“Art is large and it enlarges you and me. To a shrunk-up world its vistas are shocking. Art is the burning bush that both shelters and makes visible our profounder longings. Through it we see ourselves in metaphor. Art is metaphor, from the Greek meta (above) and pherein (to carry) it is that which is carried above the literalness of life. Art is metaphor. Metaphor is transformation.”
- Jeanette Winterson, Art [Objects]
Theater as Design THA 10b
Spring 2014
Professors: Cameron Anderson and Robert Walsh
Time: Tuesday 9 – 11:50 am
Classroom: Merrick Theater
Cameron’s office: Spingold 86-5, Office Hours: Tuesday 12 - 1:45 and by appointment
Email:
Robert’s office hours: by appointment only
Email:
Course Description and Objective:
Examines design as a foundational element of theater arts. The artistic process of transforming text and story into production will be explored. In addition to examining the various elements of the artistic team, direction, setting, costume, lights, sound and projection, the class will also explore the collaborative process: an active interchange between designers and directors, performers, technicians and management to achieve a unified vision for production. You will learn about the design process from initial inspiration through finished product. The process of finding research, creating concept, and implementing ideas will be explored.
This course will explore the process of creating visual narrative - how do we travel from idea to image to visual storytelling? You will learn how designers create evocative environments and visual metaphor that transport the viewer, transcend reality, and make stories.
Intended for Theater majors as well as students with no theater experience. This is not a technical theater course. We will not be studying the technical end of design – but delving into the ways that designers tell stories on stage.
Projects/Assignments:
Throughout the semester students will be asked to read plays and respond to them as designers. These responses will take the form of concept papers, visual research, collage, three-dimensional installations, and a final project in which you will transform the theater into an installation based on one of the plays studied. Students will be asked to pair up and work together as directors and designers to explore the visual world of the plays we discuss. For the mid-term project, students will work in groups and present a full design concept to the class with research and concrete ideas for each of the design elements: sets, costumes, sound, and lights. Students will also do readings and write response papers on the readings.
Requirements:
Attendance:
Due to the nature of this work and the course progression, attendance is at a premium! This course will build upon itself each class – and missing one will be difficult for your creative process. Note that there will be only one excused absence in this course. Whether medical, personal, travel, exam in another class, etc. is immaterial. Any additional absence will result in a lower final course grade by one level (e.g. from A- to B+).
Because your alert attendance and participatory spirit are essential, you will need to put away all electronics, including laptops and smartphones for the duration of the class.
Late policy:
If you are consistently late, a similar reduction in your grade will occur. It is your responsibilty to speak with the professors at the end of the class to explain your lateness.
Assessment:
Grades will be based on the following formula:
30% attendance, collaboration and participation
60% class projects, papers, and presentations
10% growth
Commitment and Participation:
We expect that you will come to class prepared with completed projects and reading assignments. In addition to projects and class participation/attendance, you will be evaluated in your dedication to taking risks and thinking outside of the box, as well as your consistency in offering creative ideas and solutions in class, and your collaboration. We ask that you listen to each other, ask questions, cultivate curiosity, and grow. We will be creating a safe and secure space for experimentation.
Written and Creative Work:
All written work must be typewritten, double-spaced, unless otherwise indicated. Late work will be accepted at the discretion of the professors. If accepted, it will be penalized by a grade that is at least a full letter lower (e.g., an A paper will receive a grade of B).
No incompletes will be given for the course.
Office Visits:
We ask that you visit us throughout the semester to discuss your projects and your interest in design. We are always here for you as a resource.
Texts:
Stage Design by Tony Davis (course pack)
What is Scenography? By Pamela Howard
The Dramatic Imagination by Robert Edmund Jones
Light on the Subject by David Hays
Midsummer Night’s Dream by William Shakespeare
West Side Story text by Stephen Sondheim
Romeo and Juliet by William Shakespeare
Marisol by Jose Rivera
Anna Bella Eema by Katie Pearl
Eurydice by Sarah Ruhl
The Seagull by Anton Chekhov
A View from The Bridge by Arthur Miller
The Tooth of Crime by Sam Shepard
Medea by Euripides
Waiting for Godot Samuel Beckett
Top Dog Underdog by Suzan Lori-Parks
Academic Integrity:
Every member of the University community is expected to maintain the highest standards of academic integrity. A student shall not submit work that is falsified or is not the result of the student’s own effort. Infringement of academic honesty by a student subjects that student to serious penalties, which may include failure on the assignment, failure in the course, suspension from the University or other sanctions. A student who is in doubt regarding standards of academic honesty in a course or assignment should consult the faculty member responsible for that course or assignment before submitting the work. Any academic integrity report submitted to the Department of Student Rights and Community Standards is subject to review by the appropriate academic school, department, or program. In the case of an allegation against a graduate student, the appropriate program personnel will consult with the Assistant Provost for Graduate Student Affairs to determine if the student should be referred back to the department to address quality of work concerns or if the student should be referred to a conduct process for integrity concerns.
A student’s name on any written exercise (e.g., examination, report, thesis, theme, notebook, laboratory report, computer program, etc.), or in association with an oral presentation constitutes a representation that the work is the result of that student’s own thought and study. Such work shall be stated in the student’s own words, and produced without the assistance of others, except for quotation marks, references, and footnotes that accurately acknowledge the use of other sources (including sources found on the Internet). Talking during an examination, or possession or use of unauthorized materials or equipment during an examination constitutes an infringement of academic honesty. Attempting to receive credit for work not originally submitted also constitutes an infringement of academic honesty.
In some instances, a student may be authorized by a faculty member to work jointly with (an)other student(s) in solving problems or completing projects. However, students may not collaborate on assignments without explicit permission from the instructor. To provide, either knowingly or through negligence, one’s own work to assist another student in satisfying a course requirement constitutes an infringement of academic honesty. Aid from personnel associated with University-sanctioned tutoring services is acceptable.
Unless permission is received in advance from the faculty member in charge of the course involved, a student may not submit, in identical or similar form, work for one course that has been used to fulfill any academic requirement in another course at Brandeis or any other institution. A student who perceives the possibility of overlapping assignments in courses should consult with the appropriate faculty members before presuming that a single effort will fulfill requirements of both courses.
Rights and Responsibilities 2013 - 2014, Section 4: Maintenance of Academic Integrity
Students with Disabilities
If you are a student who needs academic accommodations because of a documented disability,please contact me and present your letter of accommodation as soon as possible
Provisional Course Schedule – subject to change:
January
14: Intros / syllabus / arc of course / goals
Set context for the creative/collaborative process of theatre
Small group (4’s) discussion:
¨ prior practical experience
¨ examples of experiences as audience member
¨ questions
Bob: Lecture / discuss reading a play / Shakespeare
Cameron: General intro to the power of Design/Research/Concept/Analysis of Space and Image
Break:
Exercise: Create a space that tells the story of the image we analyzed in class. In groups of 4 plus walk around observation.
Assign:
¨ read: A Midsummer Night’s Dream
¨ read: Howard: “World View,” Introduction and Chapter 1
Jones: Chapters 1 and 2
Davis: Chapter 1
¨ read: Part One, The Theatrical Image
¨ bring: 3 elements to class that represent the world of MSND [1 visual, 1 cloth, 1 3-dimensional]
21: Discussion: Major themes / ideas of MSND in large group
Walking tour of Spingold, Laurie & Merrick theatres...
Exercise: one team in house/one on stage [2&2]
What are some of the criteria/dimensions that are a critical part of your conceptual process? Finish tour in shop for brief q/a with Chris [as available]
Break:
Cameron: Present design of MSND - discuss ‘Concept’ and connect to how physical plant informs physical life of play
Divide into half – present 3 elements assignment
Assign:
¨ paper: write a 3-page paper describing your concept for MSND – with supporting evocative imagery – due 1/28 [see criteria hand-out]
¨ read: Howard: Chapters 2 and 3, Jones: Chapters 3 and 4, Davis: Chapter 2
¨ read: Part Two, The Theatrical Image
¨ identify: 3 key dramaturgical elements
28. Exercise: in groups of 3, present your concept to the director & dramaturg / rotate groups after each / group debrief
Exercise: divide into small groups to stage scenes from MSND – in tape-created environment / present to class / discuss-debrief ‘the world of the play’
Break:
Cameron/Bob/Chris: lecture / discussion on lighting
Assign:
¨ read: A View From the Bridge
¨ read: Howard: Chapters 4, 5 and 6, Jones: Chapter 6, Davis: Chapter 3, Hays: Intro and Chapters 1-8.
¨ read: Part Two (cont’d.), The Theatrical Image
¨ bring: 6 examples of light – 3 from paintings / 3 from photos
February
4: Discussion: Themes of “View” / reading assign response/questions
Display: Photo/painting research & view / debrief
Cameron: Final discussion of lighting / introduce costumes
Break:
Bob: Impact of costume to the actor and its contribution to concept
Miranda: Shop visit and discussion of implementing the design
Assign:
¨ read: Eurydice
¨ read: Jones: Chapter 5, Davis: Chapter 4, Hays: Chapters 9-13
¨ read: Part Two (cont’d.) The Theatrical Image
¨ bring: photo research of the world of the costumes/Eurydice
¨ reserve: tickets for AVFTB
11: Debrief Eurydice in groups of 5 / report-out [hand out criteria sheet]
Cameron: lecture/discuss interaction between costumes & sets
Bob: lecture/discuss transitions
Break:
Display: Costume photo research on Eurydice
Assign:
¨ read: The Tooth of Crime
¨ read: Hays: Chapters 9-13, Howard: Chapter 7, Davis: Chapter 5 Sound Reading TBA
¨ read: Part Four, The Theatrical Image
¨ bring: 3 tracks of current music / 3 samples of underscoring
¨ discuss: mid term presentations [hand-out criteria sheet]
18: Winter Break
25: Exercise: in groups of 5, devise the best sound design from samples
[director, music director/composer, sound designer, movement designer,
sound engineer/mixer] – present & debrief
Bob: lecture/discuss value of sound
Cameron: benefits/deficits of group/individual design conversations
Break:
Steve Deptula: working with Alex & Tina on HENRY VIII
Seaghan: discuss implementation of projections / 365 / computers
Assign:
¨ read: Medea
¨ read: Hays:14 -17, Davis: Chapter 6
¨ Projection Design Reading TBA
¨ design: projections for your production of Medea – select one short 2 – character scene or monologue to perform with underscoring & projections
March
4: Present: Medea scenes with projections & sound / debrief
Break:
Cameron: lecture/discuss interaction when projections play a major role
Bob: discuss styles & conventions
Discussion: in small groups respond to reading assignment/report-out
Assign:
¨ read: Anna Bella Eema
¨ read: Davis: Chapter 7, Jones: Chapters 7 and 8.
¨ read: Reading for Katie Pearl TBA
11: Guest: Katie Pearl lecture/discuss new & devised work/installations
Cameron / Katie: lecture/discuss director-designer process on Anna Bella Eema
Exercise: groups of 3 [author, director, designer] develop a 2-minute play with a social justice theme
Break:
Present & debrief
Assign:
TBA
18: Mid-Term Presentations: “First rehearsal show & tell” - teams of 5 & debrief
Assign:
¨ study: drawings for AVFTB & floorplan of Spingold
¨ read: Top Dog/Underdog Marisol
25: Bob Moody: lecture on scene painting
Bob: lecture/discuss producing concerns
Break:
Exercise: A View From the Bridge “co-pro” groups of 4 sort out how to make one design work in two different spaces / Debrief
Identify: final presentations / brainstorm
Assign:
¨ watch: Romeo & Juliet [Luhrman]
¨ read: Romeo and Juliet
¨ study: drawings for AVFTB & floorplan of Spingold
April
1: Discussion: groups of 4 – based on reading assignment
Bob: lecture/discuss stage combat
Exercise: groups of 6, design 3 different (time period) R&J’s – how does the violence shift/adjust elements of design?
Susan: lecture/discuss movement, dance & clown
Break:
Exercise: 3 groups, create an environment for a dance / feedback from SD
Assign:
¨ watch: West Side Story [Robbins]
¨ read: West Side Story
8: Exercise: new groups of 6 create one set for two productions in rep –
R&J and West Side Story
Prep: Final Presentations
Assign:
TBA
15: Spring Break
22: Spring Break
29: Final Presentations / Papers
Discussion / summarize
Reinforcements
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