This course will explore the creation of a television comedy. Throughout the semester, the creative team will develop an original comedy project produced by Al Samuels of Baby Wants Candy and created by Michael Koman (Saturday Night Live, Nathan for You). By the end of the term, they will complete a detailed show summary (pitch) and an initial draft of part of a script for the First episode (pilot).
Movement artist Bill Bowers, multi-disciplinary extended reality artist LaJuné McMillian, and director Scott Illingworth lead this class in building story through movement and embodied technologies. Students will develop a set of tools and then deploy them to create and perform final pieces using long established mime techniques and multimedia. No experience necessary!
This course focuses on the development of comics and graphic novels beyond the obvious aspects of penning a script and drawing characters. Working with E.S. Glenn and special guests, students will explore the underlying structure of comics through assignments and activities such as critical reading, watching films, creation of original pieces, and group presentations on current projects. In addition to drawing, they will focus on other aspects of comic making such as book design, translation, publishing, and distribution. The workshop will culminate in a student-published comix anthology at the end of the semester.
Sarah Kirkland Snider's first opera, on the life of Saint Hildegarde von Bingen, is slated for performance in 2025. This course will give students a chance to live in the musical language and vocal style of Hildegarde, to forge their own creative/musical responses, to help develop the eight lead vocal roles of the opera. Guest lecturer/instructors will include members of the professional team, including the stage director Elkhanah Pulitzer. The final presentation will showcase both student-created scenes and scenes from Kirkland Snider's opera, with a small ensemble conducted by Gabriel Crouch.
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.
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 20-25 page sample of the author's work. All work will be translated into English and discussed in a workshop format.
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.
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.
Students will choose, early in the semester, one author to focus on in fiction, poetry, or drama, with the goal of arriving at a 20-25 page sample of the author's work. All work will be translated into English and discussed in a workshop format.
What compels us to write about ourselves? What drives us to read about the lives of others? Where is the intersection between public life and private life? In this workshop we will examine different approaches to writing about the people, places and events that have shaped us.
This course will introduce students to core screenwriting principles and techniques.
In this course, which is both a creative writing course and a literature course, students will study canonical French-language essays and newer forms of essayistic production (the essay film, photo essay, blog, and podcast) and will use these texts as models for their own writing.
This advanced screenwriting workshop will introduce students to the fundamental elements of developing and writing a TV series. Students will develop critical thinking skills by watching television pilots, reading pilot episodes, and engaging in in-depth discussion about story, character, structure, tone, dialogue, and other aspects of visual storytelling.
This course will introduce students to screenwriting adaptation techniques, focusing primarily on the challenges of adapting “true stories” pulled from various non-fiction sources.
This course will explore the creation of a television comedy. Throughout the semester, the creative team will develop an original comedy project produced by Al Samuels of Baby Wants Candy and created by Michael Koman (Saturday Night Live, Nathan for You). By the end of the term, they will complete a detailed show summary (pitch) and an initial draft of part of a script for the First episode (pilot).
This course focuses on the development of comics and graphic novels beyond the obvious aspects of penning a script and drawing characters. Working with E.S. Glenn and special guests, students will explore the underlying structure of comics through assignments and activities such as critical reading, watching films, creation of original pieces, and group presentations on current projects. In addition to drawing, they will focus on other aspects of comic making such as book design, translation, publishing, and distribution. The workshop will culminate in a student-published comix anthology at the end of the semester.
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.
From grand plié to grand jeté, Introduction to Ballet is for students with a curiosity for the study of classical ballet.
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.
Bharatanatyam, butoh, hip hop, and salsa are some of the dances that will have us travel from temples and courtyards to clubs, streets, and stages around the world.
This course introduces students to human anatomy using movement, drawing, and dance practices. We will study the structure and function of the body from an interdisciplinary perspective, with a focus on relationships between cognition, the nervous system and movement.
What happens when writers confront dance? Around 1900, dance became a topic of enormous fascination in works of Euro-American Modernists such as Mallarmé, Rilke, Woolf, Beckett. This seminar will explore this and earlier encounters, juxtaposing them with texts written by dancers such as Loïe Fuller, Josephine Baker and Katherine Dunham. Topics include gesture; expression; human vs. technological movement; connections/tensions between dance and language, choreography and writing, performance and text; the (de)construction of gendered and racialized otherness.
Choreography Workshop I exposes students to diverse methods of dance-making by tracing the evolution of choreographic thought.
Technique and repertory course that focuses on developing technical expertise, expressive range, and stylistic clarity. In technique, students will examine concepts such as skeletal support, sequential movement, rhythm, and momentum to emphasize efficiency in motion.
Dance choreography, with a focus on contemporary practices and performance. Classes will workshop compositional tasks that set limitations to spark creativity.
Technique and repertory course that focuses on developing technical expertise, expressive range, and stylistic clarity. In technique, students will examine concepts such as skeletal support, sequential movement, rhythm, and momentum to emphasize efficiency in motion.
A vortex is known as the rotating, whirling or circular motion of fluid around a common centerline. Through history, humans have drawn on the principles of the vortex to induce a trance state, an altered form of consciousness, and psychospiritual embodiment. This course will explore our ancestry in understanding sacred trance dance practices in the tradition of western theatrical dance and its connection to identity, creativity, and community. Students will work with the original cast of Núñez's choreography The Circle or The Prophetic Dream, to reimagine the choreographic material that they will perform as a final project in an open studio.
An exploration of ritual and ceremony as creative, interdisciplinary spaces imbued with intention and connected to personal and cultural histories. A broadening and deepening of knowledge around historical and contemporary ritual, ceremonial, and community-building practices of queer and trans artist communities from around the world, with a deeper focus on the extraordinary history of the queer trans shamans of early 20th century Korea.
Students from across fields who are interested in slowing down the art-making process to explore the nature of devising, developing, revising, and performing are invited to join. We'll delve into the often-intermingled roles of creator, performer, designer, technician, and audience member. This studio course culminates in student-created performances in the Roberts Theater at the end of the term.
Choreography Workshop III extends students’ approaches to choreographic research by asking them to create complete works on dancers other than themselves.
Technique and repertory course that focuses on developing technical expertise, expressive range, and stylistic clarity. In technique, students will examine concepts such as skeletal support, sequential movement, rhythm, and momentum to emphasize efficiency in motion.
DAN 420A is an advanced studio course in contemporary dance practices and techniques. Co-led by Professors Fehlandt and Lazier with visiting guests, this class will include training in modern dance, somatics, improvisation, African diasporic and contemporary forms. The course exposes students to the leading trends in new movement languages and explores how to advance a student's biomechanical and physiological understanding of their body. Select readings and viewings provide a lens to examine how dance and movement training fuels individual development, choreographic process and aesthetic research.
Technique and repertory course that focuses on developing technical expertise, expressive range, and stylistic clarity. In technique, students will examine concepts such as skeletal support, sequential movement, rhythm, and momentum to emphasize efficiency in motion.
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 Theater Making is a working laboratory, which gives students hands-on experience with theater's fundamental building blocks — writing, design, acting, directing, and producing. Throughout the semester, students read, watch and discuss five different plays, music theater pieces and ensemble theater works.
After more than 100 years running, the Miss America Pageant (1921- ) stands among the most enduring - and enduringly controversial - popular performance traditions of American life and culture. This course offers an intensive, method-based historical overview of how "Miss America" as both idea and event documents the shifting ways gender, sexuality, race and embodiment been comprehended in the United States, even as it also examines the disparate ways the "beauty pageant" as a performance genre has been adopted and adapted by/for communities excluded by the rules of Miss America.
Using the musical story-work "Tularosa: An American Dreamtime" as a springboard, students will explore the mythology of the American West and musical storytelling through a multidisciplinary lens. Students will then use a variety of creative methods including songwriting, theatrical performance, experimental movement and dance, video, dramaturgy, archival and site-specific research, and artifact- and symbol-making to create unique multidisciplinary storytelling projects from their own points of view.
This course is a performance lab that examines speech as an aspect of fine art through the exploration of the literary canons of iconic American writer Toni Morrison and English playwright and poet William Shakespeare. Research assignments will explore writings found in the Princeton University Toni Morrison archive and Princeton University's copy of Shakespeare's first folio.
Students from across fields who are interested in slowing down the art-making process to explore the nature of devising, developing, revising, and performing are invited to join. We'll delve into the often-intermingled roles of creator, performer, designer, technician, and audience member. This studio course culminates in student-created performances in the Roberts Theater at the end of the term.
This course offers an exploration of visual storytelling, research and dramaturgy, combined with a grounding in the practical, collaborative and inclusive skills necessary to create physical environments for live theater making. Students are mentored as designers, directors or project creators on realized projects in our theaters, or on advanced paper projects. Individualized class plans allow students to imagine physical environments for realized and un-realized productions, depending on their area of interest, experience and skill level.
A practical course focusing on approaches to classical and contemporary acting styles. Primarily a scene lab investigating the actor/director relationship; performance as a collaborative experience: the exploration of a wide variety of techniques including movement, voice, comedy and musical theatre. Texts will come from a range of playwrights, classical and modern.
This course is designed to encourage the development of directors for theater and musical theater, covering techniques and practices from both areas. The course will look at the practices of a small list of key figures in world theatre and how their work has influenced how directors approach the rehearsal room today. The course will incorporate a strong practical element, giving student directors the opportunity to explore and hone their own practices, developing useful and appropriate style and language as they move forward in their work as young directors.
This course will be a focused rehearsal process, led by a faculty director, culminating in two weekends of public performances of The Winter's Tale, conceived by Lear deBessonet with musical adaptation by Todd Almond. This Public Works project features a large cast of actors, singers, musicians and dancers, and plenty of offstage and backstage roles.
Introduction to Theater Making is a working laboratory, which gives students hands-on experience with theater's fundamental building blocks — writing, design, acting, directing, and producing. Throughout the semester, students read, watch and discuss five different plays, music theater pieces and ensemble theater works.
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.
An introduction to the craft of acting. Emphasis will be placed on honesty, spontaneity, and establishing a personal connection with the substance of the material.
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.
Technology and images surround us and evolve constantly. How can we use them to tell the stories we want to tell? Students will learn techniques from design professionals, engaging directly and collaboratively with creative technologies, to design experiences of live performance, public art, and interactive or immersive installations
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
From the spirits and banshees of oral legends to Bram Stoker's Dracula, from the classic works of Yeats, Synge and Beckett to Garth Ennis's Preacher comics and Anne Rice's Vampire novels, Irish culture has been haunted by the Otherworld. Why has the Irish Gothic had such a long ghostly afterlife on page and stage? Can we learn something about modernist works like those of Yeats and Beckett by seeing them through the perspective of popular fictions of the supernatural?
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.
After more than 100 years running, the Miss America Pageant (1921- ) stands among the most enduring - and enduringly controversial - popular performance traditions of American life and culture. This course offers an intensive, method-based historical overview of how "Miss America" as both idea and event documents the shifting ways gender, sexuality, race and embodiment been comprehended in the United States, even as it also examines the disparate ways the "beauty pageant" as a performance genre has been adopted and adapted by/for communities excluded by the rules of Miss America.
An exploration of ritual and ceremony as creative, interdisciplinary spaces imbued with intention and connected to personal and cultural histories. A broadening and deepening of knowledge around historical and contemporary ritual, ceremonial, and community-building practices of queer and trans artist communities from around the world, with a deeper focus on the extraordinary history of the queer trans shamans of early 20th century Korea.
This course is a performance lab that examines speech as an aspect of fine art through the exploration of the literary canons of iconic American writer Toni Morrison and English playwright and poet William Shakespeare. Research assignments will explore writings found in the Princeton University Toni Morrison archive and Princeton University's copy of Shakespeare's first folio.
Using the musical story-work "Tularosa: An American Dreamtime" as a springboard, students will explore the mythology of the American West and musical storytelling through a multidisciplinary lens. Students will then use a variety of creative methods including songwriting, theatrical performance, experimental movement and dance, video, dramaturgy, archival and site-specific research, and artifact- and symbol-making to create unique multidisciplinary storytelling projects from their own points of view.
What happens when there is a dead body on stage? Why do corpses star in so many movies? Reverence for the dead is one of the markers of humanity, bound up with the development of societies and cultures. In this course, we contemplate corpses from Antigone to Alfred Hitchcock and from Shakespeare's tragedies to Stand By Me and Weekend at Bernie's and bring the dead to life.
Students from across fields who are interested in slowing down the art-making process to explore the nature of devising, developing, revising, and performing are invited to join. We'll delve into the often-intermingled roles of creator, performer, designer, technician, and audience member. This studio course culminates in student-created performances in the Roberts Theater at the end of the term.
A study of major plays by Ibsen, Strindberg, Chekhov, Pirandello, Brecht, Beckett and others. Artists who revolutionized the stage by transforming it into a venue for avant-garde social, political, psychological, artistic and metaphysical thought, creating the theatre we know today.
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.
This course offers an exploration of visual storytelling, research and dramaturgy, combined with a grounding in the practical, collaborative and inclusive skills necessary to create physical environments for live theater making. Students are mentored as designers, directors or project creators on realized projects in our theaters, or on advanced paper projects. Individualized class plans allow students to imagine physical environments for realized and un-realized productions, depending on their area of interest, experience and skill level.
A practical course focusing on approaches to classical and contemporary acting styles. Primarily a scene lab investigating the actor/director relationship; performance as a collaborative experience: the exploration of a wide variety of techniques including movement, voice, comedy and musical theatre. Texts will come from a range of playwrights, classical and modern.
Between the opening of the first purpose-built London public theater in 1576 and the beginning of the English Civil War in 1642, a host of playwrights—often in collaboration—wrote for different theatrical companies and spaces, for diverse audiences, and in distinct styles and genres. To understand this period requires immersion in its performance culture as well as exposure to a wide variety of plays. This course introduces students to the early modern theatrical world, from playing companies and playhouses to actors and rehearsals through works by Marlowe, Jonson, Middleton, Webster, Cary, Beaumont, and Fletcher, among others.
This course is designed to encourage the development of directors for theater and musical theater, covering techniques and practices from both areas. The course will look at the practices of a small list of key figures in world theatre and how their work has influenced how directors approach the rehearsal room today. The course will incorporate a strong practical element, giving student directors the opportunity to explore and hone their own practices, developing useful and appropriate style and language as they move forward in their work as young directors.
This course will be a focused rehearsal process, led by a faculty director, culminating in two weekends of public performances of The Winter's Tale, conceived by Lear deBessonet with musical adaptation by Todd Almond. This Public Works project features a large cast of actors, singers, musicians and dancers, and plenty of offstage and backstage roles.
Movement artist Bill Bowers, multi-disciplinary extended reality artist LaJuné McMillian, and director Scott Illingworth lead this class in building story through movement and embodied technologies. Students will develop a set of tools and then deploy them to create and perform final pieces using long established mime techniques and multimedia. No experience necessary!
Sarah Kirkland Snider's first opera, on the life of Saint Hildegarde von Bingen, is slated for performance in 2025. This course will give students a chance to live in the musical language and vocal style of Hildegarde, to forge their own creative/musical responses, to help develop the eight lead vocal roles of the opera. Guest lecturer/instructors will include members of the professional team, including the stage director Elkhanah Pulitzer. The final presentation will showcase both student-created scenes and scenes from Kirkland Snider's opera, with a small ensemble conducted by Gabriel Crouch.
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.
It can be remarkably easy to take the process of looking for granted. Each day, humans contend with an onslaught of visual information. Education primarily focuses on teaching people how to read, write, and deal with numbers. But what about learning how to look closely and critically at images, at the world around us, and at ourselves? In this transdisciplinary course, we will question common assumptions and our own about looking; interrogate the anatomy and physiology of vision; develop our looking muscles; practice visual problem-solving strategies; and together design new tools to help people engage with the visual world.
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.
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.
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 studies contemporary representations of Black Europeans in film, music, and popular culture in dialogue with critical works about diaspora, citizenship, and transnational blackness. We will read critical works by scholars who focus on Black Europe.
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.
An introduction to narrative and avant-garde narrative film production through the creation of hands-on digital video exercises, short film screenings, critical readings, and group critiques.
We begin with a body and spend our lives representing, indexing, performing, expressing, camouflaging, revealing, adorning, contextualizing, and recontextualizing that body. This course will look at how artists have made work to intervene in this process. Alongside other aspects of visual culture, we will take protest as a key site of the political body that we will break down into voice, movement, text, and mass media. Studio work will explore strategies of representation through mixed media, drawing, painting, photography and performance. The course will include visiting artists and a museum or gallery visit.
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.
"Pathological Color" will explore historic photographic color processes: tricolor, autochrome, screen color, Kodachrome and multichannel psychedelic processes. The title of the class comes from Goethe's "Theory of Color," which will be the foundational text of the class as we explore the phenomenon of color vision and color reproduction. Students will digitally model the above historic processes to make new versions using inkjet and digital c-prints.
This course is designed for students who are interested in learning the fundamentals of working with clay. A wide variety of hand-building will be taught, enabling students to make utilitarian vessels as well as sculptural forms.
An exploration of ritual and ceremony as creative, interdisciplinary spaces imbued with intention and connected to personal and cultural histories. A broadening and deepening of knowledge around historical and contemporary ritual, ceremonial, and community-building practices of queer and trans artist communities from around the world, with a deeper focus on the extraordinary history of the queer trans shamans of early 20th century Korea.
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.
This course surveys a hidden canon of African American film and also uncovers the roots of representational injustice in Hollywood and the secret, but cardinal role Woodrow Wilson played in the production and distribution of Griffith's "The Birth of a Nation" that led to the rebirth of the KKK.
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.
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, research and dramaturgy, combined with a grounding in the practical, collaborative and inclusive skills necessary to create physical environments for live theater making. Students are mentored as designers, directors or project creators on realized projects in our theaters, or on advanced paper projects. Individualized class plans allow students to imagine physical environments for realized and un-realized productions, depending on their area of interest, experience and skill level.
This advanced screenwriting workshop will introduce students to the fundamental elements of developing and writing a TV series. Students will develop critical thinking skills by watching television pilots, reading pilot episodes, and engaging in in-depth discussion about story, character, structure, tone, dialogue, and other aspects of visual storytelling.
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.
The Haptic Lab is hands-on studio course in which haptic learning—both physical and virtual—will occur simultaneously. Four fast-paced, materially intensive assignments will be paired with equally intensive digital production. Students not only will engage in making artworks in both realms, but also engage in critical analysis of the dynamic relationship between the two. Materials may include ash wood, silicon rubber, soil, polystyrene, or a recipe for 2,000-year-old cement.
This course will introduce students to screenwriting adaptation techniques, focusing primarily on the challenges of adapting “true stories” pulled from various non-fiction sources.
A century has passed since the term 'modernism' became current, and the argument about 'postmodernism' is now four decades old. What did these categories of art and culture mean then, and how do they signify today? Has modernism become 'our antiquity' as some have claimed, or has a global perspective renewed it as a framework for contemporary art and criticism? Is postmodernism a 'thing of the past', or might it too possess an unexpected afterlife? We will take up such questions with some of the crucial actors' artists, critics, historians, museum directors and curators in these debates.
This course examines feminist critiques of art history and contemporary art. What challenges did they pose to the fields of art history and contemporary art? Drawing on artworks by Rosa Bonheur, Georgia O'Keeffe, Adrian Piper, Cindy Sherman, Shahzia Sikander, Andy Warhol and others from the Princeton University Art Museum, and more.
This course focuses on the development of comics and graphic novels beyond the obvious aspects of penning a script and drawing characters. Working with E.S. Glenn and special guests, students will explore the underlying structure of comics through assignments and activities such as critical reading, watching films, creation of original pieces, and group presentations on current projects. In addition to drawing, they will focus on other aspects of comic making such as book design, translation, publishing, and distribution. The workshop will culminate in a student-published comix anthology at the end of the semester.
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.
An exploration of ritual and ceremony as creative, interdisciplinary spaces imbued with intention and connected to personal and cultural histories. A broadening and deepening of knowledge around historical and contemporary ritual, ceremonial, and community-building practices of queer and trans artist communities from around the world, with a deeper focus on the extraordinary history of the queer trans shamans of early 20th century Korea.