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Arts Program at Bryn Mawr College: 2009-2010
Students may complete a minor in Creative Writing, Dance or Theater and may submit an application to major in Creative Writing, Dance or Theater through the independent major program. Students may complete a major in Fine Arts or a major or minor in Music at Haverford College. English majors may complete a concentration in Creative Writing.
Lecturer in Dance David Brick
Senior Lecturer and Associate Director of Dance Madeline Cantor
Associate Professor and Director of Dance Linda Caruso-Haviland
Lecturer In Theater James Christy
Lecturer in Creative Writing Tom Ferrick, Jr.
Lecturer in Creative Writing Amy Herzog
Senior Lecturer and Designer/Technical Director of Theater Hiroshi Iwasaki
Associate Professor and Director of Creative Writing Program Karl Kirchwey
Professor and Director of Theater and Chair of the Arts Program Mark Lord
Lecturer in Creative Writing Elizabeth Mosier
Instructor in Theater Catherine Slusar
Visiting Assistant Professor, English Department and Creative Writing Asali Solomon
Lecturer in Creative Writing J.C. Todd
Lecturer in Creative Writing Daniel Torday
Arts Program Courses
ARTA B251 Arts Teaching in Educational and Community Settings (Cross-listed as EDUC B251)
This is a Praxis II course intended for students who have substantial experience in an art form and are interested in extending that experience into teaching and learning at educational and community sites. Following an overview of the history of the arts in education, the course will investigate underlying theories. The praxis component will allow students to create a fluid relationship between theory and practice through observing, teaching and reflecting on arts practices in education contexts. School or community placement 4-6 hours a week. Prerequisite: at least an intermediate level of experience in an art form. This course counts toward the minor in Dance or in Theater.
Arts in Education
ARTA B251 Arts Teaching in Educational and Community Settings (Cross-listed as EDUC B251)
This is a Praxis II course intended for students who have substantial experience in an art form and are interested in extending that experience into teaching and learning at educational and community sites. Following an overview of the history of the arts in education, the course will investigate underlying theories. The praxis component will allow students to create a fluid relationship between theory and practice through observing, teaching and reflecting on arts practices in education contexts. School or community placement 4-6 hours a week. Prerequisite: at least an intermediate level of experience in an art form. This course counts toward the minor in Dance or in Theater.
Creative Writing
Courses in Creative Writing within the Arts Program are designed for students who wish to develop their skills and appreciation of creative writing in a variety of genres (poetry, prose fiction and nonfiction, playwriting, screenwriting, etc.) and for those intending to pursue studies in creative writing at the graduate level. Any English major may include one Creative Writing course in the major plan. Students may pursue a minor as described below. While there is no existing major in Creative Writing, exceptionally well-qualified students with a GPA of 3.7 or higher in Creative Writing courses completed in the Tri-College curriculum may consider submitting an application to major in Creative Writing through the independent major program after meeting with the Creative Writing Program director. When approved, the independent major in Creative Writing is often pursued as a double major with another academic major subject.
Creative Writing Minor Requirements
Requirements for the minor in Creative Writing are six units of course work, generally including three beginning/intermediate courses in at least three different genres of creative writing (chosen from ARTW 159, 231, 236, 240, 251, 260, 261, 262, 263, 264, 265, 266, 268, 269) and three electives, including at least one course at the 300 level (ARTW 360, 361, 362, 364, 366, 367, 371, 373, 382), allowing for advanced work in one or more genres of creative writing which are of particular interest to the student. The objective of the minor in Creative Writing is to provide both depth and range, through exposure to several genres of creative writing. Students should consult with the Creative Writing Program director by the end of their sophomore year to submit a plan for the minor in order to ensure admission to the appropriate range of courses.
Concentration in Creative Writing
English majors may elect a three-course concentration in Creative Writing as part of the English major program. Students interested in the concentration must meet with the Creative Writing Program director by the end of their sophomore year to submit a plan for the concentration and must also confirm the concentration with the chair of the English Department.
Creative Writing Courses
ARTW B159 Introduction to Creative Writing
This course is for students who wish to experiment with three genres of creative writing: short fiction, poetry and drama. Priority will be given to interested first-year students; additional spaces will be made available to upper-year students with little or no experience in creative writing. Students will write or revise work every week; roughly four weeks each will be devoted to short fiction, poetry and drama. There will be individual conferences with the instructor to discuss their progress and interests. Half of class time will be spent discussing student work and half will be spent discussing syllabus readings.
ARTW B231 Poetry as Performance
Takes the poem off the printed page from poetry to performance and considers poetry form, style, theory, and techniques of "Spoken Word" artistry. Performance theory will be coupled with cutting-edge work in the anthropology of performance. Students will maintain a poetry journal, write and edit original poetry, complete syllabus readings, write weekly response papers and participate in discussions and performances. The course culminates in a radio broadcast and a full-length performance piece. Not offered in 2009-10.
ARTW B236 Contemporary Literature Seminar (Cross-listed as ENGL B236)
Surveys the work of literary writers reading in the Creative Writing Program Reading Series. Students will read and discuss at least one work by each of the authors appearing, and whenever possible will meet individually with the authors in class as well as attending their public readings. Authors represented have included poets Lucille Clifton, Derek Walcott and Richard Wilbur, fiction writers E.L. Doctorow and James Salter, and memoirist Patricia Hampl. This is a half-credit course; students may receive credit for either or both semesters. Approximately 15 pages of critical prose writing will be required for each half-credit. Not offered in 2009-10.
ARTW B240 Literary Translation Workshop(Cross-listed as COML B240)
Open to creative writing students and students of literature, the syllabus includes some theoretical readings, but the emphasis is practical and analytical, considering parallel translations of certain enduring literary texts as well as books and essays about the art of translation. Literary translation will be considered as a spectrum ranging from Dryden's "metaphrase" (word-for-word translation) all the way through imitation and adaptation. The course will include class visits by working literary translators. The Italian verbs for "to translate" and "to betray" are neighbors; throughout, the course concerns the impossibility and importance of literary translation. Not offered in 2009-10.
ARTW B260 Writing Short Fiction I
Torday, Solomon
An introduction to fiction writing, focusing on the short story. Students will consider fundamental elements of fiction and the relationship of narrative structure, style and content, exploring these elements in their own work and in the assigned readings in order to develop an understanding of the range of possibilities open to the fiction writer. Weekly readings and writing exercises are designed to encourage students to explore the material and styles that most interest them, and to push their fiction to a new level of craft, so that over the semester their writing becomes clearer, more controlled, and more absorbing.
ARTW B261 Writing Poetry I
This course will provide a survey of craft resources available to students wishing to write print-based (as opposed to spoken-word) poems in English: figure, line, measure, meter, rhyme and rhythm. In concert with close reading of model poems, students will gain experience writing in a variety of verse forms, including haiku, Anglo-Saxon accentual verse, sonnet, free verse and prose poem. The course objective will be to provide students with the skills to explore poetic form, both received and invented, and to develop a voice with which to express themselves on the printed page.
ARTW B262 Playwriting I (Cross-listed as ARTT B262)
An introduction to playwriting through a combination of reading assignments, writing exercises, discussions about craft and ultimately the creation of a one-act play. Students will develop their unique voices as they learn the technical aspects of writing for the stage. Readings will include plays by John Guare, Lynn Nottage, Jose Rivera, Tony Kushner, Suzan-Lori Parks, Edward Albee, Paula Vogel, and others. Short writing assignments will complement the reading assignments. The final assignment will be to write an original one-act play.
ARTW B263 Writing Memoir I
The purpose of this course is to provide students with practical experience in writing about the events, places and people of their own lives in the form of memoir. Initial class discussions attempt to distinguish memoir from related literary genres such as confession and autobiography. Writing assignments and in-class discussion of syllabus readings explore the range of memoirs available for use as models (excerpts by writers including James Baldwin, Lorene Cary, Annie Dillard, Arthur Koestler, Rick Moody, Lorrie Moore, and Tim O'Brien) and elements such as voice and perspective, tone, plot, characterization and symbolic and figurative language. Not offered in 2009-10.
ARTW B264 News and Feature Writing
Students in this class will learn how to develop, report, write, edit and revise a variety of news stories, beginning with the basics of reporting and writing the news and advancing to longer-form stories, including personality profiles, news features and trend stories, and concluding with point-of-view journalism (columns, criticism, reported essays). The course will focus heavily on work published in The Philadelphia Inquirer and The New York Times. Several working journalists will participate as guest speakers to explain their craft. Students will write stories that will be posted on the class blog, the English House Gazette.
ARTW B265 Creative Nonfiction
This course will explore the literary expressions of nonfiction writing by focusing on the skills, process and craft techniques necessary to the generation and revision of literary nonfiction. Using the information-gathering tools of a journalist, the analytical tools of an essayist and the technical tools of a fiction writer, students will produce pieces that will incorporate both factual information and first person experience. Readings will include a broad group of writers ranging from E.B. White to Joseph Mitchell, George Orwell to David Foster Wallace, David Sedaris to Dave Eggers, Joan Didion to John Edgar Wideman, among many others.
ARTW B266 Screenwriting
This combination discussion/workshop course is an introduction to dramatic writing for film. Basic issues in the art of storytelling will be analyzed: theme, dramatic structure, image and sound. The course will be an exploration of the art and impulse of storytelling, and it will provide a safe but rigorous setting in which to discuss student work. What is a story? What makes a character compelling, and conflict dramatic? How does a story engage our emotions? Through written exercises, close analysis of texts and the screening of film, we will come to better understand the tools and dictates of film writing. Not offered in 2009-10.
ARTW B269 Writing for Children
In this course, students have the opportunity to write imaginatively for children and young adults. Through reading and in-class discussion, we will examine the specific requirements of the picture book, the chapter book and the young adult novel. This analytical study of classic and contemporary literature will inspire and inform students' creative work through the discoveries they make about style and structure, creating compelling characters, the roles of illustration and page composition in story narration, and the ever-evolving fairy tale. Students will receive guidance for their creative work through in-class exercises, peer review and private conferences with the instructor.
ARTW B360 Writing Short Fiction II
An exploration of approaches to writing short fiction designed to strengthen skills of experienced student writers as practitioners and critics. Requires writing at least five pages each week, workshopping student pieces, and reading texts ranging from realist stories to metafictional experiments and one-page stories to the short novella, to explore how writers can work within tight confines. Prerequisite: ARTW 260 or work demonstrating equivalent expertise in writing short fiction, comprising a writing sample of 5-10 pages in length (prose fiction) to be submitted to the Creative Writing Program in order to be considered for this course.
ARTW B361 Writing Poetry II
This course presumes that reading and writing are inextricably linked, and that the only way to write intelligent and interesting poetry is to read as much of it as possible. Writing assignments will be closely connected to syllabus reading, and may include working in forms such as ecphrastic poems, dramatic monologues, prose poems, translations, imitations and parodies. Prerequisite: ARTW 261 or work demonstrating equivalent familiarity with the basic forms of poetry in English, comprising a writing sample of 5-7 poems to be submitted to the Creative Writing Program in order to be considered for this course.
ARTW B362 Playwriting II(Cross-listed as ARTT B362)
This course challenges students of playwriting to further develop their unique voices and improve their technical skills in writing for the stage. We will examine how great playwrights captivate a live audience through their mastery of character, story and structure. Students will complete bi-weekly playwriting assignments of 10-12 pages and, ultimately, a one-act play of 30-40 pages. Readings include plays by Beckett, Chekhov, Lorraine Hansberry, Ibsen, Arthur Miller, Tennessee Williams, August Wilson and others. Prerequisite: ARTW 262; or suitable experience in directing, acting or playwriting, as demonstrated in a work sample of 10 pages of dialogue to be submitted to the Creative Writing Program in order to be considered for this course. Not offered in 2009-10.
ARTW B364 Longer Fictional Forms
An advanced workshop for students with a strong background in fiction writing who want to write longer works: the long short story, novella and novel. Students will write intensively, and complete a long story, novel or novella (or combination thereof) totaling up to 20,000 words. Students will examine the craft of their work and of published prose. Prerequisite: ARTW 260 or proof of interest and ability, comprising a writing sample of 5-10 pages of prose fiction to be submitted to the Creative Writing Program in order to be considered for this course.
ARTW B366 Writing Memoir II
This course will enable students to complete one or two longer memoirs in the semester. The syllabus readings will focus on book-length memoirs by authors such as Frank Conroy, Patricia Hampl, Kathryn Harrison, Mary McCarthy, Vikram Seth, John Edgar Wideman and Tobias Wolff. Discussions of syllabus reading (part of the syllabus reading will be selected by the students) will alternate with discussions of weekly student writing assignments. Prerequisite: ARTW 263 or work demonstrating equivalent expertise, comprising a memoir or personal essay of 5-10 pages in length to be submitted to the Creative Writing Program in order to be considered for this course. Not offered in 2009-10.
ARTW B382 Poetry Master Class
Four leading contemporary poets who are also accomplished teachers will each conduct a three-week-long unit in this course. Students will have their poems reviewed by each of the visiting poets, who will also present a public reading of their work. Poet-teachers will include Cornelius Eady, Marilyn Hacker, Mary Jo Salter and Gerald Stern. Prerequisite: ARTW B231 or ART W B261 (ARTW B361 is also strongly recommended) or equivalent proficiency in writing text-based verse. A writing sample of 5-7 poems must be submitted to the Creative Writing Program in order to be considered for this course. Not offered in 2009-10.
ARTW B403 Supervised Work
Students who have completed beginning-, intermediate-, and advanced-level courses in a particular genre of creative writing and who wish to pursue further work on a tutorial basis may meet with the Creative Writing Program director to propose completing a one-semester-long independent study course with a member of the Creative Writing Program faculty.
Haverford College currently offers the following courses in creative writing:
ENGL H291 Poetry Writing: A Practical Workshop
ENGL H292 Poetry Writing II: Contemporary Voices
ENGL H293 Fiction Writing: From the Conventional to the Experimental
ENGL H294 Fiction Writing
Dance Program
Dance is not only an art and an area of creative impulse and action; it is also a significant and enduring human behavior that can serve as a core of inquiry within the Liberal Arts. The Dance Program has, accordingly, designed a curriculum that provides varied courses in technique, composition, theory and performance for students at all levels of skill, interest and commitment. A full range of technique courses in modern, ballet, jazz and African dance is offered regularly. More specialized movement forms, such as classical Indian and flamenco, are offered on a rotating basis. The core academic curriculum includes advanced technique courses, performance ensembles, dance composition, independent work, courses in dance research and in Western dance history as well as courses that present perspectives extending beyond this theatrical or social tradition. Students can minor in dance or submit an application to major through the independent major program.
Dance Program Minor Requirements
Requirements for the dance minor are six units of coursework, three required (ARTD 140, 142, and one credit which may be distributed among the following: 230, 231, 330, 331, or 345) and three electives. Students may choose to emphasize one aspect of the field, but must first consult with the dance faculty regarding their course of study.
Dance Program Courses
ARTD B140 Approaches to Dance: Themes and Perspectives
This course introduces students to dance as a multi-layered, significant and enduring behavior that ranges from art to play to ritual to politics and beyond. It engages students in the creative, critical and conceptual processes that emerge in response to the study of dance. It also explores the research potential that arises when other areas of academic inquiry, including criticism, ethnology, history and philosophy, interact with dance and dance scholarship. Lectures, discussion, film, video and guest speakers are included. Not offered in 2009-10.
ARTD B142 Dance Composition I
D. Brick
An introduction to the process of making dances that explores basic elements including space, time, rhythm, energy, dynamics, qualities of movement and gesture, and both traditional and postmodern structures. Compositional theory will be approached through the practice of making dance studies, starting with simple solo phrases and moving towards complex and interactive group forms and processes. Students will be expected to develop and broaden their understanding of dance as an art form and their abilities to see and critique dances. Readings and viewings pertaining to the choreographic process will be assigned. Concurrent attendance in any level technique course is required.
ARTD B240 Dance History I: Roots of Western Theater Dance
L. Caruso-Haviland
This course investigates the historic and cultural forces affecting the development and functions of pre-20th-century dance as well as its relationship to and impact on the development of Western culture. It will consider nontheatrical forms and applications, but will give special emphasis to the development of theatre dance forms. It will also introduce students to the varied forms of the historic documentation of dance and to a view of history not only as a linear progression of events but also as process, change and cultural shift. Lecture, discussion and audiovisual materials. Not offered in 2009-10.
ARTD B241 Dance History II: A History of Contemporary Western Theater Dance
L. Caruso-Haviland
The study of the development of contemporary forms of dance with emphasis on theater forms within the broader context of Western art and culture. Lecture, discussion and audiovisual materials. Not offered in 2009-10.
ARTD B242 Dance Composition II
The goal of this course is to build on work accomplished in Composition I and to develop an understanding of and skill in the theory and craft of choreography. This includes deepening movement invention skills; exploring form and structure; investigating sources for sound, music, text and language; developing group design; and broadening critical understanding. Students will work on a selected number of projects and will have some opportunity to revise and expand work. Readings and viewings will be assigned and related production problems will be considered. Concurrent attendance in any level technique course is required.
ARTD B250 Performing the Political Body: Dance and Power
This course explores how artists, activists, and intellectuals have used dance and performance to support political goals and ideologies or to perform cultural interventions in the public sphere according to particular expectations of social and political responsibilities. From a wide range of possibilities we will focus on how dance as an embodied practice is a useful medium for analyzing ideologies and practices of power particularly with reference to gender, class, and race. Students will also investigate the body as an active agent of social change and political action. The course includes an in-class mini-performance project, but willingness to explore movement or other performance approaches is more important than prior dance training.
ARTD B254 Nation, Gender and Class in Latin American Dance
Social and theatrical dance in Latin America, focusing on salsa, tango and ballet as samples of native, imported and exported forms practiced on the continent. Highlights how dance embodies issues of nationality, class and gender relevant to Latin American countries. Readings, visual media, class discussions and presentations, guest lectures, field trip, and some instruction in salsa/tango. Prerequisite: a dance academic course or a course in anthropology, sociology or Latin American, Latino, and Iberian peoples and cultures, or permission of the instructor. Not offered in 2009-10.
ARTD B266 Dancing Desire in Bollywood Films (Cross-listed as ANTH B266)
Explores the shifts in sexuality and gender construction of Indian women from national to transnational symbols through the dance sequences in Bollywood. Examines the place of the erotic in reconstructing gender and sexuality from past notions of romantic love to desires for commodity. Primary focus will be on approaches to the body from anthropology and sociology to performance, dance and media studies. Not offered in 2009-10.
Dance Technique
Three levels of ballet and modern dance are offered each semester. Improvisation, African dance and jazz are offered each year. Courses in techniques developed from other cultural forms, such as hip-hop, classical Indian dance or flamenco, are offered on a rotating basis as are conditioning techniques such as Pilates. All technique courses are offered for physical education credit but students may choose to register in some intermediate and advanced level courses for academic credit.
Dance Technique Courses
ARTD B230 Intermediate Technique: Modern
ARTD B231 Intermediate Technique: Ballet
ARTD B330 Advanced Technique: Modern
L.Caruso-Haviland, Malcolm-Naib
ARTD B331 Advanced Technique: Ballet
ARTD B342 Advanced Choreography
M.Cantor, L.Caruso-Haviland
Independent study in choreography under the guidance of the instructor. Students are expected to produce one major choreographic work and are responsible for all production considerations.
Dance Performance
Dance Ensembles (modern, ballet, jazz, African, and Dance Outreach) are designed to offer students significant opportunities to develop dance technique, particularly in relationship to dance as performance art. Original works or reconstructions from the historic or contemporary repertory choreographed by faculty or guest choreographers are rehearsed and performed. The Dance Outreach Project is a dance performance/education program that tours Philadelphia and suburban schools and community groups. Dance Ensembles are open to intermediate- and advanced-level dancers by audition or permission of the instructor, and may be taken for physical education credit or academic credit. Concurrent attendance in any level technique course is required.
Dance Performance Courses
ARTD B345 Dance Ensemble
Cantor, Caruso-Haviland, Cruz
Dance ensemble offers course sections in African, Ballet, Jazz and Modern Dance.
ARTD B390 Senior Project/Thesis
Cantor, Caruso-Haviland
ARTD B403 Supervised Work
Cantor, Caruso-Haviland, Malcolm-Naib
Research in a particular topic of dance under the guidance of an instructor, resulting in a significant final paper or project.
The curricular portion of the Bryn Mawr and Haverford Colleges' Theater Program focuses on the point of contact between creative and analytic work. Courses combine theory (reading and discussion of dramatic literature, history and criticism) and practical work (creative exercises, scene study and performance) to provide viable theater training within a liberal-arts context.
Theater Minor Requirements
Requirements for the minor in Theater are six units of course work, three required (ARTT 150, 251 and 252) and three elective. Students must consult with the Theater faculty to ensure that the necessary areas in the field are covered. Students may submit an application to major in Theater through the independent major program.
Theater Performance
Numerous opportunities exist to act, direct, design and work in technical theater. In addition to the Theater Program's mainstage productions, many student theater groups exist that are committed to musical theater, improvisation, community outreach, Shakespeare, film and video work, etc. All Theater Program productions are open and casting is routinely blind with respect to race and gender.
ARTT B150 Introduction to Theater
An exploration of a wide range of dramatic works and history of theater through research, analysis and discussion to develop understanding and foundations for a theatrical production.
ARTT B230 Topics in American Drama (Cross-listed as ENGL B230)
Considers American plays of the 20th century, reading major playwrights of the canon alongside other dramatists who were less often read and produced. Will also study later 20th-century dramatists whose plays both develop and resist the complex foundation established by canonical American playwrights and how American drama reflects and responds to cultural and political shifts. Considers how modern American identity has been constructed through dramatic performance, considering both written and performed versions of these plays. Not offered in 2009-10.
ARTT B250 Twentieth-Century Theories of Acting
An introduction to 20th-century theories of acting emphasizing the intellectual, aesthetic and sociopolitical factors surrounding the emergence of each director's approach to the study of human behavior on stage. Various theoretical approaches to the task of developing a role are applied in workshop and scene study. Not offered in 2009-10.
ARTT B251 Fundamentals of Acting
An introduction to the fundamental elements of acting (scene analysis, characterization, improvisation, vocal and gestural presentation, and ensemble work) through the study of scenes from significant 20th-century dramatic literature.
ARTT B252 Fundamentals of Technical Theater
A practical, hands-on workshop in the creative process of turning a concept into a tangible, workable end through the physical execution of a design. Exploring new and traditional methods of achieving a coherent synthesis of all areas of technical production.
ARTT B253 Performance Ensemble
An intensive workshop in the methodologies and aesthetics of theater performance, this course is open to students with significant experience in performance. In collaboration with the director of Theater, students will explore a range of performance techniques and styles in the context of rehearsing a performance project. Admission to the class is by audition or permission of the instructor. The class is offered for a half-unit of credit.
ARTT B254 Fundamentals of Theater Design
Iwasaki, Bochansky
An introduction to the creative process of visual design for theater; exploring dramatic context and influence of cultural, social and ideological forces on theater and examining practical applications of various technical elements such as scenery, costume and lighting while emphasizing their aesthetic integration. Not offered in 2009-10.
ARTT B255 Fundamentals of Costume Design
Hands-on practical workshop on costume design for performing arts; analysis of text, characters, movement, situations; historical and stylistic research; cultivation of initial concept through materialization and plotting to execution of design.
ARTT B259 Mask and Puppet Performance and Design
Not offered in 2009-10.
ARTT B262 Playwriting I (Cross-listed as ARTW B262)
ARTT B270 Ecologies of Theater: Performance, Play, and Landscape (Cross-listed as COML B269)
Students in this course will investigate the notion of theatrical landscape and its relation to plays and to the worlds that those landscapes refer. Through readings in contemporary drama and performance and through the construction and evaluation of performances, the class will explore the relationship between human beings and the environments they imagine, and will study the ways in which those relationships impact how we think about our relationship to the world in which we live. The course will culminate in a series of public performances. Not offered in 2009-10.
ARTT B296 Introduction to Medieval Drama (Cross-listed as ENGL B296)
Not offered in 2009-10.
ARTT B344 Advanced Theater Design
A workshop for those who have completed either Fundamentals of Theater Design, Costume Design or Technical Theater Production or have an equivalent experience, for students to explore their specific area of interest. The focus is on translating the theories into concrete designs. Prerequisite: ARTT 252, 254 or 255 or equivalent experience. Not offered in 2009--10.
ARTT B351 Acting II
Builds on the methods learned in ARTT 251, with an emphasis on strategies of preparing short solo performances. In addition to intensive exercises in naturalistic and anti-naturalistic performance techniques, the course provides opportunities for exploration of principles of design, directing, dramaturgy and playwriting as they pertain to specific projects conceived by members of the class. Prerequisite: permission of instructor. Not offered in 2009-10.
ARTT B353 Advanced Performance Ensemble
An advanced, intensive workshop in theater performance. Students explore a range of performance techniques in the context of rehearsing a performance project, and participate in weekly seminars in which the aesthetic and theatrical principles of the play and production will be developed and challenged. The course may be repeated.
ARTT B356 Endgames: Theater of Samuel Beckett (Cross-listed as ENGL B356)
An exploration of Beckett's theater work conducted through both reading and practical exercises in performance techniques. Points of special interest include the monologue form of the early novels and its translation into theater, Beckett's influences (particularly silent film) and collaborations, and the relationship between the texts of the major dramatic works and the development of both modern and postmodern performance techniques. Not offered in 2009-10.
ARTT B359 Directing for the Stage
A semiotic approach to the basic concepts and methods of stage direction. Topics explored through readings, discussion and creative exercises include directorial concept, script analysis and research, stage composition and movement, and casting and actor coaching. Students rehearse and present three major scenes.
ARTT B362 Advanced Playwriting (Cross-listed as ARTW B362)
Not offered in 2009-10.
ARTT B403 Supervised Work


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Rant & Rave: Spa Facials
This Week's Topic: SPA FACIALS!
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subset: commoncrawl


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As surprising as it was for Chicago White Sox righthander Phil Humber to throw a perfect game this past Saturday, one factor made the feat more at least somewhat plausible. Sure, Humber never had thrown a complete game in his major league career, had won only 11 games over six seasons before this one and had posted a 5.01 ERA in the second half of last season.
Working in his favor, however: He was facing the Seattle Mariners at Safeco Field.
From 2009-2011, the Mariners had the American League's lowest batting average (.238) at home and the second-lowest runs-per-game average (3.32) at home.
This season is off to a similar start (.195 batting average, 3.22 runs per game at Safeco), though Seattle isn't alone in its home-park misery. Four teams, including the Mariners, entered Tuesday's play with a sub-.200 batting average at home. And although that doesn't necessarily point to the location of this season's second perfect game, it exposes a big weakness for Seattle and this trio:
Cleveland Indians. The Tribe have played only five games at Progressive Field but will play their final six games of April there (against the Kansas City Royals and Los Angeles Angels). With a .176 batting average at home, the Indians rank dead last in the majors. Interestingly, 12 of their 33 hits there have gone for extra bases. As a result, they rank in the middle of the pack with 4.0 runs per game at home.
San Diego Padres. Petco Park provides a huge advantage for the team's pitching staff but creates quite a challenge for the offense. The Padres are hitting .188 after 11 home games this season, and things aren't likely to improve much with the Washington Nationals in town. The spacious outfield has resulted in a major league-high eight triples at home, but San Diego's sluggers have deposited just five balls into the outfield seats. Thus, the Padres' 3.00 runs per game at home rank 26th in the majors.
Pittsburgh Pirates. Like Safeco Field and Petco Park, PNC Park traditionally trends severely toward low-scoring games. Unfortunately, that also applies to the home team. The Pirates are the not-so-proud owners of a .193 batting average and a major-league worst 1.83 runs-per-game average at home. That is partially due to facing the Philadelphia Phillies' and St. Louis Cardinals' pitching staffs there this month, but the offense isn't without blame.
Another characteristic shared by the Mariners, Indians, Padres and Pirates: All four rank in the bottom five in the majors in on-base percentage at home. Pittsburgh is dead last at .245.


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Merida Hotels Win Trip Advisor Awards
Trip Advisor's 2010 Travelers' Choice Hotel Awards have been announced and Merida's hotels have made the Top 10 Lists in three categories. Hotel Julamis won in the Best Service/Mexico category; Cascadas de Merida and Los Arcos won in the B&B/Mexico category; and Luz en Yucatan and Hotel Julamis won in the Bargain category. We will also note that no hotel in all of Mexico made the list for Dirtiest Hotels.
Scientist Receives Award
La Comisión Nacional de Areas Naturales Protegidas gave Dr.Jorge Herrera Silveira recognition for Restoring Wetlands in Mexico. Dr. Herrera Silveira has been working on Yucatan's coastal area problems, including red tide, for over 20 years. The next time you see a restored mangrove, you can be certain that Dr. Herrera Silveira had a hand in its development, as he has in the development and redevelopment of all of the wetlands along our coast. Our congratulations to Dr. Jorge Herrera Silveira and his team for all of their hard work and dedication to preserving and enriching the coast of the State of Yucatan!
Music Appreciation Classes in Merida
If you have always loved the Symphony, but really felt you need a little extra guidance in order to get the most out of that experience and others, then this is the class for you. Your teacher is James Meador, a member of the Symphony Orchestra of Yucatan and a bass trombonist who is rapidly carving out a name for himself in low brass performance and composition. For the benefit of the expat community in Yucatan, it might interest you to know that this young man is from Houston, TX, did his undergraduate work at Stephen F. Austin, and came to Northwestern in Natchitoches, LA, for his M.S. – then continued on with his studies at the Cleveland Institute of Music. He has played from Singapore to Shreveport and from Mississippi to Portugal. Read his biography Here. The next class (Feb 4) will focus mostly on Aaron Copland's book "What to Listen for In Music," in addition to more listening. This is the perfect opportunity to learn more about music and about experiencing the music you hear. Botanas and wine provided.
Location: Il Caffe Italiano, on the side of Teatro Peon Contreras
Time: 7:00 PM – 8:30 PM (all classes on Thursday nights)
Admission: $100 pesos per class, $500 pesos for the first 5 classes
For More Information: 011-52-999-221-5845 cell or jamesmeador[at]hotmail[dot]com
Please Be Careful of Forest Fires
It is that time of year again and agricultural fires are being set throughout our state. Unfortunately, so are some isolated and accidental grass fires. If you are driving and see smoke ahead, please do what you can to avoid driving through it. If it is absolutely necessary that you pass that way immediately, then please turn on your lights so that others and the firemen can see you. Try not to set any fires of your own but, if you must, then please alert both your neighbors and the fire department that you will be doing so. Agricultural fires are necessary in Yucatan, but they can quickly become deadly due to our wind patterns, so please do be careful.
Lionfish Alert
A lionfish has been caught off of the coast on Yucatan. This is not a good thing, considering that lionfish are huge fish, kill all of the larvae of other fish, are poison to humans, and deposit between 2,000 and 15,000 eggs of their own every time they reproduce. Marine biologists are recommending an all out hunt to eradicate all lionfish in the area – especially around the Alacranes.
New Archaeological Site in Chiapas
There has been a discovery of a new sarcophagus in Tonina that may hold the answer to why the Mayan empire collapsed. It is ver 1,000 years old and best guesses are, at the present time, that is it from between 800 B.C. and 900 B.C. The National Institute of Anthropology and History (INAH) made a brief statement and said that this sarcophagus could hold the key to the reason for the fall of the Mayan empire but said no more. This is one of the mysteries of the ages and we can hardly wait for more information to become public.
Happy Birthday to Doña Vitaliana Kantún Pech
100 years young and still going strong! Doña Vitaliana not only keeps her own house still, but doesn't even have any major health problems! She lost her husband 2 days after their 75th wedding anniversary, but still enjoys her 14 children, 32 grandchildren, 66 great-grandchildren, and 20 great-great grandchildren. She has a little sip of her favorite alcoholic drink before dinner and loves bull fighting on television, but has never been to one. As far as we know, Doña Vitaliana Kantún Pech is Merida's oldest resident, so we will be checking back to see how she is doing as time goes on.
Festival of the City a Success
In spite of the global recession that kept Argentina from full participation in the festival that was meant to honor them, 300 thousand visitors attended 266 events during the Festival of the City of Merida. For one performance alone, that of Aleks Syntek, 15,000 spectators showed up in the plaza grande! If you are planning a trip to Yucatan, you could pick no better time than during the January Anniversary of the City of Merida – but then there is Carnival… and the Fall Festival… Come to think of it, any time is a good time to come to Yucatan because there is always something wonderful happening here!


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Midtown Education
Midtown Education Summit
Deciding where and how to educate your child is arguably one of the most important and often challenging decisions facing families everywhere. In 2013, the seventeen neighborhoods of Midtown and in partnership with the Children's Museum of Indianapolis, and Midtown Indianapolis, Inc. presented the first ever Midtown Education Summit. Fifty schools and over 200 parents attended.
The 2015 Midtown Education Summit will take place on Monday, September 28th from 4:30- 7 p.m. at The Children's Museum of Indianapolis.
Learn more about the event here.
Resources for parents
Videos from the 2013 Education Summit
Videos from the 2014 Education Summit
Indiana Department of Education School Reports
Indianapolis School Chooser Guide
Indiana Association of Home Educators
InfoZone Branch of the Library at the Children's Museum