Course Outline of Record Los Medanos College 2700 East Leland Road Pittsburg CA 94565

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Eustace Wilkinson
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1 New Course OR Existing Course Author(s): Nick Garcia Subject Area/Course No.: Drama 16 Units: 3 Discipline(s): Dramatic Arts/Theatre Arts Pre-Requisite(s): NA Co-Requisite(s):NA Advisories: NA Catalog Description: An introduction to theatre appreciation in which students will explore the various aspects of the theatrical experience: the components of theatre, the various creative artists and technicians who make it happen, explore design and technical production elements including the nuts and bolts aspects of scenery, costumes, lighting and sound, the traditional and historical background from which theatre springs and the genre of movement of which a particular play is part. Schedule Description: Theatre is alive with humanity s joy, humor and tragedy. Learn the various aspects of theatre, how it came into being and why it continues to thrive and fascinate. Through hands-on experience, lectures, live theatre production(s) and DVD/Videos specifically geared to the course, become a part of a community of theatre lovers. Hrs/Mode of Instruction: Lecture: _54 Scheduled Lab: 0 HBA Lab: Composition: Activity: Total Hours 54 Credit Credit Degree Applicable (DA) Grading Pass/No Pass (P/NP) Repeatability 0 Credit Non-Degree (NDA) Letter (LR) 1 Student Choice (SC) 2 3 Last date of Assessment: SP 2014 Cohort #: 4 Please apply for: LMC General Education Requirement(s): Arts and Humanitites Transfer to: CSU UC IGETC Area _3A CSU GE Area_C1 C-ID Number _THTR 111 Course is Baccalaureate Level: Yes No Form Revised Page 1 of 10

2 Signatures: Department Chair Librarian Dean (Technical Review) Curriculum Committee Chair President/Designee CCCCD Approval (Board or Chancellor's Office) STAND ALONE COURSE: YES NO Course approved by Curriculum Committee as Baccalaureate Level: YES NO LMC GE Requirement Approved by the Curriculum Committee: FOR OFFICE OF INSTRUCTION ONLY. DO NOT WRITE IN THE SECTION BELOW. Begin in Semester Catalog year 20 /20 Class Max: Dept. Code/Name: T.O.P.s Code: Crossover course 1/ 2: ESL Class: Yes / No DSPS Class: _Yes / No Coop Work Exp: Yes / No Class Code A Liberal Arts & Sciences SAM Code A Apprenticeship Remediation Level B Basic Skills B Developmental Preparatory B Advanced Occupational NBS Not Basic Skills C Adult/Secondary Basic Education C Clearly Occupational D Personal Development/Survival D Possibly Occupational E For Substantially Handicapped E* Non-Occupational F Parenting/Family Support G Community/Civic Development *Additional criteria needed H General and Cultural 1 One level below transfer I Career/Technical Education 2 Two levels below transfer J Workforce Preparation Enhanced 3 Three levels below transfer K Other non-credit enhanced Not eligible for enhanced Form Revised Page 2 of 10

3 Institutional Student Learning Outcomes: General Education SLOs: At the completion of the LMC general education program, a student will: 1. read critically and communicate effectively as a writer and speaker. 2. understand connections among disciplines and apply interdisciplinary approaches to problem solving. 3. think critically and creatively 4. consider the ethical implications inherent in knowledge, decision-making and action. 5. possess a worldview informed by diverse social, multicultural and global perspectives. None Program-Level Student Learning Outcomes (PSLOs): 1. To analyze, dissect, and critically evaluate a script or theatrical event or film with working knowledge of its historical, cultural, and societal origins and contexts. 2. To use strongly developed physical, vocal, and emotional foundations to build a personalized acting process for approaching a text or character in order to effectively communicate on stage or in film. 3. To understand how and be able to write, produce, direct, manage, promote, and star in a theatrical event or film. 4. To be academically and fundamentally prepared to enter the entertainment industry or transfer to a 4-year theatre or film program with an advanced standing. Course-Level Student Learning Outcomes (CSLOs): At the end of the course students will be able to: 1. Read and dissect a play script orally and in writing to recognize dramatic structure, the creation of dramatic characters and the point of view incorporated in tragedy, comedy, tragicomedy, melodrama (GESLO 1) (PSLO 1,4). 2. Write critical evaluations of plays using the vocabulary, skills, tools and language of drama (GESLO 1) (PSLO 1,3). 3. Synthesize ideas, concepts and facts from a variety of disciplines such as drama, film, dance, visual art, music, literature, science, philosophy, ethics and sociology in order to evaluate the content and meaning of theatre (GESLO 2) (PSLO 1,4) 4. Classify the paramount movements in theatre history from prehistoric rituals through the 21st century and draw parallels and contrasts between periods and interpret various contemporary theatre genres: realism and departures from realism; diverse eclectic theatre; musical theatre; multi-cultural and international theatre (GESLO 3) (PSLO 1). 5. Discuss and write about cultural differences and similarities and apply moral reasoning to ethical dilemmas posed in plays (GESLO 4) (PSLO 1,4). Assessment Instruments: CSLO 1 Read and dissect the play script: recognizing dramatic structure; the creation of dramatic characters and the point of view incorporated in tragedy, comedy, tragicomedy, melodrama. Assessment Instrument: Weekly Quizzes, Reading Responses or Essays on materials covered in the reading assignments from required texts Quizzes or essay questions may include or expand on some of these examples. 1. How is a theatre event live and immediate and what risk and excitement is there in that? Form Revised Page 3 of 10

4 2. How can a group of people (audience) separate from performers (actors) be an essential part of the experience? Explain in your own words using the terms "willing suspension of disbelief" and "aesthetic distance"? 3. Describe the diversity of today's theatre audience and give several examples. 4. Read the play synopsis for August Wilson's play "Fences" on page 26. How would the experience of seeing Fences differ for different ethnic and racial groups? 5. What does the word criticize mean according to the text? What is the difference between a theatre critic and a reviewer? 6. Since you are going to be theatre critics this semester when watching assigned shows, what are the three questions you should always ask? Describe how you would apply these questions in your criticism. Assessment Instrument: Group Projects & Presentations: Example - Students working in groups will research and then organize and present orally a brief overview of the Renaissance era, emphasizing the major difference between this time period and all others that came before. Describe the importance to the Renaissance of the following 1. Intermezzi - 2. Pastoral - 3. Opera 4. Commedia del'arte 5.scenarios. Describe Pantalone, Dottore, Capitano and Arlecchino and their significance and roots in earlier dramatic forms. Assessment: Final Paper & Presentation Students will write a research paper outlining a major theatrical movement, era, or event and discuss it in detail. The content for the assigned paper will come from the instructor and the paper will be turned in as well as orally presented to the class. Example - What effects did the Postwar Era have on the world and how did this manifest in theatrical productions? Rationale: Quizzes, projects-presentations and final paper & presentation require the students to demonstrate their knowledge of dramatic structure, characters, and elements of theatre genres both in writing and orally. CSLO 2 Write critical evaluations of plays using the vocabulary, skills, tools and language of drama and then present that analysis orally to the class and to instructor through written form. Assessment Instrument: Projects and Presentations Students will attend a local live production and then write a review using the guidelines below: students will present review orally to class and in written form to instructor. Essay Outline: 1. Theme of play (main subject matter or message of the play; the author s point of view) 2. Atmosphere (Tell how it was expressed in the scenery, lighting, and sound effects.) 3. Brief summary of story or plot 4. Technical evaluation 5. Setting/Scenic design 6. Lighting 7. Costumes 8. Sound design 9. Acting evaluation 10. Were the actors convincing in their roles? 11. Did all characters work together to create ensemble or did some detract by not doing what they should? 12. How Form Revised Page 4 of 10

5 did voice/movement affect believability? 13. Did the actors underplay or overplay their parts? 14. Were there any outstanding performances? (Give specific examples and details.) 15. Directorial evaluation 16. Did the stage stay comfortably balanced? 17. Did all aspects of the production communicate the same concept or feeling or were some distracting? 18. Did this production interpret the script to your satisfaction? 19. Was the director's concept true to what you think the playwright intended? 20. Were any aspects of the production confusing? 21. Personal opinion (You may discuss any aspect of the play you wish, but give reasons to justify and explain your beliefs.) Rationale: Students will demonstrate their ability to develop and write a critical evaluation by reviewing a live production using the vocabulary, skills, tools and language of drama and then presenting that analysis orally to the class and to instructor through written form. CSLO 3 Synthesize ideas, concepts and facts from a variety of disciplines such as drama, film, dance, visual art, music, literature, science, philosophy, ethics and sociology in order to evaluate the content and meaning of theatre. Assessment Instrument: Group Project and Presentation Students working in small groups will research and then organize and present orally and in writing a description of the origins of theatre in Greece, in Japan and India and how the theatre is rooted in the religions and rituals of those cultures. Assessment Instrument: Final Paper and Presentation Example Student will describe the development in African American theatre, film, dance and music tracing them from the 19th through the 21st century while showing how this development paralleled the civil rights movement in the United States. Rationale: Group Project & Presentation and Final Paper & Presentation provide opportunity for students to demonstrate their ability to evaluate the content and meaning of theatre and synthesize ideas, concepts and facts from a variety of disciplines. CSLO 4 Classify the paramount movements in theatre history from prehistoric rituals through the century and draw parallels and contrasts between periods and interpret various contemporary theatre genres: realism and departures from realism; diverse eclectic theatre; musical theatre; multicultural and international theatre. Assessment Instrument: Weekly Quizzes, Reading Responses or essays on materials covered in the reading assignments from required texts. Example Greek & Roman Theatre (Quizzes or essay questions may include or expand on some of these examples) 1. Describe in your own words the origins of theatre and how it is rooted in religion and ritual. 2. What is important about the 5th century in Greece? Give specific examples. Form Revised Page 5 of 10

6 3. Who is Dionysus? Thespis? Why are they so important to Greek drama? 4. Identify the following: Aeschylus, Sophocles and Euripides and explain why each man was critical to Greek drama by explaining who they each were and what their contributions were. 5. Describe the function of the chorus in Greek drama. 6. Read the play synopsis for King Oedipus. In your own words what are some lessons this story teaches us about the tragic circumstances of mankind? Do you agree or not? Why? 7. Describe Old Comedy in Greek theatre. Give examples of "old comedy" today in TV, plays and /or films. 8. What is an amphitheatre? Describe the different parts of an amphitheatre and their purposes and/or functions. 9. Who was allowed to perform in Greek drama? Speculate on why you think this might have been the case. 10. What is the "single most important piece of dramatic criticism in existence" and what are the 6 elements of drama it speaks of? 11. In what ways were the Romans very different from the Greeks and how are these differences shown in their theatres? 12. How is American culture like Roman culture? Give examples from your own experience and knowledge. 13. Identify Plautus, Terence and Seneca and describe their works. 14. How and why did the Christian church's rise lead to the downfall of Roman theatre? Do you see any conflicts today between Christianity, popular culture and/or theatre? Give examples. Rationale: Students demonstrate their knowledge of the changes and innovations in theater throughout history and the paramount prehistoric various contemporary theatre genres: realism and departures from realism; diverse eclectic theatre; musical theatre; multi-cultural and international theatre though their answers on quizzes or essays assigned. CSLO 5 Discuss and write about cultural differences and similarities and apply moral reasoning to ethical dilemmas posed in plays. Assessment Instrument: Group Projects & Presentations Example Students working in groups will research and then organize and present orally a description of what happened during a bearbaiting demonstration and a cockfighting demonstration in Elizabethan England. Students will express more than one opinion on the reasons for these cruel forms of popular entertainment? Assessment Instrument: Final Paper & Presentation Example Cruelty has been a constant in theatre throughout history. Students will pick two historical eras and compare and contrast how cruelty in theatre was reflective of the morality of those socio-historic cultures. Rationale: Group Project & Presentation and Final Paper & Presentation provide opportunity for students to demonstrate their ability to assess ethical issues through the application of moral reasoning using the reflective elements of the Drama. Method of Evaluation/Grading: A level student work is characterized by: Responses to study questions which accurately and insightfully identify and describe the dramatic structure, the dramatic characters and the point of view of the play, and accurately and insightfully compare the movements in theatre history, remain on topic, and have a clear focus; have minimal grammatical and spelling errors and are correct in the specific evidence used to support their response; Responses to short essays which are focused, accurate in the specific evidence used to support their response about the play script and comparing the movements of theatre, integrate original ideas and opinions, demonstrate a depth of intellectual engagement with the material and have minimal grammatical, sentence and spelling errors; Quizzes that score 90% or above about dramatic structure, the Form Revised Page 6 of 10

7 dramatic characters and the point of view of the play and compare the movements in theatre history Essays/Creative Writing assignments show substantive intellectual engagement; are carefully proofread with minimal grammatical, sentence and spelling errors; synthesize ideas from a variety of readings; show creativity in use of language; have original ideas and clearly demonstrate that the student has read the material closely and thought deeply about the material; uses imaginative literature as a template for writing their own short stories or creative materials Final Exam Essay/Creative Writing shows an ability to write a coherent, fluid, essay or story with a clearly defined thesis or carefully crafted theme that gives a substantial amount of references to the imaginative literature that is the subject of the essay; or in the case of a creative piece of writing carefully follows the structure and aspects of a particular genre; uses quotations and examples correctly; has minimal grammatical and spelling errors and is correct in the specific evidence used to support the ideas in the essay; shows a unique and authentic voice Oral Presentations: The information presented was well researched and accurate. The student presented the material with a strong introduction, offered well supported arguments, and the presentation was focused resulting in a well defined logical conclusion. The student illustrated strong use of diction, projection, articulation as well as focused attention. The speech met time parameters and demonstrated improvement from previous presentations. C level student work is characterized by: Responses to study questions which adequately identify the dramatic structure, the dramatic characters and the point of view of the play, and adequately compare the movements in theatre history, remain on topic, have several grammatical and spelling errors and are correct in the specific evidence used to support their response; Responses to short essays which are accurate in the evidence used to support their response about the play script and compare the movements of theatre and have several grammatical, sentence and spelling errors; Quizzes that score 70% to 79.9% about dramatic structure, the dramatic characters and the point of view of the play and compare the movements in theatre history Essays/Creative Writing assignments show some intellectual engagement but nothing very distinguishing; show mistakes in proofreading and have several grammatical, sentence and spelling errors; synthesize ideas from a variety of readings in a somewhat superficial manner; attempts to use imaginative literature as a template for writing their own stories or creative materials but does not stay focused or shows a lack of understanding of the genre to some extent Final Exam Essay/Creative Writing shows some ability to write a relatively coherent and fluid essay or story with a theme that is not carefully thought out; does not show a unique or authentic voice, has frequent grammatical and spelling errors; in the case of a creative piece of writing does not carefully follow the structure or aspects of a particular genre Oral Presentations: The information presented was researched and accurate. The student presented the material with a introduction, offered supported arguments, and the presentation was focused resulting in a logical conclusion. The student illustrated moderate use of diction, projection, articulation as well as focused attention. The speech demonstrated improvement from previous presentations. Grading: 400 points for Performance Review or Research assignments; 200 points for Quizzes; 300 points for Group Presentation/Peer Review Assignments; 100 points for Final Essay/Creative Writing Total: points = A points = B points = C points = D below 600 =F Course Content: Part 1: The Theater in Today's World 1: Experiencing Theater Today a. The Term Theater b. Why do we go to the theater? c. Theater as an art form 2: Theater Across Today's Culture Form Revised Page 7 of 10

8 a. How theater permeates our lives b. Theater & Television c. Theater & Film d. Film & other mass media e. Theater and Rock & Roll f. Theatricality in Amusement Parks, Museums, Las Vegas, and Sporting Events g. Theater and Digital Media 3: Today's Diverse Theater a. Cross-Cultural Trends b. Diversity in American Theater c. Traditional & Avant-Garde Theater Part 2: Creating Theater 4: Audiences and Critics a. The Theater Audience b. The Theater Critic 5: Stage Performers 6: Playwright: Creating the Script The Playwright s role Creating the Text 7: Tragedy or Comedy? Dramatic Genres 8: What is Genre? Tragedy Comedy Heroic Drama Melodrama Domestic or Bourgeois Drama Tragicomedy (Shakespeare, Modern) 9:Director and the Producer The Director The Director s Collaborators The Producer or Manager (Commercial, Noncommercial) 10: Theater Spaces (History & Characteristics) a. Proscenium Stage b. Thrust Stage c. Arena Stage d. Created or Found Spaces e. Multi-focus Environments f. All-Purpose & Experimental Spaces 11: Designers: Scenery and Costumes a. Scene Design: Objectives, Elements, Process, Collaborators b. Costume Design: Objectives, Elements, Collaborators 12: Designers: Lighting and Sound a. Lighting Design: Objectives, Elements, Resources, Collaborators b. Sound Design: Objectives, Elements, Collaborators Part 3: Theater Tradition and Theater Today 13: Greek and Roman Theater a. Origins of Theater b. Greece: Background, Theater & Culture, Tragedy, Comedy, Theater Production, Dramatic Criticism Aristotle c. Rome: Background, Theater & Culture, Popular Entertainment, Comedy, Tragedy, Theater Production, Dramatic Criticism - Horace 14: Asian and Medieval Theater Form Revised Page 8 of 10

9 a. Asia: Background, Asian Theaters, India, China, Japan, Southeast Asia - Shadow Plays. b. The Middle Ages: Background, Theater & Culture, Drama Mystery & Morality Plays, Theater Production 15: Renaissance Theater a. Italy: Background, Commedia dell Arte, Dramatic Rules Neoclassical Ideals, Theater Production b. England: Background, Theater Production, Jacobean c. Spain: Background, Drama, Theater Production d. France: Background, Drama - Neoclassical, Theater Production 16: Theater from Restoration through Romanticism a. 17th Century English Restoration: Background, Restoration Drama Comedies of Manners, Theater Production b. 18th Century: Background, Drama new dramatic forms, Theater Production c. 19th Century: Background, Dramatic Forms & Social Change, Theater Production 17: Early Modern Theater Movements a. Birth of Realism: Theatrical Realism, Playwrights, Naturalism, Independent Theaters ( ) b. Departures from Realism: Antirealist Designers, Russian Theatricalism, Early Eclectics, Theater Production ( ) c. Popular Theater Traditions d. Totalitarianism, The Second World War, and Theater 18: Twentieth Century Theatrical Diversity a. Postwar Realistic Theater: Background, American Selective Realism b. Experimentation & Departures from Realism ( ) c. Existentialism & Theater of the Absurd d. Experimental Theater e. Postwar Eclectics f. Developments in Postwar American Theater: African American, Musical, Alternatives to Commercial Theater 19: Contemporary Trends a. Today s Theater: Diversity and Eclecticism b. Asian American Theater c. Latino-Latina Theater d. Native American Theater e. Feminist Theater f. Gay & Lesbian Theater g. Performance Art h. Postmodernism i. International Trends Lab By Arrangement Activities (If Applicable): NA Form Revised Page 9 of 10

10 Instructional Methods: Lecture Lab Activity Problem-based Learning/Case Studies Collaborative Learning/Peer Review Demonstration/Modeling Role-Playing Discussion Computer Assisted Instruction Other (explain) Textbooks: One of the following Textbooks: Theatre: Its Art and Craft 7th Edition, by Cynthia M. Gendrich,Stephen Archer, Rowman & Littlefield Publishers; 7 edition (February 2, 2017) ISBN-10: The Compact Bedford Introduction to Drama 7th Edition, Lee A. Jacobus, Bedford/St. Martin's; 7 edition (October 5, 2012) ISBN-10: X Theatre: The Lively Art 9th Edition, Edwin Wilson, Alvin Goldfarb President, McGraw-Hill Education; 9 edition (January 14, 2015) ISBN-10: Form Revised Page 10 of 10

LMC General Education Requirement and/or Competency & Graduation Requirement(s): None

LMC General Education Requirement and/or Competency & Graduation Requirement(s): None New Course OR Existing Course Instructor(s)/Author(s):R. Shiner Subject Area/Course No.: Recording Arts/ RA-015 Units: 3 Course Name/Title: Music Fundamentals for Audio Professionals Discipline(s): Commercial