on a research problem, theoretical issue, new creative work, or innovative application (i.e., internship-related, design, or technological innovation). The Capstone is commensurate with the expectations of traditional departmental honors theses, senior design projects, and other senior research/inquiry projects intended to prepare students for the rigors of research/inquiry, writing, and scholarly presentation associated with postgraduate professional programs, graduate programs, and careers post-graduation. Capstone projects are typically pursued in the final year, as this is when students have accumulated the knowledge and skills needed to undertake an independent project of this scope. Most students develop a project related to their major, but they may also pursue one in another discipline in which they have sufficient coursework and supervision. Typically involving two semesters of work, the senior capstone is completed by students under the guidance of a faculty member who serves as the capstone supervisor.

This course is concerned with the drama produced in England by Shakespeare and his major contemporaries. Study will seek to foster an historical and theoretical understanding of developments in the theatre of the period and a critical approach to texts. This is a writing intensive course which satisfies one of the writing requirements for the theatre major.

Readings, writings, discussions, and practice in an area of theatrical production or performance. Area of study will vary each time the course is offered.

Readings, writings and discussion on a focused period of theatre history or on an aspect of Dramatic Theory and Criticism. Area of study will vary each time the course is offered.

Students will undertake a major responsibility in a main stage production such as designing scenery, lighting, sound, or costumes, stage managing, technical direction, serving as an assistant director or choreographer, or acting in a major role in a production sponsored by the department and supervised by the faculty. Class work will contain both a research paper and imagery (as appropriate), journal of the production process, and other such documentation as the faculty advisor shall require. Instructor to be assigned based on the student’s area of participation.

Students will conduct scholarly interdisciplinary research related to theatre and performance studies, based in practice, topic-specific fieldwork, literature review and/or archival research. Students will work with faculty researchers as assistants to gain important research skills that cannot be gained through classes, departmental productions, or independent studies. Students may be able to co-author presentations and papers as part of this course. This course focuses on hands- on and collaborative research to generate new knowledge and ways of knowing. Course may be repeated if topic varies. Students may repeat this course for credit but may not count for the THEA major or minor for more than 6 total credits in combination with THEA 411 Independent Studies in Theatre.

Eligible theatre majors a) submit an application for admission to the program in their junior year, b) write an Honors thesis by April 15 of their senior year detailing their scholarly investigation of a selected subject or presenting their ideas on a creative project and c) take a comprehensive oral examination. Consult the chair for eligibility, admission and continuance requirements.

Eligible theatre majors a) submit an application for admission to the program in their junior year, b) write an Honors thesis by April 15 of their senior year detailing their scholarly investigation of a selected subject or presenting their ideas on a creative project and c) take a comprehensive oral examination. Consult the chair for eligibility, admission and continuance requirements.

Qualified students with appropriate course work, usually after their junior year, may receive credit for a structured learning experience in a professional-quality theatre which provides an opportunity to apply and to expand knowledge under expert supervision. This internship must be approved in advance by the theatre faculty; monitored and evaluated by a faculty member. Guidelines available in the department office.