Faculty of Arts & Science 2012-2013 Calendar

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Drama

Faculty

The UC Drama Program (Specialist, Major, Minor) offers students the opportunity to combine high standards of practical, professional theatre training with a rich and rigorous academic program. It offers courses in dramatic literature, dramaturgy, theatre and performance theory and history, acting, production, design, and directing, and playwriting and puts a strong emphasis on the interrelation between the academic and the practical aspects of theatre studies. Working towards an Honours Bachelor of Arts degree, students are required to take a complementary combination of courses resulting in broad knowledge of the field as a whole. A Drama Major or Minor may be valuably combined with programs in a wide variety of other fields, as offered both by language and literature departments and other departments and programs such as Anthropology, Canadian Studies, Cinema Studies, Classics, Commerce, Art, History, Music, Political Science, Psychology, Religion, Sociology, and Women’s Studies.

The UC Drama Program is housed in the Helen Gardiner Phelan Playhouse at University College. Besides providing instruction in theatre studies, the Drama Program has mounted international theatrical events and conferences, and its students have toured Europe and Asia. The Program has also forged links with leading Canadian theatres and has regular contact with world-renowned international theatre artists. More details on the UC Drama Program, including application and ballot forms, can be found on the web site at: www.uc.utoronto.ca/drama.The Program Director and Program Coordinator are also available for consultation. For enquiries or an appointment call the UC Drama Program Coordinator at 416-978-8099 or send an e-mail to uc.drama@utoronto.ca

UC Drama courses are taught by a combination of theatre professionals, members of other university departments, and specific DRM staff members. Some courses are restricted to students in a Drama Specialist, Major or Minor program; some are open to all students of the University.

Drama Programs

Consult the Director, Room 300, 79A St. George St., University College.

Enrolment in the Specialist and Major programs is limited and selection is made after a personal interview and audition. Students will be admitted to the Major only after they have been admitted to either DRM200Y1 (with DRM201H1 and DRM211H1), DRM228H1 or DRM254Y1, and to the Specialist only after they have been admitted to an additional course from Group B. Enrolment in the Minor program is unrestricted. Students in the Minor program may only take academic courses and not the practical theatre courses.

Enrolment in the Specialist and Major programs is limited and selection is made after a personal interview and audition. Students will be admitted to the Major only after they have been admitted to either DRM200Y1 (with DRM201H1 and DRM211H1), DRM228H1 or DRM254Y1, and to the Specialist only after they have been admitted to an additional course from Group B.

(12 full courses or their equivalent, including at least four 300+ series with at least one 400 level)

1.    DRM100Y1 (to be taken in first year)
2.    DRM230Y1
3.    From Group A: 1 course equivalent
4.    From Group B: 2 full-course equivalents (entry points: DRM200Y1 or DRM254Y1 or DRM228H1)
5.    From Group C: 1.5 full-course equivalents
6.    From Group D: 0.5 full-course equivalents
7.    From Group A, B, C, D or Other: 5 full-course equivalents to make up the total of 12 courses

Enrolment in the Specialist and Major programs is limited and selection is made after a personal interview and audition. Students will be admitted to the Major only after they have been admitted to either DRM200Y1 (with DRM201H1 and DRM211H1), DRM228H1 or DRM254Y1, and to the Specialist only after they have been admitted to an additional course from Group B.

(8 full courses or their equivalent including at least two 300+ series courses with at least 0.5 at the 400 level)

1.    DRM100Y1 (to be taken in first year)
2.    DRM230Y1
3.    From Group A: 1 full-course equivalent
4.    From Group B: 2 full-course equivalents (entry points: DRM200Y1 or DRM254Y1 or DRM228H1)
5.    From Group C: 1 full-course equivalent
6.    From Group A, B, C, D or Other: 2 full-course equivalents to make up the total of 8 courses

Note:
Students taking DRM200Y1, DRM300Y1, DRM400Y1 and DRM403Y1 must take the appropriate Voice co-requisite (DRM201H1, DRM301H1 and DRM401H1), Movement co-requisite (DRM211H1, DRM311H1 and DRM411H1) and academic co-requisite (DRM100Y1, DRM230Y1 or a course from Group A or D)

Enrolment in this program requires the completion of 4.0 courses.

Students in the Minor program may only take academic courses.

(4 full courses or their equivalent including at least one 300+ series course)

1.    DRM100Y1 (to be taken in first year)
2.    From Group A: 1 full-course equivalent
3.    From Group C: 1 full-course equivalent
4.    From Groups A, C, D or Other (when eligible): 1 full-course equivalent

Note:
Students in the Minor program are not eligible for DRM230Y1 and practical courses

Group A:
DRM264H1, DRM268H1, DRM310H1, DRM342H1, DRM362H1, DRM430H1, DRM462H1, DRM468Y1; JDC400Y1, JDC410H1; JIA400H1

Group B:
DRM200Y1, DRM201H1, DRM211H1, DRM228H1, DRM254Y1, DRM300Y1, DRM301H1, DRM302H1, DRM311H1, DRM328H1, DRM354Y1, DRM368H1, DRM400Y1, DRM401H1, DRM402H1, DRM403Y1, DRM411H1, DRM454Y1

Note: Students taking a practical course (Group B) are required to take an academic co-requisite (Groups A, C, D or Other)

Group C:
ABS341H1; CLA382H1, CLA383H1; EAS233H1; ENG220Y1, ENG330H1, ENG331H1, ENG335H1, ENG336H1, ENG337H1, ENG340H1, ENG341H1, ENG352H1, ENG448H1; FRE372Y0; GER240H1, GER340H1; GRK351H1, GRK352H1, GRK451H1, GRK452H1; ITA390H1, ITA409H1, ITA410H1, ITA415H1; LAT351H1/LAT451H1; MUS206H1, MUS209H1; SLA367H1, SLA406H1, SLA418H1, SLA424H1, SLA475H1, SLA476H1, SLA477H1; SPA452H1: UNI202H1; VIC347H1

Group D:
DRM231H1, DRM331H1, DRM431H1, DRM432H1

Other:
DRM286H1, DRM386H1, DRM390Y1/DRM391H1, DRM486H1, DRM490Y1/DRM491H1

Drama Courses

The 199Y1 and 199H1 seminars are designed to provide the opportunity to work closely with an instructor in a class of no more than twenty-four students. These interactive seminars are intended to stimulate the students’ curiosity and provide an opportunity to get to know a member of the professorial staff in a seminar environment during the first year of study. Details here.

An introduction to the study of dramatic literature, with particular reference to its staging history and practices. This course brings to life diverse texts from different periods and traditions and invites students to analyze them in terms of theatrical space, plot and generic structure, characterization, theme, and language.

Emphasis is initially placed on ensemble, non-verbal, and improvisational work. Students proceed to the application of their acquired skills to scripted material. Students may apply in their first or second year of University.

An introduction to the dynamics of voice and effective communication as they relate to the development of the actor.  Work brings theory into physical practice. Taken in conjunction with DRM200Y1: Introduction to Performance and DRM211H1: Introduction to Movement for the Actor.

An introduction to movement for the actor focusing on body awareness and skill development, ensemble sensibility and stagecraft as it pertains to actor training. Taken in conjunction with DRM200Y1: Introduction to Performance and DRM201H1: Introduction to Voice for the Actor.

A hands-on study of the craft of dramatic writing. The class examines the basic elements of playwriting such as plot, structure, theme, character, dialogue, setting, with an emphasis on story-making. Attention is given to the development of students own work through written assignments and in-class exercises.

An introduction to the shifting landscapes of European theatre theory, history and practice in the late 19th century and their repercussions throughout the 20th and 21st centuries. The course focuses on the developments of modern and postdramatic theatre. It also includes critical analysis of the annual UC Drama Resource Show and current Canadian theatre.

Introduction to the history, theory, and practice of theatre criticism. The course examines the role of criticism in the relationship between theatrical production and reception, paying particular attention to the power dynamics between critics, artists, and audiences and the contexts in which they are embedded. Students develop their individual critical voices through regular attendance of chosen productions and practice writing criticism in a variety of forms.

A practical introduction to various areas of theatre production including lighting, sound, projections, stage management, and set construction. Working extensively in the Helen Gardiner Phelan Playhouse, the students form the core of the production team for UC Drama productions. By the completion of the course, the students should have a comprehensive overview of the organization, skills, and discipline necessary to mount a theatrical production in a professional manner.

An exploration of themes, forms, and historical conditions that characterize Early Modern European drama and theatre from the Renaissance to approximately 1900. Studying plays in a variety of European contexts, we will consider how theatre theory, criticism, and dramaturgy inform diverse kinds of playwriting, critical reception, and contemporary interpretation.

A survey of Canadian theatre history with an emphasis on developments since the 1950s including the regional and alternative theatre movements; trends in Canadian playwriting and their relationship to theatre history; cultural diversity and native voices in contemporary Canadian theatre.

A dynamic, hands-on, physical course, applying methods of professional actor training to personal and professional communication goals. Voice training geared toward teachers, students, business people, clergy, presenters or any person wanting to meet the demands of speaking in public. Participants will be able to explore their individual challenges of communication and gain practical tools to proceed with confidence.

Credit course for supervised participation in faculty research project. Details here. Offered by the Centre for Comparative Literature in collaboration with the University College Drama Program.

Building upon the work of DRM200Y1, students concentrate on scene study and the development of ensemble work. Active practices include analysis of text and sub-text, the establishing of scene objectives, improvisation, storytelling and self-scripting and dynamic explorations of physical space.

Builds on skills learned in DRM201H1 (Intro to Voice) as they relate to the development of acting abilities. The course investigates the relationship between theory and physical practice of voice training.  Taken in conjunction with DRM300Y1: Performance I and DRM311H1: Movement for the Actor I.

An introduction to major concepts and artistic practices in directing. The course focuses on different styles, ideas, and goals of theatre directors in their relations to actors, audiences, and broad cultural and political contexts. A major component will be the practical application of basic directing techniques.

American drama since World War II. Structural, historical, and thematic approaches to self-consciously theatrical works and to the idea of America itself. Authors may include Miller, Williams, Albee, Baraka, Hansberry, Shepard, Fornes, Mamet, Kushner, and performance artists such as Karen Finley and Laurie Anderson.

A continuation of previous training through a more concentrated study of the relationship between objective, impulse and action using the principles of Viewpoints, Laban, and Contact Improvisation. Taken in conjunction with DRM300Y1: Performance I and DRM301H1: Voice for the Actor I.

A continuation of DRM228H1, concentrating upon the in-depth knowledge and practice of playwriting with an emphasis on style and technique of writing for the stage. Students develop their own work through written assignments, in-class exercises, and the final public presentation.

An introduction to applied dramaturgical theory and to historical and contemporary interpretations of the dramaturges function in the creation of theatre. Using examples from Canada and beyond, students apply this knowledge to theatre practice in the program.

This course chronicles the development of historical avant-garde theatre from the late 19th-century through 20th-century and 21st-century innovations, paying particular attention to resonances between the historical and contemporary. Offering a critical engagement with foundational artists, works, and theorists from Symbolism, Expressionism, Futurism, Dada, Surrealism, Happenings, Environmental Theatre, and Performance Art, this course also considers parallel shifts in other performing arts, like music, visual art, and dance, situating theatre’s aesthetic development within a broader interdisciplinary and historical context.

A detailed exploration of theatrical stage and costume design, historical and contemporary, theatrical and practical.

An intercultural, post-colonial and comparative analysis of innovative processes in the national and cross-cultural theatre around the world. Focusing on selected periods and cultures, the course explores the cultural backgrounds of key turning points in pre-modern and modern theatre and their impact on the developments of the post-modern theatre in a globalizing world.

A hands-on exploration of fundamental building blocks of collective creation, or ‘devised theatre,’ examining techniques and exercises by its leading practitioners. Combining research, improvisation and design elements, students define a topic of investigation and shape the resulting discoveries into a workshop presentation at the end of the course.

An in-depth examination of selected issues in the theatre. Content may vary depending on instructor and therefore may be counted towards different Groups (A, B, C, D or Other). Please consult the UC Drama office and check the program’s website for more details.

An in-depth examination of selected issues in the theatre. Content may vary depending on instructor and therefore may be counted towards different Groups (A, B, C, D or Other). Please consult the UC Drama office and check the program’s website for more details.

A topic chosen by the individual student. The student must work out details with a member of faculty who is willing to act as supervisor.

A topic chosen by the individual student. The student must work out details with a member of faculty who is willing to act as supervisor.

Credit course for supervised participation in faculty research project. Details here.

Continuation of DRM300Y1, concentrating on advanced performance techniques.

The final year of voice training refines the skills and concepts developed thus far, focusing on performance.  Techniques of articulation, speech and rhetoric are studied. Taken in conjunction with DRM400Y1: Performance II and DRM411H1: Movement for the Actor II.

An exploration of advanced directing for the theatre. The class is centered on student directed productions, which are publically presented at the end of term. Students work in one of three areas: directing, design, or production. Emphasis is placed on the development of strong central concepts and realizing the production with imagination, collaboration and creativity.

An in-depth study on theoretical and practical levels of a specific play which is presented to the public. This involves an intensive exploration of character in rehearsal and its discovery in performance.

The final year of movement training refines the skills and concepts developed thus far, focusing on performance.  Techniques of folk, period and social dance are studied. Taken in conjunction with DRM400Y1: Performance II and DRM401H1: Voice for the Actor II.

Intercultural readings of Ibsen’s “A Doll’s House” (1879) and related plays. Students analyze the impact of the stagings of Ibsen’s play on social and cultural change. This cross-cultural  inquiry involves historical conditions of production, political and/or feminist interpretations and aesthetic approaches in divers western and non-western cultural contexts as well as in different media (literature/drama, theatre, movie, TV, comic books, computer games).

Following Introduction to Dramaturgy, students apply theoretical and historical knowledge to theatre practice with an emphasis on research, reflection and experimentation. Students are involved in the practice of performance dramaturgy and its conceptionalizing potential through well-informed creative processes while working directly on the annual UC Drama Directors’ Shows and Resource Show.

A hands-on practice of performance dramaturgy involving production related research, analysis, communication and reflection. The focus is on dramaturgical work related to the rehearsal process of the annual UC Drama Resource Show and on providing critical feedback for the creative team. The course also develops creative and interactive communication strategies with the audience.

Continues the exploration of design and production techniques. Students are given an opportunity to use their knowledge and skills from previous production courses on an advanced level. Students are expected to participate in UC Drama productions in senior creative and leadership roles. Focus also includes the integration of digital technology into theatrical performance.

This course explores the problem of Mimesis/ Unmaking Mimesis in regard to creative and theoretical feminist criticism of Brecht’s ideas of epic theatre, the estrangement effect and Gestus.  It looks at the politics of representation/theatricality/ performativity in regard to gender, class, nation and ethnicity and explores the feminist, post-colonial performance history of theatre as laboratory for socio-political possibilities of change. (Also given as COL5068H)

A seminar on the dominant social constructions of gender and gender relationships as well as on counter discourses in the 20th century performing arts in China. It provides insights into shifting identities of women in modern Chinese society and into the portrayal of women in literature, drama/performance and film. Themes include conflicts of tradition and modernity, colonialism, urban and rural, nationalism/patriotism and globalisation, individuality and the social collective.

An in-depth examination of selected issues in the theatre at the 400 level. Content may vary depending on instructor and therefore may be counted towards different Groups (A, B, C, D or Other). Please consult the UC Drama office and check the program’s website for more details.

An in-depth examination of selected issues in the theatre at the 400 level. Content may vary depending on instructor and therefore may be counted towards different Groups (A, B, C, D or Other). Please consult the UC Drama office and check the program’s website for more details.

This course will provide a comparative perspective on two cross-media, innovative and controversial artists of the male western canon of modern literature/performance. Recent discourses (1990s onwards) in feminist, queer and performance theory will provide the framework for analysis.

A scholarly project at the 400 level chosen by the individual student. The student must work out details with a member of faculty who is willing to act as supervisor.

A scholarly project at the 400 level chosen by the individual student. The student must work out details with a member of faculty who is willing to act as supervisor.

Articulates a cultural approach to achieving Human Security. This course examines human security issues in which there is a significant cultural dimension to a security threat, and in which culture occupies an essential place in any realistic and effective solution. The work of artists to be analyzed include: Ariane Mnouchkine; Robert Lepage; Bertolt Brecht; John Greyson, Mohsen Makhmalbaf, Terry George and Daniel Barenboim.

The main focus of the course will be the study of Bertolt Brecht’s theory and practice and their relationship to theatre semiotics and feminist theory. We will investigate if Brecht can be seen as one of the first semioticians of theatre and how valid Brecht’s theatre is as a model for “ways of feminist seeing”.

While examining the interconnectedness of the arts, students are required to meet between sessions and develop projects connected to their study. These projects involve a range of media, including theatre, film, music and visual art (installation). Limited to fourth-year students.