BA students may take one of these options for the TD 357T Topics in History/Criticism/Performance Studies/Literature/Dramaturgy requirement.
TD 351S is no longer offered.
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Peers for Pride (PfP) is a peer facilitation program of the Gender and Sexuality Center. Students will take two courses during the academic year in partnership with the Gender for Women’s Gender Studies. During the program, students build applied theatre, critical analysis, and facilitation skills as they build the workshop “What Do Thriving Queer Communities Look Like?” Students create message scenes and activating scenes in the workshop to share skills and build space for conversation and accountability across LGBTQIA+ communities and with supporters of LGBTQIA+ communities. Through their facilitation and reflection after workshop facilitation, students continue to build a knowledge of performance-based social justice facilitation in higher education and of intersectional LGBTQIA+ realities.
Instructor Consent Required. This is the first course of a two-semester sequence.
To Apply: please fill out this online application and someone will contact you in 3-5 business days. Interested students must complete an application and a short assessment/informal meeting, which will allow instructors to learn more about you and your learning goals that can be scheduled in-person, video call, or conference call. For priority consideration, submit application during the spring and summer semesters. The deadline to apply for the program is the start of the next fall semester.
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No Instructor Consent Required.
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357T Gender & Sexuality in Performance
T D 357T / AFR 330V / C L 323 GREEK TRAGEDY/POSTCOL DRAMA
Dramaturgy is a course for actors, directors, designers, educators, playwrights, and dramaturgs interested in deepening their artistic work. This course aims to give undergraduate students a background in the theory and practice of dramaturgy. After exploring the history of the dramaturg, we will focus on the many aspects of a dramaturg’s job, including the responsibilities of a production dramaturg, new play dramaturg, and literary associate. Students will analyze plays from a dramaturgical perspective through written assignments that deepen critical thinking skills. They will then apply their knowledge to a production in the New Works Festival by conducting research and creating a production casebook. We will also consider how dramaturgy can help us understand public culture and manipulate public response.
No Instructor Consent Required.
T D 357T Gender & Sexuality in Performance
T D 357T / AFR 330V / C L 323 GREEK TRAGEDY/POSTCOL DRAMA
Greek tragedies are considered one of the greatest heritages of the white western world. But what does it mean when they are adapted by Black/African writers in postcolonial and post-Apartheid societies to narrate their contemporary African histories? What contradictions occur in these adaptations and what creative potentials do they make possible? This course is a study in adaptation of great dramatic literature of the Greek civilizations to their phenomenal evolution into popular African performances. Our task as scholars in this class is the mediation of the meeting of great minds like Euripides, Aeschylus, Sophocles, Wole Soyinka, Ola Rotimi, Athol Fugard, Femi Osofisan, Efua Sutherland, and Yael Farber through critical analysis. What insights do we derive about history and culture when Hellenism becomes a narrative paradigm for African/Black nationalism?
We will parse Greek tragedies, the African adaptations, and critical studies of these works to understand the making of multicultural literature, the de-colonization agenda that goes into the project of adaptation, 2 and what world history and culture both gain (or lose) through these re-creative works. As we put the classical writings from Ancient Greek in dialogue with texts that formed the background of African anticolonial revolutions, we will analyze how Africans have used these works to re-shape literary canon and given their world and their histories universal purchase. While this course involves creative writing and some staged performances, you do not need prior experience to be a member of this class.
No Instructor Consent Required.
T D 357T / RTF 345 MUSICALS AND AMERICA
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Greek tragedies are considered one of the greatest heritages of the white western world. But what does it mean when they are adapted by Black/African writers in postcolonial and post-Apartheid societies to narrate their contemporary African histories? What contradictions occur in these adaptations and what creative potentials do they make possible? This course is a study in adaptation of great dramatic literature of the Greek civilizations to their phenomenal evolution into popular African performances. Our task as scholars in this class is the mediation of the meeting of great minds like Euripides, Aeschylus, Sophocles, Wole Soyinka, Ola Rotimi, Athol Fugard, Femi Osofisan, Efua Sutherland, and Yael Farber through critical analysis. What insights do we derive about history and culture when Hellenism becomes a narrative paradigm for African/Black nationalism?
We will parse Greek tragedies, the African adaptations, and critical studies of these works to understand the making of multicultural literature, the de-colonization agenda that goes into the project of adaptation, 2 and what world history and culture both gain (or lose) through these re-creative works. As we put the classical writings from Ancient Greek in dialogue with texts that formed the background of African anticolonial revolutions, we will analyze how Africans have used these works to re-shape literary canon and given their world and their histories universal purchase. While this course involves creative writing and some staged performances, you do not need prior experience to be a member of this class.
No Instructor Consent Required.
T D 357T / RTF 345 MUSICALS AND AMERICA
The American musical has long been a popular genre through which storytellers, performers and audiences reimagine who we are and how the nation defines itself with respect to norms of race, gender, sexuality, ethnicity, class, and citizenship. It also has been a forum for stories about social issues of the day, with its conventions as popular entertainment allowing boundary-pushing content to be given voice. Musicals and “America” surveys the genre’s history and evolution, with an emphasis on musical and dance films and television series since the 1950s, and provides tools for critical analysis of musical narratives, performances involving song and/or dance, and the representation of identities across the decades. We’ll watch a number of important films and television series in this history (including Rent, Stormy Weather, Funny Girl, Zoot Suit, and Crazy Ex-Girlfriend), and read and respond to scholarship on Hollywood, Broadway and television musicals, with a focus on the ways in which cinematic renditions of song and dance make meaning.
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Explores digital storytelling as an applied performance practice. Students will engage digital storytelling a practice for reflecting on self, building community, and amplifying cultural engagement and social justice. Creative writing and devising through drama and digital technologies; collaborative development and documentation of digital stories and performance collages.
Instructor Consent Required.
T D 351T THEATRE IN MUSEUMS
This course will make performance work with and for community partners to explore access/inclusion/belonging at The Art Galleries for Black Studies and The Blanton Museum of Art. No formal museum experience required beyond an interest in using theatrical strategies and performance to support increase engagement in museum exhibitions through critical and creative thinking. Teaching artists, directors, actors, dancers, playwrights, designers and stage managers area all encouraged to register!Expl
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Black Studies and The Blanton Museum of Art. No formal museum experience required beyond an interest in using theatrical strategies and performance to support increase engagement in museum exhibitions through critical and creative thinking. Teaching artists, directors, actors, dancers, playwrights, designers and stage managers area all encouraged to register!Expl
T D 356T Latino Theatre for Young Audiences
T D 357D DRAMATURGY
Dramaturgy is a course for actors, directors, designers, educators, playwrights, and dramaturgs interested in deepening their artistic work. This course aims to give undergraduate students a background in the theory and practice of dramaturgy. After exploring the history of the dramaturg, we will focus on the many aspects of a dramaturg’s job, including the responsibilities of a production dramaturg, new play dramaturg, and literary associate. Students will analyze plays from a dramaturgical perspective through written assignments that deepen critical thinking skills. They will then apply their knowledge to a production in the New Works Festival by conducting research and creating a production casebook. We will also consider how dramaturgy can help us understand public culture and manipulate public response.
No Instructor Consent Required.
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OTHER Non-T&D OPTIONS
F A 369 Entrepreneurial Artist
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