Summer Session I & II

Monday, March 22, 2021

Summer Session I (May 12-June 21)

THEATRST 145S-01 ACTING 
MTuWThF 11:00AM - 12:15PM 
Jeff Storer
Codes: AL; CCI 
SYNCHORNOUS ONLINE 
 
Using the writings of Sarah Ruhl, Qui Nguyen, August Strindberg, Konstantin Stanislavsky, Suzan Lori-Parks, Anna Deavere Smith, Caryl Churchill, Anne Bogart and Jose Rivera students will explore the fundamentals of acting realism through assigned readings, writing prompts, performance exercises, scene study, and text analysis. A balance between weekly reading assignments, writing and performance comprise the work required in this course. Introductions to warm-ups for the voice and movement training of the actor will be included. Theory and text analysis will be studied in their historical context as well as to their contemporary relevance. Acting: Realism will cover the following topics: dramatic action, given circumstances, the actor’s imagination, focus (centers of attention and targets,) the actor’s warm-up, scoring a script: beat/unit/action breakdown, intentions, memory keys, believability and truth in performance.
 
THEATRST 145S-02 ACTING 
MTuTh 12:30PM – 2:35PM 
Avery Glymph 
Codes: AL; CCI 
SYNCHORNOUS ONLINE 
 
Using the writings of Uta Hagen, Georgette Kelly, Brandon Jacobs-Jenkins, Tzachi Zamir, Laura Jacqmin, August Wilson, Howard Korder, Peter Brook and Molly Smith Metzler, students will explore the fundamentals of acting realism through assigned readings, writing prompts, performance exercises, scene study, and text analysis. A balance between weekly reading assignments, writing and performance comprise the work required in this course. Introductions to warm-ups for the voice training of the actor will be included. Theory and text analysis will be studied in their historical context as well as to their contemporary relevance. Acting: Realism will cover the following topics: dramatic action, given circumstances, the actor’s imagination, focus (centers of attention and targets,) the actor’s warm-up, scoring a script: beat/unit/action breakdown, intentions, believability and truth in performance.
 
 
Summer Session II (June 28—August 5) 
 
THEATRST 145S-01 ACTING 
MTuWThF 11:00AM - 12:15PM 
Jeff Storer
Codes: AL; CCI 
SYNCHORNOUS ONLINE 
 
Using the writings of Sarah Ruhl, Qui Nguyen, August Strindberg, Konstantin Stanislavsky, Suzan Lori-Parks, Anna Deavere Smith, Caryl Churchill, Anne Bogart and Jose Rivera students will explore the fundamentals of acting realism through assigned readings, writing prompts, performance exercises, scene study, and text analysis. A balance between weekly reading assignments, writing and performance comprise the work required in this course. Introductions to warm-ups for the voice and movement training of the actor will be included. Theory and text analysis will be studied in their historical context as well as to their contemporary relevance. Acting: Realism will cover the following topics: dramatic action, given circumstances, the actor’s imagination, focus (centers of attention and targets,) the actor’s warm-up, scoring a script: beat/unit/action breakdown, intentions, memory keys, believability and truth in performance.
 
 
THEATRST 290S-5-01 TOPICS IN ARTS MANAGEMENT: CREATING ARTS ACCESS 
Daniel Ellison 
MTuTh 12:30PM - 2:35PM
CL: PUBPOL;DOCST; DANCE: MUSIC 
Codes: ALP; EI: SERVICE LEARNING  
SYNCHORNOUS ONLINE 

This course will focus attention on the opportunities for the arts (theaters, museums, galleries, concert venues, school programs, etc) to increase the participation of persons with disabilities and to include persons with disabilities as part of the discussions for increasing diversity. The course will explore the changing societal values with regards to including access for persons with disabilities, and examine arts access as both an ethical/societal obligation as well as an opportunity. The course will study the various ways in which arts presenters have improved arts access since the passage of the Americans With Disabilities Act (ADA) in 1990, and similar to the concept of "universal design," the course will explore concepts and means of providing universal arts access. The service learning component of the course will include working with local arts organizations or venues (or arts components of broader organizations) to assess their accessibility and assist with developing programs to improve their accessibility. The course is a service-learning course. Students will work with the DADA project – Durham Audio Described Art – a project designed to provide some arts accessibility for people who are blind and very low vision. Students will learn audio description skills and draft and then record audio descriptions of visual art In Durham. This is a service-learning or community-engaged course. Engagement may include direct, project-based, or research-focused service with local/global community partners among other engaged practices. (EI) Requires SL/CE component—see description/synopsis; (ALP) Arts, Literature & Performance