Helen Gardiner Phelan Playhouse University of Toronto 79A St. George Street Toronto, Ontario

Transcription

1 Helen Gardiner Phelan Playhouse University of Toronto 79A St. George Street Toronto, Ontario Image by Douglas Hamilton Attempts on Her Life, written by Martin Crimp and directed by Michelle Newman, 2009

2 Program Information The Drama Program (Specialist, Major, Minor) offers students the opportunity to combine high standards of practical, professional theatre training with a rich and rigorous academic program. The Combined Specialist programs in English and Drama also provides a specialist alternative to Drama alone, while a Drama Major or Minor may be valuably combined with programs in a wide variety of other fields, as offered both by language and literature departments and other departments and programs such as Anthropology, Canadian Studies, Cinema Studies, Classics, Commerce, Fine Art, History, Music, Psychology, Religion, Sociology, and Women s Studies. The Drama Program is housed in the Helen Gardiner Phelan Playhouse at University College. Besides providing instruction in theatre studies, the Drama Program has mounted international theatrical events and conferences, and its students have toured Europe and Asia. The Program has also forged links with leading Canadian theatres and has regular contact with world-renowned international theatre artists. More details on the Drama Program, including application forms, can be found on the web site at: drama. The Program Director and Academic Administrative Assistant are also available for consultation. For inquiries or an appointment call the Drama Program Administrative Assistant at or send an to uc.drama@utoronto.ca. DRM courses are staffed by a combination of theatre professionals, members of other university departments, and specific DRM staff members. Some courses are restricted to students in a Drama Specialist, Major, or Combined Specialist program; some are open to all students of the University. Program Assistant All inquiries regarding the program or the application process may be sent to: Colleen Osborn Tel: Fax: uc.drama@utoronto.ca Helen Gardiner Phelan Playhouse 79A St. George Street, Room 302 University of Toronto Toronto, Ontario Mailing Address: UC Drama Program University College 15 King s College Circle Toronto, Ontario Canada M5S 3H7

3 Program Faculty 2009/2010 Our current staff members on the faculty of the UCDP have worked as actors, director, movement and voice coaches, and technical directors at theatres in Toronto, across Canada and around the world. Program Director: Prof. Tamara Trojanowska, M.A., PhD Academic Instructors: Prof. Alan Ackerman Prof. Antje Budde Pil Hansen Prof. Leslie Katz Prof. Pia Kleber Michelle Newman Mladen Ovadija Damiano Pietropaolo Practical Instructors: Cindy Block Steven Bush Michael Connolly Peter Freund Nicky Guadagni Ken Gass Kate Lynch Sallie Lyons Djanet Sears John Thompson Prof. Tamara Trojanowska M.A., PhD graduated in Theatre Studies from the Jagiellonian University in Kraków, Poland (M.A.) and the University of Toronto (Ph.D.). In her academic career she taught theatre and drama courses at the Jagiellonian University, York University, Wilfrid Laurier University, and the University of Chicago. In 1998 she became a director of the Polish Language and Literature Program in the Department of Slavic Languages and Literatures at UofT where she teaches undergraduate and graduate courses in Polish literature and culture, and in the 20th and 21st centuries theatre and drama. Her research focuses on discourses of modernity with particular interest in the issues of identity. Prof. Alan Ackerman B.A. (Pennsylvania); M.A., Ph.D. (Harvard) having taught previously at Harvard and Boston University, Ackerman holds a joint appointment at Toronto in the UCDP and the English Department. Ackerman's first book, The Portable Theatre: American Literature and the Nineteenth-century Stage (October 1999) investigates the relationship between theatre and other literary genres. Cindy Block Performer, teacher and coach, Ms Block holds an honorary BFA, an MFA in Acting, and a Voice Teaching Diploma from York University. She has taught voice and movement at George Brown Theatre School, York University s Theatre Department, The Centre for Indigenous Theatre, Humber Comedy School, Soul Pepper's Shakespeare Intensive, privately for industry professionals and is currently on Faculty of Canada's National Voice Intensive. A long-time member of The School of Embodied Practice, her pedagogical research focuses on developing methodologies for bringing voice and movement together in actor training. Prof. Antje Budde M.A., PhD graduated in Theatre Studies/ Cultural Communications and Modern Chinese Studies from Humboldt-University Berlin, Germany. She is specialized in the field of modern Chinese and intercultural theatre, experimental/independent Western theatre and feminist research on theatre and television. As an artist she is directing concept based theatre performances and also works in the field of multi-media intercultural art as author, video film-maker and photographer with her art group schleifspur. As scholar and artist she worked on five continents including three years in Beijing, China, where she studied at the Central Academy of Drama and worked as a director at the National Experimental Theatre Company (now China National Theatre).

4 Steven Bush teaches DRM300Y: Performance I at UCDP. Over 40 years experience in professional theatre actor on stage and radio, director, teacher, co-founder of Mixed Company Theatre and former Artistic Director of Great Canadian Theatre Company. Co-author: Richard Thirdtime, Available Targets, Life on the Line. Current projects: Turning his performance text Beating the Bushes into a book; editing his taped conversations with Canadian theatre pioneer George Luscombe. Directed The Trojan Women and Mad Forest for the UCDP. When he s not here, he s teaching Directing at the University of Guelph. Micheal Connolly teaches voice to students enrolled in fourth year performance courses. He has also taught at York University, George Brown College, Seneca College, Sheridan College, the Canadian Native Theatre School, Equity Showcase and Theatre Ontario. For several years, Michael was a performance trainer for the CBC, specializing in voice and presentation skills. He has trained broadcasters and performers across the country. As a writer, Michael s works have appeared on CBC radio, the Summerworks Theatre Festival, with Mixed Company, and at the Helen Gardiner Phelan Playhouse. As an actor Michael has worked with Canadian Stage, Theatre Aquarius, Manitoba Theatre Workshop and with Mixed Company. Michael holds a M.F.A. from York University. Peter Freund is in his eighteenth year as the Technical Director of the UCDP. He has extensive experience in most areas of theatrical production, including stage management, lighting design, and carpentry. He has worked at numerous theatres over the past thirty years including Factory Theatre, Toronto Free Theatre, National Arts Centre, Theatre Plus, and the Toronto Fringe Festivals. Peter s work includes the lighting design for Walker s Suburban Motel series. Other lighting credits include John Mighton s The Little Years (Dora Mavor Moore nomination), as well as the international tour of Mauricio Jimenez s production of Twenty Steps to the Promised Land. In addition to teaching DRM 254Yin the Program, Peter has taught in community and youth theatres, and in other educational institutions. Ken Gass is the founder and Artistic Director of the Factory Theatre and from 1996-present. Ken is also Artistic Director of Canadian Rep Theatre. He is past chairperson of the Canadian Guild of Playwrights and has directed for stage, television, radio and film. His plays include Hurray for Johnny Canuck, Buy Bishop, Claudius, and Amazon Dream. Nicky Guadagni trained as an actor at the Royal Academy of Dramatic Art in London, England in the 70's. Then joined the National Arts Centre company in Ottawa and had a Linklater voice teacher who worked from the 'inside-out'. She has acted professionally in Shakespeare, Shaw, Brecht, Hare, Checkov, Thompson, Walker, Churchill, Griffiths, and Krizanc among others. Directing credits include As You Like it at NTS and The Seagull at George Brown. Her play In the Wings was produced at TPM. Guadagni has been nominated for five Gemini awards for the film Cube and won a couple for TV performances. She teaches Nia dance and likes to help actors free up their bodies so they can respond spontaneously to text. Prof. Leslie Katz comes to the UCDP from Amherst University in New York. She completed her Ph.D. at Berkley, spent a year at Yale as a dramaturge and is a Shakespeare specialist. Leslie is cross-appointed to the University College Drama Program and the Graduate Centre for the Study of Drama. Prof. Pia Kleber has been a Professor in the UCDP and the Centre for Comparative Literature since She has an M.A in costume design from the Academy of Fine Arts, Berlin, and a Ph.D. from the University of Toronto. In 1999 she was made the first chair holder of the Helen and Paul Phelan Chair in Drama. Her numerous publications include books and articles on Bertolt Brecht and Giorgio Strehler, among others. She is the organizer of many major international theatre festivals and conferences; Why

5 Theatre: Choices for the New Century (1995), Brecht: 30 Years After (1986), Mirror or Mask? Self-representation in the Modern Age ( 02), Faust in the 21st Century Modernity, Myth, Theatre ( 04), Brecht: 50 Years After ( 06). Sallie Lyons is a movement teacher, coach and choreographer who has been working on the cutting edge of performance exploration in Toronto for 25 years. She danced and choreographed in the pioneering companies of Judy Jarvis Dance Theatre and T.I.D.E. (Toronto Independent Dance Enterprise) and has coached various Toronto productions including Belle and Trick or Treat at Factory Theatre and The Snow Queen for the Canadian Childrens' Opera Chorus and coached an original production of Heat Exchange (scripted by Rex Deverell) for the Mixed Company's project for street youth in Barrie. Although retired from dancing she occasionally performs improvisationally at music and dance festivals with artists such as Maxine Hepner's Across Oceans, Kaeja'd'dance and Viv Moore. Mladen Ovadija, a Ph.D. candidate with the thesis Dramaturgy of Sound in Futurist Performance at the University of Toronto, was born, raised and educated in Sarajevo, Bosnia and Herzegovina, a site of an esteemed avant-garde theatre festival and a small film production abundant with international awards. He worked for many years as a dramaturge, director, producer, theatre critic and chief editor at the Radio Sarajevo drama, feature and documentary department. Several of his productions won awards at the national and international radio festivals. Damiano Pietropaolo is a producer/director, writer, and translator, with an extensive background in senior management in the arts, who was educated at the Universities of Toronto and Florence. While working on his doctorate in drama, his professional life as an actor, writer and director led him to join CBC Radio as a documentary and drama producer. At the CBC he held many positions, including the directorships of two departments: Radio Drama and Features, and Radio Arts & Entertainment. Under his leadership, partnerships between CBC Radio and theatres from across the country, publishers, international public broadcasters where established. Damiano has been artistic consultant to Luminato, and continues to write and produce for CBC Radio. His work has been recognized nationally and internationally with multiple awards. Djanet Sears is a critically acclaimed playwright and director. She has spent much of 2008 as a Visiting Artist at Stanford University. Her award winning play, Harlem Duet, was featured as part of the 2006 Stratford Shakespeare Festival. The Adventures of a Black Girl in Search of God premiered in Toronto and returned in 2003/04 as part of the Mirvish Productions Season. Her other plays include Afrika Solo, Who Killed Katie Ross and Double Trouble. Djanet s long list of honors includes: the 1998 Governor General s Literary Award and Floyd S. Chalmers Canadian Play Award, Dora Mavor Moore awards, a Canadian Screenwriting Award from the Writers Guild of Canada, the Martin Luther King Jr. Achievement Award, the African Canadian Achievements Award, and many others. John Thompson has been designing sets costumes and lighting for almost twenty years. During that time he has worked on over one hundred productions at many theatres across the country including The Stratford Festival, The Manitoba Theatre Centre, CanStage, and Soulpepper Theatre. Recent projects include the critically acclaimed A Whistle In The Dark for the Company Theatre, The Pessimist for Tarragon Theatre, The Tempest and The Retreat From Moscow for The Manitoba Theatre Centre. John has been an art director for two feature films and has also been employed as technical director.

6 How to Apply Acceptance into the program is based on an audition and interview. Students are admitted into the program after they are admitted into DRM200Y1: Introduction to Performance or DRM254Y1: Production. All non-university of Toronto OR Non-St. George Arts & Science applicants must also apply for admission to "U of T, St. George Campus, Humanities as well as applying directly to Drama. Your acceptance into the UC Drama Program is contingent on your acceptance to the University of Toronto. Auditions for DRM200Y1: Introduction to Performance are held twice a year - once in mid-april and once in late August. Students may audition right out of high school or at a later period during their university studies. Interviews for DRM254Y1: Production take place in April, and are open to students who have completed at least one year at the University of Toronto. Please note that Drama Program students are required to audition each year for admittance into the next level of acting courses. Auditions Auditions into DRM 200Y will be held April each year and again in August. The dates for the second round of Auditions are August 31 & September and consist of a one-hour workshop class and 15-minute interview. No preparation is required. Students are asked to wear comfortable, casual clothes. Applicants will be contacted after the deadline by assigning an interview/audition appointment. It is ultimately the applicant s responsibility to confirm receipt of the application with the UCDP office. What to Submit Fill out application form from website: Enclose a picture of yourself. (The photo need not be of professional quality) Write a "letter of introduction" about yourself, outlining your interest in drama and theatre studies. Send the above package to: Attention: Colleen Osborn University College Drama Program 15 King's College Circle University of Toronto, Toronto, ON M5S 3H7 Applications are due July Drama Program Requirements Faculty of Arts and Science: Drama Program Enrolment in the Specialist and Major programs is limited and selection is made after a personal interview and audition. Students will be admitted to the Major only after they have been admitted to DRM 200Y1 (with DRM 201Y1) or DRM 254Y1, and to the Specialist only after they have been admitted to a third course from Group B (other than DRM 201Y & 301Y1). Enrolment in the Minor program is unrestricted. Students in the Minor program may only take academic courses.

7 Specialist Program (12 full courses or their equivalent, including at least four 300+ series with at least one 400 level) First Year: DRM 100Y1 First Year or Higher Years: DRM 200Y1 (with DRM 201Y1 as co-requisite) Higher Years: 1 DRM 230Y1 2. From Group A (below): 1.5 course equivalents 3. DRM 300Y1 and 301Y1 or DRM 254Y1 and DRM 354Y1 4. From Group C: 2 full-course equivalents 5. From Groups A, B or C: 2.5 courses to make up the total of 12 courses Major Program (8 full courses or their equivalent including at least two 300+ series courses) Option A First Year: DRM 100Y1 First Year or Higher Years: DRM 200Y1 (with DRM 201Y1 as co-requisite) Higher Years: 1. DRM 230Y1 2. DRM 300Y1 & 301Y1 3. From Group A: 1 full-course equivalent 4. From Group C: 1 full-course equivalent Option B First Year: DRM 100Y1 First Year or Higher Years: DRM 200Y1 (with DRM 201Y1 as co-requisite) Higher Years: 1. DRM 230Y1 2. DRM 254Y1 3. From Group A: 1.5 course equivalents 4. From Group C: 1.5 course equivalents Option C First Year: DRM 100Y1 Higher Years: 1. DRM 230Y1 2. DRM 254Y1 & DRM 354Y1 3. From Group A: 1.5 course equivalents 4. From Group C: 2.5 course equivalents Minor Program (4 full courses or their equivalent including at least one 300+ series course) 1. DRM 100Y1 2. From Groups A: 1 full-course equivalent (excluding DRM 230Y1) 3. From Group C: 1 full-course equivalent 4.From Groups A or C: 1 full-course equivalent Please Note: Drama Minors are not eligible for practical courses or DRM230Y

8 Group A, B, C 2009/10 Many Group C courses require a pre-requisite. Group A History and Theory DRM 230Y1, 264H1, 268H1, 310H1, 362H1, 386H1, 430H1, 462H1, 468Y1; JDC 400Y1, 410Y1; JIA 400H1; MUS 206H1 Group B Practical - DRM 200Y1, 201Y1, 254Y1, 300Y1, 301Y1, 328H1, 354Y1, 386H1, 400Y1, 401H1, 402Y1, 403Y1, 454Y1, 486H1 Note: Students taking a practical course (Group B) are required to take an academic co-requisite (Groups A or C) Group C Dramatic Literature in Languages - ABS 341H1; CLA 382H1, 383H1; EAS 233H1;ENG 220Y1, 330H1, 331H1, 335H1, 336H1, 337H1, 340H1, 341H1, 342H1, 352H1; FRE 372Y0; GER 232H1; GRK 351H1, 352H1, 451H1, 452H1; HUN 450H1; ITA 390H1, 409H1, 410H1, 415H1, 426H1; JDC 400H1; LAT 351H1/451H1; NEW 422Y1; SLA 337H1, 367H1, 418H1, 424H1, 476H1; SPA 452H1: UNI 202H1; VIC 347Y1 Other DRM 331H1, 390Y1/391H1, 490Y1/491H1, 431H1, 432H1 (These may be applied to Groups A, B or C on petition to, and approval by, the Drama Program Committee) Drama and English Consult the Director, Room 300, 79A St George Street, University College. Enrolment in this program is limited and selection is made after a personal interview and audition. Upon admission to DRM 200Y1 or DRM 254Y1 students may enroll in the double major in English and Drama; upon admission to a third course from Group B students may change their enrolment to the Drama and English Specialist program. Specialist Information - Drama and English 14 to 15 full courses or their equivalent, with at least four 300+ series courses including at least one 400-series course English: Same as the English Major program (see English) Drama: See Drama Major Program Requirements (Please note: the combination of Majors require twelve separate courses to meet Honours degree requirements).

9 Attendance The practical classes and tutorials are participation oriented and therefore attendance and punctuality are mandatory except for the following circumstances: Health (a medical certificate must be presented for this to be an excused absence). A family death A religious holiday other than designated by the University (Please speak to your instructor(s) before the holiday) Students should also be aware that most practical courses require rehearsals, production work and/or presentations outside of the regularly scheduled class times. Students must be available and the attendance section of the policy and procedures will generally apply. The scope of such rehearsals will be outlined by the instructor(s) in the first week of classes. For this reason, we strongly recommend that students do not participate in non UCDP sponsored events outside of the program during the academic year. The repercussions of having three or more unexcused absences may include a failing grade in the course, requested to leave the course or as indicated by the instructor(s) in the course outline. University College The College offers seven interdisciplinary academic programs in the areas of Aboriginal Studies, Canadian Studies, Cognitive Science and Artificial Intelligence, Drama, Health Studies, Peace & Conflict and Sexual Diversity Studies, with a combined total of more than 800 majors, minors and specialists. In addition, UC is the home of the University of Toronto Art Centre. For further information about University College, please visit the website: Poster by Olga Ryabets Attempts on Her Life, written by Martin Crimp and directed by Michelle Newman, 2009

10 2009/2010 Core Drama Courses Students studying at the UCDP have the opportunity to flourish in an intimate and nurturing atmosphere while still working within the prestigious University of Toronto. UCDP practical classes (i.e. Performance, Movement, Voice, Production, Design etc.) have less than twenty students per section. See page 32 for Key to Course Descriptions. For Distribution Requirement purposes, all DRM courses are classified as HUMANITEIS courses. Course Code Title Time DRM100Y1 Drama: Form and Style MWF DRM200Y1 Introduction to Performance T10-1 DRM201Y1 Voice and Movement for the Actor I TBA DRM230Y1 Concepts of Twentieth-Century Theatre T DRM254Y1 Production T1-4 R3-6 DRM264H1 History of Western Theatre from the Renaissance to 1900 M10-11, W9-11 (formerly DRM364H1) DRM268H1 Canadian Theatre History M6-9 DRM300Y1 Performance I MW9:30-12:30 DRM301Y1 Voice and Movement for the Actor II TBA DRM328H1 The Art and Craft of Playwriting T6-9 DRM331H1 Introduction to Dramaturgy R6-9 DRM354Y1 Stage and Costume Design MW1-4 DRM362H1 Experimentation and Innovation: A Comparative History of R6-9 World Theatre from Ancient Times Until the Present (formerly DRM262H1) DRM386H1 Topics in Drama TBA DRM390Y1 Independent Studies in Drama TBA JIA400H1: Interdisciplinary Practice of the Arts F10-1 DRM400Y1 Performance II T9-12 R10-1 DRM401H1 Voice and Movement for the Actor III T4-6 and T1-3 DRM402Y1 Seminar in Directing W11-1 DRM403Y1 Performance III MW4-7 F2:30 DRM430H1 Intercultural Ibsen: Nora or How to Slam the Door TBA-proposed DRM431H1 Dramaturgy I (formerly DRM431Y1) R1-4 DRM432H1 Dramaturgy II (formerly DRM431Y1) R1-4 DRM454Y1 Advanced Theatre Production and Design TBA-proposed DRM462H1 Epic Theatre in an Intercultural and Feminist Perspective TBA-proposed DRM468Y1 Images of Women in Modern Chinese Literature, Drama and TBA-proposed Film DRM486H1 Topics in Drama TBA-proposed 10

11 Drama Core Course Descriptions Guide to the Courses: Y= Full Year Course (Fall - Spring) H= Half Course (Fall or Spring) L= Lectures (ie. 78L = 78 lectures) P = Practical classes (ie. 104P = 104 practical classes) DRM100Y1 Drama: Form and Style [72L] An introduction to the study of dramatic literature, with particular reference to the realization of plays upon the stage. Plays from a variety of periods and countries are studied in terms of the use of theatrical space, plot and generic structure, characterization, theme, and language. DRM200Y1 Introduction to Performance [96P] Emphasis is initially on ensemble, non- verbal, and impr ovisational wor k. Students proceed to the application of their acquired skills to scripted material. Pre- or Co-requisite:DRM100Y1 or DRM230Y1 Co-requisite: DRM201Y1 DRM201Y1 Voice for the Actor I [48P, 2T] Movement for the Actor I [48P, 5T] A voice and movement component, taken in conjunction with DRM200Y1: Introduction to Performance. Work consists of both theory and practice of voice and movement as they relate to the development of the actor. Co-requisite: DRM200Y1 DRM230Y1 Concepts of Twentieth-Century Theatre [72L] (Drama Minors are not eligible to enroll) The work of selected theorists and practitioners of the 20th century and their contrasting ideas on the kind of expression and communication possible through the medium of the theatre. A study of how the interrelationship between director, actor, playwright and text influences the style of performance and the nature of audience response. Prerequisite: DRM100Y1 DRM254Y1 Production [72L, 72P] A detailed analysis of the production element of theatre: the conceptual and practical problems of design, production personnel and organization, production facilities, business management, publicity, sound and lighting equipment. Prerequisite: DRM100Y1 Co-requisite: DRM230Y1 DRM264H1 History of Western Theatre from the Renaissance to 1900 (formerly DRM 364H1) [26L] Modes of theatre in selected periods and cultures in Early Modern Europe from the Renaissance to the end of the 18th century. Constitution of the audience and of acting companies; the relationship between the plays, the players, and the audience. The development of theatre theory, criticism and dramaturgy in their historical and cultural context. (Offered in alternate years) Prerequisite: DRM100Y1 Exclusion: DRM364H1 DRM268H1 Canadian Theatre History [36L] A survey of Canadian theatre history with an emphasis on developments since 1950 including the Regional and alternate theatre movements; trends in Canadian playwriting and their relationship to theatre history; cultural diversity and native voices in contemporary Canadian theatre. Prerequisite: DRM100Y1 11

12 DRM300Y1 Performance I [144P] Continuation of DRM200Y1, concentrating upon scene study. Scenes are developed through analysis of text and sub-text, the establishing of scene objectives, improvisation, and physical action. Prerequisite: DRM200Y1, permission of University College Drama Program Committee Co-requisite: DRM230Y1 (or full course from Group A if DRM230Y1 already completed) DRM301Y1 Voice for the Actor II [48P, 2.5T] Movement for the Actor II [48P, 2T] A voice and movement component, taken in conjunction with DRM300Y1: Performance I. Work consists of both theory and practice of voice and movement as they relate to the development of the actor. Prerequisite: DRM200Y1, 201Y1 Co-requisite: DRM300Y1 DRM328H1 The Art and Craft of Playwriting [36L] A hands-on study of the craft of dramatic writing. The class examines the basic elements of playwriting such as plot, structure, theme, character, dialogue, setting, with an emphasis on storymaking. Attention is given to the development of students own work through written assignments and in-class exercises. Prerequisite: Permission of the instructor, restricted to upper-level English and Drama students DRM331H1* Introduction to Dramaturgy [36L] An introduction to applied dramaturgical theory and to historical and contemporary interpretations of the dramaturge s function in the creation of theatre. Using examples from Canada and beyond, students have a chance to apply this knowledge to theatre practice in the program. Prerequisite: DRM230Y1 DRM354Y1 Stage and Costume Design I [48L, 24P] A detailed exploration of theatrical stage and costume design, historical and contemporary, theatrical and practical. Prerequisite: Permission of University College Drama Program Committee DRM362H1 Experimentation and Innovation: A Comparative History of World Theatre from Ancient Times Until the Present (formerly DRM262H1) [36L] An intercultural and comparative analysis of innovative processes within world theatre. Focusing on selected periods, the course explores the cultural backgrounds of key events or turning points in pre-modern and modern theatre and their indications for post-modern theatre developments in a globalized world. Recommended Preparation: DRM264H1 (previously DRM364H1) Exclusion: DRM262H1 _ DRM386H1 Collective Creations [36L] The collective approach to the creation of plays has been one of the most significant movements in the production of theatre over the last fifty years. A hands-on exploration of its fundamental building blocks, examining techniques and exercises by leading practitioners of collective creation or 'devised theatre.' Combining research, improvisation and design elements, students define a topic of investigation and shape the resulting discoveries into a workshop presentation at the end of the course. Prerequisite: DRM100Y, permission of University College Drama Program Committee Exclusion: DRM386H1 (Summer 2008) 12

13 DRM390Y1/391H1 Independent Studies in Drama [TBA] A topic chosen by the individual student. The student must work out details with a member of faculty who is willing to act as supervisor. A written proposal, signed by both student and instructor, must then be submitted for approval to the Drama Program Committee prior to registration and normally by May 31 of the preceding academic year. Open to advanced Specialist and Major students in the program. Prerequisite: Permission of University College Drama Program Committee DRM400Y1 Performance II [216P] Continuation of DRM300Y1, concentrating on advanced performance techniques. Prerequisite: DRM300Y1, permission of University College Drama Program Committee Co-requisite: DRM401H1 DRM401H1 Voice for the Actor III [48P, 2T] Movement for the Actor III [48P, 2T] A voice and movement component to be taken with DRM400Y1: Performance II. Work consists of both theory and practice of voice and movement as they relate to the development of the actor. Co-requisite: DRM400Y1 DRM402Y1 Seminar in Directing [144P] Techniques of rehearsal process; staging. The role of the director in its varying relationships to text, actor and audience. Prerequisite: DRM200Y1, 230Y1, 254Y1, two group A courses and permission of the University College Drama Program Committee Co-requisite: DRM431Y1 DRM403Y1 Performance III [192P] An in-depth study on a theoretical and practical level of a specific play which is presented to the public. This involves an intensive exploration of character in rehearsal and its discovery in performance. Prerequisite: Permission of University College Drama Program Committee Co-requisite: DRM431Y1 Pre- or co-requisite: DRM400Y1 Exclusion: DRM401Y1 (2002/2003) DRM430H1* Intercultural Ibsen: Nora or How to Slam the Door [36L] An intercultural reading of Ibsen s A Doll s house (1879) and analysis of the impact of its staging on social and cultural changes. The play is analyzed interculturally in terms of its historical conditions of production, its political interpretations and aesthetic approaches (including in Canada, China, Great Britain, Germany, US, Iran) as well as in different media (literature/ drama, theatre, movie, TV, comic, computer game). Prerequisite: For undergraduate: 4 th year/ senior students on A level; DRM 230Y1, 262H1, 364H1, 431Y1 DRM431Y1 Dramaturgy I (formerly DRM431Y1) [36L] A play is chosen from a specific period. A textual analysis of the selected play is followed by a study of the most significant productions of the work in terms of differing text interpretations, use of theatrical conventions, set and costume designs, and acting style. Students are introduced to various aspects of dramaturgical work. Prerequisite: DRM230Y1, permission of University College Drama Program Committee Co-requisite: DRM402Y1 or DRM403Y1 Exclusion: DRM431Y1 Recommended Preparation: DRM331H1 13

14 DRM432H1 Dramaturgy II (formerly DRM431Y1) [36L] The class focuses on the production dramaturgy and is directly linked to the fourth-year Research Show. It highlights the intersections of history, theory, and practice. Prerequisite: DRM431H1 and permission of University College Drama Program Committee Co-requisite: DRM402Y1 or DRM403Y1 Exclusion: DRM431Y1 DRM454Y1* Advanced Theatre Production and Design [48L, 24P] Continues the exploration of design and production techniques. Students are given an opportunity to use their knowledge and skills from previous production courses on an advanced level. Students are expected to participate in UCDP productions in senior creative and leadership roles. Focus also includes the integration of digital technology into theatrical performance. Prerequisite: DRM254Y1 or 354Y1 (Not offered in 2009/10) DRM462H1* Epic Theatre in an Intercultural and Feminist Perspective [36L] An intercultural, historical survey of traditions and practices of epic theatre from a feminist perspective. The course analyzes contemporary global(ised) theatre developments in their historical, socio-economical and cultural lines of tradition/ innovation as a cultural and political medium of alternative critical discourse, and of pre-modern dramatic texts and performance cultures (i.e. pre- modern China, pre-modern Japan, pre-colonial Aboriginal people, Ancient Greece etc.). Prerequisite: For undergraduate: need to be 4 th year/ senior students on A level; DRM 230Y1, 262H1, 364H1, 431Y1 DRM468Y1* Images of Women in Modern Chinese Literature, Drama and Film [72L] A seminar on the social constructions of gender and gender relationships in the 20th century in China. It gives an insight into the shifting identities of women in modern Chinese society and into the portrayal of women (by women and men) in literature, drama/performance and film. Themes include conflicts of tradition and modernity, colonialism, nationalism/patriotism and globalisation, individuality and the social collective. Specific strategies of artistic styles and expression are explored using a non-nationalistic, intercultural and multi-centred approach. Prerequisite: For undergraduate: need to be 4 th year/ senior students on A level; DRM 230Y1, 262H1, 364H1, 431Y1 DRM485Y1/486H1 Topics in Drama [TBA] An in-depth examination of selected issues in the Theatre. Content may vary depending on instructor. See Undergraduate Handbook or the UC Drama Program website for more details. DRM486H1 A Short History of Theatre Violence [TBA] A half-credit practical course in staged combat and other elements of violence for the theatre, resulting in a Basic Level certification with Fight Directors Canada in: unarmed combat, single sword and quarter staff (students will have the choice to take the certification exam). Prerequisite: DRM100Y1, 200Y1, 201Y1 and permission of department. (Offered in alternate years) DRM490Y1/491H1 Independent Studies in Drama [TBA] A scholarly project chosen by the individual student. The student must work out details with a member of faculty who is willing to act as supervisor. A written proposal, signed by both student and instructor, must then be submitted for approval to the Drama Program Committee before registration and normally by May 31 of the preceding academic year. Open to advanced Specialist and Major students in the program. 14

15 Why Audition for the UNIVERSITY COLLEGE DRAMA PROGRAM at the University of Toronto? Get an H.B.A. and the BEST professional theatre training combined with a strong academic degree at a great University in downtown Toronto. Study with inspiring professional theatre practitioners Our instructors work as actors, director, movement and voice coaches, and technical directors at theatres in Toronto, across Canada and around the world. Not only will you have top-notch teachers but also highly respected theatre artists, including: Ken Gass, Artistic Director, Factory Theatre Peter Freund, Dora-nominated Lighting Designer Steven Bush, Actor, Former Artistic Director, Great Canadian Theatre Co. Djanet Sears*, Award winning playwright, Artistic Director, AfriCanadian Playwrights Festival Sallie Lyons, Movement Coach, Choreographer Simon Fon*, Fight Master, Fight Directors Canada *Selected upper-level students only Gain an academic perspective The UCDP features great scholars and knowledgeable teachers who incite a global perspective on drama as well as the theory and history of theatre practices in order to support the practical work. In addition, the program offers a superb foundation for those who may later pursue teaching or graduate work. Perform around the world Our students have performed in England, Germany, and recently at the Piccolo Teatro di Milano in Italy. Students can also gain insightful drama credits abroad through the U of T Study Elsewhere and the Woodsworth College International Summer Programs. Enjoy workshops with International theatre leaders Renowned international theatre practitioners frequently give workshops at the UCDP. Recent guests include: Johanna Schall, renowned German director Jean Jaques Lémêtre, Composer, Théâtre du Soleil Robert Wilson, International acclaimed director, actor, designer and theorist Mark Christmann, Dora-award winning performer Daniel Brooks, Critically-acclaimed writer, actor and director Peter Stein, renowned German director Yoshi Oida, Japanese director working with Peter Brook in France 2 nd Round of Auditions into DRM 200Y will be held on August 31 and September 1 st 2009 DRM 200Y Application Forms are posted on the website: Applications are due July