Theater Studies Course Atlas - Spring 2007

MW  10:40-12:35     Max: 12

Content: The course provides a theoretical and practical introduction to the basic skills of acting: warming up, voice and movement, improvisation, character development, script analysis, scene work and collaborating as an ensemble. The student will acquire a working vocabulary in the fundamentals of acting.

Section 001:
TTh 10-11:15    Max: 12

Section 002:
TTh 1-2:15    Max: 12

Content: How does the actor bring truth to the stage? The aim of this course is to introduce you, first hand, to the skills involved in such a task. No prior acting experience is required.   Class sessions will include physical and vocal exercises, many of them rigorous, and improvisational exercises designed to strengthen the individual/group imagination and to build ensemble.   Course work will include extensive scene-study, requiring regular outside-class preparation and in-class performance.

THEA 131              ///              Basic Stagecraft
Wm. Moore

TTh 10:00-11:15          Max: 18

Students are required to sign up for one of the following labs.

1) Tues. Lab - 2:30-4:30       MAX: 6      Instructor: Scott Little
2) Wed. Lab. - 2-4       MAX: 6      Instructor: Scott Little
3) Thurs. Lab - 1-3       MAX: 6      Instructor: Scott Little

Please note that you will need to enroll in the lab that best fits your schedule.

Content: The primary goal of the course is to provide beginning students with an awareness and understanding of the technical aspects of theater production. The course will provide students with an overview of the visual aspects of theater along with construction techniques for props and set. Practical exercises are directly related to productions staged in the Mary Gray Munroe Theater and include assignments to technical crews for productions of Theater Emory. The course will involve three hours of lecture and two hours of lab work per week, plus 60 hours of crew assignments.

Particulars: Grading is based on participation in class, lab work, and theatrical productions, as well as progress over the semester.

Note: This course was formerly THEA 190 000. It is still a Freshman Seminar, but renumbered to THEA 101S

THEA 101S  000    ///         Freshman Seminar: Introduction to the Theater
Janice Akers

TTh 11:30-12:45, and periodic Wed. lab 7 -10 p.m.     Max: 15

Content: Introduction to Theater asks students to explore the question, "What makes theater a living, breathing entity?" Students will be asked to create theater projects based on dramatic literature, current events and personal biography. Along with covering some of the major developments of theater history, students will examine the topic of theater collaboration from the perspective of playwright, director, designer and actor. This class will include readings, video presentations, group discussion, creative writing, improvisation and performance. Introduction to guest artists and attendance at live theater events will allow students to experience first hand how theater professionals collaborate to create a stimulating and challenging art form.

Particulars: Grades are based on attendance and participation. Two to three short response papers and in-class worksheets are required along with attendance of live performance events and three evening labs. Students will collaborate on a final project at the end of the semester.

Text: Wainscott, Ronald & Fletcher, Kathy, Theatre: Collaborative Acts

Comment - This course satisfies the General Education Requirement in Area IV-B, Humanities.

THEA 190 001    ///      Freshman Seminar:  Putting Themselves Onstage:
                                        Social Issues in the 20th Century Theater
Pat Miller

TTh 2:30 to 3:45     MAX:15

Content: This course will look at the evolution of the American character as portrayed in a selection of plays that in some way became rallying points for social change. Study works could include The Adding Machine (Elmer Rice,1923), The Hairy Ape (Eugene OíNeill,1922), One Third of a Nation and The Cradle Will Rock (Federal Theater Projects, 1938), Waiting  for Lefty (Clifford Odets, 1935), Our Town (Thornton Wilder, 1938), The Crucible (Arthur Miller,1953), The Basic Training of Pablo Havel (David Rabe, 1965), The Colored Museum (George C. Wolfe, 1986), Los Vendidos (Luis Valdez,1967), Angels in America, Part One: Millennium Approaches  (Tony Kushner, 1992) and others.

Particulars: Students will be responsible for writing a short paper identifying the issues in the plays they read. In addition they are required to research and present background material for one of the play-related topics. The final examination will be an essay question exam.

THEA 190 002    ///      Freshman Seminar:  The Arts at Emory University
James Flannery    

TTh 4 to 5:30     MAX: 12

Content: The concerts, dance and theater productions, exhibitions, films and readings presented at Emory each term provide a cornucopia of cultural and educational riches.   And these presentations are supported by an equally impressive range of academic courses offered by the art departments and programs at Emory.   Using the public presentations and faculty in the arts as a primary resource, this course will aim at giving students a deeper understanding and appreciation of each of the arts as well as the overall ethos of the arts community at Emory.

Particulars: The writing demands of the course include weekly response papers as well as a final research paper. The response papers will normally consist of critical reviews of assigned arts events.   Students will also be required to deliver an oral presentation to the class on a subject to be chosen in consultation with the instructor. In most cases, this will be the topic of the final paper.

Texts: The course will involve reading and intensive discussion of works that focus on the aesthetics, critical standards and practical techniques that govern each of the arts.   Students will also be required to attend at least one major arts event at Emory each week.

THEA 201SWR      ///    Reading for Performance
Donald McManus

TTh 1-2:15        Max: 12

Content: The aim of this seminar is to practice the close reading required to lift a play effectively and intelligently from page to stage. Through a close analysis of a variety of plays for such issues as plot, patterns of action and theme, characterization, style, genre, extra-textual reference, visual and sonic elements, and world of the play, we will sort out the challenges and rewards of practical knowledge of and responsibility to the text. The course will also touch on theater semiotics (how things express meaning from the stage, and the variety of options different sign-systems offer) and textual adaptation for performance. Our ongoing exploration will incorporate the specific awarenesses that actors, directors, designers, and dramaturgs need to construct from a play-text.

Particulars: Grades will be determined by class participation, a variety of short papers (including analytic reviews of theater productions at Emory or elsewhere in Atlanta), plus one examination, and a final paper.

Texts: Representative plays ranging from classical Greek, Renaissance, naturalism, expressionism, contemporary realism, modern poetic drama, and post-modern experimental drama, plus handouts and internet resources will be used.

THEA 216         ///             History of Drama and Theater II
Michael Evenden

Same as English 216

MWF 11:45-12:35          MAX: 15 (ENG max: 10)

Content: A study of Western drama from the 18th century through the modern period. Reading of representative dramas, an average of two per week, with special attention given to their cultural and historical contexts.

Particulars: Four equally-weighted exams , including take-home analytic essays and optional final paper.

Texts: Students will be expected to read two to three plays a week. Playwrights to be covered include Lillo, Marivaux, Schiller, Scribe, Feydeau, Ibsen, Shaw, Chekhov, Strindberg, Brecht, Beckett, Muller.

Comment - This course counts toward the English and Theaters Studies majors. It also satisfies General Education Requirement IV B, Humanities: Arts.

THEA 221      ///     Acting:  Scenework
John Ammerman

MWF 2-3:50    MAX: 10

Recommended Prerequisite: Theater 221 is open to students who have taken Theater 121 or, in the case of those who have considerable experience, to students who obtain permission of the instructor.

Content: An introduction to acting scenes. This process-oriented course will focus on the development of character relationship through principles of objective, circumstance, habit, activity, age, and emotion.  Scenes will include both contemporary dramatic literature and Shakespeare.

Particulars: As a performance-based course, there will be a variety of exercises and tasks involving work with a partner, which includes both graded and non-graded assignments. Grading will be based on the performance of selected scenes, including the final, and will require outside rehearsals on a regular basis in order to prepare for presentation. Attendance, participation, and cooperation are crucial for the growth and development of each performer's skills.

THEA 223     ///     Voice and Diction
Alex Harrington

TTh 1-2:15        Max: 15

Content: An overview of voice and diction for actors and others. Through group exercises, text work, and individual instruction, students will learn practical techniques to achieve proper breath support, vocal production, vocal range, articulation, and physical alignment necessary for stage performance and public speaking.

Text: The Voice Book, by Michael McCallion.

THEA 230    ///      Principles of Design
Leslie Taylor and Greg Catellier

TTh 11:30 - 12:45        MAX: 12

This spring, the focus of this course will be on design for dance.

Content: This course will provide students with a theoretical and practical understanding of the processes involved in conceiving and executing stage designs. It will serve as an introduction to the theory and practice of set, costumes, and lighting design. In a broader sense, it is aimed at helping students to hear and experience music with a richer sense of its visual qualities.

THEA 233     ///    Lighting Design
Judy Zanotti

TTh 11:30-12:45       MAX: 8

Content: This course will cover the theoretical and practical processes involved in the design of lighting for the theater. Topics included in the course are script analysis, design formulation, drafting, design paperwork, color theory, plotting, focusing, and cueing.

Particulars: Students will be required to purchase a limited amount of drafting equipment for the class, as well as a textbook and three plays. (A specific list of drafting needs will be given out during the first class period). Grading will be based on a series of homework assignments, three lighting design projects, as well as class participation, and growth and development throughout the semester).

THEA 251      ///      Directing
Susan Booth

M 2:30-5:15       Max: 10

Prerequisites: THEA 201, or a 200-level or higher acting course, or permission of instructor

For this semester only, students will be participating in the citywide "365 Project," staging short works by Pulitzer Prize winning playwright Suzan-Lori Parks.  Each student will be assigned a play at the beginning of the course, and the final presentation (during exam week) will be part of a year long event involving over forty of the region's professional theatres and university programs.

Content: This course is intended to develop the student's ability to a) analyze plays both critically and imaginatively; b) read plays in terms of their psychological narratives and visual values; and c) realize production ideas in terms of current sociopolitical context and available human and material resources. Approximately the first half of the course is devoted to analyzing selected plays specifically from a director's perspective. A number of practical exercises are also assigned that deal with basic directing problems, including collaborative development of design conceit, developmental work with playwrights, and analytical work with actors. The second half of the course concentrates on the students staging a short work.

Particulars: Students are graded primarily on the basis of class participation and successful completion of the research and production work of their directorial project.

Texts
 --A Director Prepares: Seven Essays on Art and the Theatre, Anne Bogart
 --Tips: Ideas for Directors, Jon Jory

THEA 300R     ///      Production Laboratory
William Moore 00P, Scott Little 01P, Marianne Martin 02P

TBA      Max: 5

Permission of instructor required prior to enrollment.

Content: The goal of this course is to provide students with a meaningful learning experience through the assumption of technical or administrative responsibilities in conjunction with the productions of Theater Emory and research areas of Theater Studies.

Particulars: Students should make arrangements with the departmental faculty regarding their assignments prior to registration. Grades are determined by the student's ability to successfully execute the tasks given to them by the individual instructor assigned to them. Each student enrolled in the class should contact the instructor during the first week of class and before the end of Drop/Add to determine their work assignment for the semester.

THEA 322 00P      ///    Developing a Role
Tim McDonough

W 12:50-3:50   MAX: 8

Prerequisite: THEA 222 and PERMISSION of instructor.
Note: This course has been renumbered. It was formerly THEA 323.

Content:  Each actor works on shaping two substantive roles as if in rehearsal, with an emphasis on developing multiple throughlines for a character.

Particulars:  The class meets to show work on Wednesdays. Individuals and pairs will meet the instructor to conference and rehearse once a week, usually on Friday. Mid-term and final projects are performance pieces.

THEA 330R    ///   Stagecraft Laboratory
William Moore

F  2:00-5:00              MAX: 5

Permission of instructor required

Content: This course is intended for advanced students interested in theater production. The specific content of the course will vary according to the productions being staged by Theater Emory and will include practical exercises and assignments in set construction, prop acquisition, construction and assisting the Technical Director.

Particulars: In format, the course will function as a tutorial involving weekly meetings with the instructor. In addition, students will be required to assume significant supervised responsibilities connected with Theater Emory productions. These responsibilities will vary in the number of hours per week depending on the student's specific assignment. Grading is based on the successful completion of responsibilities assigned to the students during the semester.

THEA 331R 00P    ///    Costume Design Tutorial
Leslie Taylor

TBA    MAX: 5

Prerequisite: THEA 231 and/or written permission of instructor

Content: This course will provide further information for students who have demonstrated an interest and ability in costume design. Students will advance their skills and knowledge by either completing several in depth projects or assisting the costume designer on a Theater Emory project.

Particulars: Grades are determined on the basis of successful completion of major design projects, attendance in class, and growth.

THEA 332R 00P     ///     Scene Design Tutorial
Leslie Taylor

TBA    MAX: 5

Prerequisite: THEA 232 and/or written permission of instructor

Content: This course will provide personalized instruction for those students who have demonstrated an interest and ability in the area of set design. The course will enable advanced students to develop and further their talent, skill, and knowledge in set design. A major part of the course will involve either assisting the set designer in the execution of Theater Emory productions or designing and executing scenery for student productions emanating from classes offered by the department, as well as design projects.

Particulars: Grades are determined on the basis of successful completion of major design projects, attendance in class and working on Theater Emory and class productions.

THEA 333R 00P    ///    Lighting Design Tutorial
Judy Zanotti

TBA       MAX: 5

Prerequisite: THEA 233 and/or written permission of instructor

Content: The goal of this course is to provide advanced students with a further understanding of the lighting design process. Theatrical, as well as dance, concert, film and video lighting practices will be covered.

Particulars: Students are graded on their completion of five lighting projects, a practical design assignment, and development throughout the semester. The course will involve two hours of lecture per week plus 90 hours of assignments.

Texts: The course will include material from a variety of texts.

THEA 334R 00P      ///    Sound Design Tutorial
Judy Zanotti

TBA       MAX: 5

Prerequisite: THEA 234 and/or written permission of instructor

Content: An advanced course in the theory and practice of sound design.

THEA 340SWR      ///    Arts Writing & Criticism
Suzanne Van Atten

Same as JRNL 340SWR and DANC 340S

W 9:35-11:30    THEA MAX: 5

Content: This course is conducted as a professional workshop. During the semester, students are required to produce a series of critical articles covering a wide spectrum of performing arts, including music, theater, film, dance and television. Class sessions and assignments are devoted to nuturing the requisite skills needed to become a successful reviewer or critic. The seminar includes presentations by faculty from Dance and Theatre Studies as well as visiting professional critics. Attendance at various arts performances after course hours also required.

Particulars: Permission of the Journalism Program required.

Texts: TBA

THEA 341R 00P    ///    Theater Administration Tutorial
Pat Miller

TBA    MAX: 5    Variable Credit: 2-8 hours

Prerequisite: Enrollment requires permission of the professor and is dependent upon completion of THEA 241 and the availability of a suitable project for the student.

Content: A tutorial on practical problems in theater administration, including budgeting, contracting, and marketing. This course is a continuation of the theoretical work covered in THEA 241. Students take responsibility for the administrative work for productions in the Theater Emory season.

Particulars: Participation and completion of the assigned administrative responsibilities are the most important considerations for grading.

Texts: Students are expected to read American Theatre Magazine, Variety, and the Sunday New York Times Arts & Leisure Guide on a regular basis. Readings on special topics may be assigned throughout the course.

The following course, while not cross listed with Theater at this time, can count toward the theater major or minor as an elective in history/literature/criticism.

ENG 366WR: Contemporary Drama
Gruber

MWF 2:00-2:50    Max: 25

Content: In this course we will read the work of three major dramatists who were also major novelists: Samuel Beckett, Thomas Bernhard, and Marguerite Duras. We will study these playwrights' development over the last half of the twentieth century as they mix playwriting with other artistic modes or mediums, including narrative fiction, film, television, painting, and performance art. We will also read some representative works from lesser playwrights whose work reflects broad historical trends, including writers such as Peter Handke, Howard Brenton, Caryl Churchill, Tom Stoppard, Maria Irene Fornes, Anna Deavere Smith, and Peter Turrini.

Texts will likely include: Becket, Shorter Plays, and The Complete Short Prose; Bernhard, The President, Eve of Retirement, Force of Habit, and Three Novellas; Duras, Hiroshima, Mon Amour, India Song, and The Ravishing of Lol Stein; and plays such as Rosencrantz and Guildenstern Are Dead (Stoppard), Christie in Love and The Saliva Milkshake (Brenton), The Danube (Fornes), and Fires in the Mirror (Deavere Smith).

Particulars: three short papers (3-4 pages each), one research paper (12-15 pages), and a final exam.

THEA 372RWR 00P     ///    Playwriting   
Jim Grimsley / Lisa Paulsen / Ken Weitzman

Crosslisted with ENG 372RWR 00P

T 2:30-5:30     MAX: THEA 5 (ENG/CW 10)

Application for this course is required. See the spring 2007 Creative Writing course Atlas for details.
www.creativewriting.emory.edu/atlas/index.html

Students wishing to take 372 as a Theater Studies course should hand in their application to John Ward, Theater Studies Dept. administrator, Rich Building 225, by the deadlines stated at the top of the Creative Writing course atlas. Note that you may obtain permission numbers for THEA 372 from John Ward (jward03@emory.edu).

Students wishing to take 372 as a Creative Writing course should hand in their application to Paula Vitaris in Creative Writing, as stated in the application.

Content: An introduction to the craft and art of Playwriting. No previous experience necessary in playwriting, acting, or theater.  This course is co-taught by a playwright and a theater artist and will focus on writing exercises and a final project that will allow students to experience first-hand the creative process, from finding inspiration to the fundamentals of playwriting (character, dramatic action, dialogue) to the exciting collaboration implicit in presenting the play to an audience.  

Particulars: Students should budget for photocopying. Outside of class time, students are required to attend on-campus readings and colloquia sponsored by the Creative Writing Program and play readings sponsored by The Playwriting Center of Theater Emory.

Texts: Readings are playscripts, including a series of one-act and ten-minute plays from playwrights John Patrick Shanley, Bill Bozzone, Steve Martin, Edward Albee, Rachel Axler, Albert Innaurato, Naomi Iizuka, Harold Pinter and Leroi Jones/Baraka.  

In addition, two full-length plays will be chosen from the following:
Kimberly Akimbo, David Lindsay-Abaire
The Clean House, Sarah Ruhl
The Illusion, Tony Kushner
True West, Sam Shepard
Glengarry Glen Ross, David Mamet
How I Learned to Drive, Paula Vogel
After Ashley, Gina Gionfriddo

THIS COURSE HAS BEEN CANCELED.

THEA 389 000   ///     Special Topics: Lavinia's Tongue
Amy Cook

Cross listed with Women's Studies 385

TTh 10-11:15        Max: 9 THEA (WS Max: 6)

Content: This theoretical/historical survey will examine representations of women
and violence onstage from Medea to Sarah Kane’s Blasted. Through the lens
of the (often-violated) female body, we will explore the history of
theater as a negotiator between public and private, present and absent,
male and female. We will read theory by Elaine Scarry, Sue Ellen Case, and
Julia Kristeva against plays such as Chushingura, Racine’s Phèdre, Titus
Andronicus, The Duchess of Malfi, and Blasted.

Texts may include:
The Body in Pain by Elaine Scarry
Satisfying Skepticism: Embodied Knowledge in the Early Modern World by Elaine Spolsky
Powers of Horror: An Essay on Abjection by Julia Kristeva.

THEA 389 001      ///       Special Topics: Actors and Dancers:  
                                               Text and Movement
Janice Akers and Anna Leo  

Cross listed with DANCE 385       

TTh 2:30-3:45   MAX: 7 (DANCE Max: 7)

NOTE:   This course is open to all students.   No prior acting and dancing experience is required.   Students should anticipate a movement-based course including warm-ups and a focus on physical exercise.

Content: This course is designed to guide students towards a more in-depth understanding of the creative process of theater and dance.   The translation of dramatic text into movement and movement into dramatic text will give students the opportunity to investigate both theater technique and dance theory.   Students will explore gesture and articulation of the body in space utilizing music/sound and text.   Students will also explore emotion, persona and interior life as a means to enhancing and strengthening the performance experience.

Particulars:   Grading will be primarily based on class participation and presentation.   A brief response paper and in-class worksheets may also be included.   Students can expect two out-of-class rehearsals and a showcase presentation at the end of the semester.

THEA 389 002    ///    Performance and American Modernism
Shane Patrick Vogel

Cross listed with AMST 385, ENG 489RSWR, MUSIC 470

TTh 2:30-3:45    Max: 20 (THEA 2/AMST 13/ENG 3/MUSIC 2)

Content: In this course we will explore how various modes of performance shaped and responded to the development of an American modernity. In addition to studying dramatic texts and attending to the theatrical history of the time, we will also explore many of the cultural performances that tend to be neglected when American modernism is gramed solely as a literary movement. Subsequently, we will closely attend to performance traditions such minstrelsy and melodrama; vaudeville and burlesque; concert saloons, cabaret and nightlife performances; Tin Pan Alley, blues and jazz; expressionism and primitivism; and social and concert dance. By looking at this diverse range of material, we will develop an archive of performances through which to consider how modern American identities and relations have been represented, elaborated, challenged, and (mis)recognized on the American stage. Some questions that will guide our inquiry throughout the semester include: How has performance responded to the rapid and sometimes violent changes that define modern life? How have performers and playwrights, audiences and actors, sought to act as subjects rather than objects of these changes? How are social relations imagined and reimagined on the American stage? How does modern American performance draw from and define itself against traditions of European modernism? How did performers, writers, and directors use theatrical innovation and experimentation to address and redress the conditions of social relations under modernity? As these questions suggest, this course will ultimately address how performance - as a subject and a mode of scholarly inquiry - challenges and extends traditional archives of American modernism.

Texts: Readings may be drawn (in full or part) from the following texts: Robert C. Allen, Horrible Prettiness: Burlesque and American Culture; Angela Y. Davis, Blues Legacies and Black Feminism: Gertrude "Ma" Rainey, Bessie Smith, and Billie Holliday; David Krasner, A Beautiful Pageant: African American Theatre, Drama, and Performance in the Harlem Renaissance, 1910-1927; Lewis Erenberg, Steppin' Out: New Highbrow/Lowbrow: The Emergence of Cultural Hierarchy in America; David Nasaw, Going Out: The Rise and Fall of Public Amusements; Kathy Peiss, Working Class Amusements; Joseph Roach, Cities of the Dead: Circum-Atlantic Performance; Michael Rogin, Blackface, White Noise: Jewish Immigrants in the Hollywood Melting Pot; Diana Taylor, The Archive and the Repertoire; selected plays by Eugene O'Neill, Tennessee Williams, Angelina Weld Grimke, Elmer Rice, Sophie Treadwell, Susan Glaspell, Marita Bonner, Langston Hughes, Djuna Barnes, and Clifford Odets.

THEA 396R 00P     ///    Theater Colloquium
Leslie Taylor

Th 4-5      MAX: 65

One-credit. Two semesters of this course are required for the theater major and minor

Content: A sereis of guest speakers, workshops, and presentations addressing varying aspects of work and life in the theater. Meets on select Thursdays, plus attendance at approved outside events required.

THEA 397R 000     ///    Directed Studies: Computer Design Applications
Randy Fullerton

Cross listed with ARTHIST 398

MWF 4-4:50     THEA MAX: 3 (ARTHIST MAX: 4)

2 CREDITS

Content: This course provides an introduction to the effective use of Adobe PhotoShop, Adobe InDesign (a.k.a. Illustrator) and PowerPoint when preparing routine coursework, presentations and preparing research materials. The course will enable the student to more creatively and artistically enhance their own work by effectively combining these computer design applications with their own original work. Prior experience with these applications and software is not necessary.

Particulars: Grading will be based primarily on class participation and original creation of designs. Testing in the class will be based on successful in-class creation of designs and lay-outs utilizing the design applications discussed in class. The student will need to have access to a digital camera.

Texts: None

THEA 397R 00P     ///    Directed Studies in Theater

TBA     MAX: 5

Written Permission of Supervising Instructor Required

Content: Special projects, research, and readings under the direction of a faculty member.

THEA 400R 00P     ///      Acting Tutorial
Faculty

TBA   MAX: 10

Written permission of instructor required

Content: This course provides advanced theater students with a context for intensive work on specific acting issues. It is intended to meet individual needs; to supplement, extend, and enrich the training offered in regular acting classes; and to give specialized instruction to students in connection with performance projects. Both private and small group tutorials are offered; qualified students with specific needs and learning agenda are encouraged to apply.

Permission for tutorial sessions must be obtained from Theater Studies prior to registration. Admission is by departmental approval.  A tutorial normally involves eight hours of personalized instruction, and may be taken for one or two credits.

THEA 421R  00P    ///   Acting Laboratory: Credit for Theater Emory Productions

1 or 2 credit hours, permission only

THEA 495R 00P     ///     Honors Project in Theater

Qualification for honors and consent of department required

Content: This course is designed to provide advanced students with a learning experience designed to meet their specific interests and needs. In some cases this may involve weekly instruction on a particular aspect of acting or stagecraft. In other cases a student may wish to work with an individual faculty member on a research project concerned with a particular dramatist, historical period or critical theory.

Particulars: Grading policies will be determined by the particular nature of the project undertaken. Permission for enrollment is by vote of the faculty and must be obtained during preregistration in the previous semester. See the Department for more specific information.
Please direct questions or comments to Theater Studies.

THEA 497 00P     ///     Senior Project in Theater

Consent of department required

Content: A supervised project in any area of theater for seniors. Total credit not to exceed twelve hours.

THEA 499R 00P     ///     Special Project in Theater

Consent of department required

Content: A supervised project in any area of theater. Total credit not to exceed twelve hours.

updated 12/18/2006
by John Ward (jward03@emory.edu)