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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This likely means the remaining seats are reserved for certain students who need to take it in order to graduate in a timely manner. You’re welcome to add yourself to the waitlist, if available. For instructions on how to add to a waitlist, please refer to the Registration & Waitlist Examples Wiki page.
The option I'm enrolled in isn't satisfying the TD 357T requirement on my degree audit, what do I do?
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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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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
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No Instructor Consent Required.
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The courses below are not allowed as a substitution until further notice.
OTHER Non-T&D OPTIONS
F A 346 Inside the Arts of New York City - UTNY
From Broadway to Brooklyn and far beyond, New York City has a long, evolutionary, and singular presence in the visual and performing arts as one of the greatest cultural capitals of the western world. Through course readings, class discussion, site visits to major art institutions - both historic and those considered more experimental – supplemented by guest speakers, including practicing artists and art scholars, students will gain first-hand and behind-the-scenes knowledge of the depth of art practice and scholarship as defined and shaped by the city itself.
F A 369 Entrepreneurial Artist
F A 371 BUSINESS OF ENTERTAINMENT
This course will focus on the world of commercial entertainment. We will explore all aspects involved in producing live stage and on screen commercial productions. Inspiration (the search for creative content; self-generated or existing), to Organization (Executive, Administrative, Financial, Creative, Legal), Capitalization (Institutional, Independent, Theatrical, Key elements of “The Pitch”), Negotiation of Agreements & Contracts (Owner of Creative Content, Book/Script Writer, Composer, Lyricist, Director, Choreographer, Designers, Actors, Agents, Musicians, Unions, Theatre Owner, Merchandise, Investors, Insurance), and Execution.
No Instructor Consent Required.
F A 371 Offensive Art
What should be done with Confederate statues? Should books in school libraries be censored? Should we avoid and denounce art by creators who behave reprehensibly like Harvey Weinstein or Kanye West? Who should own the “Elgin Marbles” or the Benin Bronzes? Does the First Amendment protect artists from all censorship? Should street artists Banksy and Shepard Fairey be charged with vandalism? Should public dollars be spent on controversial or ugly art the public doesn’t like? Should artists and performers be accountable to a professional code of ethics like doctors and lawyers?Art, theatre, literature, music and dance, and the artists who create them, are often offensive, inflaming deep opposition and controversy. This course will examine cases of offensive and controversial art to examine the nature and cause of offense and what special role art and artists might play in instigating, mediating, and resolving social and political conflicts.
No Instructor Consent Required.
F A 371 Producing Art Social Change