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Department of Theatre
Chair and Associate Professor: Francis X. Kuhn, MFA, Southern Methodist University; Professors: Oh-Kon Cho, PhD, Michigan State University; Richard St. George, MFA, Illinois State University; Associate Professors: Gail Argetsinger, MA, Bowling Green State University; William Hullfish, Jr., EdD, SUNY Buffalo; P. Gibson Ralph, MA, University of Michigan; Assistant Professors: Davida Bloom, PhD, University of Colorado; Ruth Childs, MFA, University of Minnesota-Minneapolis; Natalie Sarrazin, PhD, University of Maryland; Professional Staff: Gary T. Musante, Technical Director, MFA, University of Michigan; Lecturers: Michael Krickmire, MFA, Illinois State University; Herbert Wise, PhD, Eastman School of Music.
The Department of Theatre is committed to providing its students with theatre training within a liberal arts environment. The department is focused on student learning acquired through classes and productions as its highest priority, and is dedicated to upholding the integrity of theatre as it fosters an artistic environment that nurtures developing theatre artists, scholars and technicians. Theatre education is relevant in many applications and is useful in many different occupations.
The department is committed to sustaining a vital artistic synergy with the surrounding community and the greater society through productions and other theatrical and musical presentations by its students, faculty and guest artists.
While the Department of Theatre does not have a graduate degree program, its graduate course offerings may be applied as requirements and/or electives in degree programs as determined through the advisement process.
THE 500 Theatre Viewing (A). Provides students with the tools and opportunity to critically analyze, evaluate and appreciate theatre productions. Allows students to view several professional theatre productions and participate in backstage tours and discussion with artistic staff. 3 Cr.
THE 510 Contemporary Women Playwrights (A). Cross-listed as WMS 510. Examines selected works by 20th-century female playwrights from America, Africa, China and England, (with units on African-American, Chicana, lesbian, and Asian-American writers) in the context of feminist theory as it applies to theatre practices. Includes explorations of the ways in which contemporary female playwrights present gender and gendered experiences as staged with multiple cultural contexts. 3 Cr.
THE 514 American Theatre (A). Covers theatre as an aspect of American culture from 1668 to the present. 3 Cr.
THE 522 Workshop Production-Lab Theatre (B). Examines specific acting techniques pertaining to various periods, particularly Elizabethan, Restoration and others selected by the instructor. 3 Cr.
THE 526 Improvisational Studio (B). Covers the development of physical, vocal and improvisational techniques for ensemble playing; and traditional and contemporary techniques of improvisation. Requires experimentation leading to the development of original material; and research and a practicum in the application of dramatic process to a specific learning situation. 3 Cr.
THE 550 Field Experience in Theatre (B). Requires students to identify methods, techniques and procedures involved in the project studies; perform these functions and/or observations; and plan a design for implementing the project in a different situation. 1-12 Cr.
THE 590 Special Topics in Academic Theatre (A). Covers advanced directing and advanced problems in scenery, costume and lighting. Topic and instructional methodology is defined by the instructor. 3 Cr.
THE 599 Independent Study in Theatre (A). Designed individually through consultation between the student and instructor to suit the student’s needs and interests and the special competence of the instructor. Additional requirements may be established by the department. 1-6 Cr.