This assignment is designed for any lecture based course that does not inherently have collaborative work or assignments as part of the curriculum. For any student taking a theatre arts course, understanding how it is to work with others and create something is one of the biggest lessons that can be learned. To take the pressure off the idea of "performance", this playwriting assignment starts with the role of the Playwright and how to create from the ground up.

A survey of hazards specifically associated with working in theatres, performance venues, fabrication shops and live performances. Topics include potentially toxic chemicals, vapors, fumes and ventilation; shop conditions and working attitudes; proper preparation and planning; hazards associated with welding; and fire and life safety codes that relate to working in live entertainment.

A syllabus designed for a course covering the history of popular music (country, rock, hip hop, R&B, etc.) from 1960 to today.

This course is a survey of the development of architectural and scenic styles in the physical structure of theatre from its beginnings in ancient Greece to its most current forms, with an emphasis placed on the stylistic influences of theoreticians and artistic movements. The class is a conversation between theater history and architecture. As such, the work focuses on purpose-built and adapted spaces for live performance. Each week we will examine historical theatre spaces and technologies in the context of prevailing cultural and social forces in order to better understand audience/stage relationships.

This course develops the theory and design of hydrofoil sections, including lifting and thickness problems for sub-cavitating sections, unsteady flow problems, and computer-aided design of low drag cavitation-free sections. It also covers lifting line and lifting surface theory with applications to hydrofoil craft, rudder, control surface, propeller and wind turbine rotor design. Other topics include computer-aided design of wake adapted propellers, steady and unsteady propeller thrust and torque; performance analysis and design of wind turbine rotors in steady and stochastic wind; and numerical principles of vortex lattice and lifting surface panel methods. Projects illustrate the development of computational methods for lifting, propeller and wind turbine flows, and use of state-of-the-art simulation methods for lifting, propulsion and wind turbine applications.

Approaching analysis of Dramatic Literature can easily be accomplished via class discussion and through writing. Since plays are “written to be performed”, other approaches of analysis must be explored. The collage assignment and synthesis focuses on the visual aspects of the writing and how the playwright offers clues as to what can or should be focused on.

This course is an interdisciplinary exploration of three broad topics concerning music in relation to time.Music as Architecture: the creation of musical shapes in time;Music as Memory: how musical understanding depends upon memory and reminiscence, with attention to analysis of musical structures; andTime as the Substance of Music: how different disciplines such as philosophy and neuroscience view the temporal dimension of musical processes and/or performances.Classroom discussion of these topics is complemented by three weekend concerts with pre-concert forums, jointly presented by the Boston Chamber Music Society (BCMS) and MIT Music & Theater Arts.

" Offered in the spring and fall terms, Introduction to Stagecraft is a hands-on course that gets students working with the tools and techniques of theatrical production in a practical way. It is not a design course but one devoted to artisanship. Among the many remarkable final projects that have been proposed and presented at the end of the course have been a Renaissance hourglass blown in the MIT glass shop and set into a frame turned on our set shop lathe; a four harness loom built by a student who then wove cloth on it; a number of chain mail tunics and coifs; a wide variety of costume and furniture pieces and electrified period lighting fixtures."

An Introduction to Technical Theatre draws on the author’s experience in both the theatre and the classroom over the last 30 years. Intended as a resource for both secondary and post-secondary theatre courses, this text provides a comprehensive overview of technical theatre, including terminology and general practices.

Introduction to Technical Theatre’s accessible format is ideal for students at all levels, including those studying technical theatre as an elective part of their education. The text’s modular format is also intended to assist teachers approach the subject at their own pace and structure, a necessity for those who may regularly rearrange their syllabi around productions and space scheduling.

This survey course is designed to provide students with a thorough understanding and greater appreciation of the theatrical form. Readings and lectures will focus on the relationship between theatrical theory and practice, the various creative/production roles essential to theatre, as well as major artists and movements throughout theatrical history. Students will analyze major works of dramatic literature to offer context for course content, as well as attend a live theatrical performance on campus.

Learning Objectives:

Theatrical Theories & Terminology: Identify and apply the fundamental concepts, theories and roles associated with modern theatrical practice and professional theatrical production (i.e. suspension of disbelief, empathy, actor, designer, Broadway, Off-Broadway, etc.).
Theatre & Creativity: Examine and define the skills, considerations and tasks associated with the creation of theatre, both individually and as a collective whole.
Theatre & Society: Evaluate and articulate how theatre is a socially-responsive artform that creates meaning and fosters discussion, debate and community.
Theatre, History & Cultures: Analyze and define the central characteristics of the theatrical artform, both generally and in relation to the history of the United States and Global Cultures.
Oral Communication & Writing Skills for the Theatre: Analyze and evaluate the experience and the various components of live theatrical production, and articulate its value both verbally and in writing.

This course will introduce you to the various elements of the theatre with particular attention to the following inquiries: What is theatre? How is it created? What are the various occupations in the theatre? What is the position of theatre in society? How are theatre and history interconnected? My goal for this course is to give you the means to discuss theatrical experiences (either as theatre makers or spectators) as well as a great variety of theatrical traditions and provide a basis for your future endeavors with this art form. This will be based on lectures, readings, in-class discussions, and seeing theatrical productions.

As one of the oldest artistic forms, theatre has been an enduring witness to the vicissitudes of art and society. This course will offer a survey of the creative dimensions of theatre, such as dramatic literature, directing, acting, scenography, lighting, costume etc. It will also introduce you to the various occupations of this collaborative art, such as director, playwright, dramaturg, designer, producer etc. Meanwhile, we will inquire about the relation between theatre and space, history, politics and society and contemplate our roles as audience and critics in the theatrical experience. The goal for this course is to offer students the means to discuss theatrical experiences (either as theatre makers or spectators) as well as a great variety of theatrical traditions and provide a basis for their future endeavors with this art form. This will require students to have a sound grasp of the course readings, reflect on them critically, articulate their own ideas, and eventually formulate their own understanding of this art form.

As per our course theme, there's more to the stage picture than meets the eye (& ear). Before an actor even enters a rehearsal studio or first steps onto the stage, months and often years of creative work and research will have gone into that play and production. In this course we will explore and try our hand at some of that pre-production creativity, as well as improvising, adapting, performing and writing short scenes and monologues that will be created and presented in small groups as part of your Final Project.

This course will introduce you to the various elements of the theatre with particular attention to the following inquiries: What is theatre? How is it created? What are the various occupations in the theatre? What is the position of theatre in society? My goal for this course is to give you the means to discuss theatrical experiences (either as theatre makers or spectators) as well as a great variety of theatrical traditions and provide a basis for your future endeavors with this art form. This will be based on lectures, readings, in-class discussions, and seeing four theatrical productions in person.

OER Based Syllabus for MUS 145 Intro to Jazz course at City College. Covers the history and development of jazz along with basic music fundamental vocabulary.

This syllabus is for a Freshmen Inquiry Writing Seminar, which is a two-section, collaboratively taught course wherein one of the two courses engages students in critical thinking, reading, and writing about the issue of language and literacy, while the other introduces students to conventions of academic writing and mentors them in social and rhetorical writing processes. Thus, this course draws on the topic of language and literacy as a vehicle for critically analyzing students' own languages and literacies and developing especially their academic and information literacies.

This syllabus is for a Freshmen Inquiry Writing Seminar, which is a two-section, collaboratively taught course wherein one of the two courses engages students in critical thinking, reading, and writing about the issue of language and literacy, while the other introduces students to conventions of academic writing and mentors them in social and rhetorical writing processes. Thus, this course draws on the topic of language and literacy as a vehicle for critically analyzing students' own languages and literacies and developing especially their academic and information literacies.

" This class explores the creation (and creativity) of the modern scientific and cultural world through study of western Europe in the 17th century, the age of Descartes and Newton, Shakespeare, Milton and Ford. It compares period thinking to present-day debates about the scientific method, art, religion, and society. This team-taught, interdisciplinary subject draws on a wide range of literary, dramatic, historical, and scientific texts and images, and involves theatrical experimentation as well as reading, writing, researching and conversing. The primary theme of the class is to explore how England in the mid-seventeenth century became "a world turned upside down" by the new ideas and upheavals in religion, politics, and philosophy, ideas that would shape our modern world. Paying special attention to the "theatricality" of the new models and perspectives afforded by scientific experimentation, the class will read plays by Shakespeare, Tate, Brecht, Ford, Churchill, and Kushner, as well as primary and secondary texts from a wide range of disciplines. Students will also compose and perform in scenes based on that material."