Content Outline and Competencies:

I.  Definition of Theater

A. List essential elements of a theater production.

B. Compare and contrast theater with other performing arts.

II.  Relationships Between the Audience and Theater Artists

A. Examine the individual roles of those involved in creating the performance event.

B. Explore the interactions between theater artists.

C. Explore the "transaction" that occurs between artists and audience members during a performance.

III. Vocational Options in the Theater

A. Compare the "business" of the theater with the artistry of the theater.

B. Examine the working conditions for theater professionals.

IV. Major Historical Developments of the Theater

A. Examine the origins of theater.

B. Determine the significance of the playhouse, performance style and the play script in 5th century BC Greece.

C. Compare the theater of ancient Greece to that of Shakespearean England.

D. Examine how theater has continued to evolve and diversify in the late 19th century and through the 21st century.

E. Contrast Western theater with theater of other cultures.

F. Predict future trends.

V. Categories and Structures of Plays

A. Identify ways of categorizing play scripts.

B. Identify and explain the basic qualities and structures of a play.

C. Read and discuss a minimum of three plays.

VI. The Critical and Aesthetic Experience

A. Attend play productions.

B. Participate in oral critiques of productions.

C. Explore critical approaches to writing about plays.

D. Write production reviews.

Content Outline and Competencies:

I. Theatre Nomenclature and Vocabulary

A. Define and explain terms used to discuss the work of the actors.

B. Demonstrate the vocabulary through written and performance work.

II. Exercises for the Actor's Instrument

A. Investigate relaxation techniques.

B. Perform specific exercises to enhance physical agility, balance and strength.

C. Show an increasing ability to maintain focus and concentration.

III. Emotional and Sensory Awareness

A. Practice imagination and recall exercises.

B. Experiment with imagination and sense memory in daily work with partners.

C. Practice spatial awareness through exercises.

IV. Foundational Approaches in Creating a Character

A. Define and explain concepts and terms related to character analysis.

1. Goal (objective, intention)

2. Others (obstacles)

3. Tactics (strategies, actions)

4. Expectation (drive, energy, motivation)

B. Practice these concepts in performances and daily work with partners.

V. Acting Exercises, Scenes, and Monologues

A. Complete an analysis which states the character's goals, obstacles and tactics.

B. Accomplish several readings and rehearsals of the exercises, scenes or monologues.

C. Perform the exercise, scene or monologue in front of the class.

D. Present a well-rehearsed audition monologue with a proper introduction.

VI. Critical Analysis of Performances

A. Participate in constructive oral criticism of one's own work and the work of others.

B. Attend performances of theatre productions.

C. Write at least two critical responses to theatre productions.

Content Outline and Competencies:

I. Increase Concentration Skills
   A. Develop relaxation techniques.
   B. Develop focusing and centering techniques.
      1. Explore energy sharing.
      2. Explore shifting centers of gravity.

II. Enhance Skills in Observation
   A. Develop observation exercises.
      1. Explore mirroring exercises.
      2. Explore sculpting exercises.
   B. Learn how to respond to changes in environment.
      1. Adapt to differing sound stimuli.
      2. Adapt to differing movement patterns.

III. Create Characters Using Non-Verbal Strategies
   A. Explore mask work.
   B. Explore body shaping.
   C. Explore rhythm and motion exercises.

IV. Demonstrate a Heightened Awareness of the Physical Space
   A. Create tension in space.
      1. Apply tension through machines.
      2. Apply tension through geometrics.
      3. Apply tension through the physical space.
   B. Create physical tension between two or more participants.

V. Work Cooperatively and Interdependently in Group Situations
   A. Develop effective scene improvisations.
   B. Develop effective solo improvisations.
   C. Develop extended storytelling techniques.
      1. Create expanded fairy tales.
      2. Construct group stories.
      3. Learn collaborative techniques.

Content Outline and Competencies:

I. Dramatic Literature Genres

A. Read a variety of plays.

B. Discuss your play journal.

II. Emotional and Sensory Awareness

A. Practice imagination and recall exercises.

B. Experiment with imagination and sense memory in daily work with partners.

C. Employ imagination/sense memory work in preparation of scenes and monologues.

III. Character Analysis

A. Identify an approach to analyzing character.

B. Practice this approach in assigned exercises and scene work.

IV. Contemporary Monologues and Scenes

A. Analyze the assigned scenes and monologues to determine the given circumstances of the scripts.

B. Rehearse the scenes and monologues to discover believable physical actions and bold choices.

C. Perform the memorized scenes and monologues for the class.

D. Present a well-rehearsed audition monologue with a proper introduction.

V. Critical Analysis of Performances

A. Participate in constructive oral criticism of one's own work and the work of others.

B. Attend performances of theatre productions.

C. Write at least two critical responses to a live theatre production.

Content Outline and Competencies:

I. Explain the physiological mechanics of the voice.
   A. Identify parts of the anatomy and physiology of the vocal
mechanism.
      1. diaphragm
      2. lungs
      3. larynx
      4. vocal folds
      5. teeth, lips, tongue
   B. Recognize how the 'need to communicate' affects the body as a
process.
      1. nerve impulse
      2. breath response
      3. phonation
      4. articulation
      5. amplification through resonators
   C. Explore the relationship between pitch and resonators.
   D. Identify articulators.
      1. lips
      2. teeth
      3. gum (alveolar) ridge
      4. tongue
      5. hard palate
      6. soft palate
   E. Identify factors which inhibit the voice.
      1. habitual blocking of reflex action due to conditioning or social
demands
      2. tension
      3. strong emotion
      4. posture

II. Develop a relaxation process to free up the voice.
   A. Recognize vocal habits and distinguish them from new experiences.
   B. Develop flexibility and strength to support the voice.
      1. the spine
      2. the joints
      3. the muscles
      4. resisting gravity
      5. breath support
      6. energy
   C. Explore the breathing process.
      1. involuntary muscle reactions
      2. restrictive tensions
      3. natural rhythm
      4. oxygen exchange
   D. Develop the first stages of a vocal warm-up.
      1. awareness
      2. mental focus
      3. natural breathing
      4. 'touch of sound'
      5. vibrations
      6. muscle relaxation

III. Direct the voice through all the resonators.
   A. Identify characteristics of the different resonators.
      1. pitch
      2. rhythm
      3. mood
      4. vulnerability
   B. Isolate the various resonators.
      1. chest
      2. oral cavity
      3. teeth
      4. nasal cavity and sinuses
      5. skull
   C. Link the resonators together.
      1. range
      2. breath
      3. energy
   D. Work through the point where the voice breaks between 'head voice'
and 'chest voice'.

IV. Access the breath for power in communication.
   A. Explain the different types of breathing.
      1. abdominal
      2. diaphragmatic
      3. intercostal
   B. Develop additional warm-up techniques to increase access to breath.
      1. imagery
      2. six-sided box
      3. 'vacuuming' the lungs
      4. 'breath of fire'
      5. 'sigh of relief'
      6. anticipation
      7. meditation
      8. 'power center'
   C. Identify habits that interfere with communication.
      1. muscle tension
      2. forced (strident) voice
      3. decreased lung capacity (lack of postural support)
      4. emotional shut-down

V. Incorporate vocal dynamics directly into the spoken text.
   A. Distinguish between vowel and consonant sounds.
      1. fricatives
      2. plosives
      3. nasals
   B. Distinguish between voiced and unvoiced consonants.
   C. Combine the forward (bell) tone with the dropped jaw for flow.
   D. Demonstrate vocalization of all the vowels.
      1. neutral 'hah'
      2. lip vowels
      3. tongue vowels
   E. Develop a full vocal warm-up, including:
      1. relaxation
      2. free breathing
      3. lengthened spine
      4. resonators
      5. articulators

VI. Demonstrate productive work habits in the classroom.
   A. Identify and develop positive attitude, including:
      1. giving and accepting constructive criticism
      2. maintaining a positive, safe work environment
      3. developing specific listening skills
   B. Develop productive work habits, including:
      1. completion of assignments on time
      2. preparation for in-class assignments
      3. observation of others' work

Content Outline and Competencies:

I. Participation in Theatre Department Productions

A. Work as a member of the running crew on a department production. Positions include but are not limited to stagehand, followspot operator, light board operator, sound board operator, assistant stage manager, wardrobe crew, dresser, etc.

and/or

B. Pre-performance work in the theaters, scenery or costume shops constructing and assembling the productions. This work involves hands-on use of carpentry and construction tools, sewing machines, stage equipment and painting/decorating implements.

Content Outline and Competencies:

I. Audition for a Production and Be Cast in a Role
   A. Prepare for the audition as requested by the director, which may
include:
      1. Prepared monologues.
      2. Cold readings of scenes.
      3. Improvisations.
   B. Perform the audition.
   C. Participate in callbacks.

II. Attend Rehearsals and Meetings as Required by the Director and
Designers
   A. Identify and develop positive attitudes appropriate for the theatre,
including preparation as required for each rehearsal and the ability to
take constructive criticism from the director.
   B. Identify and exhibit productive work habits, including prompt and
active participation in scheduled activities, efficiency during
rehearsals, and other behaviors as outlined in the department's "Company
Policies."
   C. Identify and develop collaborative/teamwork skills, including
working with peers and responding to supervision.

III. Complete Homework as Assigned
   A. Analyze the character through use of such tools as character
biography, GOTE sheet, intensive re-reading of the script, research, etc.
   B. Meet deadlines set by the director in a timely manner.

IV. Perform the Play Before a Live Audience
   A. Exhibit promptness in arriving for all calls (for makeup, warm-ups,
"places," etc.).
   B. Perform the role as rehearsed.
   C. Attend post-production responses.
   D. Assist with strike of the set, lights, and costumes.

Content Outline and Competencies:

I. Principles of Makeup for Theatre and Film
   A. Facial anatomy
      1. Identify and name the bones of the face.
   B. Light and shade
      1. Explain why the principles of light and shade (chiaroscuro) are
important for stage makeup.
      2. Demonstrate in drawing how light and shade fall differently on
flat and curved surfaces.
      3. Define hard and soft edges and identify areas of the face which
contain each.
      4. Describe how highlights and shadows can create or emphasize
features of the face.
   C. Color in makeup
      1. Define and use the basic color terms: hue, intensity and value.
      2. Mix pigments to create new colors and values of a color using the
color wheel.
      3. Recognize and identify makeup colors using the Corson color
system.
   D. Lighting and makeup
      1. Describe and give examples of colored light on pigment.
      2. Explain how lighting changes and direction may affect makeup.

II.   Planning the Makeup
   A. Relating the makeup to the character
      1. Research fictional and historical characters using a variety of
sources and input.
      2. Analyze character using the seven primary factors:  genetics,
environment, health, disfigurements, fashion, age, and personality; and
identify the significance of each.
      3. Create a makeup  morgue" of photographs and research representing
a variety of features and categories for each of the seven character
factors.
   B. Designing the makeup
      1. Describe the role and responsibilities of the makeup designer.
      2. Collect character sketches to be used in makeup design.
      3. Design a makeup and adapt it to the photograph of the actor.
      4. Complete a makeup worksheet for a design, including sketch and
all pertinent information and instructions.

III.  Applying the Makeup
   A. Makeup equipment
      1. List basic equipment needed for the makeup room.
      2. Identify equipment needed specifically for the makeup lab or
workshop.
      3. Identify basic makeup materials and supplies.
   B. Applying various types of makeup
      1. Practice applying cake makeup, dry makeup and creme makeup using
proper techniques and tools.
      2. Describe the steps used in applying soft greasepaint.
   C. Corrective makeup
      1. Analyze a face for corrections needed in straight makeup.
      2. Apply corrective makeup to various facial features using
prescribed techniques.
      3. Change three major features to create a new look using the makeup
morgue.
   D. Stippling
      1. List and explain the uses of stippling.
      2. Use stippling in one or more makeups to add texture, color or
reduce contrast.
   E. Modeling with highlights and shadows
      1. Model hard and soft edges in makeup on the skin.
      2. Identify the planes of the face and which should be highlighted
and/or shadowed for straight makeup and age makeup.
      3. Apply highlights and shadows to the five areas of the face for
both straight and age makeup.
      4. List methods for blocking out eyebrows and perform one as
assigned.
      5. Use highlights and shadows in application projects.
   F. Three-dimensional makeup
      1. List and describe materials used to create three-dimensional
makeup.
      2. Create a three-dimensional makeup using prescribed techniques.
      3. Outline the techniques for special constructions in 3-D makeup.
   G. Prosthetic makeup
      1. Define prosthetic makeup and differentiate it from  3-D" makeup.
      2. Explain negative and positive molding processes.
      3. Identify and distinguish prosthetic pieces made from liquid and
foam latex.
      4. Perform the process of applying and disguising a prosthetic
piece.
   H. Beards and mustaches
      1. Describe the types of facial hair pieces available and the
materials for creating them.
      2. List the steps for applying both crepe hair and ventilated
mustaches and beards.
   I. Hair and wigs
      1. Explain the significance of proper hairstyle as part of the
makeup.
      2. List methods of changing the look or hairline of the actor's own
hair.
      3. Identify basic types and shapes of wigs and their construction.
      4. Describe care, alteration and fitting of wigs.
   J. Special makeup problems
      1. Analyze a historical character for features which could be
recreated on the actor's face.
      2. Design a nonrealistic makeup using stylization and inspirational
research.
      3. Explain the problems and solutions used in quick change makeup.

Content Outline and Competencies:

I. Introduction to Costuming
   A. Describe the role of Costuming in theatre/film, providing specific
examples.
   B. Outline the elements and process of designing costumes for theatre.
   C. Trace the major developments in the history of costume design.
   D. Explore the importance of the study of costume history in costume
design and construction.

II. The Costume Shop
   A. Identify and explain the use of all basic equipment and tools needed
in the costume shop.
   B. Correctly operate each major piece of costume shop equipment
including:
      1. Industrial straight/zigzag machine
      2. Domestic sewing machine
      3. Domestic serger
      4. Industrial serger
      5. Industrial iron
   C. Perform basic stitches and function using small hand tools.
   D. List and demonstrate safe shop practices.

III. Costume Realization
   A. Plan and prepare for the design process.
      1. Demonstrate the strategies of the design process.
         a. Research for authenticity the styles and details appropriate
to the show's/project's period and culture.
         b. Effective plan for costume sources:  building vs. found
costume pieces.
         c. Render the design and any appropriate variations of a
costume.
      2. Measure actors/classmates using appropriate techniques and
completing a comprehensive measurement form.
      3. Identify the major types of fabric and name fiber content and
characteristics.
      4. Select appropriate fabric for designs/projects based upon the
following criteria:
         a. Authenticity and appropriateness to the designs
         b. Workability
         c. Durability
         d. Cost
      5. Plan for purchase and rental of accessories, citing sources.
   B. Construct a costume, including fitting and alteration.
      1. Create patterns for a basic garment.
         a. Demonstrate flat patterning in class project.
         b. Demonstrate patterning by draping in a class project.
      2. Cut a variety of fabrics using proper pattern layout and seam
allowance for both commercial and drafted patterns.
      3. Assemble costume pieces.
         a. Follow the general order for preparation and assembly of
pattern pieces.
         b. Complete preliminary sewing, including tucks, darts, pleats
and gathering.
         c. Sew all major seams, using the appropriate stitch, seam
allowance and alignment.
         d. Construct and attach sleeves, collars, cuffs, plackets and
pockets using proper techniques.
      4. Fit and alter costumes.
         a. Conduct a fitting, checking crucial areas for fit and movement
and recognizing special fitting problems.
         b. Alter both pattern and garment pieces as required utilizing
markings from fitting.
   C. Complete the costume with finishing details.
      1. Identify and apply final trims and embellishments.
      2. Correctly install and name costume fasteners including zippers,
buttons, snaps, velcro, hooks and eyes, and grommets (lacing).
      3. Explain and use dyeing and painting processes for costume.
      4. Discuss rigging of costumes for quick changes, specific stage
actions and special effects.

IV. Accessories and Special Projects
   A. List the various types of accessories that complete the costume.
   B. Describe the importance of appropriate accessories in completing the
costume design.
   C. Outline the processes and materials used in constructing each of the
major categories of accessories/crafts:
      1. Millinery
      2. Jewelry
      3. Armor
      4. Shoes
      5. Masks
   D. Create an accessory of original design using craft tools and
materials as discussed.

V. Organization
   A. Explain the wardrobe manager's tasks before, during, and after the
show.
   B. Discuss an effective storage plan for costumes.
   C. Summarize the care and repair of costumes in wardrobe storage.

VI. Attitudes and Work Habits
   A. Identify and develop positive attitudes toward tasks and fellow
staff appropriate for the workplace, including giving and accepting
criticism and praise.
   B. Recognize and develop productive work habits, including attending to
detail, completing tasks, maintaining the work setting and recording data.
   C. Develop collaborative/teamwork skills, including solving problems in
groups, building consensus and responding to supervision.

Content Outline and Competencies:

I. Express the physical life of a character.
   A. Identify the different aspects of human physicality, including
      1. age
      2. ethnic origin
      3. body type
      4. internal rhythm
      5. external rhythm
      6. posture
      7. debilitation
   B. Determine one's own physicality using the above categories.
   C. Develop techniques to alter physicality from actor to character,
including
      1. rhythm alteration
      2. breakdown of body postures into "boxes"
      3. manipulation of body "boxes"
      4. breathing
      5. energy centers
   D. Explore altered physicality through improvisations, including
      1. environment
      2. locale
      3. time period
      4. character interaction

II. Communicate character objectives and emotions through movement.
   A. Explore basic human rituals, including
      1. tribal ceremonies
      2. children's games
      3. primitive dance
   B. Determine the physical effects of needs and emotions, including
      1. skin temperature
      2. breathing rate
      3. tension
      4. energy
   C. Explore the pursuit of objectives through external means, including
      1. individual space
      2. use of touch
      3. push vs. pull
      4. extreme expression

III. Engage in exercises which develop the actor's flexibility and
strength.
   A. Identify aspects of the anatomy which affect movement, including
      1. breathing apparatus
      2. spinal alignment
      3. muscular tension
      4. range of movement of the extremities
      5. muscle strength
      6. equilibrium
   B. Develop a warm-up for the body, including
      1. stretching
      2. breathing
      3. strength exercises
      4. flexibility
   C. Explore movement through space, including
      1. habitual patterns of physicality
      2. interaction with objects
      3. postural shaping
      4. spontaneous response

IV. Demonstrate rudimentary stage combat skills.
   A. Demonstrate stage combat safety as it pertains to
      1. the actor
      2. the actor's combat partner
      3. the audience
   B. Develop basic martial arts moves, including
      1. punches
      2. kicks
      3. blocks
      4. slaps
      5. evasions
   C. Create the illusion of real combat for the stage, using
      1. "knaps" (sounds of slaps, punches, etc.)
      2. "selling" the pain
      3. specificity of attack
      4. communication with partner
      5. altered fighting distance
      6. audience sight lines
      7. connectivity of moves

V. Perform basic circus techniques.
   A. Distinguish between "real time" and "clown time" in terms of
      1. moment
      2. desire
      3. focus
      4. absence of logic
   B. Develop basic circus techniques, including
      1. juggling
      2. clowning
      3. acrobatics
      4. mime
      5. size of movement
      6. audience focus

VI. Demonstrate productive work habits in the classroom.
   A. Identify and develop positive attitude, including
      1. giving and accepting constructive criticism
      2. maintaining a positive, safe work environment
      3. developing specific observation skills
   B. Develop productive work habits, including
      1. completion of assignments on time
      2. preparation for in-class assignments
      3. observation of others' work

Content Outline and Competencies:

I. Scene Shop Orientation

A. Identify and demonstrate correct usage of hand and power tools.

B. Identify a wide variety of theatrical hardware and fasteners.

C. Identify and be aware of the properties of a variety of scenic materials.

D. Exercise shop safety rules.

II. Graphics and Standards for the Performing Arts

A. Be able to use and comprehend scale and the scale ruler.

B. Comprehend and utilize USITT Graphics and Standards.

C. Read a tape measure.

D. Read working drawings.

III. Scenic Construction Techniques

A. Select appropriate building materials.

B. Exercise use of correct building techniques.

C. Build scenic elements such as flats, platforms, sculpture, etc.

IV. The Stage and Its Equipment

A. Identify the following:

1. The stagehouse

2. Counterweight rigging systems

3. Masking, curtains and drops

4. Catwalks, booths, galleries, grids, traps and elevators

B. Safely use the above equipment and areas.

V. Electrical Theory and Practice

A. Comprehend electricity and its parts and laws.

B. Exercise and comprehend electrical safety.

VI. Lighting Production and Technology

A. Identify a wide variety of lighting instruments and their structural makeup.

B. Correctly hang and focus lighting equipment.

C. Comprehend and use theatrical computer lighting control boards.

D. Identify a wide variety of lighting accessories.

VII. Scenic Painting and Decoration

A. Identify and describe scenic and commercial paints, dyes and materials.

B. Identify and use a wide variety of paint and dye applicators.

C. Comprehend basic color theory and paint mixing.

VIII. Stage Properties

A. Differentiate between a variety of theatrical properties and their usage.

B. Develop a theoretical knowledge of their acquisition/procurement.

IX. Sound Production and Technology

A. Identify a variety of sound equipment including:

1. Mixer board and patch panels

2. Amplifiers and pre-amps, speakers and microphones

3. Analog and digital playback components

B. Safely operate and patch the above components and equipment.

Content Outline and Competencies:

I. The Fundamentals of Design

A. Explore the role of a costume, scenic, lighting, property and projection designer

B. Describe what is involved in conducting script analysis as a designer.

C. Prepare research with 1st and 2nd source examples.

II. Basic Artistic Composition

A. Learn the elements of art and principle of design.

B. Articulate design principles applied to works of art.

C. Learn basic color theory.

III. Graphics and Standards

A. Use tape measures and scale rulers.

B. Identify drawing types and views.

C. Identify and comprehend USITT standards.

IV. Basic Drafting Techniques

A. Practice correct line weights and lettering.

B. Prepare a scaled ground plan, front and side elevations.

C. Complete assigned drafting projects.

V. Costume Design

A. Examine the historical background.

B. Comprehend the process of Costume Design.

1. Prepare script Analysis, research, and rough sketches.

2. Prepare a set of costume renderings.

3. Swatch complete renderings.

C. Prepare costume design project.

IV. Scenic Design

A. Examine the historical background

B. Comprehend the process of scenic design.

1. Execute script analysis, research and rough sketches.

2. Create scenic renderings.

C. Prepare scenic design project.

VII. Lighting Design

A. Examine the historical background.

B. Comprehend the process of lighting design.

1. Execute and read light plots and circuit sheets.

2. Use color mixing theory for light.

C. Execute lighting design project.

Content Outline and Competencies:

I. Introduction-The Reason for Script Analysis
   A. Explain why play analysis takes place in the theatrical production
process.
   B. Describe what is involved in conducting a script analysis.

II. The Process of Script Analysis Begins
   A. Describe how the first reading of a play creates the foundation for
subsequent steps in the analysis process.
      1. Identify how one determines what the production wants to
accomplish.
      2. Describe how the first reading of a play is conducted.
   B. Explain the structural nature of different dramatic genres as they
affect theatrical productions.
  
III. The Information-gathering Process and How it is Used in Script
Analysis
   A. Describe how the given circumstances of a play are determined.
      1. Define the roles played in script analysis by the locale, social
setting, and cultural norms created by the playwright.
      2. Utilize information gathering techniques to develop the given
circumstances of a play.
      3. Describe what “backstory” means in script analysis.
   B. Identify the difference between a theatrical contract and a
theatrical convention.
      1. Explain the differences involved in the creation of
presentational and representational productions.
      2. Identify and describe the difference between realistic and
non-realistic methods of staging.

IV. A Valid and Useful Script Analysis of a Selected Play
   A. Determine how characters are delineated in a script.
      1. Use stage directions to find character information.
      2. Evaluate the language, dialogue, and physical actions of the
characters so as to better understand who they are and what they are
trying to accomplish in the play (What they say, what they do, and what
others say about them).
   B. Determine how the conflict in a play is presented.
      1. Describe how character and conflict both affect and interact with
one another.
      2. Explain the basic concepts of conflict analysis as used in a
script analysis.
      3. Create a conflict matrix for a scene in a play using a clear
analytical method.
      4. Identify the impact of conflict on the theme of a play.
   C. Relate those other elements of drama present within a play to the
conflict that the playwright has created.
   D. Decide on how to set the play (where, when, style, mood, etc.), and
discuss the implications of this decision on the design team.

Content Outline and Competencies:

I. Performance Techniques for Oral Interpretation
   A. Use physical qualities that clarify the interpreted literature.
   B. Use vocal qualities that clarify the interpreted literature.
   C. Use emotional and sense memory to clarify the interpreted
literature.
   D. Prepare effective introductions to solo interpretations.

II. Performance Techniques for Readers Theatre
   A. Describe the purpose of presentational theatre.
   B. Develop physical and vocal qualities that clarify the interpreted
literature.
   C. Describe the role of the interpreter.
   D. Demonstrate appropriate styles of delivery, such as:
      1. Developing methods for using the manuscript.
      2. Creating and changing the interpreter-audience relationship
through manipulation of the physical space.
      3. Using chairs, cubes, stools, and the floor to complement the
script.

III. Compiling Thematically Unified Scripts
   A. Describe types of organizational formats.
      1. Single text script
      2. Expanded script
      3. Collage script
   B. Integrate non-fiction sources.
      1. Personal narratives
      2. Diaries and letters
      3. Biographies, autobiographies, and histories
      4. Letters
   C. Differentiate between chamber theatre and readers theatre.
      1. Describe and perform narrative points of view.
      2. Distinguish virtual present from virtual past.
      3. Create chamber theatre scripts adapted from narrative fiction.

IV. Public and/or Educational Performances
   A. Participate in service-learning opportunities.
      1. Senior citizen communities
      2. Elementary, middle, and/or high schools
   B. Perform in formal programs as arranged by instructor or theatre
department.

V. Attitudes and Work Habits
   A. Identify and develop positive attitudes toward tasks and fellow
classmates appropriate for the classroom and outside rehearsal times.
      1. Giving and accepting constructive criticism
      2. Maintaining a cooperative work environment
   B. Identify and develop productive work habits.
      1. Completing tasks by assigned due dates
      2. Being prepared for in-class rehearsals

Content Outline and Competencies:

I. The Actor’s Instrument

A. Demonstrate mastery of exercises to increase physical strength, flexibility and balance.

B. Physically manipulate the body to create characterization.

C. Apply imagination and/or sense memory exercises to the acting process.

II. Physical Action

A. Create logical and well-executed movement choices in scene and monologue work.

B. Complete organically motivated blocking choices in scene and monologue work.

III. Advanced Scene and Monologue Work

A. Demonstrate an ability to analyze complex scenes and monologues in greater depth.

B. Work interdependently and cooperatively with scene partners.

C. Apply visceral, active, and bold acting goals, obstacles, and tactics to scene and monologue work.

D. Present a well-rehearsed audition package which includes an acting resumé.

IV. Pre-Realistic and Non-Realistic Plays

A. Demonstrate different acting approaches and styles.

B. Perform verse, blank verse, and/or prose from pre-twentieth century literature.

V. Critical Analysis of Performances

A. Participate in constructive oral criticism of one's own work and the work of others.

B. Attend performances of theatre productions.

C. Write at least two critical responses to live theatre productions.

VI. Observation Skills

A. Identify self-improvement opportunities.

B. Identify physical and vocal characteristics through observation of others.

VII. Dramatic Literature Genres

A. Apply your understanding of different genres through discussion and/or performance.

B. Articulate your understanding of complex play structure through a play journal.

Content Outline and Competencies:

I. Plays of the Contemporary Theatre

A. Explore dramatic structure in linear and non-linear plays.

B. Trace plot development in linear and non-linear plays.

C. Analyze the playwright's intent in contemporary drama.

D. Investigate the director's process of understanding and interpreting a play.

1. Define the dramatic action.

2. Articulate the spine or action of characters.

3. Investigate conceptual or interpretive choices regarding design elements.

II. The Role of the Director

A. Demonstrate how to cast a play, including:

1. Structuring an audition

2. Conducting call-backs

B. Organize a working director's promptbook.

C. Learn and apply staging techniques, including:

1. Stage composition

2. Stage pictorial elements

3. Basic blocking notations

D. Plan and conduct productive rehearsals.

1. Develop an appropriate vocabulary when working with actors and designers.

2. Practice time management strategies.

3. Create effective rehearsal schedules.

III. The Role of the Stage Manager

A. Organize a working stage manager's promptbook.

1. Learn and apply blocking notations.

2. Interpret a basic groundplan.

3. Create a working production calendar.

B. Complete rehearsal and performance report forms.

C. Demonstrate organizational and communication strategies for technical collaboration.

IV. The Relationship Between Actors and Audience

A. Utilize the different types of staging.

1. Arena

2. Proscenium

3. Thrust

B. Explore the different styles of theatre

1. Realistic

2. Presentational

C. Discuss the psychological and physiological audience responses to a production.

V. Evaluate Productions

A. Recognize individual styles through form, content and personalization.

B. Recognize the difference between the playwright's intent and directorial choices.

C. Attend rehearsals and discuss different directorial rehearsal approaches.

D. Analyze and discuss assigned theatre productions.

Content Outline and Competencies:

I. Participation in Theatre Department Productions

A. Work as a member of the artistic production team in one of the following capacities: stage manager, scene designer, lighting designer, costume designer, sound designer, assistant to the director.

and/or

B. Work as a member of the running crew on a department production. Positions include but are not limited to stagehand, followspot operator, light board operator, sound board operator, assistant stage manager, wardrobe crew, dresser, etc.

and/or

C. Pre-performance work in the theaters, scenery or costume shops constructing and assembling the productions. This work involves hands-on use of carpentry and construction tools, sewing machines, stage equipment and painting/decorating implements.

Content Outline and Competencies:

I. A Definition of Scenic Design for Theatre

A. List essential responsibilities of a scenic designer.

B. Compare and contrast different professional positions a scenic designer can hold across different entertainment industries.

C. Explore and understand the relationships between the director and scenic designer, as well as the relationships between other collaborators on the design team.

D. Explore and understand the relationships between the theatre space, the play design and the performers.

II. Script Analysis for Scenic Design

A. Examine and dissect a play script through the lens of scenic design.

B. Explore the scenic design needs outlined in a script versus needs developed from concept.

C. Explore and experiment with different processes of taking the first steps from analysis to visual design.

III. Research and Development

A. Explore and experiment with different techniques for visually communicating preliminary ideas and concepts.

B. Prepare and deliver a design presentation for a play.

IV. Turning Research and ideas into Design

A. Explore and experiment with different techniques for taking the leap from preliminary ideas and concepts to workable designs.

B. Compare and contrast these techniques to identify individual strengths.

C. Develop sketches, renderings and other visual communications for a play.

V. Drafting for Scenic Design

A. Explore USITT standards and the principles of drafting for the theatre.

B. Create a drafting packet that includes a ground plan, section and elevations using computer-aided drafting techniques.

VI. Building the Model

A. Explore and experiment with different modeling techniques for building a design.

B. Master a thorough understanding of how to read and create scale from a scale ruler.

C. Build a white scale model of design work.

D. Explore painting and graphic printing techniques for modeling.

VII. Defending and Presenting Designs

A. Practice and explore different styles of defending and articulating scenic designs.

B. Create final displays for design presentations.

C. Explore how to use final designs and design process for portfolio development.

Content Outline and Competencies:

I. The Impact of Costume Design on Production

A. Explore the definition of "costume."

B. Survey history of costume and costume design in early cultures and theatre history:

1. Ritual and dance

2. Religious ceremony and pageants

3. Ancient to modern theatre

C. Determine roles that costumes play in a production.

1. List character traits that are indicated through costume choices.

2. Explore how costume contributes to the production as a whole:

a. Theme, concept, mood

b. Overall design and visual impact

II. Responsibilities of a Costume Designer

A. Describe various design and technical staff positions in a theatre or film production.

B. Identify specific roles and responsibilities of a costume designer.

C. Trace the basic steps in the costume design process from initial reading to completion of production.

1. Read and discuss assigned play

2. Create a costume plot

III. The Role of Research in Costume Design

A. Describe the importance of research in any type of costume design.

B. List possible sources of research for plays and film:

1. Historic plays and film

2. Modern works

3. Fantasy or abstract theatre or film

C. Research an assigned historical period.

1. Create a research board from multiple sources.

2. Present orally and in written outline form the basic characteristics, garments, fabrics, and accessories for the time period assigned.

IV. Basic Elements of Costume Design

A. List and describe the six basic elements of all design:

1. Space

2. Line

3. Shape and form

4. Light

5. Color

6. Texture

B. Relate each of the design elements to costume design and explain their significance.

1. Complete projects based on shape, line and color.

2. Experiment with light and its effect on fabric and color.

3. Explore subliminal and cultural aspects of costume color.

C. Use elements of design to complete a final costume design project for a play.

1. Create a viable color scheme for the final project

2. Use line, shape and texture to indicate character in preliminary and final design sketches

V. Materials, Tools and Techniques

A. Demonstrate a knowledge of common fabric types and their uses; compare and contrast advantages and disadvantages.

B. Define and use common terms used in costume and theatre design.

VI. Key Historical Periods in Costume Design

A. Identify the silhouettes and basic garments of 6 major historical periods of Western fashion:

1. Greek

2. Medieval

3. Renaissance / Elizabethan

4. Restoration

5. 18th Century

6. Victorian

B. Design and illustrate costumes based on one of the six periods of fashion history.

Content Outline and Competencies:

Because of the nature of Special Topics, the course outline and competencies will vary, depending on the topic being offered.  Course outlines must be designed in the standard format for all JCCC approved courses with specific objectives, outcomes and using outcome-based language.  It will be up to full-time department faculty and their administrator to determine what topics will be offered and by whom, and to approve course content.