Theater and Dance

Professors Andrucki and Dilley (chair); Associate Professor McDowell; Assistant Professor Dugan; Visiting Assistant Professor Fox; Senior Lecturers Reidy and Vecsey; Lecturer Odle

Theater



Theater at Bates invites students to develop existing abilities and enthusiasms and to discover new ones. Studying theater means making connections. There are many parts to assemble: dramatic literature, acting, directing, design, technical skill, the history and critical theory of the stage. Because theater is an art that spans millennia and is practiced all over the world, connections must be made with and between multiple cultures and traditions. To make things by making connections is to learn about process, self-discipline, collaboration, and critical thinking. To that end, the curriculum strikes a balance among artistic training, technical skills, and the study of literature and history. Majors are prepared for graduate work in the humanities, for further professional training, or for initial steps toward a career in the field.

In conjunction with academic work, the department annually produces more than a dozen plays, dance concerts, and other performance events in its three theaters. These involve large numbers of students, both majors and nonmajors. The department invites all members of the community to join in the creation of these events.

More information on the theater curriculum is available on the website (bates.edu/theater).

Major Requirements

The theater major comprises two tracks. Track A, Theater Studies/Dramaturgy, synthesizes the study of the history, theory, and practice of theater, and requires a minimum of eleven courses, including a written thesis. Track B, Theater Makers, focuses on the study and process of creating live theater and requires a minimum of twelve courses, including a production/performance thesis.

Track A: Theater Studies/Dramaturgy
This track focuses on the study of dramatic literature in its historical and critical context, with special attention to the relevance of such knowledge to the production of plays.
1) Core Courses.

All of the following:
THEA 101. An Introduction of Drama: Theater and Film
THEA 200. The Classical Stage.
THEA 220. The Modern Stage: Ibsen to the Present.
THEA 223. Dramaturgy: An Introduction.

One of the following:
THEA 240. Playwriting.
THEA 261. Beginning Acting.
THEA 130. Introduction to Design.

2) Elective Courses.
Four of the following:
AF/DN 252. Contemporary Issues in Dance.
DANC 151. Making Dances.
ENG 213. Shakespeare I.
ENG 214. Shakespeare and Early Modern Racialization.
ENG 239. Shakespeare's Queens.
ENG 296. Methods and Modes of Literary Study.
EN/TH 201. Contemporary African and Caribbean Theater.
FYS 437. Arts in Performance.
FYS 447. Holocaust on Stage.
PHIL 234. Philosophy of Language.
THEA 132. Theater Technology.
THEA 220. The Modern Stage: Ibsen to the Present.
THEA 360C. Independent Study-Production Dramaturgy.
THEA 339. Advanced Playwriting.
THEA 370. Directing.

3) THEA 457/458 Senior Thesis. Students in this track undertake a substantial capstone or thesis, with the topic subject to departmental approval.

Track B: Theater Makers-Acting, Directing, Design, Playwriting
1) Core Courses. THEA 101, 130, 132 must be taken by the end of the third year.
All of the following:
THEA 101. Theater and Film: An Introductory Survey.
THEA 130. Introduction to Design.
THEA 132. Theater Technology.
THEA 200. The Classical Stage.
THEA 261. Beginning Acting.

At least one of the following:
THEA 220. The Modern Stage: Ibsen to the Present.
THEA 223. Dramaturgy: An Introduction.
THEA 240. Playwriting.
FYS 337. Arts in Performance
FYS 447. Holocaust on Stage.
FYS 487. Politics and Performance on Stage and Screen.
EN/TH 201. Contemporary African and Caribbean Theater.
ENG 131. Tragedy and the Drama of Voice.
ENG 239. Shakespeare’s Queens.
DANC 262. Embodying Activism: Performing a Living Definition.
With prior approval from the advisor, a professional internship may substitute for this elective.

2) Area of Focus.
At least five additional courses based on a specific area of focus and from among the courses listed below. Where applicable, students should complete courses sequentially. They should consult with their major advisor before registering for electives.

Option A: Acting Focus
The acting option offers the student an immersion into the creative process, and there is an emphasis on ensemble-building techniques, a sense of play and experimentation.

All of the following:

THEA 263. Voice and Speech.
THEA 362. Advanced Acting.
Two half-credit DN/TH 290. Performance in two productions prior to capstone/thesis.
Two additional courses chosen in consultation with the major advisor.

Option B: Directing Focus
The directing option offers the student a chance to experiment with the fundamentals of how to direct a play, analyze text, and collaborate with actors and designers.

THEA 360A. Independent Study-stage Manager
THEA 360B. Independent Study-Assistant Director
THEA 360D. Independent Study-Director.
THEA 370. Directing.

One additional course chosen in consultation with the major advisor.

Option C: Design Focus.

1) Design-related Focus courses. One of the following:
THEA 231. Scene Design.
THEA 232. Lighting Design.
THEA 233. Costume Design.

At least one of the following additional design courses:
THEA 231. Scene Design.
THEA 232. Lighting Design.
THEA 233. Costume Design.
THEA 235. Fashion: A Survey of Western Culture.
THEA 236. Pattern Drafting and Draping.
THEA 295. Stage Management for the Performing Arts.

At least one of the following:
THEA 360E. Independent Study - Assistant Design in the Area of Focus
THEA 360F. Independent Study – Design

Two additional design-related courses, at least one in Arts and Visual Culture, that support the design concentration in consultation with the major advisor. Total credits: 12-13 (depending on a one- or two-semester thesis)

Option D: Playwriting
In the playwriting option, the student explores the foundational document of any theatrical production, the script. Courses focus on the craft of writing, the theory of dramatic literature, and the importance of understanding movement and space as it relates to the creation of a dramatic work.

In addition to the theater-makers core courses above, the playwriting track requires:

All of the following:
THEA 223. Dramaturgy: An Introduction.
THEA 240. Playwriting.
THEA 339. Advanced Playwriting.

One of the following:
DANC 151. Making Dances.
DANC 262. Embodying Activism: Performing a Living Definition.
Two half-credit courses in DNTH 290 or DANC 270 studio dance.
THEA 360C. Independent Study-Production Dramaturgy.

3) THEA 456 (Senior Capstone) or 457/458 (Senior Thesis). All production/performance capstone or thesis projects are subject to departmental discretion. To be eligible for a production/performance thesis, students must have completed at least eight of the eleven required courses, including THEA 101 and the requirements above specific to the particular focus of study (e.g., Acting, Directing, Design, Playwriting). Topics for capstone or thesis should involve a substantial artistic project in acting, design, directing or playwriting. The capstone includes a portfolio component examining the process and product of creative research. The thesis features written component examining the theoretical basis and the process/product of scholarly research. Projects are always subject to departmental approval. Capstone and thesis are projects of equal stature.

Pass/Fail Grading Option

Pass/fail grading may be applied to one course in the major.

Minor in Theater



The minor in theater consists of six courses from the following:
1) THEA 101. Theater and Film: An Introductory Survey.

2) Five courses from the following two lists:
a) Two or three of the following:
DANC 151. Making Dances.
FYS 437. Arts in Performance.
THEA 130. Introduction to Design.
THEA 132. Theater Technology.
THEA 231. Scene Design.
THEA 232. Lighting Design.
THEA 233. Costume Design.
THEA 261. Beginning Acting.
THEA 263. Voice and Speech.
THEA 362. Advanced Acting.
THEA 370. Directing.
THEA s26. Theater Production Workshop I.
DANC 262. Embodying Activism: Performing a Living Definition.


b) Two or three of the following:
FYS 437. Arts in Performance.
FYS 447. Holocaust on Stage.
FYS 487. Politics and Performance on Stage and Screen.
FYS 485. Contemporary Comedy.
THEA 129. Shakespeare in Production.
THEA 200. The Classical Stage.
EN/TH 201. Contemporary African and Caribbean Theater.
THEA 220. The Modern Stage: Ibsen to the Present.
THEA 223: Dramaturgy: An Introduction.
THEA 240. Playwriting.
THEA 339. Advanced Playwriting.
THEA s27. Theater and Film.
THEA s33. Central European Theater and Film.
ENG 131. Tragedy and the Drama of Voice.
ENG 239. Shakespeare’s Queens.

Pass/Fail Grading Option

Pass/fail grading may be applied to one course in the minor.

Courses
THEA 101. An introduction to Drama: Theater and Film.
An introduction to drama on stage and in motion pictures. Beginning with a discussion of action, plot, and character, the course moves on to consider the elements of theatrical performance—including acting, directing, and design—as well as important plays from the Greeks to the present. These may include works by Sophocles, Shakespeare, Ibsen, Chekhov, Brecht, and Beckett. The course then shifts focus to film, examining the elements of mise-en-scène, cinematography, editing, and sound, and concluding with a study of major films from the silent era to the twenty-first century. These may include works by Chaplin, Wells, Bergman, Hitchcock, Scorsese, and David Lynch. Enrollment limited to 39. Normally offered every year. [AC] M. Andrucki.
Concentrations

This course is referenced by the following General Education Concentrations

THEA 129. Shakespeare in Production.
Shakespeare's plays are captivating and thought-provoking on the page, but this is only half of their impact: they were always meant to be primarily a living, aural, and visual experience. This course examines how theater artists have used the foundation of Shakespeare's themes and images, translating them into stirring and sometimes controversial theatrical events. Students read and discuss three to four Shakespeare texts and explore how theater artists such as Julie Taymor, Mark Rylance, Kenneth Branagh, and others have brought these words to life on both the stage and the screen. [W1] [AC] [CP] B. McDowell.
Concentrations

This course is referenced by the following General Education Concentrations

THEA 130. Introduction to Design.
The creation of theater is a synthesis of text, performance, and visual imagery. This course explores how the visual aspect of theatrical design affects the way an audience perceives, feels, and responds to text and action. Students learn to use line, mass, color, and texture to communicate metaphoric and thematic ideas as they relate to the overall theatrical experience. They examine how forms of art, architecture, and music use these tools to influence and transform the audience, and build on this foundation to create a design vocabulary for theater. Students discuss how clothing, adornment, and body language influence the way individuals perceive others and present themselves. They learn the fundamentals of collaborative creation, and design scenery and costumes for a classic work of dramatic literature. Required of all majors. No previous art or theater training is required. Enrollment limited to 14. Normally offered every year. [AC] [CP] B. McDowell.
Concentrations

This course is referenced by the following General Education Concentrations

THEA 132. Theater Technology.
This course provides a look "behind the curtain" to reveal the secrets of theater magic. Students learn the geography of various types of theaters as well as mechanical and electrical systems. They are introduced to the materials and methods for fabricating scenery and rigging, practice the safe use of woodworking tools, experiment with painted scenic finishes, and learn the basics of stage lighting and sound. Many of the skills introduced in this class are transferable to other artistic practices or domestic needs. This is a hands-on course; all students participate in the preparation and presentation of theater department productions. Enrollment limited to 14. M. Reidy.
Concentrations

This course is referenced by the following General Education Concentrations

THEA 200. The Classical Stage.
We still measure theatrical excellence by the achievements of ancient Greece and Rome, Elizabethan England, and seventeenth-century France. This course studies selected plays and works of critical theory from those remarkable times and places. Authors may include Aeschylus, Sophocles, Euripides, Aristophanes, Plato, Aristotle, Plautus, Terence, Horace, Marlowe, Shakespeare, Jonson, Webster, Corneille, Racine, Molière, and the neoclassical theorists of France and Italy. Viewing of filmed scenes from several of the plays on the syllabus reveals the continuing vigor of these classical works in performance. Open to first-year students. Enrollment limited to 29. [AC] [HS] M. Andrucki.
Concentrations

This course is referenced by the following General Education Concentrations

EN/TH 201. Contemporary African and Caribbean Theater.
This course explores the dramatic literature and theater history of the African continent and the islands of the Caribbean from the mid-twentieth century to the present. These two areas of the world connected through the African diaspora have brought forth playwrights who were inspired by a mix of traditional African rituals, the Western European theater tradition, colonial histories, and the various social and political upheavals through which many of them have lived. This course presents a critical, historical, and sociological view of these playwrights and the world that created them. Prerequisite(s): one course in Africana, English, or theater. Enrollment limited to 25. (English: Post-1800.) (English: Race, Ethnicity, or Diasporic Literature.) [W2] Normally offered every year. C. Odle.
Concentrations

This course is referenced by the following General Education Concentrations

THEA 220. The Modern Stage: Ibsen to the Present.
The premiere in 1879 of Henrik Ibsen's incendiary masterpiece, A Doll's House, sparked an explosion of creativity in Western theater and drama over the next 125 years. This course studies two dozen of the most important plays staged during that turbulent period. In addition to Ibsen, authors may include Strindberg, Chekhov, Shaw, Pirandello, Brecht, O'Neill, Beckett, Genet, Pinter, and various contemporary playwrights. Students also read critics and theorists who have attempted to make sense of this revolutionary period. Viewings of filmed scenes from several of the plays on the syllabus help to reveal their power in performance. Open to first-year students. [AC] [HS] M. Andrucki.
ConcentrationsInterdisciplinary Programs

This course is referenced by the following General Education Concentrations

This course counts toward the following Interdisciplinary Program(s)

THEA 223. Dramaturgy: An Introduction.
A dramaturg contributes a wide variety of theatrical knowledge—literary, historical, critical, and practical—to the process of producing a play. The dramaturg’s function in a theater company is to ask and answer questions, small and large, about everything from the meaning of a single word in a text, to the meanings of the text as a whole. The dramaturg must also understand the requirements of production such as acting, directing, and design. And the dramaturg must be able to communicate this knowledge and understanding in clear written form to the artists producing the play and to the audiences watching it. In beginning to develop these abilities, students will read a number of plays, classical and modern, and study seminal works of critical theory from antiquity to the present. Enrollment limited to 39. [AC] [HS] M. Andrucki.
Concentrations

This course is referenced by the following General Education Concentrations

THEA 231. Scene Design.
This course presents in-depth study of the creative and practical tools used by set designers to visually enrich and shape the theatrical experience. Students study a history of theatrical architecture and design, focusing on how they have shaped the uses of stage space and the vocabulary of modern scene design. The course builds on aesthetic fundamentals developed in THEA 130, and examines in greater depth the relationship between set designers and theatrical texts. Practically, students learn fundamentals of theatrical drafting, perspective and scale drawing, and model making. This course is recommended for students with an interest in the visual and emotional impact of effective scene design on drama and performance. Prerequisite(s): THEA 130, or an individual portfolio review. Open to first-year students. Enrollment limited to 14. Instructor permission is required. [AC] [CP] B. McDowell.
Concentrations
THEA 232. Lighting Design.
This course provides an introduction to the unique aesthetic and technical decisions a lighting designer must make. Through hands-on experience, students become familiar with the tools and equipment typically used in contemporary stage lighting. Students also are required to serve on a lighting crew for one of the department's productions and design part of the spring dance concert. Prerequisite(s) or corequisite(s): one of the following: THEA 101, 130, or 132. Open to first-year students. Enrollment limited to 14. Instructor permission is required. [CP] M. Reidy.
Concentrations

This course is referenced by the following General Education Concentrations

THEA 233. Costume Design.
In theater, as in life, clothes often "make the man." This course focuses on the myriad aspects of personality, position, and state of mind created and enhanced for stage characters by the art of costume design. Emphasis is placed on analyzing play texts and bringing characters to life. The course builds on aesthetic fundamentals developed in THEA 130, and offers further instruction in costume research, figure drawing, and sketching and painting skills used to present costume design information. This course is recommended for students with an interest in visual and emotional impact of effective design on drama and performance. Prerequisite(s): THEA 130 or an individual portfolio review. Open to first-year students. Enrollment limited to 14. [AC] [CP] B. McDowell.
Concentrations

This course is referenced by the following General Education Concentrations

THEA 235. Fashion: A Survey of Western Culture.
The history of dress and human adornment includes political, sexual, economic, and cultural factors, often entwined in subtle or ephemeral ways with the aesthetics of what we consider fashion. This course, which is conducted in a survey format, begins with early Greek culture and continues into the current era, examining not just physical appearance, but these other factors that have driven the myriad changes in the history of dress throughout Western culture. Enrollment limited to 19. [AC] [HS] B. McDowell.
Concentrations

This course is referenced by the following General Education Concentrations

THEA 236. Pattern Drafting and Draping.
This course introduces students to the skills of pattern drafting, draping, and fitting garments, as well as some advanced costume construction skills and increased familiarity with the properties of different textiles. The course is structured as a series of lectures, demonstrations, and the completion of several hands-on projects by students. Recommended background: basic sewing skills. Enrollment limited to 12. [CP] [QF] B. McDowell.
Concentrations

This course is referenced by the following General Education Concentrations

THEA 240. Playwriting.
Students learn the fundamentals of dramatic structure and characterization by engaging in various writing exercises and studying the texts of established contemporary playwrights. They write a ten-minute play by midterm that adheres to certain parameters, and a ten-minute play for their final assignment based on research on a chosen topic. Recommended background: two courses in theater or dramatic literature. Not open to students who have received credit for THEA s41. Open to first-year students. Enrollment limited to 15. [AC] [CP] C. Odle.
Concentrations

This course is referenced by the following General Education Concentrations

THEA 261. Beginning Acting.
This experiential course offers an in-depth exploration of the craft of acting. Using several different acting techniques, students undertake exercises to strengthen connection, relaxation, objective, emotional openness, and moment-to-moment availability. The course emphasizes ensemble-building techniques to deepen cooperative skills. Students explore the Stanislavski approach and apply it to the preparation of their contemporary scene work. Open to first-year students. Enrollment limited to 16. Normally offered every semester. [AC] [CP] T. Dugan, C. Odle.
Concentrations

This course is referenced by the following General Education Concentrations

THEA 263. Voice and Speech.
They examine the nature and working of the human voice. Students explore ways to develop the voice's potential for expressive communication with exercises and the analysis of breathing, vocal relaxation, pitch, resonance, articulation, audibility, dialect, and text performance. Recommended background: one course in acting, performance, or public speaking. Open to first-year students. Enrollment limited to 19. Normally offered every year. [CP] K. Vecsey.
Concentrations

This course is referenced by the following General Education Concentrations

DN/TH 270W. Studio: Pilates.
An introduction to the exercises and principles of classical Pilates. This physical training course uses the Pilates method and complementary conditioning techniques to develop core strength, alignment, and flexibility. This course is designed for physical performers, but useful for bodies of all kinds. Open to first-year students. Enrollment limited to 25. C. Dilley, R. Vermilion, Staff.
Concentrations

This course is referenced by the following General Education Concentrations

DN/TH 290. Performance/Production.
Working under faculty direction, students perform major roles in departmental productions as a performer (290A); stage manager, assistant stage manager, technician (290B); designer, dramaturg, assistant director (290C). Two semesters of DN/TH 290 constitute one course credit. No more than one course credit may be earned through DN/TH 290. This course may be repeated once for credit. Department chair permission is required. [AC] [CP] Staff, M. Reidy.
Concentrations

This course is referenced by the following General Education Concentrations

THEA 295. Stage Management for the Performing Arts.
A stage manager's role and responsibility is to assure clear communications, logistics, and safety throughout the entire production process, from pre-rehearsal preparation to post-performance breakdown. In this course students develop the organizational techniques and communication skills required for effective stage management in the performing arts. Students explore the role of a stage manager as collaborator, confidant, record keeper, and leader. They analyze the best practices of a professional stage manager through exercises that engage with personal identity and interpersonal communications. Recommended background: DN/TH 104; THEA 101, 130, or 132. New course beginning fall 2020. Enrollment limited to 15. J. Moriarty.
Concentrations

This course is referenced by the following General Education Concentrations

THEA 339. Advanced Playwriting.
Students learn and build upon the skills developed in THEA 240 (Introduction to Playwriting) and apply them toward the writing of a full-length play which serves as their final project. In addition, students unite short scenes designed to explore various theatrical genres, challenge conventions, and harness inspiration. Students also study the works of experimental playwrights. Included in the course is an excursion to see a play produced by Boston Playwrights' Theatre, and a discussion with playwrights and other artists producing new work for the stage. Prerequisite(s): THEA 240. Enrollment limited to 15. [W2] Normally offered every year. [AC] [CP] C. Odle.
Concentrations

This course is referenced by the following General Education Concentrations

THEA 360. Independent Study.
Students, in consultation with a faculty advisor, individually design and plan a course of study or research not offered in the curriculum. Course work includes a reflective component, evaluation, and completion of an agreed-upon product. Sponsorship by a faculty member in the program/department and permission of the chair are required. Working under faculty direction, students may select: THEA 360 A - Stage Management THEA 360 B- Assistant Director THEA 360 C- Dramaturgy THEA 360 D- Directing THEA 360 E - Assistant Design in the Area of Focus THEA 360 F- Design Students may register for no more than one independent study per semester. Normally offered every semester. Staff.
Concentrations

This course is referenced by the following General Education Concentrations

THEA 362. Advanced Acting.
Students deepen their craft of acting by exploring the techniques of Constantin Stanislavski and Michael Chekhov. Class work focuses of a psycho-physical acting approach, in which students expand their imagination, explore their impulses, and creatively integrate their bodies and voices. The course emphasizes ensemble-building techniques to strengthen cooperative skills. Throughout the course there is a sustained focus on text analysis; this practice is used to identify given circumstances and objectives, ultimately leading to options and choices for the actor. Prerequisite(s): THEA 261. Enrollment limited to 16. Instructor permission is required. [AC] [CP] T. Dugan.
Concentrations

This course is referenced by the following General Education Concentrations

THEA 365. Special Topics.
Offered occasionally in selected subjects. Staff.
Concentrations

This course is referenced by the following General Education Concentrations

THEA 370. Directing.
An introduction to the art of directing, with an emphasis on creative and aesthetic problems and their solutions. Students learn the essential processes used by a director and deepen their awareness of contemporary directors and practices. The course offers a basic understanding of fundamental directorial technique: script analysis, staging, collaboration with performers, and approaches to contemporary drama. The course is both theoretical and practical, involving readings, rehearsal observation, and directing scenes and short plays. Prerequisite(s) or corequisite(s): THEA 261. Open to first-year students. Enrollment limited to 16. Instructor permission is required. Normally offered every year. [AC] [CP] T. Dugan.
Concentrations

This course is referenced by the following General Education Concentrations

THEA 373. Acting Styles.
Students deepen their craft of acting by exploring the challenges of heightened language and period style while maintaining commitment to objectives, the specific details of the "world of the play," and truthful listening and reacting. The content of this course focuses on such writers as Shakespeare, Molière, Sheridan, Congreve, and Aphra Behn. The course requires intensive outside preparation of exercises, text analysis, and monologues and scenes for presentation in class. Prerequisite(s): THEA 261. New course beginning fall 2020. Enrollment limited to 16. Normally offered every other year. T. Dugan.
Concentrations

This course is referenced by the following General Education Concentrations

THEA 457. Senior Thesis.
Theater Studies/Dramaturgy and Theater Makers. This option, focused on scholarly research and writing, offers students the opportunity to explore topics in dramatic literature, theater history, the theoretical and social dimensions of performance, or other appropriate areas of scholarly interest. Theater Makers who elect this option will structure their written work around a creative project designated by the department in acting, directing, playwriting, or design. [W3] Normally offered every year. Staff.
Concentrations

This course is referenced by the following General Education Concentrations

THEA 458. Senior Thesis.
Theater Studies/Dramaturgy and Theater Makers. This option, focused on scholarly research and writing, offers students the opportunity to explore topics in dramatic literature, theater history, the theoretical and social dimensions of performance, or other appropriate areas of scholarly interest. Theater Makers who elect this option will structure their written work around a creative project designated by the department in acting, directing, playwriting, or design. [W3] Normally offered every year. Staff.
Concentrations

This course is referenced by the following General Education Concentrations

Short Term Courses
DN/TH s13. Body/Site/Create: Site-Specific Performance.
This course roots the creative process of making performance in the artists' physical response to a specific place, or site. In this community-engaged learning course, students engage in interdisciplinary creative research, design and perform of the final event, and develop curricula for various populations to explore making site-specific work. Weekly work involves on-campus meetings and day trips to the site for creation and performance. The final performance is a free, public event at the end of the term. All artistic media (music, visual art, dance, theater, literary arts) are valued in the project. Open to anyone with interest in art experiences. Open to first-year students. Enrollment limited to 15. [AC] [CP] Staff.
Concentrations

This course is referenced by the following General Education Concentrations

THEA s26. Theater Production Workshop.
Working under faculty supervision or with visiting professional artists, student actors, directors, designers, and technicians undertake the tasks necessary to produce a play. Readings and discussions explore various ways of understanding and producing a text. This course may be repeated for credit. Open to first-year students. Instructor permission is required. [CP] Staff.
Concentrations

This course is referenced by the following General Education Concentrations

THEA s27. Theater and Film.
Films have always look to the theater for stories and characters. This course studies the transformation of plays into movies, paying attention to fundamental differences between stage and screen in the manipulation of space, time, and point of view; and in the role of acting versus stardom. Students read dramatic literature and film theory, and view a number of films based on plays. Authors and directors may include Shakespeare, Shaw, O'Neill, Williams, Albee, Pinter, Shepard, Mamet, Olivier, Kurosawa, Hitchcock, Kazan, Nichols, and Altman. Enrollment limited to 18. [CP] M. Andrucki.
Concentrations

This course is referenced by the following General Education Concentrations

THEA s33. Central European Theater and Film.
A study of Hungarian, Polish, and Czech theater and film, focusing on the impact on these arts of the social and political changes of the last several decades, from the Polish and Hungarian uprisings of 1956 to the rebuilding of culture in the region following the collapse of the Soviet Bloc in 1989. While in Budapest, students view films at the Hungarian National Film Archive and attend performances of central European theater at the International Contemporary Drama Festival and the Hungarian National Theater. Visits to theater and film centers in Prague are also included. Prerequisite(s): some background in one of the following: theater, film, or modern European history. Enrollment limited to 18. Instructor permission is required. [AC] [HS] M. Andrucki, K. Vecsey.
ConcentrationsInterdisciplinary Programs

This course is referenced by the following General Education Concentrations

This course counts toward the following Interdisciplinary Program(s)

THEA s50. Independent Study.
Students, in consultation with a faculty advisor, individually design and plan a course of study or research not offered in the curriculum. Course work includes a reflective component, evaluation, and completion of an agreed-upon product. Sponsorship by a faculty member in the program/department, a course prospectus, and permission of the chair are required. Students may register for no more than one independent study during a Short Term. Normally offered every year. Staff.
Concentrations

This course is referenced by the following General Education Concentrations

Dance

The Department of Theater and Dance offers a major and a minor in dance. Integrating both theory and practice within the framework of a liberal arts education, the curriculum develops an understanding of art and culture through the lens of dance. With a variety of performing, choreographic, and individualized study opportunities, the dance program nurtures artistic independence, interdisciplinarity, and above all, a strong supportive community.

Major Requirements


Written and Portfolio Capstone/Thesis a total of 11 credits is required.
Performance and Choreography Thesis a total of 12 credits is required.

1) Creative Process.
Students undertaking a written thesis in dance complete at least two courses from this list. Students undertaking a choreographic thesis complete at least three courses from the list, one of which must be DANC 351 or the equivalent, completed before the thesis is begun. Students engaging in a performance thesis complete at least three courses from this list including DANC 253, taken twice.
AV/TH 221. Performance Art.
DANC 151. Making Dances.
DANC 251. Making Dances II.
DANC 253. Dance Repertory.
DANC 351. Composition Seminar.
DN/ED s29. Tour, Teach, Perform.

2) Cultural Context.
Two courses from the following:
AF/DN 252. Contemporary Issues in Dance.
DANC 250. Dance History.
FYS 437. Arts in Performance.
INDS 305. Art, Power, Politics.
INDS 342. Performance, Narrative, and the Body.

Note: The following courses can be used to fulfill either 1) Creative Process or 2) Cultural Context:
DANC 245. Dance Pedagogy.
DANC 262 Embodying Activism: Performing a Living Definition
DN/TH s13. Body/Site/Create: Site-Specific Performance.

3) Physical Practice.
Must include courses in at least three different forms (e.g., DANC 240; 270: modern, jazz, ballet, improvisation, hip hop, flamenco, partnering, pilates, etc.)

4) Production and Design.
One course in theater production or design from the following (THEA 232 is recommended):
THEA 130. Introduction to Design.
THEA 132. Theater Technology.
THEA 232. Lighting Design.
THEA 233. Costume Design.
THEA 236. Pattern Drafting and Draping.
THEA 295. Stage Management for the Performing Arts.

5) Arts Elective.
One to three additional credits additional credit in dance, theater, music, art and visual culture, or EDUC 265, Teaching through the Arts.

6) DANC 300. Bates Dance Festival. Majors undertaking a thesis capstone must participate in at least one Bates Dance Festival, a three-week residential dance immersion that takes place during the summer. Students are encouraged to participate more than once. DANC 300 is optional for students undertaking a capstone portfolio.

7) Thesis Capstone Portfolio. One of the following:
a) Capstone portfolio (no [W3] credit)
b) Written thesis
c) Performance thesis
d) Choreographic thesis

8) Performance participation in a minimum of four faculty, guest artist, or thesis dance pieces at the college or at the Bates Dance Festival. DANC 253 also satisfies this requirement. Students should consult with their advisor to confirm the completion of this requirement.

Pass/Fail Grading Option

The use of the pass/fail option is restricted to one course within the major.

Study Abroad


Dance majors who intend to study abroad should consult with their advisor well in advance of their junior year.

Minor Requirements


1) Creative Process.
Two of the following:
AV/TH 221. Performance Art.
DANC 151. Making Dances.
DANC 251. Making Dances II.
DANC 253. Dance Repertory.
DANC 351. Composition Seminar.
DN/ED s29. Tour, Teach, Perform.
THEA 261. Beginning Acting.

2) Cultural Context.
One of the following:
AF/DN 252. Contemporary Issues in Dance.
DANC 250. Dance History.
FYS 437. Arts in Performance.
INDS 305. Art, Culture, and Politics.
INDS 342. Performance, Narrative, and the Body.

Note: the following courses can be used to fulfill either 1) Creative Process or 2) Cultural Context:
DANC 245. Dance Pedagogy.
DN/TH s13. Body/Site/Create: Site-Specific Performance.

3) Physical practice (2 credits)
Must include courses in two different forms (e.g., DANC 240; 270: modern, jazz, ballet, improvisation, hip hop, flamenco, partnering, pilates, etc.)

4) One additional course in dance, theater, music, or art and visual culture, or EDUC 265, Teaching through the Arts. Participation in the DANC 300, Bates Dance Festival, is strongly recommended.

5) Performance participation in a minimum of two faculty, guest artist, or thesis dance pieces at the college or at the Bates Dance Festival. DANC 253 also satisfies this requirement. Students should consult with their advisor to confirm the completion of this requirement.

Pass/Fail Grading Option

The use of the pass/fail option is restricted to one course within the minor.

Courses
DANC 151. Making Dances.
Students develop skills in inventing and structuring movement by creating solo and group studies. Reading, writing, and viewing assignments inform creative activities. Enrollment limited to 15. [AC] [CP] C. Dilley, Staff.
Concentrations
CM/DN 213. The Chorus Ancient and Modern: Forms of Communal Performance and the Body Politic.
This course investigates the chorus, a particular form of group perfomance developed in ancient Greece. It begins by exploring how the ancient chorus both praised and questioned the political systems that facilitated it before considering how choral performance in the modern period has been an effective tool for propaganda, riot, and revolt. Alongside works by ancient Greek poets, students look at a range of modern performance genres such as opera, ballet, sporting ceremonies, Broadway musicals, and flash mobs. Students also gain experience of communal performance themselves through participation in a series of practical movement and singing workshops. Recommended background: course work in classical and medieval studies, dance, music, or theater. Enrollment limited to 29. Staff.
Concentrations

This course is referenced by the following General Education Concentrations

DANC 240. A Kinesthetic Approach.
This course develops an understanding of basic human anatomy and kinesiology as applied to bodies in motion. Topics include an introductory study of anatomy; the mechanics of movement; and the use of time, space, and energy for efficient and effective movement. Recommended background: previous dance training. Open to first-year students. Enrollment limited to 25. [S] [SR] Staff.
Concentrations

This course is referenced by the following General Education Concentrations

DANC 245. Dance Pedagogy.
An introduction to the fundamentals of teaching dance. Designed for the beginning dance educator, this course encourages students to analyze and apply contemporary pedagogical theory, develop skills as teachers in movement and dance education, engage in creative and academic writing, and explore how teaching and student learning are assessed. Prerequisite(s): one credit of studio dance. Enrollment limited to 15. [W2] [AC] [CP] Staff.
Concentrations

This course is referenced by the following General Education Concentrations

DANC 250. Dance History.
At the turn of the twentieth century, modern dance emerged as an exciting new art form. From Isadora Duncan to the collaborations of Cage and Cunningham, modern dance has been deeply rooted in innovative exploration and a convergence of diverse cultural expressions. This course focuses on the early dance pioneers, the ideas and conditions that informed their work, and their subsequent influences on the art world. Open to first-year students. Enrollment limited to 29. [W2] [AC] [HS] C. Dilley.
ConcentrationsInterdisciplinary Programs

This course is referenced by the following General Education Concentrations

This course counts toward the following Interdisciplinary Program(s)

DANC 251. Making Dances II.
An exploration of the craft and the art of making dance performance from human gesture. Readings, critical analysis, and informal showings support the complex process of creating a finished movement-based piece for public performance by the end of the semester. Prerequisite(s): DANC 151, 253. or 270I. Open to first-year students. Enrollment limited to 9. Normally offered every year. [AC] [CP] C. Dilley.
Concentrations
AF/DN 252. Contemporary Issues in Dance.
This course focuses on current dance works and some of the issues that inform contemporary dance practices. Discussions include the ways in which choreographers, performers, and societies confront matters of political climate, cultural diversity, entertainment, globalization, and the politicized human body in dance. Not open to students who have received credit for AA/DN 252. Open to first-year students. Enrollment limited to 29. [W2] [AC] [HS] C. Dilley, Staff.
Concentrations
DANC 253. Dance Repertory.
Students experience a variety of approaches to making and performing dance through intensive choreographic residencies with professional guest choreographers. The course culminates in a concert of the accumulated pieces at the end of the semester. Recommended background: previous dance experience. This course may be repeated for credit. Co-requisite(s): DANC 270D. Open to first-year students. Enrollment limited to 12. Instructor permission is required. [AC] [CP] C. Dilley, B. Evans.
Concentrations

This course is referenced by the following General Education Concentrations

DANC 262. Embodying Activism: Performing a Living Definition.
A lecture and studio practice course intended to generate a living definition of embodying activism to be performatively personified. Through a series of social justice lensings, student artists determine for themselves what they consider activist and how they would engage that distinction throughout their creative process. Enrollment limited to 25. Normally offered every year. B. Evans.
Concentrations

This course is referenced by the following General Education Concentrations

DANC 270. Studio.
This series of studio courses provides instruction in a variety of dance styles and performing practices. DANC 270 may be repeated for credit without limit. One-half credit is earned for each course completed. All 270 studio courses fulfill a physical education requirement for the classes of 2021 and 2022. Open to first-year students. Enrollment limited to 25. [CP] C. Dilley, Staff.
Concentrations

This course is referenced by the following General Education Concentrations

DANC 270A. Studio: Modern I.
In this entry level modern technique course, students address problems of performance, practice, style, and form in order to build strong technique and enhanced artistry and understanding. Open to first-year students. Enrollment limited to 25. Normally offered every semester. [CP] C. Dilley, Staff.
Concentrations
DANC 270B. Studio: Ballet I.
In this beginner-level ballet technique course, students explore the traditional practice, style, vocabulary and form of classical ballet. No prior dance experience required. Open to first-year students. Enrollment limited to 25. Normally offered every semester. [CP] C. Dilley, R. Ganteaume-Richards, Staff.
Concentrations

This course is referenced by the following General Education Concentrations

DANC 270D. Studio: Repertory Styles.
This advanced modern technique course explores a variety of approaches to modern dance training and practice as experienced with different guest teachers throughout the semester. Recommended background: sufficient experience in dance. Open to first-year students. Enrollment limited to 25. Instructor permission is required. [AC] [CP] C. Dilley, B. Evans.
Concentrations

This course is referenced by the following General Education Concentrations

DANC 270E. Studio: Jazz I.
In this mixed-level technique course, students address jazz dance performance, practice, style, and form in order to build strong technique as well as to enhance artistry and understanding. Recommended background: experience in dance. Open to first-year students. Enrollment limited to 25. Normally offered every semester. [CP] C. Dilley, K. Marchessault.
Concentrations

This course is referenced by the following General Education Concentrations

DANC 270F. Studio: Advanced Jazz, Musical Theater.
This jazz technique course explores a variety of approaches to creating dance repertory in a jazz style. It is for advanced dancers and leads to performance at the end of the semester. The instructor approves enrollment based on the level of experience of the student. Open to first-year students. Enrollment limited to 25. [CP] C. Dilley, K. Marchessault, Staff.
Concentrations

This course is referenced by the following General Education Concentrations

DANC 270G. Studio: Dance Ensemble, Intermediate.
This intermediate-level course focuses on modern technique, clarity of intention, and general performance skills, in order to maintain a strong technique and develop one's personal contribution to ensemble dancing. Recommended background: intermediate experience in dance and some modern training. Open to first-year students. Enrollment limited to 25. Normally offered every year. [CP] C. Dilley, B. Evans, Staff.
Concentrations
DANC 270H. Studio: Ballet II.
In this intermediate-level ballet course, students strengthen their technique and enhance their artistry through the practice of classical ballet. This level is appropriate for returning beginner and/or intermediate dancers who are already at ease with the ballet vocabulary. Recommended background: DANC 270B. Open to first-year students. Enrollment limited to 25. Normally offered every semester. [CP] C. Dilley, R. Ganteaume-Richards, Staff.
Concentrations

This course is referenced by the following General Education Concentrations

DANC 270I. Studio: Improvisation.
Students explore improvisational dance skills essential to any style of dance through the use of body weight, momentum, and physical contact. Some familiarity with any form of dance is helpful. Open to first-year students. Enrollment limited to 25. [CP] C. Dilley, B. Evans, Staff.
Concentrations
DANC 270K. Studio: Hip Hop.
In this mixed-level technique course, students address hip-hop dance performance, practice, style, and form in order to build strong technique as well as to enhance artistry and understanding. Recommended background: some experience in dance. Open to first-year students. Enrollment limited to 25. [CP] C. Dilley, A. James, Staff.
Concentrations

This course is referenced by the following General Education Concentrations

DANC 270L. Studio: Hip Hop II.
In this upper level technique course, students address hip-hop dance performance, practice, style, and form in order to build strong technique as well as to enhance artistry and understanding. The course will include technique and repertory for performance. Recommended: two semesters in DANC 270K or previous experience in hip hop. Open to first-year students. Enrollment limited to 25. Instructor permission is required. [CP] C. Dilley, A. James, Staff.
Concentrations

This course is referenced by the following General Education Concentrations

DANC 270M. Studio: Dance Ensemble, Advanced.
This advanced-level course focuses on modern technique, clarity of intention, and general performance skills, in order to maintain a strong technique and develop one's personal contribution to ensemble dancing. Recommended background: advanced experience in dance and some modern training. Open to first-year students. Enrollment limited to 25. Instructor permission is required. Normally offered every year. [CP] C. Dilley, Staff.
Concentrations

This course is referenced by the following General Education Concentrations

DANC 270N. Studio: Ballet III.
In this advanced-level ballet course, students strengthen their technique and enhance their artistry through the practice of classical ballet. This level is appropriate for the intermediate-advanced dancer who has prior training in classical ballet at the intermediate-advanced level. Open to first-year students. Enrollment limited to 25. Instructor permission is required. Normally offered every semester. C. Dilley, R. Ganteaume-Richards, Staff.
Concentrations
DANC 270P. Studio: Flamenco.
In this beginner-level Flamenco dance course, students explore the traditional practice, style, vocabulary, and form of Flamenco. No prior dance experience is required. Open to first-year students. Enrollment limited to 25. Normally offered every semester. C. Dilley, L. Bourassa, Staff.
Concentrations
DN/TH 270W. Studio: Pilates.
An introduction to the exercises and principles of classical Pilates. This physical training course uses the Pilates method and complementary conditioning techniques to develop core strength, alignment, and flexibility. This course is designed for physical performers, but useful for bodies of all kinds. Open to first-year students. Enrollment limited to 25. C. Dilley, R. Vermilion, Staff.
Concentrations

This course is referenced by the following General Education Concentrations

DN/TH 290. Performance/Production.
Working under faculty direction, students perform major roles in departmental productions as a performer (290A); stage manager, assistant stage manager, technician (290B); designer, dramaturg, assistant director (290C). Two semesters of DN/TH 290 constitute one course credit. No more than one course credit may be earned through DN/TH 290. This course may be repeated once for credit. Department chair permission is required. [AC] [CP] Staff, M. Reidy.
Concentrations

This course is referenced by the following General Education Concentrations

DANC 300. Bates Dance Festival.
This course provides Bates dance students with the opportunity to participate in the Bates Dance Festival Professional Training Program. Full participation in the festival requires four daily courses including a technique course, a composition/creative process course or repertory course, an improvisation course, and an elective from among the festival's offerings in complementary studies. Festival courses are taught by leading scholars, artists, and practitioners in their fields. Students attend concerts, informal showings, discussions, and video presentations in addition to their courses. This course may be repeated for credit. Enrollment limited to 10. Instructor permission is required. [AC] [CP] C. Dilley, B. Evans.
Concentrations
DANC 351. Composition Seminar.
A further investigation of the compositional tools used in creating dance and the continued development of a better understanding of the intention behind the movement. The course emphasizes the personal exploration of creative process, craft, artistic intention, and integrity in dance making. This course may be repeated for credit. Prerequisite(s): DANC 251. [AC] [CP] Staff, C. Dilley.
Concentrations

This course is referenced by the following General Education Concentrations

DANC 360. Independent Study.
Students, in consultation with a faculty advisor, individually design and plan a course of study or research not offered in the curriculum. Course work includes a reflective component, evaluation, and completion of an agreed-upon product. Sponsorship by a faculty member in the program/department, a course prospectus, and permission of the chair are required. Students may register for no more than one independent study per semester. Normally offered every semester. C. Dilley, Staff.
Concentrations

This course is referenced by the following General Education Concentrations

DANC 457. Senior Thesis.
A substantial dance-related project, usually in the form of choreography. Students register for DANC 457 in the fall semester. A choreographic thesis is available only to students who have completed the two additional courses in creative process, including DANC 351. [W3] Normally offered every year. Staff.
Concentrations

This course is referenced by the following General Education Concentrations

DANC 458. Senior Thesis.
A substantial dance-related project, usually in the form of choreography. Students register for DANC 458 in the winter semester. A choreographic thesis is available only to students who have completed the two additional courses in creative process, including DANC 351. [W3] Normally offered every year. Staff.
Concentrations

This course is referenced by the following General Education Concentrations

Short Term Courses
DN/TH s13. Body/Site/Create: Site-Specific Performance.
This course roots the creative process of making performance in the artists' physical response to a specific place, or site. In this community-engaged learning course, students engage in interdisciplinary creative research, design and perform of the final event, and develop curricula for various populations to explore making site-specific work. Weekly work involves on-campus meetings and day trips to the site for creation and performance. The final performance is a free, public event at the end of the term. All artistic media (music, visual art, dance, theater, literary arts) are valued in the project. Open to anyone with interest in art experiences. Open to first-year students. Enrollment limited to 15. [AC] [CP] Staff.
Concentrations

This course is referenced by the following General Education Concentrations

DN/ED s29. Tour, Teach, Perform.
This course uses the diverse collective skills of the students in the class as base material for the creation of a theater or dance piece that tours to elementary schools. The first two weeks are spent working intensively with a guest artist to create the performance piece. The remaining weeks are spent touring that piece, along with age-appropriate movement workshops, to elementary schools throughout the region. This course open to performers and would-be performers of all kinds. This course may be repeated for credit. Open to first-year students. Enrollment limited to 19. (Community-Engaged Learning.) Normally offered every year. [AC] [CP] Staff.
Concentrations
DANC s50. Independent Study.
Students, in consultation with a faculty advisor, individually design and plan a course of study or research not offered in the curriculum. Course work includes a reflective component, evaluation, and completion of an agreed-upon product. Sponsorship by a faculty member in the program/department, a course prospectus, and permission of the chair are required. Students may register for no more than one independent study during a Short Term. Normally offered every year. Staff.
Concentrations

This course is referenced by the following General Education Concentrations