College of Fine Arts

School of Theatre

BACHELOR OF FINE ARTS
Minor Concentration in Theatre
Minor in Dance
BACHELOR OF FINE ARTS PROGRAM
Freshman Core Performance Curriculum
Acting
Design (Scenery, Costumes, Lighting, and Sound)
Production (Technical Direction, Costume Production)
Stage Management
Theatre Arts
Conditions of Study
Transfer Students
Professional Review
Liberal Arts Distribution Guidelines
BACHELOR OF FINE ARTS PROGRAMS OF STUDY
COURSES IN THEATRE
Acting
Stagecraft
General Design
Production
Management
Crafts
Graphics
Research
General Designed Production Courses
Theatre Arts
History, Literature, and Criticism
General Courses
Dance
Performance Courses for the BU Community (Non-Theatre Majors)
Additional Courses Open to the BU Community
FACULTY

theatre@bu.edu

Jim Petosa, BA, MA, Director

Roger Meeker, BA, Associate Director, Design and Technical Production

Paolo DiFabio, BS, Assistant Director, Performance

Michael Kaye, BFA, MFA, Director, Theatre Institute

Elizabeth Mazar, BA, MS, Assistant to the Director

Tim Spears, BFA, Production Manager

Jane Casamajor, BS, Design and Production Coordinator

BACHELOR OF FINE ARTS

Performance Core

Acting

Theatre Arts

Design/Production Core

Design: Scenery, Costume, Lighting, Sound Production: Technical Direction, Costume Production

Stage Management

The School of Theatre is a conservatory for professional theatre training of the highest caliber. The School’s programs of study encourage the growth of vivid and adept theatre artists, and its students develop the technique, imagination, and maturity necessary to sustain significant careers in the theatre and related media.

To prepare students thoroughly for substantive artistic and commercial careers, the Theatre class schedule, production regimen, and professional review are rigorous. Central to this conservatory training is extensive practical experience. Learning nurtured in the classroom and the studio is mastered in the excitement of public performance. The School of Theatre produces a number of fully mounted productions each season in the flexible black box Theatre 210, in the elegant proscenium mainstage of the Boston University Theatre, and at Wimberly Theatre at the Boston Center for the Arts. An additional 35 to 40 workshop projects produced in the informal classroom theatres at the College of Fine Arts offer intimate and experimental performance experiences. The Design and Technical Production programs supplement their Theatre Arts production activities by designing and producing two operas for the Opera Institute on the Boston University Theatre mainstage.

The Huntington Theatre Company has served as the professional theatre-in-residence at Boston University since 1982. The company mounts productions of five plays each season, attracting performers and other artists from around the world. Presenting an annual season of classic and superior contemporary plays, the Huntington richly supplements Theatre training. The professional company shares the Boston University Theatre stage, shops, and equipment, and the productions of both organizations alternate in repertory. The School’s relationship with the Huntington Theatre Company allows students an excellent vantage point from which to observe the inner workings of a major regional theatre.

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Minor Concentration in Theatre

The minor concentration in theatre is designed for College of Arts & Sciences, College of Communication, and School of Management students who want a general introduction to theatrical performance, production, design, management, and dramatic literature.

Required Courses

The program consists of a 26-credit sequence of theatre arts courses designed to provide students with a balanced and diverse theatre experience. The minor concentration follows a sequence of a 6.0-credit theatre core, a 7.0-credit dramatic literature core, and 13.0 credits of theatre electives. Students will choose a path of study depending on their own desire to explore the disciplines of performance, dramatic literature, or production/design.

Theatre Core: 6.0 cr

CFA DR 100 Introduction to Dramatic Literature 1 3.0 cr

CFA DR 123 Acting for Non-Majors I 2.0 cr

CFA DR 650 Production 1.0 cr

Dramatic Literature: 7.0 cr

CFA DR 201 or DR 202 Modern Drama I & II 3.0 cr

CAS CL 324 Greek Drama or CAS EN 363 Shakespeare I 4.0 cr

Performance Electives

CFA DR 115 Introduction to Theatre Speech 2.0 cr

CFA DR 124 Acting for Non-Majors II 2.0 cr

CFA DR 134 Movement for Theatre 2.0 cr

CFA DR 341 Directing I 2.0 cr

Design/Production Electives

CFA DR 153 or DR 154 Introduction to Design 2.0 cr

CFA DR 162 Methods of Construction 2.0 cr

CFA DR 356 Stage Management 2.0 cr

CFA DR 456 Theatre Management 2.0 cr

Dramatic Literature Electives

CFA DR 101 Introduction to Dramatic Literature II 3.0 cr

CFA DR 407 Contemporary Drama 3.0 cr

CFA DR 409 Role of the Playwright 3.0 cr

A grade of C or better must be received in all courses taken toward this minor concentration. No transfer credit may be used to fulfill the program’s residency requirement. Any change from the requirements above must be approved by the minor advisor, Paolo DiFabio, CFA Room 470, 617-353-3390.

Minor in Dance

The Dance minor at Boston University is a collaboration between the School of Theatre and the Department of Dance. It is designed to enhance a student’s preparedness for a number of multidisciplinary fields including dance ethnology, dance history, movement therapy, musical theater, movement education, and arts administration. For those who wish to pursue dance performance or choreography as a career, or who wish to apply to graduate programs in dance, the Dance minor will serve as verification of their skill level and commitment to this field of study. The minor in Dance is currently available to students in the College of Fine Arts, Sargent College, the School of Management, and the School of Education.

In order to receive a minor in Dance, students will be required to complete 20 credits in dance theory, studio, and performance classes. Required courses are:

CFA DR 334 Principles of Choreography 2.0 cr

CFA DR 119 20th-Century Dance History (spring only) 2.0 cr

CFA DR 203 Aesthetics of Dance (fall only) 2.0 cr

PDP DA 400/CFA DR 601 Performance and Repertory (4 semesters) 4.0 cr

PDP DA or CFA DR Technique Classes (minimum of 4 genres; 2 at int./adv. level) 4.0 cr

The remaining credits are taken from an approved list of classes including dance techniques classes, School of Theatre movement classes, and general theatre arts classes.

For additional information please visit Dance Minor or e-mail: dance@bu.edu.

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BACHELOR OF FINE ARTS PROGRAM

Freshman Core Performance Curriculum

All freshman performance students are admitted into the Freshman Core Performance Curriculum. The Freshman Core provides a foundation for all future study in either the Acting or Theatre Arts majors. Through improvisation, scene study, ensemble work, and exercise, students begin the journey toward the free, integrated, and transformable expression of the voice, body, intellect, imagination, and emotion. The Freshman Core is designed to provide an appropriate context for faculty evaluation of each student’s strengths, interests, and potential for success in the upper years of training. At the end of the freshman year, the faculty makes a careful assessment of the student’s work and formally invites him or her into the sophomore year of either the Acting or Theatre Arts major.

Acting

The Acting major trains talented students who are assessed to be capable of interpreting and performing a wide variety of texts. Acting majors follow a curriculum that provides exercises and skills needed to perform in increasingly complex plays.

Design (Scenery, Costumes, Lighting, and Sound)

The design programs of study prepare talented and committed students for a career in the professional theater world. Their curricula stress the development of imagination, intellect, design skills, rendering skills, and professional behavior, which allow students to create physical productions in a wide range of genres and styles for presentation in diverse theatrical spaces and professional venues.

Production (Technical Direction, Costume Production)

This program of study prepares students for professional careers in the practical realization of scenery. The first two years of the curriculum closely parallel those of the design program in order to establish a common vocabulary and a set of fundamental perceptions about goals and procedures. Advanced stage mechanics, welding, plastics fabrication, technical drafting, fabric dyeing, flat pattern drafting, draping, tailoring, millinery, mask making, and the many auxiliary craft techniques related to the construction of scenery, costumes, properties, and accessories all assume priority in the study and practice of design.

Stage Management

Theatre expects that students in the Stage Management major will evolve a keen theatrical sensibility, sound working knowledge of technical production, strong organizational skills, and effective ability in personnel management.

Theatre Arts

The Theatre Arts major offers unique training for students with vital theatrical sensibilities whose particular interests and abilities are wide-ranging. It best serves two kinds of students: either those who demonstrate the maturity to create an interdisciplinary program combining theatre with another field of study or those who demonstrate the leadership and imagination to create original works.

Conditions of Study

Bachelor of Fine Arts programs of study normally require a degree candidate to register for eight semesters as a full-time student. Candidates must complete all courses included in their chosen major’s program of study and routinely demonstrate proficiency satisfactory to the faculty in all professional coursework as well as in performance and/or production work.

Transfer Students

Because of the sequential nature of the training, undergraduate students who wish to transfer into the Acting Program must, with rare exceptions, enroll for all four years in the College of Fine Arts in order to complete the program. By virtue of exceptional ability and/or accumulated credits, some students who transfer from another college or university into the Theatre Arts, Stage Management, Design, or Technical Production Programs may be able to complete their curricular requirements in as few as three years. In select cases, students may begin work toward a graduate degree in the final undergraduate year.

Professional Review

Continued enrollment in all majors, undergraduate and graduate, depends on the ongoing demonstration of satisfactory development of capability and commitment. Theatre takes seriously its responsibility to train only those students whose work demonstrates professional promise at every level of study. Students should understand the first year of training is a trial period and that continuation into the sophomore, junior, and senior years is by invitation. The faculty offer students systematic professional review and guidance to ensure that a student’s growth and development is proceeding adequately and appropriately. Assuming students remain in good professional and academic standing, the School of Theatre intends to retain all students who begin the program.

Liberal Arts Distribution Guidelines

BFA programs require 28 credits (or 7 courses) of Liberal Arts courses to complete the course of study for graduation. The following distribution guidelines will be in effect starting with the Class of 2011.

These 28 credits (or 7 courses) must include a 100-level writing course (WR 100) (Students who test out of WR 100 by taking the Boston University Writing Assessment (BUWA) must take an additional 4 credits of liberal arts electives.) along with a variety of courses that fulfill one of the following 3 tracks:

1. A Liberal Arts distribution as follows:
   a. Social Sciences—4 or 8 cr
   b. Language and Literature—4 or 8 cr†
   c. Liberal Arts electives—8 cr
   Students must acquire 12 credits (3 courses) from a combination of Social Science and Languages and Literature courses. Students must receive at least 4 credits from each of these two disciplines.
   or
2. A minor through an approved CAS-designated program of study.
   or
3. An individually designed plan of study (i.e.: Arts Administration or Russian Literature) outlined in a detailed written proposal, and pre-approved by the faculty at the end of the first year of study.

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BACHELOR OF FINE ARTS
PROGRAMS OF STUDY

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COURSES IN THEATRE

In the case of courses requiring two semesters, successful completion of the first semester is a prerequisite for enrollment in the second semester.

A prerequisite course may be satisfied by a substitute course of equivalent content or, in certain cases, by examination by the instructor.

Not all courses are offered every year and the School reserves the right to cancel any course as necessary. Course numbers denote the following:

100–199 General undergraduate

200–299 Intermediate undergraduate

300–399 Advanced undergraduate

400–699 Advanced undergraduate-graduate

Acting

CFA DR 099 Matinee

A required, noncredit course for all Acting and Theatre Studies majors each semester. Arranged time for a variety of enrichment opportunities: HTC matinees, master classes, school performances, special events, etc.

CFA DR 111 Voice and Speech I

A thorough exploration of the voice in context of human communication. The course provides a progression of exercises to free, develop, and strengthen the voice, first as a human instrument, then as the actor’s instrument. Focus on how the voice works, why it doesn’t, self-observation, relaxation vs. tension, physical awareness, breath, the touch of sound, vibrations, freeing the channel for sound, releasing the voice from the body, self-expression, interpersonal communication, and autobiographical storytelling. 2 cr, 1st sem.

CFA DR 112 Voice and Speech I

Having worked in the first semester to begin to free the voice and connect it with one’s own words and experiences, the aim in the second semester is to develop the voice further and speak the words of others. Texts will be used that make a demand on the range, power, and vitality of the voice, and the truthful communication of self will be the touchstone for the truthfulness with which the actor can communicate someone other than him or herself. A continuation of the progression of exercises to free, develop, and strengthen the voice, resonators, breath power, range, and articulation. 2 cr, 2nd sem.

CFA DR 121, 122 Acting I

Acting as organic interrelation of self and environment. Release of individuality through improvisational exercises in relaxation and physical freedom. Observation, research, justification of action, objectives, talking and listening, and inner focus through the senses. Dialogue and text. Culminating projects under faculty supervision. 3 cr, each sem.

CFA DR 135, 136 Movement I

Developing an expressive body. The first semester emphasizes connecting to imaginative impulses, risk-taking, centering, alignment, stretching and strengthening exercises, and physical responses to environment, partners, and ensemble. The second semester focuses on rhythms and styles through dance technique and clowning. 2 cr, each sem.

CFA DR 137 Alexander Technique

Application of F. M. Alexander’s discoveries to easy, economical self-use. 1 cr, each sem.

CFA DR 211 Voice and Speech II

Prereq: CFA DR 111, 112. Further development of the actor’s voice in range and power, flexibility and greater facility in articulation. Introduction of International Phonetic Alphabet, responsiveness to poetic text. 2 cr, 1st sem.

CFA DR 212 Voice and Speech II

Prereq: CFA DR 211. Sound and movement linked to text. Introduction to speaking Shakespeare. Dialects and characterization as they relate to voice and speech. 2 cr, 2nd sem.

CFA DR 215, 216 Singing for Actors

Prereq: CFA DR 111, 112. An approach to singing designed for the actor, including all of the technical aspects used to produce the singing voice: breath control, resonance, articulation, exploration and expansion of individual voice quality and pitch range; preparation of musical theatre repertoire designed to enhance the professional viability of the acting majors. 1 cr, each sem.

CFA DR 221, 222 Acting II

Prereq: CFA DR 121, 122. Work on a part: breakdown of text into actions, objectives, beats; sensory work and its application to script. Developing and sustaining characters and action in increasingly complex texts. First semester’s exploration and skill work will grow into Rehearsal and Performance of a play, followed by scenework in Semester II. 4 cr, each sem.

CFA DR 235 Movement I

Prereq: CFA DR 135, 136. Creating a character. Introduction to elements of status, body centers, Laban Effort/Shape, animal imagery, and neutral and emotional masks to explore transformation into physical life of a character, incorporated into monologues and scenes. 2 cr, 1st sem.

CFA DR 236 Movement II

Prereq: CFA DR 135, 136, 235. Unarmed stage combat. Learning slaps, punches, throws, falls, and found weapons used in scenework. 2 cr, 2nd sem.

CFA DR 311 Voice and Speech III

Prereq: CFA DR 211, 212. An exploration of a variety of approaches to Shakespeare’s text, with an attempt to unify form and content. Developing and strengthening the voice and exploring the anatomy of language. Vowels and consonants, words and images, phrasing, and the intelligent orchestration of these components into overall meaning. The figures of speech, iambic pentameter, rhythm, rhyme, line endings, verse and prose. 1 cr, 1st sem.

CFA DR 316 Voice and Speech/LAMDA

(Taken at the London Academy of Music and Art through Boston University's International Dramatic Program in London.) See International Programs Bulletin. 3 cr.

CFA DR 321 Acting III

Prereq: CFA DR 221, 222. Creating and sustaining characters and action in elevated and poetic texts from major periods of theatre history. Emphasis on organic interrelation of acting, speech, and movement. Actor explores deeply the demands made by form and content of each script. 3 cr, each sem.

CFA DR 326 Acting Restoration/LAMDA

(Taken at the London Academy of Music and Art through Boston University's International Dramatic Program in London.) See International Programs Bulletin. 3 cr.

CFA DR 327 Acting Shakespeare/LAMDA

(Taken at the London Academy of Music and Art through Boston University's International Dramatic Program in London.) See International Programs Bulletin. 4 cr.

CFA DR 335, 336 Movement III

Prereq: CFA DR 236. Armed Combat. Use of rapier, dagger, broadsword, and quarterstaff in theatrical scenes. Commedia dell’Arte. Introduction to the 16th- and 17th-century form of Italian street theatre based on improvised scenarios. Actors explore the stock characters of the old men, lovers, zanni, and warriors, and learn physical techniques of performing lazzi and improvised scenarios. 2 cr, each sem.

CFA DR 338 Movement/LAMDA

(Taken at the London Academy of Music and Art through Boston University's International Dramatic Program in London.) See International Programs Bulletin. 3 cr.

CFA DR 339 Historic Dance/LAMDA

(Taken at the London Academy of Music and Art through Boston University's International Dramatic Program in London.) See International Programs Bulletin. 3 cr.

CFA DR 347 Rehearsal and Performance I

Prereq: CFA DR 221, 222. Extension of work of the performance classes into performance for audiences. 2 cr, each sem.

CFA DR 411, 412 Voice and Speech IV

Prereq: CFA DR 311, 312. Continuation in development of vocal instrument, workshops in special topics and individual coaching in support of actor’s performance in productions. 1 cr, each sem.

CFA DR 421, 422 Acting IV

Prereq: CFA DR 321, 322. Experience in the application of techniques to define and fulfill the actor’s work in terms of form and content as required by the play and its performance. 3 cr, each sem.

CFA DR 435, 436 Movement IV

Prereq: CFA DR 136. Introduction to social dance styles including waltz, polka, quadrilles, foxtrot, tango, swing, and Charleston. Continuation of development of physical instrument for theatrical expression and transformation, with workshops in special topics and individual coaching. 1 cr, each sem.

CFA DR 447, 448 Rehearsal and Performance II

Prereq: CFA DR 347. Assignment to roles in productions for audiences. Workshop projects. 2–4 cr, each sem.

CFA DR 601 Theatre Practice

Preparation and presentation of produced and workshop projects. Includes activities in rehearsal, technical production, and stage management. (May be repeated for credit.) 1–4 cr, each sem.

Stagecraft

CFA DR 161 Introduction to Theatre Practice

Basic training in theatre technology, including scenery, costumes, properties, lighting, and sound. Discussion of basic terminology, shop organization, job descriptions, maintenance procedures, and safety. 2 cr, each sem.

CFA DR 198, 199 Stagecraft

Basic course for nondesign majors in the preparation and presentation of produced and workshop projects. Includes building scenery, costumes and properties, painting, lighting and front-of-house. Crew requirements. Presupposes no prior technical knowledge. 2 cr, each sem.

General Design

CFA DR 153, 154 Introduction to Design

Meets 1 day/week for 2 hours/day. An introduction to the principles of 2D design through graphic studio exercises involving use of varied media in black and white (1st semester) and then adding color (2nd semester). Does not presuppose any artistic skills. 2 cr, each sem.

CFA DR 253 Introduction to Stage Design

Meets 1 day/week for 3 hours/day. An introduction to the process and principles of stage design through studio exercises involving use of varied media. 2 cr, each sem.

CFA DR 257, 258 Scene Design 1

Prereq: CFA DR 153 and 154. Meets 1 day/week for 3 hours/day. Fundamentals of set design theory; basic mechanical and conceptual solutions for the proscenium theatre; development of presentational and research skills. Readings and projects incorporate all theatre genres, ballet, dance, opera, television, and film. 3 cr, each sem.

CFA DR 457, 458 Scene Design 2

Prereq: CFA DR 257 and 258 or consent of instructor. Meets 1 day/week for 2 hours/day. Intermediate design solutions with an emphasis on conceptual approach; work in a variety of theatre spaces. Students work in collaboration with costume and lighting designers and directors. Readings and projects incorporate all theatre genres, ballet, dance, opera, television, and film. 3 cr, each sem.

CFA DR 657, 658 Scene Design 3

Prereq: CFA DR 457 and 458 or consent of instructor. Meets as arranged. Advanced design projects developed in conjunction with other designers and directors; emphasis on complex mechanical solutions. Readings and projects incorporate all theatre genres, ballet, dance, opera, television, and film. 3 cr, each sem.

CFA DR 273, 274 Costume Design 1

Prereq: CFA DR 153 and 154 or consent of instructor. Meets 1 day/week for 2 hours/day. Fundamentals of costume design. Exercises focus on analysis-designing from the inside out. Covers a range of visual, written, and verbal techniques of communication; script analysis, style, research techniques, and rendering skills. Readings and projects may incorporate all theatre genres. 3 cr, each sem.

CFA DR 473, 474 Costume Design 2

Prereq: CFA DR 273 and 274 or consent of instructor. Meets 1 day/week for 2 hours/day. For the intermediate design student. Geared toward practical application of design theory. Continued development of script analysis, style, research techniques, and rendering skills. Exercises examine the principles of design as applied to historical costume. Readings and projects incorporate all theatre genres, ballet, dance, and opera, depending on individuals in the class. 3 cr, each sem.

CFA DR 673, 674 Costume Design 3

Prereq: CFA DR 473 and 474 or consent of instructor. Meets one day/week for 2 hours/day. Advanced theoretical and practical design training; project work weighted toward individual student needs, and realistic preparation for a career in costume design. Readings and projects incorporate multiple theatre genres, ballet, dance, and opera, depending on individuals in the class. 3 cr, each sem.

CFA DR 267, 268 Lighting Design 1

Prereq: CFA DR 153 and 154 or consent of instructor. Meets 1 day/week for 2 hours/day, Lab 1 day/week for 1 hour/day. Introduction to the art and craft of lighting design for the stage. Explores the lighting design process, how to develop lighting ideas, concepts, and visual images from a text, and how to support those ideas to the point of realization. Required labs will supplement class work with hands-on activities. 3 cr, each sem.

CFA DR 467, 468 Lighting Design 2

Prereq: CFA DR 267 and 268 or consent of instructor. Meets 1 day/week for 3 hours/day. Investigation of lighting design problems and procedures. Projects for both theoretical and realized productions. Practical projects to demonstrate lighting design techniques. Readings and projects incorporate all theatre genres. 3 cr, each sem.

CFA DR 667, 668 Lighting Design 3

Prereq: CFA DR 467 and 468 or consent of instructor. Meets 1 day/week for 2 hours/day. An in-depth look at the functions and qualities of light and how to apply them in complex ways within a lighting design for the stage. Focus will be placed on your continuing development as a theatre artist and on expanding your knowledge of related design concepts, performance genres, and venues. Development of professional-level design work and portfolio material will be expected. 3 cr, each sem.

CFA DR 172 Audio Fundamentals

Meets 1 day/week for 2 hours/day. Fundamentals of the physics of sound, basics of communication and video system, and components that make up a system and how they interconnect. Emphasis on systems in the Boston University Theatre, Studio, 210, and the Roberts and Wimberly theatres at the Calderwood Pavilion. Some lab exercises. 1 cr, 2nd sem.

CFA DR 271 Sound Design 1

Prereq: consent of instructor. Meets 3 days/week for 2 hours/day. An overview of theatrical sound design, focusing on the process of creating a design. The emphasis is on sound cue creation, establishing mood, emotion and environment with sound, and critical listening. Covers the basics of the tools and technology used to implement a professional sound design. 3 cr, 1st sem.

CFA DR 272 Sound Design 2

Prereq: CFA DR 271 or CFA DR 571 or consent of instructor. Meets 3 days/week for 2 hours/day. Project-based, explores soundscape design outside the theatrical context. Creation of sounds and soundscapes will be accompanied by performance in class followed by discussion. Lab work is required. 3 cr, 2nd sem.

CFA DR 371, 372 Systems Design

Prereq: CFA DR 172 or consent of instructor. Meets 1 day/week for 3 hours/day. Audio systems, video systems, and intercom systems will be examined from input to output in terms of signal flow and interconnection practices, and how they are used. 3 cr, each sem.

Production

CFA DR 161 Introduction to Theatre Practice

Meets 2 days/week for 2 hours/day. Basic training in theatre technology, including scenery, costumes, properties, lighting, and sound. Discussion of basic terminology, shop organization, job descriptions, maintenance procedures, and safety. 3 cr, 1st sem.

CFA DR 162 Methods of Construction

Prereq: CFA DR 161 or consent of instructor. Meets 1 day/week for 2 hours/day. Basic training in theatre technology. In the scenery section: discussion of materials, hardware, construction methods, scheduling, and budgeting. In the costume section: discussion of materials, hardware, construction methods, scheduling, and budgeting. 2 cr, 2nd sem.

CFA DR 261, 262 Technical Production I

Prereq: CFA DR 161 and 162 or consent of instructor. Meets 1 day/week for 2 hours/day. The primary focus is on the task of communicating in projection view drafting for construction purposes. The drafting is applied to projects constructed in steel. During the class period, construction decision-making is reviewed. Fundamentals of metal work and the craft of welding are learned. 3 cr, each sem.

CFA DR 461, 462 Technical Production 2

Prereq: CFA DR 261 and 262 or consent of instructor. Meets 1 day/week for 1.5 hours/day. Large-scale project planning and drafting, using abstract objects and producing them as scenery both on paper and in the shop. The class also addresses problem solving for scenery on raked stages and complete design for a modular full-stage rake that can be struck, stored, and installed easily. 3 cr, each sem.

CFA DR 661, 662 Technical Production 3

Prereq: CFA DR 461 and 462 or consent of instructor. Meets as arranged. Symposium environment. Each student designs a major project in concert with the instructor. The substance of each project is totally flexible focusing on the areas of need and interest of each individual student. These projects may include: mechanics, software, furniture, or advanced skills in plastics or other crafts. 3 cr, each sem.

CFA DR 275, 276 Costume Production I

Prereq: CFA DR 161 and 162 or consent of instructor. Meets 1 day/week for 3 hours. An in-depth study of pattern making for the female silhouette. Draping and flat patterning techniques are augmented with historical research in pattern development. The student develops a thorough understanding of the form and function of each element of the female costume. 3 cr, each sem.

CFA DR 475, 476 Costume Production 2

Prereq: CFA DR 275 and 276 or consent of instructor. Meets 1 day/week for 3 hours/day. In this course the student will construct a three-piece men’s suit of the nineteenth or twentieth century. It is a comprehensive course employing classic tailoring techniques, terminology, and fabrics. 3 cr, each sem.

CFA DR 675, 676 Costume Production 3

Prereq: CFA DR 475 and 476 or consent of instructor. Meets 1 day/week for 3 hours/day. Continues the study of flat patterning and draping through individual projects. Silhouette, line, and proportion become essential elements in the development of complete muslin reproductions. The study of the form and function of period underpinnings is stressed. 3 cr, each sem.

Management

CFA DR 356 Stage Management

Meets 1 day/week for 2 hours/day. Functions and responsibilities of stage managing on a professional level, including development of prompt scripts, union rules, handling of auditions and rehearsals, calling of performances, and relationships within the profession. 2 cr, 2nd sem.

CFA DR 355 Production Management

Meets 1 day/week for 2 hours/day. Roles and responsibilities of production managing on a professional level, including scheduling, staffing, budgeting, relationships, and time management. Students will get hands-on experience in each of these through the creation of a theoretical theatre. 2 cr, 1st sem.

CFA DR 456 Theatre Management

Meets 1 day/week for 3 hours. The enormous growth of the regional theatre movement since 1960 has changed American theatre. Course will review the organizational structure and management practice of institutional theatre and the commercial theatre, including issues of governance, the balance between artistic and financial priorities and overviews of fund-raising, marketing, contract negotiation, labor relations, and finance. 2 cr, 2nd sem.

Crafts

CFA DR 259, 260 Scene Painting 1

Prereq: CFA DR 159 and 160 or consent of instructor. Meets 1 day/week for 4 hours/day. Extension of exposure to materials and tools included in CFA DR 159 and 160. Exercises in general lay-in and texture techniques, and beginning work in nature studies. 2 cr, each sem.

CFA DR 459, 460 Scene Painting 2

Prereq: CFA DR 259 and 260 or consent of instructor. Meets 1 day/week for 4 hours/day. Painting specific architectural detail; styles in foliage; projects in perspective and trompe l’oeil; special finishes for furniture and constructed projects. May be repeated for credit. 2 cr, each sem.

CFA DR 377, 378 Millinery

Prereq: CFA DR 161 and 162 or consent of instructor. Meets 1 day/week for 2 hours/day. Millinery crafts are learned through various projects on different styles of design. Skills might include: straw, buckram, wire, paper, and felt. 1 cr, each sem.

CFA DR 477, 478 Fabric Dyeing

Prereq: CFA DR 153 and 154 or consent of instructor. Meets 1 day/week for 2 hours/day. The student learns a variety of crafts associated with fabric painting and dyeing. Subject matter may include fiber reactive dyeing, fabric painting, batik and resist dyeing, distressing, and silk screen. 1 cr, each sem.

CFA DR 469, 470 Lighting Crafts

Prereq: CFA DR 267 and 268 or consent of instructor. Meets 1 day/week for 2 hours/day. Practicum of electricity and theatrical lighting equipment. Covers basic electricity, lighting instrument physics and maintenance, and control boards. 1 cr, each sem.

CFA DR 265 Engineering for the Stage

Prereq: CFA DR 261 or consent of instructor. Meets 1 day/week for 2 hours/day. An introduction to the classic engineering study of static and strength of materials, specifically with structures and materials typical to technical production of theatre in mind. Students learn mathematical and resource methods for calculating structural performance parameters in individual structural members as they interact in a common structure. Discussion of common building practices provides knowledge critical to departing from standard practice. 1 cr, varies sem.

Graphics

CFA DR 159, 160 Drawing and Painting Lab

Meets 2 days/week for 2 hours/day. Studio work in introduction to drawing, perspective, media, and color theory. 2 cr, each sem.

CFA DR 359 Scenery Rendering Lab

Prereq: consent of instructor. Meets 1 day/week for 3 hours/day. Advanced work in rendering techniques for scenery design. May be repeated for credit. 1 cr, each sem.

CFA DR 277 Costume Rendering Lab

Prereq: advisor recommendation or consent of instructor. Meets 1 day/week for 3.5 hours/day. Advanced work in figure drawing; specific rendering techniques for costume design. May be repeated for credit. 1 cr, each sem.

CFA DR 278 Figure Drawing

Meets 1 day/week for 2 hours/day. Studio work in figure drawing. May be repeated for credit 1 cr, each sem.

CFA DR 165 Drafting 1

Meets 1 day/week for 2.5 hours/day. Introduction to hand drafting, basic techniques, tools and approach to scenic technical and lighting design applications. 1 cr, 1st sem.

CFA DR 166 Drafting 2

Prereq: CFA DR 165 or consent of instructor. Meets 1 day/week for 2.5 hours/day. Studio work in advanced drafting techniques, perspective drawing and rendering. 1 cr, 2nd sem.

CFA DR 163 AutoCAD 1

Meets 1 day/week for 2 hours/day. An introduction to the uses of AutoCAD. This course will be geared towards familiarizing students with the basic commands and concepts for computer-aided drafting (CAD), and how to manipulate them for the theatre. 1 cr, 2nd sem.

CFA DR 164 AutoCAD 2

Prereq: CFA DR 163 or consent of instructor. Meets 1 day/week for 2 hours/day. A continuation of CFA DR 163 as a more advanced, in-depth study of AutoCAD. Goals will be based on improving the speed of drawing production, and learning new tools to help fit the specific needs of the student’s area of focus. 1 cr, 1st sem.

CFA DR 269 Vectorworks 1

Prereq: CFA DR 165 or consent of instructor. Meets 1 day/week for 2 hours/day. Studio work introduction to basic CAD drafting using Vectorworks. 1 cr, 2nd sem.

CFA DR 270 Vectorworks 2—Spotlight

Prereq: CFA DR 269 or consent of instructor. Meets 1 day/week for 2 hours/day. Advanced work in Vectorworks CAD; specific rendering techniques for the individual area of lighting and the light plot. 1 cr, 1st sem.

CFA DR 369 Vectorworks 3

Prereq: CFA DR 269 and 270 or CFA DR 669 and 670 or consent of instructor. Meets 1 day/week, 2 hours. Advanced work in Vectorworks CAD; specific rendering techniques for the individual areas of scenery, lighting, and drafting in 3D. 1 cr, 2nd sem.

CFA DR 169, 170 Photography

Meets 1 day/week for 1.5 hours/day. A general survey of the art and practices of photography. Focus is especially strong on aspects of: history of artists and images, history of technology, photographic processes, and basics of the camera and technology. 1 cr, each sem.

CFA DR 177, 178 Photoshop

Meets 1 day/week for 2.5 hours/day. Studio work in basic to advanced Adobe Photoshop techniques. Project work is designed to accommodate skill level. 1 cr, each sem.

Research

CFA DR 251, 252 History for Design

Meets 1 day/week for 1 hour/day. Survey of theatrical design and artistic movements within the theatre. Covers Greek to end of the 19th century (1st semester) and beginning of the 20th century to present (2nd semester). 2 cr, each sem.

CFA DR 351, 352 History of Décor

Meets 1 day/week for 1.5 hours/day. Survey covering the history of and significant cultural expression through interior decoration and furniture in major civilizations. Work involves research projects with emphasis on historic fabrics and construction. 3 cr, each sem.

CFA DR 451, 452 History of Costume

Meets 1 day/week for 2 hours/day. An intensive survey covering the history of and significant cultural expression in dress in Western Civilization. Work involves research projects with emphasis on color, materials, manufacture, and application toward a definition of styles. Area libraries and museums used as class resources. 2 cr, each sem.

General Designed Production Courses

CFA DR 350 Colloquium

Meets 1 day/week for 1 hour/day. Weekly meeting of all students by major, with their advisor, to discuss past, current, and future production needs. May be repeated for credit. 1 cr, each sem.

CFA DR 402 Independent Study

Prereq: instructor or advisor approval. Meets as arranged. Provides opportunity for the individual student to study in a specific field or gain practical experience in a specific area of theatrical production. Supervisor must approve a plan of study prior to registration. May be repeated for credit. Variable cr, each sem.

CFA DR 750 Internship

Prereq: Advisor approval. Meets as arranged. Work as an intern in a professional setting. Positions may be sought by the individual or suggested by the advisor. The accepting organization must provide a letter of agreement prior to, and an evaluation letter following the conclusion of the internship. May be repeated for credit. Variable cr, each sem.

CFA DR 650 Production

Meets late afternoons, evenings, and/or weekends. Specific design and shop work in the mounting of student or professional productions. Credits assigned reflect scale of time and responsibility. Does not include off-crew design work. May be repeated for credit. Variable cr, each sem.

Theatre Arts

CFA DR 127 Theatre Ensemble I

Prereq: CFA DR 121. The ensemble creation of a short theatre piece. Development of ensemble skills, following direction, storytelling, imagination, impulse, and intellect. Integration of instrument skills through informal class presentation. 1 cr, 2nd sem.

CFA DR 209/210 The Role of the Playwright I & II

Examines the role of the playwright in crafting dramatic material. Investigates the process of creating theatre pieces out of nondramatic material, personal experiences, and nonverbal images and interdisciplinary interactions. A strong emphasis is placed on the role of the playwright in collaborating with actors and directors. 2 cr, each sem.

CFA DR 223, 224 Physical Acting 1 and 2

The essential aspects of the actor’s approach to the script and the development of a character. Sensory work, improvisation, scoring the role, and rehearsal of scenes. Offered specifically for students in the stage management and theatre studies programs. 3 cr, each sem.

CFA DR 225 Theatre Ensemble II

Prereq: CFA DR 127. The making of plays using autobiographical stories as source material. Development of writing and performance skills, including monologue and ensemble work, and the use of physical imagery. 3 cr, 1st sem.

CFA DR 226 Theatre Ensemble II

Prereq: CFA DR 127. Adaptation of non-theatre text or other material for the stage. Development of research, writing, and performance skills, sensitivity to the dramatic event, improvisation, and theatrical devices for storytelling. 3 cr, 2nd sem.

CFA DR 323 Theatre Ensemble III

Prereq: CFA DR 226 or 227. A course focused on the texts of a particular 20th-century playwright or theme chosen by the instructor. Development of beginning directing skills (text analysis, staging, and actor coaching,) and performance skills. Students are encouraged to serve as actors, directors, dramaturgs, designers, and choreographers, etc. The course results in a workshop performance. 3 cr, 1st sem.

CFA DR 324 Theatre Ensemble III

Prereq: CFA DR 226 or 227 and CFA DR 334, 341 or 343 or 409. Development of original short plays. Focus on playwriting, producing, directing and dramaturgy, and performance. Course results in a workshop presentation of an evening of very short new plays. 3 cr, 2nd sem.

CFA DR 334 Principles of Choreography 1

Introduction to elements of form (use of time, space, flow, gesture, props, text, etc.) and content to shape theatrical movement. 1 or 2 cr, each sem.

CFA DR 341, 342 Directing I

Prereq: two semesters of Acting, one semester of design/tech beyond Stagecraft, and one semester of Stage Management, concurrent registration with DR 323 or DR 324. Development of an approach to conceiving a theatre production. Definition of people, situations, ideas, and action and flow inherent in script. Identification of form and structure from the director’s point of view. Fundamental considerations in physical staging. Experience in lab events and scenes. 2 cr, each sem.

CFA DR 401 Independent Study

Provides opportunity for the individual student to study in a specific field or gain practical experience in a specific area of theatrical production. Establishment of an approval of the student’s advisor and a study supervisor prior to registration. 1–4 cr, each sem.

CFA DR 425 Acting Shakespeare

How does the actor bring to life the words and ideas of William Shakespeare and learn about acting from this consummate playwright? This course will deal with the challenges in matching the passion of Shakespeares’s text with the actor’s body, voice, and imagination? The class will focus on sonnets, monologues, and scenes. 2 cr, 1st sem.

CFA DR 428 Theatre Ensemble IV

Prereq: CFA DR 323 or 324 plus two semesters of directing, choreography, or playwriting. Students form a company to present a festival of plays. Focus on playwriting, producing, directing, dramaturgy, and performances. 3 cr, 2nd sem.

CFA DR 434 Principles of Choreography 2

Prereq: CFA DR 334. Further work in creating, shaping, and refining theatrical movement for performance. 1 or 2 cr, each sem.

CFA DR 442 Directing II

Prereq: permission of instructor, concurrent registration with CFA DR 428. Projects with undergraduate theatre majors in plays of various lengths. Focus is on preparation for rehearsal and on rehearsal process. 2 cr, 2nd sem.

CFA DR 601 Theatre Practice

Preparation and presentation of produced and workshop projects. Includes activities in rehearsal, technical production, and stage management. (May be repeated for credit.) 1–4 cr, each sem.

CFA DR 483 Educational Theatre Seminar

For advanced Acting and Theatre Studies majors and with the consent of the instructor. Rehearsal and performance of scenes which are presented at area high schools in conjunction with the Huntington Theatre Company’s Education Department Outreach programs. 2 cr, each sem.

CFA DR 527 "PTI" Professional Theatre Initiative Internship

Consent of HTC’s Internship Coordinator. Practical experience working in one of the production, administrative, artistic, or education departments under the supervision of members of the Huntington Theatre Company staff. Assignments are made in consultation with the student. 1–4 cr, each sem.

History, Literature, and Criticism

General Courses

CFA DR 100 Intro to Drama Lit I

An intensive examination of scripts from diverse periods and genres. Emphasis is placed on the development of the analytical and interpretive skills necessary for the creation of insightful theatre. 3 cr.

CFA DR 101 Intro to Drama Lit II

A survey of the development of theatre from its origins to the late nineteenth century. Emphasis is on the theatrical event, what the performance might have been, and how it might have related to its audience. 3 cr.

CFA DR 201 Modern Drama I

Significant works and trends of the theatre from 1860 to 1956, with emphasis on European dramatists. 3 cr.

CFA DR 202 Modern Drama II

Significant works and trends of the theatre from 1860 to 1956, with emphasis on British and American dramatists. 3 cr.

CFA DR 346 Twentieth-Century Theatre Practice

An examination of the work of seminal theatre practitioners of the last 100 years: producers, actors, directors, and designers whose ideas and techniques have shaped theatre practices of the twentieth century. Consideration of the work of such artists as Artaud, Brecht, Stanislavski, Appia, Jones, Meyerhold, Copeau, Grotowski, and Brook. 3 cr.

CFA DR 405, 406 Dramatic Criticism I & II

Workshop in critical writing. Theory, practice, and history of criticism. Emphasis on problems of judgment, acute observation, and methods of analysis. Frequent attendance at performances and writing assignments. 3 cr.

CFA DR 407 Dramaturgical Methods and Investigations: Excavating the Classics

Prereq: at least two semesters of dramatic literature. What is dramaturgy? How are its methods useful to theatre practitioners, regardless of specialization? Students in this course will learn the basics of best dramaturgical practice through investigations and excavations of classic plays, juxtaposed against current adaptations and reinterpretations. Instruction will focus on the development of one’s personal aesthetic, effective research and its presentation, dramaturgical writing and analysis, the creation of casebooks on specific plays, and devising pathways into the world of the play for one’s collaborators. 3 cr, 1st sem.

CFA DR 408 Contemporary Dramatic Literature

Prereq: at least two semesters of dramatic literature. Contemporary drama since 1990. This discussion course explores the most current trends in theatre from the United States and United Kingdom, with particular attention paid to the voices of African-American, Disabled, Feminist, Gay, and Lesbian playwrights, as well as to plays that break the standard molds of realism and naturalism. Beginning with 1990’s Angels in America and moving forward to the present, the course pairs close reading and analysis with other dramaturgical methods in order to provide students with intellectual depth and practical skill for the professional theatre. 3 cr, 2nd sem.

Dance

CFA DR 119 Twentieth-Century Dance History

An introduction to the people, events, and masterworks that shaped the development of dance in the twentieth century. Students are assigned appropriate readings, projects, and writing assignments. The course takes advantage of the resources in the local dance community; students are assigned specific performances and events to attend. 2 cr, 2nd sem. (Also listed as PDP DA 119)

CFA DR 203 Aesthetics and Philosophy of Dance

A survey of current theatrical and dance experience and practice with the Boston arts community, including the work of the Huntington Theatre Company, the American Repertory Theatre, Crash Arts, Mobius, Fleet Celebrity Series, and various other venues. Lectures by faculty and visiting artists introduce each performance/exhibition experience and lead to thoughtful critical response. Course not only includes class time, but also attendance at five weekend performances. Ticket fee is approximately $100. 2 cr, 1st sem. (Also listed as PDP DA 203)

CFA DR 334 Principles of Choreography 1

Exploring form (changes in time, space, flow, gesture) to clarify content in stage choreography. Variable cr.

Performance Courses for the BU Community (Non-Theatre Majors)

CFA DR 115 Speech for the Actor

Prereq: consent of instructor. Speech techniques for the stage: relaxation, breath control, resonance, articulation, and projection. Physiology of the vocal tract. Tuning the ear to fine speech. Regular vocal exercise and preparation of readings in prose, poetry, and dramatic monologue. 2 cr.

CFA DR 116 Collaborative Theatre Ensemble

Students will create a theatre piece developed collaboratively by the class. Working as an ensemble, students will work creatively as actors, writers, directors, designers, etc. This course will help students develop their skills of personal artistic response, dynamic storytelling, research, exploration, communication, collaboration, and performance. 2 cr.

CFA DR 123, 124 Acting and Performance I & II

Prereq: consent of instructor for CFA DR 124. Improvisation and exercises to free the student for the work of creating the playwright’s world. Preliminary work conceived as preparation for beginning scene study in second semester. 2–4 cr, each sem.

CFA DR 134 Movement for Theatre

Prereq: consent of instructor. Physical conditioning, improvisation, some dance techniques and styles, concepts of effort/shape, interrelation of body and voice. 2 cr.

Courses Open to the BU Community

These are available to students throughout the University. Course descriptions may be found in the corresponding groups in the preceding pages. Enrollment in other courses may be available for qualified students with approval of both the instructor and the School. Please contact the School of Theatre for additional information.

History, Literature, and Criticism

CFA DR 100 Intro Drama Lit I

CFA DR 101 Intro Drama Lit II

CFA DR 201, 202 Modern Drama I & II

CFA DR 303, 304 Classic Drama I & II

CFA DR 346 Twentieth-Century Theatre Practice

CFA DR 406 Dramatic Criticism

CFA DR 407, 408 Contemporary Drama

Acting, Movement, and Dance


CFA DR 115 Speech for the Actor

CFA DR 116 Collaborative Theatre Ensemble

CFA DR 119 Twentieth-Century Dance History

CFA DR 123, 124 Acting and Performance I & II

CFA DR 134 Movement for Theatre

CFA DR 203 Aesthetics of Dance

CFA DR 334 Principles of Choreography

Design & Production


CFA DR 153 Introduction to Design

CFA DR 159, 160 Drawing and Painting Lab

CFA DR 161, 162 Intro to Theatre Practice/Methods of Construction

CFA DR 169, 170 Photography

CFA DR 249 Introduction to Stage Design

CFA DR 251, 252 History for Design

CFA DR 351, 352 History of D é cor

CFA DR 451, 452 History of Costume

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Faculty—Theatre

The following lists reflect the 2008/2009 faculty.

Adjunct faculty are part-time faculty normally employed outside the University.

Judy Braha Assistant Professor (Acting and Directing). BFA, Carnegie Mellon University; MFA, Boston University

Ilana Brownstein Lecturer (Dramatic Literature, Dramaturgy)

Judith Chaffee Associate Professor of Movement. BS, Skidmore College; MFA, Smith College

Mark Cohen Assistant Professor (Acting). BA, Yale University; MA, Brown University; MFA, George Washington University

Chris DeCamillas Lecturer (Stage Management); Production Stage Manager, ART

Lydia Diamond Assistant Professor (Playwriting). BS, Northwestern University

Ben Emerson Teaching Associate (Sound Design). MFA, Boston University

Sidney J. Friedman Professor (Dramatic Literature and Directing). AB, Princeton University; MA, PhD, University of Iowa

Christine Hamel Assistant Professor (Voice and Speech). BA, Williams College; MFA, Boston University

Michael Kaye Assistant Professor (Acting). BFA, MFA, Boston University

Paula Langton Assistant Professor (Voice and Speech). BA, University of Massachusetts, Boston

Nancy Leary Assistant Professor (Costume Design and Production). BA, Tufts University; MFA, Boston University

Jonathon Lipsky Associate Professor (Acting). AB, Oberlin College; MFA, University of Iowa

Michael Maso Associate Professor (Theatre Management). BA, State University of New York at Stony Brook; PhD, Cornell University

James McCartney Lecturer (Sound Systems). IATSE

J. Stratton McCrady Assistant Professor (Technical Production). BA, University of the South

Roger L. Meeker Assistant Professor (Production Management); Associate Director for Design and Technical Production. BA, University of Northern Iowa

Rob Najarian Lecturer (Stage Combat). BA, Bowdoin College; MFA, The Shakespeare Theatre’s Academy for Classical Acting at George Washington University

James Noone Associate Professor (Scene Design). BFA Studies, Boston University

Jim Petosa Professor and Director, School of Theatre. BA, MA, Catholic University

Betsy Polatin Instructor (Alexander Technique). BA, State University of New York; MFA, Boston University

John Savage Assistant Professor (Scene Design). BA, Utah State University; MFA, North Carolina School of the Arts

Mark Stanley Associate Professor (Lighting Design). BA, College of William and Mary; MFA, University of Wisconsin, Madison

Micki Taylor Penny Coordinator of Dance. BA, University of Massachusetts at Amherst; MFA, University of North Carolina at Greensboro

Elaine vaan Hogue (Acting, Theatre Arts). BA, University of Southern California. MFA, Boston University

Mariann Verheyen Assistant Professor (Costume Design). BA, St. Norbert College; MFA, University of Wisconsin

Theatre Emeriti

Sidney Bennett Professor Emeritus of Theatre (Lighting Design). BS, MFA, Boston University

Joseph Gifford Professor Emeritus of Theatre (Movement). AB, AM, University of Michigan

William J. Lacey Professor Emeritus of Theatre (Voice, Speech, and Acting). BA, Boston Conservatory of Music; MA, Boston University

Evangeline Machlin Professor Emerita of Theatre (Voice and Speech). MA, University of Edinburgh (Scotland); EdD, Columbia University

James V. Nicholson Professor Emeritus of Theatre (Stage Management). AB, Earlham College; MFA, Carnegie Institute of Technology

Elliot Norton Professor Emeritus of Theatre (Dramatic Criticism and Literature). AB, Harvard College; MA, Emerson College; JD, Suffolk University; LHD, Boston University

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Published by Trustees of Boston University
One Silber Way
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16 October 2009
Boston University
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