Fall 2021 Courses

---

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 both in teams and individually, and also create shorter material - e.g., desk bits for late night shows, online content, etc.

How do you take an old-fashioned art form like the classical oratorio and turn it into a vibrant piece of contemporary theater? Join composer/lyricist Georgia Stitt, founder of Maestra Music, and director Schele Williams ("Motown: The Musical") as they do exactly that. Using poems, texts from a variety of the world's holy books, bits of public speeches and reclaimed hymns, Stitt musically examines religion as both divider and unifier. Our semester will focus on bringing the piece into a theatrical space—how are the ancient and modern communicating through orchestrations, dance, video projections, and physicality?

This course will use the reconstruction of Evelyn Brown, a movement piece by María Irene Fornés, to interrogate questions of female labor and its portrayal on stage. Fornés, arguably the most important Latina dramatist of the 20th century, sourced Evelyn Brown from the diary of an early 20th century New England domestic servant. The class will explore the relation of Evelyn Brown to Fornés' larger body of work and lead to deeper questions about staging mundane labor as performance during our time when labor inequality has grown exponentially. Our final project will be a first step to re-staging this little-known work in a professional venue.

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.

In this studio course students use somatic practices, meditation, improvisation, performance, and creative and intellectual practices to delve into questions and experiences of stillness.

Practice in the original composition of poetry supplemented by the reading and analysis of standard works. Criticism by practicing writers and talented peers encourages the student’s growth as both creator and reader of literature.

The curriculum allows the student to develop writing skills, provides an introduction to the possibilities of contemporary literature and offers a perspective on the place of literature among the liberal arts. Criticism by practicing writers and talented peers encourages the student's growth as both creator and reader of literature.

Students will choose, early in the semester, one author to focus on in fiction, poetry, or drama, with the goal of arriving at a 10-15 page sample, with commentary, of the author's work. All work will be translated into English and discussed in a workshop format. Weekly readings will focus on the comparison of pre-existing translations as well as commentaries on the art and practice of literary translation.

Poems are weird, wild, ancient machines from the future. Form is but one way to harness their power, another tool to add in your kit. In this space, together, we'll be formalist, inventors, rule-breakers, and dreamers in the name of poems. Be prepared for a generous amount generative work journaling, discussion, presentation and journaling, some poet-led workshopping in the later part of the semester. All the gorgeous restriction and possible chaos of form awaits us. Let's write. (Content Warning: Some of the work read in this course addresses violence that is at times sexual, colonial, racial, or gendered in nature.)

This studio course introduces students to graphic design with a particular emphasis on typography. Students learn typographic history through lectures that highlight major shifts in print technologies.

We will read published literary short stories by contemporary Latinx writers and explore the vast range of Latinx experience in the United States as well as the vast range of fictional techniques employed by these writers. In discussing these published works, we will analyze how the formal elements of story—structure, plot, character, point of view, etc.—function in these pieces, so that students can apply these principles of craft to their own work. Students will write two complete short stories, which will be discussed in a traditional workshop format, and then submit a revision of one of those stories.

Advanced practice in the original composition of poetry for discussion in regularly scheduled workshop meetings. The curriculum allows the student to develop writing skills, provides an introduction to the possibilities of contemporary literature and offers perspective on the places of literature among the liberal arts.

Advanced practice in the original composition of fiction for discussion in regularly scheduled workshop meetings. The curriculum allows the student to develop writing skills, provides an introduction to the possibilities of contemporary literature and offers perspective on the place of literature among the liberal arts. Criticism by practicing writers and talented peers encourages the student's growth as both creator and reader of literature.

This course will introduce students to core screenwriting principles and techniques.

This course will introduce students to screenwriting adaptation techniques, focusing primarily on the challenges of adapting “true stories” pulled from various non-fiction sources.

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 both in teams and individually, and also create shorter material - e.g., desk bits for late night shows, online content, etc.

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.

In this studio course students use somatic practices, meditation, improvisation, performance, and creative and intellectual practices to delve into questions and experiences of stillness.

From grand plié to grand jeté, Introduction to Ballet is for students with a curiosity for the study of classical ballet.

In this studio course open to all, we'll dive into experiences in which body and language meet. We'll think about these from aesthetic, cultural, political, personal, and philosophical perspectives. We'll move and create together using tools from dance, theater, visual art, improvisation, somatic, and writing practices.

A studio course introducing students to American dance aesthetics and practices, with a focus on how its evolution has been influenced by African American choreographers and dancers. An ongoing study of movement practices from traditional African dances and those of the African diaspora, touching on American jazz dance, modern dance, and American ballet.

This course offers a broad, embodied introduction to the breadth of contemporary dance. We will be moving, reading, watching, and writing about dance. Contemporary issues, such as Black Lives Matter, LGBTQ rights, immigration, and American exceptionalism will be viewed through the lens of contemporary dance. We will try on the styles of essential creators in the field in an effort to understand their POV. We will create work ourselves (no experience necessary) to learn about the expressive and communicative potential of dance. We will be moving and meditating to release tension, increase personal awareness, and boost authenticity.

In this studio course, dancers will study the past, present, and future of rhythm tap dance by learning the techniques and Black American histories, traditions, and legacies that have established and continue to sustain the form. While learning fundamental steps and foundational routines, we will interact with various media curated to introduce some of rhythm tap's important people, happenings, and places.

This course traces histories, traditions and innovations in Black American dance through archival and embodied practice.

Princeton Dance Festival performance course. Technique and repertory course that focuses on developing technical expertise, expressive range, and stylistic clarity.

This Dance course leads up to performances in the Princeton Dance Festival at the end of the fall semester. Dance choreography, with a focus on contemporary practices and performance. Classes will workshop compositional tasks that set limitations to spark creativity.

Princeton Dance Festival performance course. Technique and repertory course that focuses on developing technical expertise, expressive range, and stylistic clarity.

This course will be a unique venture into dance culminating in a performance for the Princeton Dance Festival. This studio course explores dance-theatre practice to address the desires, needs, and realities of the body and it's greater community, centering the politics of self and group care. We will improvise in movement, somatics, vocal sound, song, spoken and written words, creating for and with each other, with the outcome being a greatly expanded skill set for the performing artist. Studio movement practice, creation and discussion will be supplemented by selected readings and out-of-studio creation as a practice of joy and resilience.

This Dance course leads up to performances in the Princeton Dance Festival at the end of the fall semester. Choreography Workshop III extends students’ approaches to choreographic research by asking them to create complete works on dancers other than themselves.

Princeton Dance Festival performance course. Technique and repertory course that focuses on developing technical expertise, expressive range, and stylistic clarity.

This Dance course leads up to performances in the Princeton Dance Festival at the end of the fall semester. Students workshop their senior thesis performance. Classes delve deeply into a specific choreographic process and performance approach in preparation for Senior Dance Thesis Production.

Princeton Dance Festival performance course. Technique and repertory course that focuses on developing technical expertise, expressive range, and stylistic clarity.

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.

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.

Introduction to Theatre Making is a working laboratory, which gives students hands-on experience with theatre's fundamental building blocks - writing, design, acting, directing, and producing.

In this studio course, dancers will study the past, present, and future of rhythm tap dance by learning the techniques and Black American histories, traditions, and legacies that have established and continue to sustain the form. While learning fundamental steps and foundational routines, we will interact with various media curated to introduce some of rhythm tap's important people, happenings, and places.

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.

Students will use Giovanni Boccaccio’s 14th century classic, 'The Decameron' as a starting point from which to explore the fundamentals of storytelling and the ways in which storytelling helps us navigate traumatic experiences. This PIIRS Global Seminar is offered June 7 – July 2, 2021. Application required.

A practical hands-on introduction to acting and directing in musical theater. The course will require students to prepare songs and scenes from selected musicals with an eye to how best to approach the particular challenges the scene presents.

This course offers an exploration of visual storytelling, combined with a grounding in the practical, communicative, collaborative and anti-racist skills necessary to create physical environments for live theater making. Students are mentored as designers, directors or creators (often in teams) on realized projects for the theater program season.

This course will be an investigative performance driven process resulting in a music theater performance, devised by the students. Led by faculty member and professional director and actor Elena Araoz, this theatrical exploration will adapt to the public health circumstances in which we find ourselves and will culminate in performances that incorporate singing and spoken word.

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.

Introduction to Theatre Making is a working laboratory, which gives students hands-on experience with theatre's fundamental building blocks - writing, design, acting, directing, and producing.

In this transformative time, when national politics seems frayed at best, local government meetings remain sites of direct democracy, effective leadership and creative action. "Is Politics a Performance?" looks at how we perform in these meetings, and who gets to play which roles.

An introduction to the craft of acting through character work, monologue work and script analysis. By engaging in both collaborative efforts and independent explorations, we will experiment with various acting traditions and techniques to develop methods of approaching performance.

This is a workshop in the fundamentals of writing plays. Through writing prompts, exercises, study and reflection, students will be guided in the creation of original dramatic material. Attention will be given to character, structure, dramatic action, monologue, dialogue, language and behavior.

In this studio course open to all, we'll dive into experiences in which body and language meet. We'll think about these from aesthetic, cultural, political, personal, and philosophical perspectives. We'll move and create together using tools from dance, theater, visual art, improvisation, somatic, and writing practices.

Telling stories through performance is human nature, but how can we use technology to enhance, frame, or reveal new perspectives on stories told? Students will learn about tools and techniques from design professionals, and will engage directly and collaboratively with technology to design experiences focused around live performance. Areas covered may include projections and multimedia, lighting, interactivity, and programming for creative applications. This class hopes to bring together students with arts and STEM backgrounds, and does not require prior experience.

FRE/THR 211 will offer students the opportunity to put their language skills in motion by exploring French theater and acting in French. The course will introduce students to acting techniques while allowing them to discover the richness of the French dramatic canon

In this studio course, dancers will study the past, present, and future of rhythm tap dance by learning the techniques and Black American histories, traditions, and legacies that have established and continue to sustain the form. While learning fundamental steps and foundational routines, we will interact with various media curated to introduce some of rhythm tap's important people, happenings, and places.

Comedian Maysoon Zayid will transform students from boring to hilarious in under 14 weeks. Each comic will leave this class armed with a ready for primetime, original stand-up comedy set. The class will tackle how comedy intersects with under represented groups, how to make fun of your family and deal with being disowned, song parodies and politics, and will culminate in a final comedy show on campus.

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.

The first half of Shakespeare's career, with a focus on the great comedies and histories of the 1590s, culminating in a study of Hamlet.

This course will be a unique venture into dance culminating in a performance for the Princeton Dance Festival. This studio course explores dance-theatre practice to address the desires, needs, and realities of the body and it's greater community, centering the politics of self and group care. We will improvise in movement, somatics, vocal sound, song, spoken and written words, creating for and with each other, with the outcome being a greatly expanded skill set for the performing artist. Studio movement practice, creation and discussion will be supplemented by selected readings and out-of-studio creation as a practice of joy and resilience.

Theater artists routinely bend, twist and break all kinds of rules to create the imaginary worlds they bring to life on stage. Why, then, has the American theater so struggled to meaningfully address questions of equity, diversity and inclusion? In this course, we undertake a critical, creative and historical overview of agitation and advocacy by theater artist-activists aiming to transform American theatre-making as both industry and creative practice.

Students will use Giovanni Boccaccio’s 14th century classic, 'The Decameron' as a starting point from which to explore the fundamentals of storytelling and the ways in which storytelling helps us navigate traumatic experiences. This PIIRS Global Seminar is offered June 7 – July 2, 2021. Application required.

A practical hands-on introduction to acting and directing in musical theater. The course will require students to prepare songs and scenes from selected musicals with an eye to how best to approach the particular challenges the scene presents.

The South African Anti-Apartheid movement saw mass resistance against the government's racial segregationist policies. Students will learn about the conditions that gave rise to Apartheid and the Anti-Apartheid movement, taking a look at the instrumental role that the performing arts and protest theatre played in dismantling the unjust system.

This course offers an exploration of visual storytelling, combined with a grounding in the practical, communicative, collaborative and anti-racist skills necessary to create physical environments for live theater making. Students are mentored as designers, directors or creators (often in teams) on realized projects for the theater program season.

This course will be an investigative performance driven process resulting in a music theater performance, devised by the students. Led by faculty member and professional director and actor Elena Araoz, this theatrical exploration will adapt to the public health circumstances in which we find ourselves and will culminate in performances that incorporate singing and spoken word.

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 both in teams and individually, and also create shorter material - e.g., desk bits for late night shows, online content, etc.

This course will use the reconstruction of Evelyn Brown, a movement piece by María Irene Fornés, to interrogate questions of female labor and its portrayal on stage. Fornés, arguably the most important Latina dramatist of the 20th century, sourced Evelyn Brown from the diary of an early 20th century New England domestic servant. The class will explore the relation of Evelyn Brown to Fornés' larger body of work and lead to deeper questions about staging mundane labor as performance during our time when labor inequality has grown exponentially. Our final project will be a first step to re-staging this little-known work in a professional venue.

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.

This studio class is about painting and practice. Painting has such a long and complicated history that is now transforming and including adjacent events, perspectives, and artists—that there is no real place to start. It has become professional and is an academic area of study. That said—anyone can use a paintbrush somehow and make a painting.

Using an array of site-specific, creative research methods, students will explore their local environments (inside and out) searching for data and the patterns, stories, and observations that follow. They will catalog and document their findings in evolving multimedia archives, iterating on various modes of collection and communication.

This class will be a hands-on investigation into performance and photography through making self-portraits. What does it mean to photograph yourself? Is it an act of self-exploration, narcissism, self-love, representational justice, theatre, performance? What are the possibilities and limitations of making art in this way? What can our own bodies teach us if we start to pay attention?

The great thing about drawing is you can do it anywhere! This course approaches drawing as a way of thinking and seeing. We'll introduce basic techniques while also encouraging experimentation, with a focus on both drawing from life and drawing as an expressive act. Students will be introduced to the basics of line, shading, proportion, composition, texture and gesture.

An introduction to the materials and methods of painting, addressing form and light, color and its interaction, composition, scale, texture and gesture. Students will experiment with subject matter including still life, landscape, architecture, self-portraiture and abstraction, while painting from a variety of sources: life, sketches, maquettes, collages, photographs and imagination.

An introduction to the processes of photography through a series of problems directed toward lens projection, the handling of light-sensitive material, and camera operation. The processes will begin with cyanotypes and culminate with large format film exposure and processing, and printing.

This studio course introduces students to the aesthetic and theoretical implications of digital photography. Emphasis will be on gaining competency with digital equipment and editing techniques so that students can learn to express themselves and their ideas through the medium.

This studio course introduces students to graphic design with a particular emphasis on typography. Students learn typographic history through lectures that highlight major shifts in print technologies.

This course introduces students to techniques for decoding and creating graphic messages in a variety of media, and delves into issues related to visual literacy through the hands-on making and analysis of graphic form.

This studio course engages students in the decoding of and formal experimentation with the image as a two-dimensional surface. Through projects, readings, and discussions, students take a hands-on approach to making with an array of technologies (the camera, video camera, computer, solar printing, web publishing) and forms (billboard, symbol, screensaver, book) to address the most basic principles of design, such as visual metaphor, composition, sequence, hierarchy, and scale.

This studio production class will engage in a variety of timed-based composition, visualization, and storytelling techniques. Students will learn foundational methods of 2D animation, acquire a working knowledge of digital animation software and technology, and explore the connective space between sound, image, and motion possible in animated film.

This class will be a studio introduction to sculpture, with particular emphasis on the study of how form, space, and a wide variety of materials and processes influence the visual properties of sculpture and the making of meaning.

In this course, students will reconsider sound as material through projects exploring physical technologies of sound-making along with listening and viewings of related arts and artists, readings and writings in theories of sound, new media, and phenomenology. This class offers a hybrid experience-an engagement with art-making and seminar, reconsidering our relationship to the body, physical material, and sound embodied in the world.

This class experiments with 3D fabric construction, weaving, knitting, knotting and more as a means for making sculpture.

This course is an introduction to the fascinating history of collage.

In the real world, what relationships have the necessary friction to generate compelling films? Documentary Filmmaking I will introduce you to the art, craft and theory behind attempts to answer this question. Through productions, readings, screenings, and discussions, you'll take your first steps into the world of non-fiction filmmaking. You will analyze documentary filmmaking as an aesthetic practice and a means of social discourse. Further, as films are often vessels for their directors, preoccupations, the course will push you to examine the formal, social and political concerns that animate your life during these turbulent times.

Narrative Filmmaking 1 is a hands-on production class designed for students from all academic backgrounds to learn about the art of video production and develop their creative voices using cellphones! The course will cover technical aspects of making films, including shot language, sound recording, and editing, and will explore what it means to make images at this critical moment of time.

This course will examine photography's constant negotiation of evolving technologies. Students shoot black and white and color film and scan and print it digitally to broaden their photographic strategies, their technical skills, and their understanding of the medium of photography. A range of tools will be introduced, including analogue film development, scanning negatives, Photoshop processing, and inkjet printing.

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.

This course is course designed for students interested in learning the fundamentals of working with clay.

This course will introduce students to core screenwriting principles and techniques.

An intermediate exploration of narrative and avant-garde narrative film production through the creation of hands-on digital video exercises, short film screenings, critical readings, and group critiques.

How can posthumous research on a curatorial subject influence the structure and form of an exhibition or a new conceptual artwork? This course retraces the steps taken to produce McClodden's 2015-2019 artistic and curatorial work centering the lives of three Black gay men—poet Essex Hemphill, writer/poet Brad Johnson, and composer Julius Eastman—in order to examine key concepts central to research-based practice. Students will be expected to produce a research/exhibition study of an artist whom they feel has been obscured posthumously.

The course addresses current issues in painting, drawing, sculpture, film, video, photography, performance and installation. It includes readings and discussions of current contemporary art topics, a visiting artist lecture series, critiques of students' work, and an artist book project.

This course offers an exploration of visual storytelling, combined with a grounding in the practical, communicative, collaborative and anti-racist skills necessary to create physical environments for live theater making. Students are mentored as designers, directors or creators (often in teams) on realized projects for the theater program season.

The structure of Senior Issues and Exhibition Methods is to create a conversation and vision for, and in regards to and around your Senior Thesis. The nature of the class is somewhat informal and conversational, with the majority of class time being for student studio presentations and visiting artists lectures. There are two projects; a proposition presentation and a “handmade” poster project which will be virtual this year.

This year, students will design, build, and critically analyze three common objects — a Cushion, a Prosthetic, and a Light Fixture — each of which will be informed by the diverse structural properties of a single material: ash wood.

This course will introduce students to screenwriting adaptation techniques, focusing primarily on the challenges of adapting “true stories” pulled from various non-fiction sources.

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.

In this course, students will reconsider sound as material through projects exploring physical technologies of sound-making along with listening and viewings of related arts and artists, readings and writings in theories of sound, new media, and phenomenology. This class offers a hybrid experience-an engagement with art-making and seminar, reconsidering our relationship to the body, physical material, and sound embodied in the world.