Communication, Arts & Sciences
W10 Physical Theatre and Mime. This class explores the techniques of physical theatre with a strong emphasis on Marcel Marceau and Mimeistry styles of mime. The students learn body control, rhythms, marches, attitudes (character development), tableau vivant (living statues), mimography, and mime illusion. The student's will be taught how to create a mime (mimography), and will be taught a mimeses (copy) of an existing work. The student's will work on improvisational pieces designed and performed during class time. The clasee also will have the opportunity to participate in presenting a mime for the Symposium. The exact mime to be performed for the Symposium will be determined after the first day of class when the group dynamic is accessed. The student will be introduced to the art of mime and physical theatre with the expressed purpose of encouraging the student's awareness of the potential of the body to communicate. This awareness will benefit the student's public and private life. At the completion of the class the student should be able to perform basic body isolations, basic mime techniques, and participate in a mime. Evaluation is based on class participation, improvisational work, execution of basic techniques taught and tested in class, and participation in the preparation for the performance number. Prerequisites: students must be able to physically participate. T. Farley. 8:30 a.m. to 5:00 p.m.
W40 English Language By Rail . Students explore the dialects of the English Language within a historical context. While in Great Britain , students travel by rail through different regions, collecting samples of English, Scottish and Irish dialects and visiting important linguistic sites. In London , students collect dialect samples from different ethnic and socioeconomic communities. Outside London , students explore rural dialects at small town markets and visit sites significant to the history of the English language. From London , we travel to Wales to explore Welsh influence on English. From Wales , we travel by ferry to Dublin , Ireland to study more Celtic influences on English. We then return to Wales and finish our rail journey in Edinburgh , Scotland . There students analyze the dialects of Scotland and the borderlands between England and Scotland . By collecting samples from each of these regions, students learn about the history of English as it is spoken in Great Britain and Ireland as well as in the United States . Students must write a paper that summarizes their readings, analyses of data, and interviews in each region. Students are evaluated on the quality of their papers, presentations, transcriptions and discussions. CCE credit is available with additional readings and journal assignments. NOTE: DATES FOR THIS INTERIM ARE MAY 21-JUNE 10. Fee: $3,595. J. Vander Woude. Off campus .
W41 Theater in London 2007 . This course is a basic primer in theatre criticism. London interim students will acquire specific information and basic critical skills relevant to a wide range of theatre performance and dramaturgical styles, which will sharpen students' critical awareness, and to introduce students to a unique cultural experience. During the three weeks abroad, students develop tools for criticism as they attend nightly theatre performances and daily classroom discussions. Students keep a daily trip journal. The group tours a number of theatres including the Royal National Theatre in London and the Royal Shakespeare Theatre in Stratford . Students are evaluated on the basis of participation in discussions, presentation of oral critiques, demonstrated development of critical tools, and the daily trip journal. Fee: $3,589. D. Freeberg. Off campus.
W60 Screenwriting for the Narrative Short Film. The primary objective of this hands-on, creative workshop is very specific – by the end of interim, students will have a polished short narrative screenplay (10 pages or less), ready for production. Students will pitch projects, perform multiple rewrites and in-class writing exercises and ultimately workshop their screenplays in-class with directors and actors (from concurrent interim course). By focusing on the collaborative nature of filmmaking, allowing time for experimentation and exploration, and writing with an eye toward local production (available locations, limited characters/known actors, and realistic budget and script length), students will be ready to hand-off their scripts to their favorite director or begin prepping to direct their scripts themselves as early as spring semester. In addition, students will see a wide range of successful short films, receive peer feedback, and read produced screenplays as in-depth interviews with some of today's most successful screenwriters. Evaluation is based on a final short screenplay, homework exercises, and class participation. Prerequisites: CAS 248/English 248 or permission of instructor. R. Swartzwelder. 2:00 p.m. to 5:00 p.m.
W61 Producing the Short Film. The class is dedicated to the production of a 10-minute narrative film to completion. All the pre-production, cast and technical crew positions are assigned to students. Students are given specific crew responsibilities, which are monitored similarly to a professional production. The cast of the film is composed of professional actors and shot on location using High Definition cameras and 16 mm film. Schedule of classes might change during the 3rd week due to production. Prerequisite: CAS-190. D. Garcia. 2:00 p.m. to 5:00 p.m.
W81 Chaplin and Hitchcock. This course examines the life, working methods, and films of two central figures in the history of motion pictures, Charles Chaplin and Alfred Hitchcock. Both were considered to be cinematic geniuses, but their skills and working methods were worlds apart. Chaplin was primarily a performer, perhaps the most talented the movies have ever seen; he improvised on the set, developing the film's storyline while filming. Alfred Hitchcock was a meticulous planner, most interested in the development of the screenplay and storyboard. He once compared actors to “cattle,” and sometimes disliked the actual filming process. The study of these two men together illustrates the diverse ways that excellence can be achieved in narrative filmmaking. The course will also explore the lives and shaping influences of these artists. Students will read critical essays and books, view and discuss representative films, and respond to the films in formal and informal papers. Prerequisites: A willingness to watch, examine, and discuss excellent silent and black and white films. C. Plantinga. 2:00 p.m. to 5:00 p.m.
101 Oral Rhetoric. Students examine the principles of oral and visual rhetoric, with an emphasis on guided practice in the development of effective speeches. The course leads students to understand the role of rhetoric in society, to think critically about rhetorical situations and practices, and to gain proficiency in the art of rhetoric. Students must complete the following: three graded presentations, three short un-graded presentations, a written critique paper, and an exam. K. Groenendyk . 8:30 a.m. to noon.
IDIS W34 After-Effects and the 60-second Seduction . J. Korf.
IDIS W35 Jazz: A Cultural and Musical History. G. Pauley
IDIS W80 Dead Man Walking. D. Leugs, M. Page.