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.
We will explore the foundations of black performance theory, drawing from the fields of performance studies, theater, dance, and black studies. Using methods of ethnography, archival studies, and black theatrical and dance paradigms, we will learn how scholars and artists imagine, complicate, and manifest various forms of blackness across time and space. In particular, we will focus on blackness as both lived experience and as a mode of theoretical inquiry.
If no one will cast you, create a role for yourself. Maysoon Zayid's "Page to Stage" will teach you how to write your way into the spotlight. Students will be divided into three writers' rooms. Each room will pen a comedic one-act play that the writers themselves will star in. For their final, they will perform a full production of the three original vignettes in front of a live audience.
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.
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 class will look at the works of Latin American and Latinx women playwrights who have created works that are either adaptations of mythical Greek heroines or reinterpretations of the historical Latin American and Caribbean record. These works challenge our visions of history: they use the power of the canon to make us think about the weight of tradition, and use that weight to shatter our preconceptions of gender, race, and identity.
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. The course combines teaching dance and movement classes to public school students from underserved communities in the Princeton region, while collectively engaging in an in-depth exploration of Dance in Education with an emphasis on recent developments in the field. Fieldwork takes place weekly at designated out-of-class times.
This course explores the many different ways in which the whole idea of a distinctively Irish theatre has been transformed every few decades, from Wilde and Shaw's subversions of England, to the search of Yeats and Synge for an authentic rural Ireland, to the often angry critiques of contemporary Ireland by Murphy, Friel and Carr. Plays of the Irish diaspora (O'Neill and McDonagh) are examined in this context. The course will also explore the ways in which ideas of physicality and performance, including the popular spectacle of Riverdance, have conflicted with and challenged Irish theatre's peculiar devotion to poetic language.
In this course, we'll examine the musicals of Stephen Sondheim from Company (1970) to Road Show (2009) as a lens onto America. We'll explore how Sondheim and his collaborators used the mainstream, popular, and commercial form of musical theatre to challenge, critique, deconstruct, and possibly reinforce some of America's most enduring myths.
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.
A progressive journey through the art of devised theater. Students learn improvisation techniques and creation tools, which they apply while making their own pieces, both individually and in collaboration with others. This course transforms the classroom into a playful space of exploration, with the performer—their body and imagination—as a hub for theatrical innovation.
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.
We all need more care. That much is clear. As it pertains to artmaking, the imperative to incorporate systems of care and healing into the greater conversation within the frameworks of modern performance making has increased dynamically since 2020. It has become even more vital for contemporary artists to consider holistic care models as an utmost concern while creating work in the age of global crisis. But how do we practice care within performance? This seminar examines how contemporary artists and creative researchers consider dramaturgy as a radical act of care within contemporary performance practice.
This theater making studio is intended to support students creating theatrical projects, at Princeton and beyond, in a time of seismic change in our field. We'll address your creative process and collaborative skills, develop inclusive practices and support your growth as visual storytellers and critical thinkers.
Creative Intellect is a collaborative workshop course designed to bridge the critical and creative dimensions of performance research.
Inter-disciplinary class on early modern Amsterdam (1550-1720) when the city was at the center of the global economy and leading cultural center; home of Rembrandt and Spinoza (Descartes was nearby) and original figures like playwrights Bredero and Vondel, the ethicist engraver Coornhert, the political economist de la Court brothers and English traveling theater. We go from art to poetry, drama, philosophy and medicine. Spring Break is in Amsterdam with museum visits, guest talks and participation in recreation of traveling theater from the period.