Proposed Courses for 2014-15

updates to follow

- Shaw Festival Courses 2014
- Medieval Theatre Courses 2014
- Drama Minor Concentration
- Required for Teachables
- For courses outside the Dept that count as Drama
- More information -email Lee Atkinson

- More Course descriptions - A&S Calendar

100/200 Level Courses

Course / Units / Term

300 Level Courses

Course / Units / Term

DRAM 100 (6) F/W

DRAM 200 (6) F/W
DRAM 205 (3) F correspondence
DRAM 205 (3) W blended
DRAM 216 (3) F

DRAM 220 (3) F
DRAM 236 (3) W
DRAM 237 (3) F
DRAM 237 (3) W
DRAM 238 (3) F(intensive) Sept19-Oct31
DRAM 239 (3) W (prereq 237)

DRAM 240 (3) F
DRAM 241 (3) W
DRAM 242 (3) W
DRAM 246(1.5) F or W
DRAM 247 (1.5) F or W

DRAM 251 (3) F
DRAM 251 (3) W

Summer Courses 2014

DRAM205 (correspondence)
DRAM271 (3)
DRAM273
(3)
DRAM 371 (3)
DRAM 373 (3)

More courses that can count as DRAMA or electives
LLCU200 (3) F see info below
LLCU251 W Pirandello
IDIS210 (3) F
MUSC373 (3) F Musical Theatre Practicum


DRAM 300 (6) F/W see below
DRAM 303 (3) F - First Nations Playwrights
DRAM 301 (3) W
DRAM 311 (3) F
DRAM 323 (3) F
DRAM 323 (3) W
DRAM 331 (3) F Acting Shakespeare
DRAM 331 (3) W Acting Shakespeare
DRAM 332 (3) W Mask and Mime
DRAM 342 (3) - Design (possible offering)
DRAM 345 (3) F/W
DRAM 348 (3) F - Theatre Admin
DRAM 350 (6) F/W

STSC300 (3) (Fall) Acting for the Camera (prerequ 237, preference given to students in STSC and Maj DRAM)

STSC309 (3) (Fall)Practical course, Intensive 3 weekends, Oct24-Nov9, Media and Community

STSC339 Media and Performance - STSC, DRAM and Film students, see info below

STSC381 Understanding Audiences - STSC, DRAM and Film students - see info below

400/500 Level Courses

Course / Units / Term

DRAM 400 (9) F/W
DRAM 419 (3) W Special Studies - see below
IDIS 410 (6) F (for 4th yr STSC or Film/Dram Medials)

DRAM 501 Playwriting (F/W)
DRAM 502 Independant study
DRAM 541 (3) F/W
DRAM 545 ( 3)F/W

DRAM 419 (3.0 units or .5 credit) The Business of Being a Theatre Professional in Canada (prereq - DRAM348)

The Business of Being a Theatre Professional in Canada Learning Outcomes: Drama 419 has been devised to provide an opportunity for you (the student) to develop an appreciation of the business of being a theatre professional in Canada. This course will also provide an opportunity for you to acquire knowledge and to further develop critical thinking about the development of the professional theatre artist in Canada. As well, you will be given the opportunity to further develop skills in researching, presenting both oral and written work as well as participating in class discussions focusing on the following topics: Status of the Artist legislation The economic value of the arts in Canada Canadian Actors Equity Association Professional Association of Canadian Theatres Alternative theatres and fringe festivals Self-producing and collective creation The Self-employed artist and the tax laws – Canada Pension Plan and Retirement Savings Plan Canada Council-funding for the artist Ontario Arts Council-funding for the artist Writing skills – grant proposals Preparing materials for an audition or an interview - cover letters, resumés, curriculum vitae The personal business plan - financing the business of you.

LLCU 200 (3) Introduction to Semiotics and Communication

This course presents a critical study of the interpretative acts underlying the understanding of signs. It traces the development of semiotics from an historical perspective through the works of theoreticians such as F.de Saussure, C.S.Peirce, R.Barthes, A.J.Greimans, U.Eco, and S.Lange. Particular attention will be paid to the function of verbal and non-verbal signs in the literary and linguistic fields as well as communication through theatre, cinema, art, and the media.

STSC 381: (3) Understanding Audiences: Spectatorship Across the Arts

This course examines the complex role of audiences in art and cultural practices from the late 19th century to the present. Drawing upon a range of media, including theatre, film, visual art, and gaming, it will explore dominant paradigms of spectatorship that characterize how audiences witness and play. We will begin with the ‘shock and awe’ model that characterizes modern art and theatre movements in Europe whereby playwrights staged riots in the theatre (Ubu Roi, 1896) and visual artists put urinals in art galleries (Fountain, 1917). These historical examples will form the basis for discussing subsequent activist and interactive art and cultural practices where viewers were challenged to enter into the space of art and participate. Students will read these practices in conjunction with theories of reception, which like art movements, posses their own shifts regarding the role of spectators and spectatorship.

STSC339: (3) Media and Performance

This course examines how performance shapes our social experiences and lived identities. From the daily acts of self-performance on social media to the ‘once in a life time’ performances in the Olympic Games, performance binds contemporary cultural practices, small and large. It underlies the micro acts we generate with every ‘tweet’ and the macro acts we witness as viewers. We will focus on how different social players (from artists and activists to bloggers and brand managers) customize diverse and differently-scaled social events for multiple cities and commercial markets. Case-studies will range from art projects designed to be staged in parallel sites to mega-events like World Expos designed to be staged for national and global audiences.