T&D Faculty Directory | University Directory
Course Schedule | Course Syllabi
I tried to register for an open T D course that should be available to me, but it gives me an error message, what do I do?
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 Wiki page: Registration & Waitlist Examples.
-- LOWER-DIVISION --
T D 306 INTRO TO IMPROVISATIONAL DRAMA
This course introduces students to the skills, concepts, and underlying theory of improvisation, introducing students to short and long-form improvisation. Students will develop the ability to recognize and follow impulse, take risks, make bold choices, create spontaneously in the moment, communicate non-verbally, collaborate and work within an ensemble.
No Instructor Consent Required.
(Priority goes to BA Performer's Process majors in their Senior Year.)
T D 307K DANCE/IDENTITY/CULTURAL EXPRESSION
Analyze dance as a significant tool for defining and articulating the many varied and intersecting facets of identity such as gender, sexuality, race, class, and nationality among others. Examine many forms of dance occurring in diverse contexts from the modern dance innovators of the 1950s, to vogue and ballroom culture of the 1980s, to representations of dance across contemporaneous media platforms like Instagram. Explore how distinct dance communities enact a multicultural and non-static notion of identity in American culture.
No Instructor Consent Required.
T D 309K MUSICAL THTR STAGE/SCREEN
Examine the various histories explored by musical theatre. Investigate the conventions utilized by musical theatre during their development and original productions. Consider the various types of musicals, and how these musicals explore historical and cultural events and persons through this unique medium.
No Instructor Consent Required.
T D 311D PERFORMANCE AS COLLABORATIVE PRACTICE
The principal objectives of this course are to increase your familiarity with a range of creative modalities and to regularly practice collaboration. Throughout the semester, you will examine and question your assumptions about performance, creative processes, and collaboration, and you will expand the way you conceive of and contribute to creative projects. The daily classwork, projects, and reflective activities we offer are ultimately designed to help you become a more skillful, empowered artist citizen and collaborator.
(Restricted to BA T&D majors)
T D 313D ACTING II
(Unique # 26270 is Restricted to BFA Acting majors)
T D 313G Voice & Movement II, T D 313L Voice Laboratory II, T D 313N Movement Laboratory II
(Restricted to BFA Acting majors)
T D 314C DESIGN FOR PERFORMANCE
Introduction to the techniques, practices, and processes in costume, lighting, scenic, and sound design.
(Priority goes to BA Design/Tech/Stage Management majors, All other students may need to add to waitlist.)
T D 314P Production Laboratory / T D 314Q Production Shop
See Production Lab Wiki.
T D 315 Playwriting I
No Instructor Consent Required
(Priority goes to BA Playwriting/Directing majors, All other students may need to add to waitlist.)
T D 316D Directing I
No Instructor Consent Required.
T D 317D THEATRE HISTORY SINCE 18TH CENTURY
No Instructor Consent Required.
(Priority goes to BFA Theatre Education & BFA Acting students in their Second Year & specific BA students in their Senior Year. All other students may need to add to waitlist.)
-- UPPER-DIVISION --
T D 321P FESTIVAL PROJECT & PRODUCTION
Anyone expected to participate in the Cohen New Works Festival may register for this credit.
No Instructor Consent Required.
T D 323D Directing II
No Instructor Consent Required.
(Priority goes to BFA Theatre Education students in their Junior Year & specific BA students in their Senior Year. All other students please add to waitlist.)
PREREQUISITE: TD 316D Directing I
T D 323F ACTING SHAKESPEARE CARPENTER, QUETTA
(Restricted to BFA Acting majors, others may ask for instructor consent)
T D 323P ADV PROJECTS IN ACTING & DIRECTING
This is credit for students cast in a T&D main stage production or working on an Independent Study. Please contact Mark-Anthony to request an Independent Study Contract.
T D 324P Advanced Production Laboratory
See Production Lab Wiki.
T D 325 Playwriting II
No Instructor Consent Required
(Priority goes to BA Playwriting/Directing majors, All other students may need to add to waitlist.)
PREREQUISITE: TD 315 Playwriting I
T D 326F Creative Drama II
No Instructor Consent Required.
(Priority goes to BFA Theatre Education students in their Junior Year.)
PREREQUISITE: TD 326C Creative Drama I
T D 326Q DIRECTING PROJECT IN THEATRE STUDIES
(Restricted to BFA Theatre Education students in their Senior Year.)
T D 340D ADV TECHNIQUES IN ACTING DAVIS, CHRISTIN
Highlighting advanced work with text and personal connection to character, Adv Techniques in Acting will build a bridge between Acting III and camera work, thereby enhancing BFA in Acting students’ preparation for the UTLA/BFA in Acting semester.
(Restricted to BFA Acting majors, others may ask for instructor consent)
T D 351F TEACH ARTISTS IN SCHOOLS & COMMUNITIES DOSSETT, LARA
Do you want hands-on experience developing, facilitating, and assessing a workshop session with young people at a museum, community-based or school location?
Do you want to a chance to dig into the ways that practitioners work at the intersection of the arts and education in a range of learning contexts?
Do you want to consider how context shapes the arts in education and society?
Then, come learn about how to be a teaching artist in the Teaching Artists in Schools and Communities --a dynamic course offered by the Theatre and Dance Dept. This practical, interdisciplinary course will explore how to use the arts to educate in arts and non-arts settings (professional arts organizations, after-school programs, schools, museums, and community sites) in local and global contexts. As teaching artists, we will consider the role of intentionality, artistic perspective, quality, assessment, and praxis (the relationship of action/reflection) in our work. Our discussions will be framed through dialogue with local, national and global teaching artists and by a practical residency experience in a museum or school location. The course ends with professional projects designed to synthesize our learning and new understanding through a creative response or a teaching artist portfolio/website.
No Instructor Consent Required.
(Priority goes to BA Theatre for Youth & Communities majors, All other students may need to add to waitlist.)
T D 351T UT NEW THEATRE BASSETT, ALEXANDRA
Explores the rehearsal and production process of new play development including the dramaturgy, playwriting, design, producing and fabrication of new plays presented in UTNT, a yearly new works festival in the Department of Theatre and Dance. Open to any T&D major who is involved in UTNT or interested in observing and unpacking the 2023 UTNT process.
No Instructor Consent Required.
T D 152T BALLET PARTNERING/REPERTORY OVERBEY, DOROTHY O
T&D majors who want to repeat this course for additional credit will have to register for TD 152P. Please contact Mark-Anthony to request an Independent Study Contract.
No Instructor Consent Required.
T D 352T INTRO TO HIP-HOP II MONTEIRO, ANGELICA
A continuation of fundamentals covered in 302T Intro to Hip Hop. This course brings Afro-Brazilian Street dances in conversation with Hip Hop.
No Instructor Consent Required.
T D 353C DEVISED WORK LYNN, KIRK
Each student will propose a project to work on during the semester. This could be a play, screenplay, dance, film, multimedia project, etc. Throughout the semester, I'll teach devising techniques to develop material around that project, including movement, media, site work, and silence.
No Instructor Consent Required
(Priority goes to BA Playwriting/Directing majors, All other students may need to add to waitlist.)
T D 353E ACTING AND THE CAMERA II, T D 353G APPLICATION FOR REHEARSAL, T D 353R Business of Acting, T D 354F FOUNDATIONS OF ACTING
(Restricted to 4th-Year BFA Acting majors)
T D 353K VOICE-OVER AND NARRATION ALLEN, COREY
This course will cover the basics of professional voice-overs, voice acting and audio narration.
(For Non-BFA Acting majors in Spring semester)
No Instructor Consent Required.
T D 353T ON CAMERA ACTING LABORATORY ALLEN, COREY
Examine the development of a script, casting, scouting, location set up, and conditions professional actors undergo in production. Explore the a ctor's job on-set, breakdown tools and terminologies used, and in depth scene study.
No Instructor Consent Required.
T D 353T PERFORMANCE LAB REHEARSAL PRACTICES SANCHEZ, KJ
This course meets with the M.F.A. directing course and is a practicum study of rehearsal practices. Students who take this course will work as performers, with graduate students directing a variety of plays. Students will watch each other rehearse and together we will examine best practices in rehearsal such as: making bold choices that are inventive, uniquely your own and serve the needs of the play as well as the vision of the director, bringing your full collaborative self into rehearsal, building one’s character, taking notes and overall preparation for performance. Students will learn how to analyze a scene/moment quickly and improve one's ability to marry bold choices rooted in intuition with precise action, based on a comprehensive understanding of the play and production.
No Instructor Consent Required.
T D 353T AUDITION TECHNIQUES DOUGLAS, LUCIEN
This course is designed to prepare the student by developing skills for bringing your personal self to acting and to the audition.
No Instructor Consent Required.
T D 154P PROJECTS IN DESIGN AND TECHNOLOGY
(Unique # 26600 is Restricted to BA Stage Management majors)
T D 354T ADVANCED STAGE MANAGEMENT CLOYES, RUSTY
(Priority goes to BA Stage Management majors, All other students may need to add to waitlist.)
PREREQUISITE: TD 354T Stage Management
T D 354T CONCERT AND EVENT LIGHTING Muenchow, Chris
Exploration of the styles, tools, and techniques specific to concert and event lighting production in a variety of environments: large-scale music venue, corporate ballroom, outdoor stage and intimate club.
No Instructor Consent Required.
T D 354T Costume Design BARRETO, RAQUEL
Please contact instructor for course description.
Instructor Consent Required
T D 354T Draping II AREVALO, DAVID
Please contact instructor for course description.
Instructor Consent Required
T D 354T DRAWING FOR DESIGNERS BUCHANAN, JASON
Improve your skills of visual expression and communication through the act of Drawing. Develop and refine your working process from concept to completion.
In the course we will experiment with various drawing media and examine the Principles and Elements of Design through conceptual and observational drawing.
No Instructor Consent Required.
T D 354T Fabric Representation for Design MANESS, KAREN
This course focuses on fabric rendering, materiality, and fabric representation for entertainment design. Inspired by performance and art history, students will practice painting and rendering fabrics to drape convincingly from the human body for the live performance or virtual character design. Students will develop an understanding of the form, structure, weight, and texture of fabrics, and how to render them for effective storytelling, through a variety of media.
Instructor Consent Required.
T D 354T INTRO 3D MODEL PRINT COSTUMES AREVALO, DAVID
Please contact instructor for course description.
Instructor Consent Required
T D 354T LIGHTING DESIGN STUDIO I HABECK, MICHELLE
This course provides advanced instruction in Lighting Design for live performance in a studio format. Topics include research, development of the plot, and preparation for the technical process, cueing collaborative communication, drafting, paperwork, and working within a repertory or given plot parameters and archiving production materials. Projects explored may include lighting for interior and exterior live staged performance, exhibit design, installation design, performative events.
No Instructor Consent Required.
T D 354T LIGHTING TECHNOLOGY II BOONE, DAVID
Lighting Technology will cover the duties of a Lighting Technician (Entertainment Electrician) from the basics of hanging and focusing to the more comprehensive of communicating with Lighting Designers and configuring consoles, dimmers, networks, and other elements of the lighting and electrical system. Students will be given hands-on opportunities throughout the semester in class and in the installation of productions.
Instructor Consent Required
T D 354T PRODUCTION DESIGN FOR TV PILOT SERRANO, ADRIANA
Please contact instructor for course description
No Instructor Consent Required.
T D 354T PRODUCTION DESIGN BASICS SERRANO, ADRIANA
Please contact instructor for course description
No Instructor Consent Required.
T D 354T Scenic Design REYNOSO CALVILLO, JOSAFAT
This class explores the artistic aspects of scenic design in theory and in practice. It stresses how the design process is inspired by the seminal dramaturgy and how scenic design is only part of the larger creative process called theatre-making. Through the use of drafting, model-making, research boards and line/color sketching, the class presents the student with the tools utilized by the scenic designer to communicate with the rest of the creative team. The class projects will range from applied principles of design and composition, to the development of scenic designs for one-location plays and culminates in a final project designed to showcase your mastery of spatial composition, and the compilation of a basic portfolio of scenic design.
Instructor Consent Required
T D 354T SOUND AND SPACE SMITH, MATTHEW
Please contact instructor for course description.
No Instructor Consent Required.
T D 354T 3D PROJECTION MAPPING SMITH, MATTHEW
Use 3D projection mapping to explore the process of small and large scale projection mapping installations; including 3D modeling, UV unwrapping, and media server programming.
No Instructor Consent Required.
T D 354T SOUND DESIGN I OWEN, PHILLIP
The goal of this course is to give the student a basic understanding of sound design for theatre, film and television. Topics will include the emotional effect of sound on an audience, an introduction to basic equipment used in live theatre, TV, and film, live and studio microphone techniques, and an introduction to Pro Tools, Qlab, ADR and Foley.
No Instructor Consent Required.
T D 357T CREATING A THEATER COMPANY DARLINGTON, MADGE
Please contact instructor for course description.
No Instructor Consent Required.
(Priority goes to specific BA students in their Senior Year. All other students may need to add to waitlist.)
T D 357T LGBTQ OPPRESSION: DIALOG COHEN, SARAH
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.
This is the second semester course for students who will complete this course in fall 2022.
T D 357T REINVENTING US HISTORY CANNING, CHARLOTTE
US theatre history has been written the same way for decades. Scholarship on identity and experience has been robust for some time and had an enormous impact on theatre as an educational, social, cultural, and/or political institution. Despite this excellent work, the stories about US theatre have changed very little. This class will explore ways to understand theatre in the US in very different ways including geography, language, immigration, borders, methods, and host of other categories. This course assumes that the contributions of the Hong Fook Tong Chinese Dramatic Company and Compañia Dramática de Hernádez-Villalongín are as consequential to US theatre as the Keith Albee vaudeville circuit. It also assumes that Asturias por Heredar un Sobrino a su Tío is as crucial a play as The Contrast. That Sarah Parker Remond had as much impact on theatre as any activist in the 19th century is basic to this class. Don’t know who these people or plays are? Then this is the course for you. Let’s change history together.
PREREQUISITE: T D 317C & T D 317D Theatre History Before & Since the 18th Century
No Instructor Consent Required.
(Priority goes to specific BA students in their Senior Year. All other students may need to add to waitlist.)
T D 357T AFR RELIG CULTURE/CREATIVITY ADELAKUN, ABIMBOLA
Often interpreted as witchcraft, superstition, or paganism, Africana religions remain some of the most misunderstood traditions in the Americas. In this course, we will explore the contributions of scholars and artists who engage African diaspora religions in their work through multiple conceptual approaches. The course focus includes topics such as ritual and material culture, corporeality and aesthetics, cosmology and philosophy, and decolonization and sovereignty within the traditions. Students can expect to gain an understanding of Kongo, Vodun, and Yoruba-based traditions across the Americas and the Caribbean as well as U.S. conjure culture.
No Instructor Consent Required.
(Priority goes to specific BA students in their Senior Year. All other students may need to add to waitlist.)
T D 357T GREEK TRAGEDY/POSTCOL DRAMA ADELAKUN, ABIMBOLA
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.
(Priority goes to specific BA students in their Senior Year. All other students may need to add to waitlist.)
T D 375H HONORS SEMINAR
Comprehensive introduction to research in the area of theatre and dance.
PREREQUISITE: Upper-division standing; admission to the Honors Program in Theatre and Dance; and consent of the head of the Theatre and Dance Honors Program.
T D 379H THESIS COURSE FOR DEPT HONORS
PREREQUISITE: Upper-division standing; T D 375H, admission to the Honors Program in Theatre and Dance; and consent of the head of the Theatre and Dance Honors Program.