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.
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.
Theater relies on the physical and emotional vulnerability of live bodies to experience the pity andterror that plague, war, systemic injustice, and more ordinary forms of disease and death inflict. As we face the twin pandemics of our own time, what can "plague drama" (prompted by outbreaks of typhus, bubonic plague, cholera, AIDS, etc.) tell us about how writers use literal and metaphorical diseases to give shape to a given cultural moment? We'll look at a wide variety mostly theatrical texts to explore how playwrights use the medium of the theater to literally embody and thus make visible physical, social, and metaphysical "dis-ease".
In a universe filled with movement, how and why and where might we find relative stillness? What are the unique aesthetic, political, and daily life possibilities while school as we know it is on pause? We’ll dance, sit, question, and create practices and 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).
Messaging is an art and most people are bad at it. Maysoon is here to teach you how to effectively amplify your message using social media, written word, and public appearances as well as how to do damage control. Students will participate in panels, mock interviews, and will design their own podcast. They will develop a 7 minute talk on their message that will be performed in front of a live Princeton audience.
Was the Bard the original master of ceremony straight out of Stratford-upon-Avon? This performance laboratory explores the intersection of Shakespeare's language and plays with the culture, style, and artistry of Hip Hop. Students will use performance alongside an examination of the art, storytelling, and poetry of Hip Hop's greatest artists to develop a unique and immersive understanding of Shakespeare's greatest hits.
Disability is front and center in a global social justice revolution. But who are the disabled artists and ideas behind this movement? How can we embrace Radical Accessibility and Care in our daily artistic practices? This course invites all artists, from choreographers to theater makers, film makers, visual artists, writers and composers to immerse in a highly collaborative, improvisational, experimental and inclusive community to explore Disability Justice as a framework for creative, dramaturgical and curatorial practices.
This course will survey plays written by Black playwrights in the 20th and 21st centuries. We will explore dramatic works of writers from Africa, the Caribbean, the United Kingdom, and the United States.
We explore McDonagh's extreme imagination, its roots in Irish Gothic, Grand Guignol, the Grimm Brothers, Antonin Artaud and the theatre of the absurd and its uncomfortable use of race and disability.
Race in French Theater will investigate the question of race and diversity on the French stages. We will study efforts made in recent years to diversify representations both on stage and in the audience, and examine the concrete steps taken by major institutions, subsidized national theaters, festivals, drama schools, and commercial theaters. We will compare similar current undertakings in the world of dance and at the Paris Opera, and broaden the scope of our inquiries by looking at representation and inclusion in French cinema.
Some of the best movies ever made focus on the how and why of theatermaking. This course will focus on five classics of Global Cinema that deploy filmic means to explore how theaters around the world have wrestled with artistic, existential, moral, cultural, and professional issues equally central to any serious consideration of moviemaking.
From Cross Colours to boom boxes, the 1990s was loud and colorful. But alongside the fun, black people in the U.S. dealt with heightened criminalization and poverty codified through the War on Drugs, welfare reform, HIV/AIDS, and police brutality. We will study the various cultural productions of black performers and consumers as they navigated the social and political landscapes of the 1990s. We will examine works growing out of music, televisual media, fashion, and public policy, using theories from performance and cultural studies to understand the specificities of blackness, gender, class, and sexuality.
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. Individualized class plans allow students to design for realized productions, to imagine physical environments for un-realized productions, or to explore contemporary visualization techniques, depending on their area of interest, experience and skill level.
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. Students will also work with and be mentored by guest artists and 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.
Theater writer/director Steve Cosson and multimedia artist Jessica Mitrani collaborate with students on a theatrical interrogation of the book "Sex Variants: A Study of Homosexual Patterns." The book features interviews with LGBTQ+ individuals in the 1930's. The class is a creative deep dive into these autobiographical accounts, manifesting strategies to adapt the text into performance, with close consideration of narrative; staging, acting/representation; design elements including video; music; etc., as well as how this historical material can be contextualized for the present. The class culminates in a collaborative workshop performance.