Undergraduate courses in Drama

For students researching, directing, and producing pieces for the Drama department or other student theater groups on campus. Issues related to theater venues, costs, design, construction, stage management, directing, and producing. Student and faculty presentations on production issues and the progress of their work. May be repeated for credit.

1-3 units, Aut (Ramsaur, M), Win (Ramsaur, M), Spr (Ramsaur, M)

DRAMA 11N. Dramatic Tensions: Theater and the Marketplace

(F,Sem) Stanford Introductory Seminar. Preference to freshmen. Tension between artistic and commercial forces in modern theater; the conflicted state of the art form. Sources include major and emerging contemporary figures in commercial, fringe, and nonprofit theater in the U.S. and UK. Visits with writers, directors, and dramaturges. GER:DB-Hum

4 units, Aut (Freed, A)

DRAMA 12N. Antigone: From Ancient Democracy to Contemporary Dissent

(F,Sem) (Same as CLASSGEN 6N.) Stanford Introductory Seminar. Preference to freshmen. Tensions inherent in the democracy of ancient Athens; how the character of Antigone emerges in later drama, film, and political thought as a figure of resistance against illegitimate authority; and her relevance to contemporary struggles for women's and workers' rights and national liberation. Readings and screenings include versions of Antigone by Sophocles, Anouilh, Brecht, Fugard/Kani/Ntshona, Paulin, Glowacki, Gurney, and von Trotta. GER:DB-Hum, EC-Gender

4 units, Win (Rehm, R)

DRAMA 14N. Shakespeare from Stage to Screen

(F,Sem) Stanford Introductory Seminar. Preference to freshmen. The texts, stage practices, and filmic transformations for Shakespearean plays, including Henry V, Hamlet, Midsummer Night's Dream, and Macbeth. Close readings of texts and films; the relationship of film technologies to the texts in the production of political and social space; and the cultural assumptions carried by images and characters. GER:DB-Hum

4 units, Win (Rayner, A)

DRAMA 16N. Beauty or the Beast? Kitsch and Contemporary Culture

(F,Sem) Stanford Introductory Seminar. Preference to freshmen. What kind of esthetic experience does kitsch describe? Is it a matter of taste? Kitsch through disciplines such as visual arts, theater, literature, music, advertising, fashion, celebrity culture, and food. GER:DB-Hum

4 units, Spr (Jakovljevic, B)

DRAMA 17N. Salt of the Earth: The Docudrama in América

(F,Sem) Stanford Introductory Seminar. Preference to freshmen. Docudrama as a form of dramatic writing which provides a social critique of current or historical events through creative documentation and dramatization. Sources include Chicana/o and Latina/o texts, Brecht, Teatro Campesino, and Culture Clash. Students produce a short docudrama. GER:DB-Hum, EC-AmerCul

3 units, Win (Moraga, C)

DRAMA 18N. Performing Religion and Secularity in the Modern World

Preference to freshmen. Why the increasingly globalized world is confronted with the concurrent rise in religious violence and extremism. The production of religion and secularity in the performative public sphere through a consideration of theater, films, religious processions, and festivals. How the axes of gender, class, and nation complicate religious identities in the modern world.

3-5 units, Win (Menon, J)

DRAMA 20. Acting for Non-Majors

Creative play and ensemble work. Skills including group improvisation to partner work. Freeing the natural voice and physical relaxation. Emphasis is on imaginative and creative impulses. Movement improvisation, listening exercises, and theater games. How to take risks that are the essence of free and powerful performance.

2 units, Aut (Bihr, J), Win (Bihr, J), Spr (Kostopoulos, K), Sum (Diaz-Sanchez, M)

DRAMA 22. Scene Work

For actors who complete substantial scene work with graduate directors in the graduate workshop.

1-2 units, Aut (Staff), Win (Staff), Spr (Staff)

DRAMA 26. Rock, Pop, Hip Hop

Performance genres in relationship to youth culture expressed in dance, songwriting, singing, fashion, acting, and rap. Workshop culminates in a collaborative performance.

1-2 units, not given this year

DRAMA 28. Makeup for the Stage

Techniques of makeup application for the artist and actor: aging, prosthetics, stylization, characterization, animals, and fantasy make-up.

2 units, Win (Strayer, C)

DRAMA 29. Theater Performance: Acting

Students cast in department productions receive credit for their participation as actors; 1-2 units for graduate directing workshop projects and 1-3 units for major productions (units determined by instructor). May be repeated for credit. Prerequisite: consent of instructor.

1-3 units, Aut (Staff), Win (Staff), Spr (Staff)

DRAMA 30. Introduction to Theatrical Design

Team-taught. The theatrical set, costume, and lighting design. Emphasis is on balancing practical skill with conceptual ideas and critical thought. Hands-on projects.

4 units, Aut (Gambatese, E; Ramsaur, M)

DRAMA 31. Introduction to Lighting and Production

How light contributes to the creation of mood and atmosphere and different kinds of visibility in theatrical storytelling. The use of controllable qualities of light including color, brightness, angle, and movemen in the theatrical process of creative scenography. Hands-on laboratory time.

4 units, Win (Ramsaur, M)

DRAMA 32. Costume Construction

Fabric techniques and processes for stage costumes.

2-3 units, Win (Strayer, C)

DRAMA 34. Stage Management Techniques

The production process, duties, and responsibilities of a stage manager. Skills needed to stage manage a production.

2-3 units, Aut (Apperson, L), Spr (Staff)

DRAMA 35. Introduction to Sound for the Theater

Lecture/lab. The practical handling of sound equipment, acoustics, and editing. Analysis, creation, and implementation of theatrical sound effects, live and recorded.

3-4 units, Win (Staff)

DRAMA 39A. Theater Performance: Scenery and/or Property

1-3 units, Aut (Staff), Win (Staff), Spr (Staff)

DRAMA 39B. Theater Performance: Lighting/Sound

1-3 units, Aut (Staff), Win (Staff), Spr (Staff)

DRAMA 39C. Theater Performance: Costumes/Makeup

1-3 units, Aut (Staff), Win (Staff), Spr (Staff)

DRAMA 39D. Theater Performance: Prosser Stage Management

1-3 units, Aut (Staff), Win (Staff), Spr (Staff)

DRAMA 42. Costume Construction

Lecture/lab.

2-3 units, alternate years, not given this year

DRAMA 77. Playwriting Workshop

Individual or small group work in play development extending from earlier classes. May be repeated for credit.

2-4 units, not given this year

DRAMA 101H. How Theater Thinks: Introduction to Theater and Performance

Gateway course for majors and students considering the Drama major. Theater practices and techniques such as space, actor, language, props, and composition: what is unique about them and how they address the spectator. Sources include plays and theoretical texts.

3-4 units, Aut (Jakovljevic, B)

DRAMA 103. Beginning Improvising

The improvisational theater techniques that teach spontaneity, cooperation, team building, and rapid problem solving, emphasizing common sense, attention to reality, and helping your partner. Based on TheatreSports by Keith Johnstone. Readings, papers, and attendance at performances of improvisational theater. Limited enrollment.

3 units, Win (Klein, D), Spr (Klein, D)

DRAMA 104. Introduction to Sketch Comedy

Writing, directing, and performing original comic scenes, live and on video. Emphasis is on collaborative ensemble process and product. Topics include character, premise, satire, parody, joke writing, and comic timing. Prerequisite: 103 or 121C, or consent of instructor.

3 units, Spr (Klein, D)

DRAMA 110. Identity, Diversity, and Aesthetics: The Institute for Diversity in the Arts

Students work with a visiting artist on art projects concerning diversity, culture, and race. Workshop. Service learning within a community population to probe diversity and social change through the arts. May be repeated for credit. GER:DB-Hum

5 units, Aut (Staff), Win (Elam, H), Spr (Staff)

DRAMA 120A. Fundamentals of Acting

For students who intend to begin serious actor training; 120A,B must be taken in sequence. The basic vocabulary of objective and action. Theater games and improvisation develop the ability to act with focus, intention, and energy. Basics of characterization and transformation. Outside rehearsal time required.

3 units, Aut (Kostopoulos, K), Win (Kostopoulos, K)

DRAMA 120B. Fundamentals of Acting

For students who intend to begin serious actor training. 120A,B must be taken in sequence. The actor's spontaneity and imagination are used to reveal the life of a play, working with dramatic texts. Approaches to the actor's craft include character biography and moment-to-moment truthful playing. Exercises including from Strasberg, Meisner, Chaikin, and Linklater. Scene and monologue work from primarily naturalistic plays. Outside rehearsal time required. Prerequisite: 120A or consent of instructor.

3 units, Spr (Freed, A)

DRAMA 120D. Studio Performance

Rehearsal and development of a studio performance project for an end of quarter presentation. Emphasis is on development of acting skills with minimal technical support. Material chosen from classic plays, American realism, world theater, or created group ensemble pieces.

1-5 units, Spr (Staff)

DRAMA 120V. Vocal Production and Audition

(Same as DRAMA 210V.) The vocal mechanism with development of voice and articulation for the stage. The actor's tools of phonetics, verbal action, and text analysis. Voice in preparation for audition. Emphasis is on relaxation, selection of appropriate material, and versatility to show contrast and range.

3 units, Aut (Kostopoulos, K)

DRAMA 121C. Acting: The Craft of Comedy

The basics of comedy playing, from its origins in the utterly truthful to its destination in the over-the-top. Characterization, mask, and exaggeration; class work on non-verbal scenes. The mechanics of comedy, timing, and clowning developed through improvisation and in-class exercises designed to free the imagination. Texts may include scenes from Feydeau, Woody Allen, Moss Hart, and Alan Ayckbourn.

3 units, alternate years, not given this year

DRAMA 121C. Physical Characterization

Workshop incorporating styles of movement and characterization for the stage. Tools to aid in theatrical transformation. Triggers include psychological gesture, shifting centers, full face photographs, collected live studies, vocal shifts, and rhythmic and metabolic changes.

3 units, Aut (Bihr, J)

DRAMA 121M. Movement and Character

Kinesthetic awareness and physical presence of the performer in relationship to others through techniques of focus, spatial intent, task, and choreographic improvisation.

3 units, Win (Bihr, J)

DRAMA 121P. Acting: Period and Style

Expanding the acting range through heightened language. Scenes from non-contemporary dramatic literature including texts from Shakespeare, Shaw, Turgenev, Ibsen, and Strindberg.

3 units, Spr (Kostopoulos, K)

DRAMA 121S. Acting Shakespeare Project

Intensive work on a shortened Shakespeare play leading to a studio performance project. Develops skills in understanding and performing Shakespeare, conducted as series of rehearsals, and culminating in group performance. The development of the voice, movement, and speaking skills necessary for demanding classical theater work. Prerequisites: 120A,B, or consent of instructor. Freed) alternate years, given 2002-03

3 units, Win (Bihr, J)

DRAMA 121W. Actors Who Write, Writers Who Act

The development of dramatic scripts for solo performance and multi-character plays. Work happens on its feet, with writing deadlines and an informal workshop environment in which students present scripts, with support and feedback in dramaturgy, and help with performance and staging issues.

3 units, not given this year

DRAMA 131. Lighting Design

Hands-on laboratory projects in lighting and designing stage productions and other live performances. The content and format of lighting plots. Prerequisite DRAMA 31.

4 units, Spr (Staff)

DRAMA 132. Costume Design

A visual analysis of the historical styles of costume design, interpreted for the modern theater and developed by the student in various presentational media. Prerequisite: 30 or consent of instructor.

4 units, Spr (Strayer, C)

DRAMA 133. Stage Scenery Design

Creations of increasing complexity involve text analysis, historical and artistic style, visual research, spatial organization, drafting, sketching, model building, and director-designer collaboration. Prerequisite: 30, or consent of instructor.

4 units, Win (Gambatese, E)

DRAMA 133C. Autocad for Designers

Fundamentals of computer-aided-design software. 2- and 3-dimensional drawing conventions; the use of line weight, color, composition, and graphic style. Creation of construction documents for real-world applications. Students create their own symbol library. May be repeated for credit.

3 units, Spr (Gambatese, E)

DRAMA 133P. Scenic Painting

Techniques of painting for the stage. May be repeated for credit.

2-3 units, not given this year

DRAMA 134. Stage Management Project

For students stage managing a Department of Drama production.

2-9 units, Aut (Apperson, L), Win (Staff), Spr (Staff)

DRAMA 135. Sound Design

All aspects of sound for the theater from equipment, acoustics, and editing to the creation of theatrical sound effects, live and recorded.

4 units, Win (Staff)

DRAMA 137. Drafting and Construction

Creation of working scenery drawings for departmental productions in preparation for construction in departmental scene shop.

2-3 units, not given this year

DRAMA 139. Stage Management Production Crew

May be repeated for credit.

1-9 units, Aut (Staff), Win (Staff), Spr (Staff), Sum (Staff)

DRAMA 140. Projects in Theatrical Production

(Same as DRAMA 240.) Assistant directing; stage, costume, lighting, and sound design; technical production, stage managing, or other work in connection with Department of Drama productions. Prerequisite: consent of instructor.

1-5 units, Aut (Ramsaur, M), Win (Staff), Spr (Staff), Sum (Staff)

DRAMA 152. Beckett

(Same as DRAMA 358C, ENGLISH 389B.) Beckett's plays and late writing, which have been described as proto-performance art. Recent Beckett scholarship, including new work about his analysis with Bion.

3-5 units, Spr (Phelan, M)

DRAMA 154P. The California Performance Project-Multimedia and Research Workshop

Choreography and performance combined with interactive music and image making, haptic technology, and virtual worlds, Students creating a performance work to be staged virtually and in real time about California cultural and expressive history and social encounters.

3 units, Aut (Hayes, A), Win (Hayes, A), Spr (Staff)

DRAMA 155T. Drama of the Holocaust

(Same as DRAMA 255T.) The Holocaust as a recurrent theme in American, Israeli, and German drama; issues at the heart of the theatrical experience such as the role of theater as witness, representation of memories, and performance of real-life events on stage. Possible texts: Ghetto, The Investigation, Arbeit macht Frei, The Kastner Trial, and Bent. GER:DB-Hum

5 units, not given this year

DRAMA 156H. History of Performance Art and Live Art

(Same as DRAMA 256H.) From 1950 to the present, emphasizing the U.S. Precedents in visual arts, modern dance, and experimental theater. Modes include happenings, fluxus, body art, everyday performance, solo monologue, and bio art. Sources include surveys, essays, and artists' writings, and visual documentation.

3 units, not given this year

DRAMA 157T. Performance and Ethnography

(Same as DRAMA 257T.) Performance as a mode of engagement in fieldwork, as conceptual framework, and as a mode of representing cultural data. Readings from Clifford Geertz, Smadar Lavie, Dwight Conquergood, Victor Turner, Richard Schechner, Barbara Meyerhoff, Diana Taylor, Ruth Wilson Gilmore, Antonin Artaud, Soyini Madison, E. Patrick Johnson, Renato Rosaldo, Jon van Maanan, and Diane Wolfe.

5 units, not given this year

DRAMA 160. Performance, Dance, and History

(Same as DANCE 160, DRAMA 260.) Transitional periods in the history of theatrical and popular dance from the 19th through the 21st centuries; how the dancing body and choreography have been constructed in relation to social, aesthetic, and cultural agendas. This year, focus is on ballet migrations and the ballerina. GER:DB-Hum, EC-Gender

4 units, Win (Ross, J)

DRAMA 161H. Dance and Live Art in the 20th and 21st Centuries

(Same as DANCE 161H, DRAMA 261H.) History and development of postmodern dance and performance art. Topics include the body as art medium, performance art, experimental dance, and redefinitions of gender in live art

4 units, not given this year

DRAMA 162. Performance and the Text

(Same as DRAMA 262.) Formal elements in Greek, Elizabethan, Noh, Restoration, romantic, realistic, and contemporary world drama; how they intersect with the history of performance styles, character, and notions of action. Emphasis is on how performance and media intervene to reproduce, historicize, or criticize the history of drama. GER:DB-Hum

5 units, not given this year

DRAMA 163. Performance and America

(Same as DRAMA 263.) Dramas by women, men, Asian Americans, Latino Americans, and African Americans are examined with regard to the role of dramatic performance within contemporary American society, and as an affective and effective arena for inducing social change. GER:DB-Hum, EC-AmerCul

5 units, not given this year

DRAMA 165. Theater History: Classical to 1900

(Same as DRAMA 265.) A dramaturgical, historical, and design approach to the study of drama, theater, and performance. GER:DB-Hum

4 units, not given this year

DRAMA 166. Twentieth-Century Theater History: Production Research and Design

(Same as DRAMA 266.) A dramaturgical, historical, and design approach to the study of drama, theater, and performance. GER:DB-Hum

4 units, not given this year

DRAMA 166H. Historiography of Theater

(Same as DRAMA 304.) Goal is to design an undergraduate theater history class. Standard theater history textbooks, alternative models of theater history scholarship, and critical literature engaging historiography in general.

3-5 units, not given this year

DRAMA 168H. Art and Life: The Second Avant Garde

(Same as DRAMA 268H.) Experiments in the second half of the 20th century that produced new genres such as happenings and performance art, and theoretical debates that attempted to reformulate relations between art forms and their changed role in society. How these fundamentals of performance were challenged and reshaped. GER:DB-Hum

5 units, not given this year

DRAMA 169. Contemporary European Performance

Postdramatic works of the 90s to the present by Socìetas Raffaello Sanzio, Forced Entertainment, William Forsythe, Jérôme Bel, Xavier LeRoy, Sasha Waltz, and Meg Stuart. Writings by artists, curators, dramaturgs and critical theorists.

3 units, Aut (Groves, R), offered occasionally

DRAMA 170A. Concepts of Directing

(Same as DRAMA 370.) Directorial definitions of time, space, movement, and the performer/spectator relationship. Experimentation with texts from literary and other sources, including works from the realistic tradition in drama, using a multi-form performance space.

5 units, Aut (Staff)

DRAMA 170B. Advanced Directing

Deconstructing and constructing. Tools for analyzing text and developing directorial concepts, and putting them into practice. Class exercises culminate in a short theater piece written and directed by the student. Prerequisite: 170A or consent of instructor.

4 units, Win (Staff)

DRAMA 170P. Composing Performance

(Same as DRAMA 323.) Workshop.Generating performance materials for solo and ensemble creative work.

3-5 units, Aut (Staff)

DRAMA 171. Undergraduate Theater Workshop

Undergraduate directors present one act plays in workshop performances. Credit available for actors and directors. Prerequisite: 170A/170B or consent of instructor.

1-4 units, Spr (Staff)

DRAMA 175. Bay Area Performance Platform: SFMOMA Project

In collaboration with Brian Conley from the California College of Art and SFMOMA, a seminar devoted to the issues raised by Rudolf Freiling's SFMOMA's fall exhibition, The Art of Participation: 1950 to Now. Students create projects focused on the museum as a site of education. May be repeated for credit.

3-5 units, Aut (Phelan, M)

DRAMA 176H. Dramaturgy Project: The Wasteland

(Same as DRAMA 276.) Piecing together a lost world, from which The Wasteland is a kind of surviving text, from other texts including the referenced literary works, art, music, and films of the early 20s, and the political and social history. The poem's cultural background that gave rise to it and was reflected in it.

1-3 units, Aut (Freed, A)

DRAMA 176P. Wasteland Practical

Creation and development of The Wasteland Project in collaboration with writers, actors, and directors.

1-2 units, Win (Kostopoulos, K)

DRAMA 177. Playwriting

(Same as DRAMA 277.) The autobiographical monologic and poetic possibilities in performance art explored to learn the elements of playwriting. GER:DB-Hum

5 units, Win (Moraga, C)

DRAMA 178. Page to Stage: Playwriting and Solo Performance

(Same as DRAMA 278.) Dramatic writing: scripted and solo, and as performed by actors or by the playwright. Physical and psychological theatrical action. Development of skills in dialogue, story structure, style, and personal voice. Script readings and directed staging sessions.

5 units, Spr (Freed, A)

DRAMA 179D. Imagine Freedom: Dramatizing the Undocumented

(Same as DRAMA 279D.) The docudrama (plays and films) as an art practice of political transgression. Focus is on texts in which a socially marginalized community serves as the main character of the drama. Texts include Salt of the Earth; Chavez Ravine by Culture Clash; Canadian First Nation playwright Marie Clements' The Unnatural and Accidental Women; and Doris Pilkington Garimara's Rabbit Proof Fence. Script analysis and scriptwriting. GER:DB-Hum

5 units, alternate years, not given this year

DRAMA 179F. Flor y Canto: Poetry Workshop

(Same as DRAMA 279F.) Poetry reading and writing. The poet as philosopher and the poet as revolutionary. Texts: the philosophical meditations of pre-Columbian Aztec poetry known as flor y canto, and reflections on the poetry of resistance born out of the nationalist and feminist struggles of Latin America and Aztlán. Required 20-page poetry manuscript. GER:DB-Hum

3-5 units, Spr (Moraga, C)

DRAMA 179G. Indigenous Identity in Diaspora: People of Color Art Practice in North America

(Same as CSRE 179G, DRAMA 279G.) Gateway course for Institute for Diversity in Arts concentration. People of color aesthetics from contemporary art works in conversation with native (American, African, Asian) origins, gender, and sexuality; the formation of cultural identity. Final project.

5 units, Spr (Moraga, C)

DRAMA 180Q. Noam Chomsky: The Drama of Resistance

(S,Sem) Stanford Introductory Seminar. Preference to sophomores. Chomsky's ideas and work which challenge the political and economic paradigms governing the U.S. Topics include his model for linguistics; cold war U.S. involvements in S.E. Asia, the Middle East, Central and S. America, the Caribbean, and Indonesia and E. Timor; the media, terrorism, ideology, and culture; student and popular movements; and the role of resistance. GER:DB-Hum

3 units, Win (Rehm, R)

DRAMA 184Q. Devised Theater Project

(S,Sem) Stanford Introductory Seminar. Preference to sophomores. Students create material through writing and performance exercises. Research; storyline and dramatic structure; preparation of the performance space, props, and costume pieces; and rehearse and performance. Guest professionals.

3 units, Win (Weber, C)

DRAMA 187Q. The Stage in Dialogue with History

(S,Sem) Stanford Introductory Seminar. Preference to sophomores. The practice and ideological positions of European and American theater from the end of WW II to the implosion of the Soviet empire as seen in major playwrights and practitioners who shaped the European theater. Focus is on how plays and their staging responded to and tried to influence history. GER:DB-Hum

3 units, Aut (Weber, C)

DRAMA 189Q. Mapping and Wrapping the Body

(S,Sem) Stanford Introductory Seminar. Preference to sophomores. The concepts behind gender boundaries and clothing systems. GER:DB-Hum

3 units, Aut (Eddelman, W)

DRAMA 190. Special Research

Individual project on the work of a playwright, period, or genre. Prerequisite: consent of instructor.

1-5 units, Aut (Staff), Win (Staff), Spr (Staff), Sum (Staff)

DRAMA 191. Independent Study

Individual supervision of off-campus internship. Prerequisite: consent of instructor.

1-18 units, Aut (Staff), Win (Staff), Spr (Staff), Sum (Staff)

DRAMA 200. Senior Project

See "Undergraduate Programs" for description.

2-9 units, Aut (Staff), Win (Staff), Spr (Staff), Sum (Staff)

DRAMA 201A. Honors Colloquium

See "Undergraduate Programs" for description.

1 unit, Aut (Jakovljevic, B), Win (Jakovljevic, B), Spr (Jakovljevic, B), Sum (Staff)

DRAMA 201B. Honors Colloquium

See "Undergraduate Programs" for description.

1 unit, Aut (Jakovljevic, B), Win (Jakovljevic, B), Spr (Jakovljevic, B), Sum (Staff)

DRAMA 201C. Honors Colloquium

See "Undergraduate Programs" for description.

1 unit, Aut (Jakovljevic, B), Win (Jakovljevic, B), Spr (Jakovljevic, B), Sum (Staff)

DRAMA 201D. Honors Colloquium

See "Undergraduate Programs" for description.

1 unit, Aut (Jakovljevic, B), Win (Jakovljevic, B), Spr (Jakovljevic, B), Sum (Staff)

DRAMA 202. Honors Thesis

See "Undergraduate Programs" for description. May be repeated for credit.

2-9 units, Aut (Staff), Win (Staff), Spr (Staff), Sum (Staff)

DRAMA 203. Advanced Improvisation

Further development of improvisational skills.

3 units, not given this year

DRAMA 205. Senior Project: Acting

Collaborative work on a project culminating in a production.

2-5 units, not given this year

DRAMA 210A. Actor in Performance

Preference to Drama majors and minors and to students interested in further training in the performing arts. Taught in the professional conservatory tradition, with the creation of an acting ensemble. Skill building in acting, movement, voice, and speech. How to analyze and play the dramatic action of the text. Guest teachers from professional theater complement and expand the work of the ensemble. Limited enrollment. Prerequisite: interview with instructor.

4-5 units, alternate years, not given this year

DRAMA 210B. Actor in Performance

4-5 units, alternate years, not given this year

DRAMA 210C. Actor in Performance: Ensemble Workshop in Today's Theater

Actors apply themselves to performance challenges of plays from the U.S. and UK theater today: Stephen Adly Guirgis, Richard Greenberg, Philip Ridley, Kia Cothron, Diana Son, Winsome Pinnock, and emerging student playwrights. Final presentation of an adapted contemporary script chosen to suit the casting needs of the ensemble.

4-5 units, alternate years, not given this year

DRAMA 210V. Vocal Production and Audition

(Same as DRAMA 120V.) The vocal mechanism with development of voice and articulation for the stage. The actor's tools of phonetics, verbal action, and text analysis. Voice in preparation for audition. Emphasis is on relaxation, selection of appropriate material, and versatility to show contrast and range.

3 units, Aut (Kostopoulos, K)

DRAMA 213. Stanford Improv Ensemble

By audition only, for members of the improvisation troupe. Special project work. Prerequisite: 103.

1-2 units, Aut (Klein, D), Win (Klein, D), Spr (Klein, D)

DRAMA 219. Contemporary African American Drama: August Wilson, Suzan-Lori Parks, and Beyond

(Same as DRAMA 335.) From 1984 to the present. What constitutes African American drama; how contemporary playwrights confront intersections of race, gender; and sexuality; Blackness and historical constructions. How does the political and social climate affect the form and content of contemporary African American drama? How does the urgency of rap music translate into Hip Hop theater? Sources include critical and theoretical works on drama and contemporary African American cultural expression.

3-500 units, Spr (Elam, H)

DRAMA 224. Introduction to the Profession

Audition technique, material selection, and graduate school and MFA program guidance. Guest theater professionals. Selection and delivery of classical and contemporary audition material. Techniques for a confident approach to the audition situation.

3-5 units, given next year

DRAMA 231. Advanced Stage Lighting Design

Individually structured class in lighting mechanics and design through experimentation, discussions, and written reports. Prerequisite: 131 or consent of instructor.

1-5 units, Aut (Ramsaur, M), Win (Ramsaur, M), Spr (Staff), Sum (Staff)

DRAMA 232. Advanced Costume Design

Individually structured tutorial for costume designers. May be repeated for credit. Prerequisite: 132 or consent of instructor.

1-5 units, Aut (Staff), Win (Staff), Spr (Staff), Sum (Staff)

DRAMA 233. Advanced Scene Design

Individually structured workshop. May be repeated for credit. Prerequisite: 133 or consent of instructor.

1-5 units, Aut (Staff), Win (Staff), Spr (Staff), Sum (Staff)

DRAMA 234. Advanced Stage Management Project

For students stage managing a Department of Drama production. Prerequisite: 134.

2-9 units, Aut (Staff), Win (Staff), Spr (Staff), Sum (Staff)

DRAMA 235. Advanced Sound Design

Individually structured tutorial for sound designers. May be repeated for credit. Prerequisite: 135 or consent of instructor.

1-5 units, Aut (Staff), Win (Staff), Spr (Staff), Sum (Staff)

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Stanford Bulletin, Archive 2008-09

Stanford Bulletin, Archive 2008-09

Alphabetical Index

Bulletin Archive

Undergraduate courses in Drama