Courses

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How do artists make art? How do we evaluate it? In this course, students of all levels get to experience firsthand the particular challenges and rewards of art making through practical engagement with five fields — creative writing, visual art, theater, dance, and music — under the guidance of professionals.

At a time when our political discourse seems frayed at best, this course uses creative and critical tools from theater, sociology, and civics to learn about the people who make government and citizenship function at a local level. To that end, we will analyze local democratic processes in Princeton and Trenton, along with other cities, in order to examine ways that the performance of democracy can be different from its enactment. If you are interested in public policy, philosophy, live performance or social science, this class is ideal for you.

An introduction to the craft of acting through spoken text, scene study and, finally, a longer scene drawn from a full length play, to develop a method of working on a script. Emphasis will be placed on honesty, spontaneity, and establishing a personal connection with the scene's substance.

In this studio course open to all, we will: dive into experiences in which body and language meet; think about these from aesthetic, cultural, political, personal, and philosophical perspectives; play with the physicality of voice and the material qualities of words and sentences; look for literary structures in movement; explore language from, in, around, and about (our) bodies; question hierarchies between body and language; deliberately lose ourselves in situations in which words fail or fall away; move and create together using tools from dance, theater, visual art, improvisation, writing, and somatic practices.

A course on works of dramatic literature whose comparative dimension is theatrical performance. We will consider four Shakespeare plays covering a range of theatrical genres; the emphasis will be on the ways in which Shakespearean meaning can be elucidated when the reader becomes a performer. Students will move from the reading/performing of individual speeches to the staging of scenes to the question of how an overall theatrical conception for a play might be a key to the fullest understanding of the text.  Students will write papers about their readings and performances; grades will be based on both the writing and the performing.

This course introduces students to set and costume design for performance, exploring theater as a visual medium. Students will develop their ability to think about the physical environment (including clothing) as key components of story-telling and our understanding of human experience. Students will expand their vocabulary for discussing the visual world and work on their collaborative skills.

Most playwrights never intended to have readers. Their work was meant to be experienced in the theater. This course uses both live theatrical productions and online resources to discuss interpretive issues raised by the acting, directing, and design choices made in specific productions of classic plays as well as the larger question of what the proper object of critical inquiry is for those interested in drama. The word "drama" derives from the Greek word for "action". Do we "deactivate" drama with a phrase like "dramatic literature"? Does our usual conception of "performance" falsely rely on the pre-existence of a thing to "act"?

In a universe filled with movement, how and why and where might we find relative stillness? What are the aesthetic, political, and daily life possibilities within stillness? In this studio course open to all, we'll dance, sit, question, and create substantial final projects. We'll play with movement within stillness, stillness within movement, stillness in performance and in performers' minds. We'll look at stillness as protest and power. We'll wonder when stillness might be an abdication of responsibility. We'll read widely within religions, philosophy, performance, disability studies, social justice, visual art, sound (and silence).

A continuation of work begun in Introductory Playwriting, in this class, students will complete either one full-length play or two long one-acts (40-60 pages) to the end of gaining a firmer understanding of characterization, dialogue, structure, and the playwriting process. In addition to questions of craft, an emphasis will be placed on the formation of healthy creative habits and the sharpening of critical and analytical skills through reading and responding to work of both fellow students and contemporary playwrights of note.

Dramatists in the 20th and 21st centuries have repeatedly adapted classical literature to performance on the contemporary stage. In this course we'll ask after the particular uses, pleasures, and challenges of classical adaptation: why adapt ancient material in the first place? How have contemporary dramatists deviated from their sources, and how have they remained "true" to them? We'll consider these and other questions in a survey of a century of performance, ranging from early 20th-century modernism to Hadestown.

Dance/Theater Pedagogy Seminar explores the connection between engaged dance and elementary school literacy, mathematics and social studies while allowing students the opportunity to be civically engaged and contribute to the community.

An introduction to the art and craft of lighting design for the stage and an exploration of light as a medium for expression. Students will develop an ability to observe lighting in the world and on the stage; to learn to make lighting choices based on text, space, research, and their own responses; to practice being creative, responsive and communicative under pressure and in company; to prepare well to create under pressure using the designer's visual toolbox; and to play well with others-working creatively and communicating with directors, writers, performers, fellow designers, the crew and others.

An exploration of theatrical sound design and engineering, this class will explore sound for both theater and music theater. We will investigate text from the point of view of sound, and learn how to communicate the ideas, palette and arc of a design to others. We will explore developing a creative process and turning our ideas into sounds that can be used onstage.

This course will largely focus on some Shakespeare's "afterlives" of the past twenty years.

This course will explore the history and practice of musical theatre. Starting with the American musical's roots in minstrelsy and burlesque, the class will continue with Show Boat, the musicals of Rodgers & Hammerstein, Stephen Sondheim, and contemporary shows. Alongside the history of the musical, students will learn about the musical and theatrical tools of the genre, with an emphasis on directing and acting.

This course offers a practice-based overview of theater-making in the twenty-first century through an intensive study of contemporary Latinx dramatists, companies, and movements in the United States. Through weekly readings, discussions and independent research/writing exercises, the seminar will investigate the cultural, artistic, social and political interventions of twenty-first century US Latinx drama.

This studio class will explore a broad range of approaches to art-based performance: from instruction pieces and happenings/events, the body as language and gestures, to various forms of lecture performance.

A workshop course designed to support advanced student theater and music theater writers in exploring possible performance of their writing. Students will investigate their writing with a focus on collaboration, performance and production. Individualized creative assignments will be suggested for each student. Students will be introduced to methodologies for producing new works and for theatrical collaboration, and will discuss the writer's point of view in the rehearsal room, physical staging, working with performers and character development, and exploring visual storytelling.

This course is designed to provide students with the experience of doing social and historical research in the service of creating theatrical content, in collaboration with alumnae artists, around the fiftieth anniversary of undergraduate co-education at Princeton. Students will be paired with working artist alumnae, and together will begin research at the university archives, and be led in historical research and social analysis studying the lives of women who graduated from Princeton in the early years of undergraduate co-education.

August Wilson completed what many consider the most ambitious project of any American playwright. His cycle of ten plays, one for each decade, chronicles African American life in the 20th century. We will explore all ten plays as individual drama and depictions of history. We will read standard histories to gain background and context.

This course provides students with a rigorous and challenging experience of creating theater under near-professional circumstances. A faculty or visiting professional director will lead the process. This involves an extensive rehearsal and technical rehearsal period, requiring more time than a typical student production. Students cast in the show or taking on major production roles such as stage manager or designer will receive course credit.

In this course, led by critically acclaimed comedy writer Albert Samuels, students will participate in the in-process television pitch used by Samuels' cutting-edge improvisation group, Baby Wants Candy, including finalizing concept and script and developing a strong pitch. By the end of the semester, BWC will have a finished pitch package the group will present to Netflix, Amazon, Comedy Central and other networks/outlets. Students will develop their own original television concepts in groups and individually and also create shorter material - e.g., desk bits for late night shows, online content, etc.