Courses Offered in Theater & Performance Studies

TPST – 020 Acting I
Taught by various instructors, Acting I is an experiential introduction to the study of acting for the stage with a basis in psychological and physical realism. Emphasis is placed on the critical and creative theories and techniques to cultivate imagination, focus, embodied creativity, self-awareness, vocal range, and script analysis. Acting projects include scenes, monologues, and acting exercises. Readings, writing assignments, and performance projects required; suitable for students with considerable performance experience but without college coursework in acting, and for beginners.

TPST – 025 Space and Improvisation
Space And Improvisation examines the technique of acting for the stage without the use of a formal script. It is for the novice as well as the experienced acting student. Through structured games, exercises, solo and group assignments the student will study Concentration, Observation, Stage Awareness, Environment, Physical and Vocal Character, Handling and Acting with Props, and Physical Transformation. This course is a very physical, interactive approach to the study of acting including several ensemble exercises and group problem solving abilities.

TPST – 040 Introduction to the Performing Arts in Washington, DC
An experiential and analytical course on the performing arts in the nation's capital. Attendance at live concerts and theater performances will be an integral part of the course providing the basis of cultural criticism. The inter-relationship of music, theater and dance will be investigated and artists from each area will meet with the class.

TPST – 100 Performance Art: Poetry, Image, Theater
The course offers students the opportunity to explore the work of a wide range of poets in various styles and genres through solo and group performance. Working in an interactive workshop format, students will develop performances from the work of poets such as Paul Celan, EE Cummings, Federico Garcia Lorca, Adrienne Rich, and others. Students will work as an ensemble to develop and perform an informal workshop production, featuring an eclectic mix of poetry performances to be presented at the end of the semester. Satisfies the Humanities Reading and Writing Requirement. Crosslisted with Comparative Literature.

TPST – 105 Cross-Cultural Performance Traditions
This new intro class engages students in embodied as well as analytic learning about cross-cultural performance traditions - both theories and practices - to foster an expansive concept of performance and its myriad roles in society. Blending the disciplinary approaches of both Theater and Performance Studies, TPST 105 includes units on diverse (living) performance lineages, such as psycho-physical realism, performance of the African Diaspora, solo performance and stand-up comedy, activist street theater, Chinese Opera, performance as ethnography, avant-garde dance theater and performance as a model of personal change. (Some semesters, Native American dance theater, Balinese gamelan and puppet theater might be considered; in others, Latin American religious processionals, multicultural community-based theater rituals, and/or Italian spectacolos). While the course can be seen to provide a selective overview of prominent performance traditions, the goal is not to present a full survey, but rather to cultivate a critical and experiential entrée to the field, fostering a respect for the diversity of performance and its cultural embeddedness in an always changing world. Assignments include creative work, critical writing, reading and seeing performance. A required core course for the new major; open to students from all disciplines.

TPST – 125 Improvisation for Social Change
This participatory course emphasizes lab study in group improvisational acting, theatrical dynamics, performance and role-playing, particularly as employed toward problem-solving and social change. Theorists such as Augustus Boal and Jacob Moreno will be considered in discussion and performance. Students will expand their acting potential and ability to work creatively in social groups by developing group theatrical presentations based on personal ideas related to problem themes. Critiques of ideas and performances are an essential component of this course. No prerequisite.

TPST – 126 Acting Shakespeare
Designed for intermediate to advanced acting students, this critical and creative laboratory offers intensive, embodied engagement with a wide range of Shakespeare’s plays as a means to develop students’ skills in the areas of script interpretation, vocal and physical technique, characterization, and the development of style. Through a combination of physical and vocal exercises and explorations, scene study and monologue work, the viewing and critical discussion of a variety of Shakespeare productions on stage and screen, and readings from a range of theorists and practitioners, students will develop an appreciation of how the linguistic structures in Shakespeare’s plays reflect, reveal, and express the inner, emotional lives of individual characters. More broadly, students will explore how Shakespeare’s plays offer a uniquely encompassing vision of theatre as a potent agent of historical, cultural, psychological, philosophical, spiritual, and socio-political knowledge. As performers, students will develop an understanding of textual rhythms in both verse and prose -- including techniques of scansion -- as well as emotional, interpretive, physical, and vocal techniques, with a goal of achieving immediacy, clarity and freshness in Shakespearean performance.

TPST – 130 Play Analysis
This introductory course explores ways of reading and analyzing plays in the context of production, understanding plays as texts for (and from) performance. By focusing on structural analysis and performance-centered criticism of diverse plays in context, this class engages students in dramaturgy. We will draw on some of the classic texts on script analysis (Aristotle, David Bell), as well as a wide variety of plays, ranging from a well-known ancient Greek tragedy to a contemporary Japanese comedy. Intended for students from varied departments, this class introduces students to the guiding methodologies of the discipline of Theater, providing the tools for compelling decisions for criticism as well as for performance, direction, and design. Fulfills the Humanities and Writing II requirement, and is cross-listed with Comparative Literature.

TPST – 133 Theater of Diversity: Multicultural American Performance
This course examines the dramatic literature and theater of marginalized communities in the U.S. in order to investigate the cultural pluralism in American society and performance. Works to be studied come from African American Theater, Asian American Theater, Chicano/Latino Theater, Native American Theater, Gay/Lesbian Theater, and Feminist Theater. The class includes lecture, student presentations and papers, theater viewings, and group discussion. Multicultural American Theater will be studied, and theorized, drawing on cultural studies, performance theory, dramatic contexts, and the artists' communities' responses themselves. The politics of casting, artistic programming, memory-making, and representation will be considered, as will America's diverse cultural traditions. Intended as an interdisciplinary class for students from varied disciplines, including TPST, Ethnic Studies, English, American Studies, Sociology/Anthropology, and Women's Studies, among others.

TPST - 150 Directing
This course engages in an actively experiential investigation of the art of directing for the stage. In our workshops, we will focus on the development of skills in the areas of composition and use of theatrical space, picturization and the creation of stage imagery, dramaturgy and historical research, script analysis and textual interpretation, casting and the development of a production concept, collaboration and communication with actors and designers, ensemble development, and the creation of “style.” Through a variety of readings from theorists and practitioners, as well as viewings of performances on campus and in local professional theatres, we will also engage many of the issues and themes at the forefront of the consciousness of practicing directors and theatre scholars. For example, we will explore questions about the relationship between politics and aesthetic practice, the role of the audience, the institutional realities of professional theatre, classical texts and questions of fidelity and “auteurism,” multiculturalism and the politics of representation, and, most broadly, the role of theatre-making in our society. It is an assumption of the course that stage directing is by its nature one of the ultimate “interdisciplinary” activities. In order to develop any sense of a directoral point of view, the stage director becomes a student not only of theatrical practice but of politics, literature, visual art, music, philosophy, science, religion, current events, and so forth. As much as imparting skills, the course asks students to begin to think as directors, and to bring diverse aspects of their own identities to the work.

TPST – 160 Introduction to Production Techniques
This intro course covers all aspects of technical theatrical production. Students learn the basic materials, tools, terms and techniques used in construction of scenery, costumes and props, as well as basic familiarity with scenic painting, lighting and sound equipment. In addition to individual projects, practical group labs link to the actual mounting of productions in the Davis Center. Emphasis is placed on the roles and responsibilities of production team. Attendance at campus theater productions, as well as at least one professional theater production, leading to critical review of the technical aspects is required. Guest speakers include professional designers and directors. Jointly taught by Davis Center Technical Director and Technical Advisor to PPA. May be taken as 260 in later semesters with specialized projects that differ significantly from earlier class.

TPST -165 Stage Management
In this lab-intensive course students will learn the varied methods and techniques required for Stage Management, from script analysis and systems management to notation and calling cues during a production. In addition, emphasis will be placed on the ART of Stage Managing – the philosophy, attitude, communication skills and human management techniques that make a truly exceptional collaborator and project leader. In addition to reading and brief writing assignments, there will be guest lectures by professional stage managers, who work in regional theatre, Broadway houses, and smaller venues, as well as opportunities to observe professionals in local theaters. All students will participate fully on the Stage Management and/or production staffs of Theater Program productions, integrated with lab hours. As a final project, each student will present a Stage Manager’s Book, developed over the entire semester, representing all of the information required to manage and call a production.

TPST – 170 Principles of Theatrical Design
An intensive course that explores visual and spatial creativity through artistic composition, script analysis, and theatrical design. This overview course acquaints the students with design elements and techniques as non-verbal communication tools to express the creative imagination in theatrical contexts. Lecture, discussion, reading, and project work in a variety of media will place emphasis on imagining the theatrical world of the play. The course will examine traditional areas of design including scenery, lighting, and costumes, and will also focus on the collaborative process with directors and other theater artists. If possible, project work may be linked to work in the production season or directing curriculum. This course may be repeated at the intermediate level (TPST-270) with a focus on costume, lighting or scenic design and with varying class context.

TPST – 175 Costume History: Material Culture
This intensive course is designed for all students interested in material culture and costume history on stage. Why did people wear what they did - from pre-historic to post-modern - and how does it apply to theater? Assignments will range from visual archives to reading, from social history to film viewing. The costume design and construction process will be emphasized, including all aspects of production preparation. Lab hours will be used for field trips, fabric research, costume construction, and slide viewing. As a final project, each student will create a specific costume for a specific play, from concept through execution. There will also be one research paper dealing with a specific period in costume design and its cultural and economic implications. Lab Required.

TPST – 180 Introduction to Playwriting
This course introduces students to the dramatic theory of playwriting, coupled with analysis of a breadth of plays. Student playwrights are expected to complete first drafts of one act plays during the semester, and a revision, as well as to participate in critique sessions. Depending on class size and progress, the plays may then proceed to an abbreviated development program where actors and directors are invited to collaborate in new play workshops. The Writing Workshop will culminate in a public reading of the plays.

TPST – 200 Adaptation and Performance of Literature
This interdisciplinary intermediate course engages students in an experiential and experimental approach to the adaptation, staging, and performance of narrative fiction, working across a variety of cultures, genres and styles. Different literature will serve as the springboard for adaptation and performance in distinct semesters. The class will host a showing of work developed. Cross-listed with Comparative Literature. Lab Required.

TPST - 201 Physical Theatre
Be ready to move on the stage. This body-intensive course integrates various international traditions of Physical Act, pantomime, dance, and character movement into a practical, universal vocabulary for the actor. Students will be challenged to explore their own personal physicality and creativity in an effort to fully understand the power of each actor's body onstage and the economy of motion that accompanies the Synetic style of theater.

TPST-205 Solo Performance
In this course, each student will be the writer, director, performer and designer of his or her own 30-minute solo performance. Students will form an artists’ community in which they will develop work, critique each other, and assist others. Students will also explore various styles, methods, and approaches in this genre through works of solo performers such as Karen Finley, Anna Deavere Smith and Andy Kaufman. The course will culminate in an evening of solo performance events.

TPST – 220 Acting II
In this intensive studio class, students develop creative and critical skills in the psycho-physical realist tradition, primarily through intensive character and scene work. Readings will include selections by Stanislavsky, Hagen, Bogart, Meisner, Michael Chekhov, or similar theorists. Social research, interpretation, play analysis and physical and vocal work are the primary methodologies. Improvisation may also be used to explore simplicity, clarity of expression, listening, and specificity in the actor's task. Focus on imagination and creation of character will be emphasized through research-to-performance projects and applied scene work. Students will reflect critically on their progress through written and oral critiques. Scene work from the early modern through contemporary realist tradition will require extensive preparation outside of class. If possible, project work may be linked to work in the directing curriculum.

TPST - 225 Theater as Social Change
Theater as Social Change is a team taught multidisciplinary course expressing the power of theater with participants in the community. The course is based on principles from sociology, community research and social justice. Core course content includes archival stories, oral histories, surveys, film documentaries, self-reflection, social research skills, and theater of the oppressed techniques. Students will work with a community partner to harness the power of the performing art of theater to effect positive change on one or more social issues.

TPST – 230 Modern Drama
This intermediate class investigates the rise of dramatic realism and related waves of anti-realist theater, particularly in Europe, but also in America and the African Diaspora. Comparative dramatic literature will be studied alongside principal currents in theatrical theory and performance before and during the 20th century. Playwrights may include Buchner, Ibsen, Chehov, Strindberg, Shaw, Stein, Yeats, Treadwell, Pirandello, O'Neill, Beckett, Soyinka, and others. Plays will be considered with reference to the work of directors such as Antoine, Stanislavsky, Meyerhold, Artaud, Jarry, and Brecht who participated in shaping realist, symbolist, expressionist, absurdist, and epic trends in modern drama. This class is intended for students of drama, comparative literature, history, and cultural studies, among others. It is offered in alternating years.

TPST – 235 Seminar: Comedy
This intermediate course offers wide-ranging critical exploration of practices, examples and theories of comedy across a diversity of forms and genres, including plays, stand-up, sketch comedy, and varied cinema from silent films to slapstick to satire. The course will feature weekly screenings, scholarly research, and disciplined theoretical discussions about various forms of comedy through history, sources of laughter, and parody. Among the artists whose work we are likely to engage with are Woody Allen, Aristophanes, Samuel Beckett, Charlie Chaplin, Margaret Cho, Buster Keaton, Harold Lloyd, Marx Brothers, Moliere, Richard Pryor, Gilda Radner, Chris Rock, William Shakespeare, Sarah Silverman, Voltaire, and Oscar Wilde.

TPST - 238 Love Drama
This is an intensive seminar course that explores the notion(s) of romantic love through dramatic literature. We will be reading plays from a wide range of cultural traditions and historical periods, paired with theoretical writings on love, from Plato to Laura Kipnis. Our core questions will include: what is love and how is it defined in dramatic literature?; how does the hierarchy of love (high/low) emerge, and how are they unsettled?; what is the place/status/role of love amongst other human endeavors/emotions? At the same time, we will also be investigating issues that often interface with love in our (and other) society/societies, such as marriage, sex, sexuality, family, and gender. In addition to readings and discussions, we will be engaging in embodied learning methods such as performance, oratory, and performative writing. The course is cross-listed in Comparative Literature, and is recommended for those who are interested in dramatic literature, philosophy, cultural anthropology, and performance.

TPST – 240 World Theater History: Contexts and Cultures I
In this seminar, we will investigate the themes, forms, and functions of a range of influential world theater traditions, including: the theaters of ancient Greece, Rome and India; the golden ages of classical Chinese and Japanese dance-theater-song; and the religious ritual drama of medieval Europe. By focusing on theater's early sources, we will consider its relation to other performance modes--such as religious ritual, public oratory, and/or spectacle. Audio-visual materials, live performance, lecture, and group discussion. Intended for students from varied disciplines, including theater, literature, ethnic studies, history, art, and anthropology, among others. Cross-listed with Comp Lit and may be considered for CULP credit.

TPST – 241 World Theater History: Contexts and Cultures II
This intensive course investigates a range of influential world theater traditions from the 17th through 20th centuries. Dramatic and theatrical traditions include a selective sample from Europe, Asia, Africa and the Americas, as well as their migrations. We consider theater in social, cultural and artistic contexts, with coursework supplemented by viewings of live performance and video. (Offered in periodic rotation with TPST-240.)

TPST - 245 Political Theater
This course engages intermediate to advanced students as scholars and creative artists in a diverse range of historical, cultural, theoretical, and artistic approaches to the creation, contexts and consequences (real and intended) of political theater practices. We will look closely at a diverse range of artists through history who have and who continue to engage politics in their work, and we will explore a diverse range of texts and forms (street theater and performance, Brechtian aesthetics, surrealism and Dada, Forum Theater, etc.) in numerous cultural and historical contexts, including Fascism and the Holocaust, the Civil Rights Movement, the AIDS epidemic, the War on Terror, the "spectacle" of contemporary electoral politics, and more. Throughout the course, students will be asked to engage simultaneously as performers, scholars, directors, activists, and engaged citizens. Each student will develop his/her own creative research project to be performed in a festival format at the end of the semester. The course is designed for intended minors and majors in theater and performance studies, and for other politically and socially-engaged students with previous performance experience.

TPST – 260 Applied Production Methods/ Theory
This course provides an intensive participatory approach to critical thinking and creative problem-solving, involving experiential research, theoretical reading, collaboration, and multimedia assignments. Students will learn to conceptualize, engineer and construct technical challenges linked to productions in the Theater Season. Lab required. May be taken whenever TPST-160 is taught.

TPST – 261 Theater Arts Management
A seminar in arts administration, with a focus on performing arts applications. This course will provide an overview of several key elements that form part of the non-profit arts management landscape. The class will have a particular focus on strategic decision making as it occurs in the complex web of social, political, economic, personal and ethical dimensions. Engaging in a strategic analysis of real-world cases and utilizing skill sets in planning, financial analysis, strategic analysis, human resource allocation and fund raising, students will receive a critical framework for understanding arts management in its US contexts. Taught by the Executive Director of Arena Stage.

TPST – 270 Intermediate Theatrical Design
This intense intermediate course in visual and spatial creativity involves students in costume, scenic and lighting design to express the creative imagination in theatrical contexts. Lecture, discussion, reading, and project work in a variety of media will place emphasis on imagining the theatrical world of the play. The course will examine traditional areas of design including scenery, lighting, and costumes, and will also focus on the collaborative process with directors and other theater artists. If possible, project work may be linked to work in the production season or directing curriculum with varied class content from the student’s TPST-170 experience.

TPST - 275 Lighting Design
An introductory course that explores the use of light as an artistic medium in theatrical productions and spectacle. This overview course acquaints the students with the science, equipment, design elements, and conceptual processes employed in lighting design.

TPST - 276 Advanced Lighting and Digital Media Seminar
This course offers advanced students in-depth, hands-on practical application of Lighting and Digital Lighting Media Design for Theatrical Production, including work with digital lights, visual projections, video content creation and more. Utilizing true state of the art technologies, students will work with professionals and Theater Faculty in the creation of lighting and digital media design for Theater and Performance Studies Program mainstage productions, as well as exploring real world applications in the entertainment industry.

TPST – 280 Hope Seminar: New Play Development
This intermediate workshop for playwrights, dramaturgs, directors and designers is dedicated to the creative process and development of new works. Weekly meetings will function as company workshop with and for writers. Each student will be required to work on at least one one-act or full length play throughout the semester. Plays that are already in progress are acceptable for this class as re-working and re-writing is a major part of the workshop experience, which also includes one-on-one mentoring. In addition to weekly meetings, students will attend and consider several new play readings at professional DC theatres. Students must have taken at least one other ARTT/TPST or college-level creative writing course.

TPST – 290 Live Action Cartooning
Live Action Cartooning is an intensive multimedia performance class, drawing on techniques of cartooning, video, performance art, and theater. This workshop class will culminate in a public performance in the Davis Performing Arts Center in June 2006. Students from visual arts, theater, and cultural studies are particularly encouraged to apply.

TPST – 300 Ensemble Theater Practicum
This intensive studio class will involve a core of intermediate to advanced students in preparing a performance either for a workshop performance or as part of the Davis Center Season. Members of the class will collaborate on many theatrical roles, from dramaturgy and concept to performance and design. This class intertwines critical and creative inquiry, utilizing a research to performance model. Students will engage in text analysis, social research, and style workshops early in the semester, followed by creative interpretation and rehearsal. Required lab hours for rehearsal in addition to regular class meetings.

TPST – 305 Summer Performance Ensemble
This course requires participation as a performer or technician in the Gritti Politti Performance Festival, featuring productions to be presented in the Davis Performing Arts Center. It is an intensive studio class for intermediate to advanced students (actors, designers, technical artists) who will collaborate as a company, together with director/faculty, to create a performance.

TPST – 320 Performance Workshop: Voice, Movement and Styles
This rigorous course focuses on techniques for performing in a variety of theatrical periods, styles and cultures. Course work aims at improving an actor's skills and training in the use of the body and voice, characterization, creative range, performance presence, and embodied understanding of distinct performance traditions. Students will explore a variety of performance theories, systems, and techniques, so that in different semesters, scenes and styles will range from world classical forms through experimental performance art. Final scene project will culminate in a public performance with minimal set and costumes.

TPST – 332 Contemporary American Women Playwrights
This special topic seminar surveys America's contemporary women playwrights with a primary focus on the range of theatrical and thematic expressions this heterogeneous group has created. We understand plays as texts for performance. Each week we will focus on selected works by different contemporary women dramatists, focusing mostly on the plays, and secondarily on criticism about them. Although the range of playwrights studied in this course is in no way exhaustive of those women dramatists active, and even influential, in contemporary American theater, this survey can be understood to stretch assumed boundaries of what is a play, what is "women's writing," and what is American. Intended for students of Theater, Women Studies, American Studies, Literature, Ethnic Studies and others.

TPST – 340 Performing America
This advanced course examines the role of performance in the shifting notions of American ethnic, racial, and national identity from the founding of the Republic and the American Revolution to the present day. Together we will explore the myriad roles of performance in vying for, maintaining, and contesting political power, fundamental both to the exercise of political authority and to the formation of new structures of nationalist feeling. Our method of inquiry in the class will be drawn from the field of performance studies, which combines aesthetic and social theory in the study of expressive social behaviors. We will examine a variety of performance practices to develop a social historiography of embodied culture. The United States serves as the scenario for this course, though the issues will be more generally relevant and students are encouraged to explore other national contexts. Intended for upper class students from diverse majors, including Theater and Performance Studies, Government, History, American Studies, and Ethnic Studies. Cross-listed with American Studies.

TPST – 345 War and Peace: History in Drama
This interdisciplinary seminar considers plays that deal with war and peace, beginning with the Trojan War and spanning into the 20th Century. By considering how playwrights have interpreted history, typically their own, this intensive seminar provides a window into cultural history, the civic role of theater in society, and the art of playwriting. The seminar will include plays by Euripudes, Shakespeare, Ruzzante, O’Casey, Brecht, Chekhov, Friel, Churchill, McGuiness, Wertenbaker, and others. The format will rely heavily on student engagement with the material, and include regular filmviewings as well as seminar papers. Students from across the University are encouraged to join this advanced seminar; some slots will be dedicated to Theater Minors.

TPST-350 Postmodern Performance
“Performance is the unifying mode of the postmodern.”
- Michel Benamou
Increasingly the idea of “performance” has been seen as a central concern in a range of disciplines comprising the human and social sciences. This course will explore the relationship between performance and “postmodernity” as it emerges across disciplines during the 1960s and 70s. The emphasis will be on the impact and implications of this relationship for both live and mediatized performances. To this end we will screen a variety of works from theatre, video, film and performance art which will serve as case studies for interrogating the theoretical and historical readings. During the second half of the semester students will have the opportunity to create their own performances.

TPST – 400 Advanced Theater Practicum
The purpose if this course is to provide an organized forum for intermediate to advanced students to share work process, questions, challenges, and results with regard to individual independent study projects in which they are engaged. Projects may include traditional academic pursuits (research, readings, dramaturgy, etc.); creative endeavors (playwriting, acting, directing, design); or ongoing work in another theatrical organization (internships, for instance). Projects linked to ongoing departmental or student production on the Georgetown campus may be accepted.

TPST – 410 Colloquium for Theater and Performance Studies Majors
This course is intended for advanced theater majors considering a future in theater scholarship, education, or production. Faculty, staff and guest artists will introduce dedicated students to diverse sites of professional engagement in the field, and will mentor student preparation for graduate work or a career in performing arts. By permission of the Director of Theater and Performance Studies.

TPST – 425 Acting Apprenticeship
This studio course, taught by a professional stage actor, mentors advanced and intermediate students of acting as they consider pursuing the field professionally. Students will prepare contrasting audition monologues for graduate school and professional auditions, observe a rehearsal at a professional theatre, meet with working stage actors, and work independently to establish a disciplined creative practice.

Directed Studies
The following directed studies are offered from 0-3 hours of credits (indicated by final digit in the course number; thus, TPST-420 = 0 credit hours, TPST-421 = 1 credit hour, etc). Directed Studies with faculty supervision are the appropriate way to gain credit for intensive outside internships and, in specific cases, for independent work supervised by Theater and Performance Studies faculty.

TPST – 420, 421, 422, 423 Directed Studies: Intensive Participation in Faculty-Directed Productions
TPST – 430, 431, 432, 433 Directed Studies: Dramaturgy/ Literary Theory
TPST – 440, 441, 442, 443 Directed Studies: Community Engagement Projects
TPST – 450, 451, 452, 453 Directed Studies: External Internship/ Fieldwork
TPST – 460, 461, 462, 463 Directed Studies: Theater Arts Management
TPST – 470, 471, 472, 473 Directed Studies: Advanced Technical Theater Production
TPST – 480, 481, 482, 483 Directed Studies: Playwriting

Pre-Approved Cognate Courses to the Degree

Recent Cognate Courses offered by the Associated Faculty in Theater and Performance Studies, any of which may fulfill the major’s requirement for 1-3 cognates:

ENG-042 Playing Modern: Modernism, Postmodernism & Theatricality (Fink)
ENG-130 Shakespeare (Collins, Homer, Ribeiro, et al)
ENG-179 Staging Anti-Slavery (Cima)
ENG-335 Writing for Stage and Screen: The Scene (Glavin)
ENG-336 Tutorial: Intermediate Scriptwriting (Glavin)
ENG-337 Tutorial: Advanced Scriptwriting (Glavin)
ENG-353 Performance Theory (Cima)
FREN-263 Acting Moliere (Bensky)
FREN-265 Acting Beckett & Ionesco (Bensky)
FREN-269 French Theatre Workshop: Plays by Women (Bensky)
FREN-270 French Theatre Workshop: New Playwrights (Bensky)
FREN-375 African Play Production Workshop (Bensky)
HIST-235 Music, Theatre and Society in Europe: 1600-1850 (Astarita)
IDST-010-07 Ignatius Seminar: Shakespeare: For All Ages and Stages (Holmer)
SPAN-446 Early Modern Spanish Theatre (Mujica)
SPAN-471 Hispanic Drama: Theory and Practice (Mujica)

Pre-approved Music Courses which may alternately fulfill the requirement for 1-3 related courses offered by a related discipline:

MUSC-161 Writing About Performing Arts (Celenza)
MUSC-231 The American Musical on Stage and Screen (DelDonna)
MUSC-332 Introduction to Opera (DelDonna)
MUSC-238 Music/Dance in America (Stilwell)
MUSC-261 Vocal and Musical Theater Workshop (Staff)

Other courses offered by other programs directly related to Theater and Performance Studies may be proposed for fulfilling the interdisciplinary component of 1-3 courses.