Theater and Dance Department


Courses of Study

[TD064A]    Applied Performance/Production: Noncredit.
TD100f    Technique Lab: Contemporary Dance Beginning An introductory contemporary/modern studio course geared toward students with little or no dance experience, but also open to those looking to deepen their existing practice. Explore contemporary dance movement from a variety of lenses with a special focus on exploring how unused or unnoticed spaces inspire movement and individual compositional choices. Look at the athletics and aesthetics of the moving body, develop anatomical, sensory, and spatial awareness, execute increasingly complex movement sequences, explore improvisational scores and examine the metaphoric expressive potential of bodies in action. May be taken a total of four times for credit. Two credit hours. Cumbie
TD101f    Technique Lab: Contemporary Dance Intermediate In this studio practicum, students with prior experience will develop greater facility with contemporary/modern dance choreography, a focus on artistry and agency, and a clearer understanding of anatomical structures at work. Warm-up focuses on increasing efficiency of movement articulation at the joints and progressively warming up the body. Then movement will focus on taking the body off center, to the floor, and into the air. May be taken a total of four times for credit. One credit hour. James
TD106f    Technique Lab: Ballet Intermediate Establishes a strong foundation in correct posture, classical placement, musicality, and coordination. Students will develop clear understanding and execution of nuances in classical ballet technique, vocabulary, and artistry. Students must have prior dance training. This class is based on the Vagonava method, but students with any style of ballet or contemporary training are welcome. This Russian training system creates a connected sense of movement and expressive range. Within this method, students will build on their already established foundation of proper posture, placement, coordination, musicality and movement fundamentals to further explore their technique and development of artistry. One credit hour. Shipman
TD111f    Technique Lab: Dance Forms of the African Diaspora Intermediate:Jazz In this studio-based course, students will learn movement techniques rooted in Afro-diasporic aesthetic and physical qualities including groundedness, curvilinearity, polyrhythm, syncopation, and polycentrism. Class is movement-centered, but also emphasizes understanding the historical and cultural context of Jazz Dance, its roots as an African-American vernacular form and its progression to and adaptation in modern jazz dance styles. Dancers will develop their appreciation and knowledge of a Jazz dance vocabulary through an inclusive learning environment which serves to foster deep engagement and transformative experiences in dance and dance making. One credit hour. Stibal
TD115Af    Technique Lab: Acting: Scene Study An introductory investigation of acting for the stage focused on the actor's tools - body, voice, and imagination. Through rehearsal and performance of contemporary theatrical texts, students will build their vocal, physical, and analytical skills and practice Stanislavski-based techniques for playing actions/objectives, exploring given circumstances, and connecting authentically to character, scene partner, and audience. Through scene work students will strengthen collaboration skills and develop an understanding of the benefits and consequences of creative and aesthetic risk. They will also hone their creative practice by observing each other's work and learning constructive models for offering feedback and self-reflection. Two credit hours. Weinblatt
[TD116B]    Intermediate Ballet/ContemporaryTechnique

Studio practicum for students with prior experience in dance. Develop greater facility with contemporary choreography, focusing on artistry and agency and a clearer understanding of anatomical structures at work. Class begins with an anatomically-focused Ballet barre, increasing efficiency of movement articulation at the joints and progressively warming up the body. The center work will focus on complex movement patterns in a dynamic range of qualities, exploring how to apply the principles of ballet vocabulary practiced at the barre in choreography that takes the body off center, to the floor, and into the air. Nongraded One credit hour.

[TD117A]    Technique Lab: Contemporary Dance: Beginning An introductory contemporary/modern studio course geared toward students with little or no dance experience, but also open to those looking to deepen their existing practice. Explore contemporary dance movement from a variety of lenses with a special focus on exploring how unused or unnoticed spaces inspire movement and individual compositional choices. Look at the athletics and aesthetics of the moving body, develop anatomical, sensory, and spatial awareness, execute increasingly complex movement sequences, explore improvisational scores and examine the metaphoric expressive potential of bodies in action. May be taken a total of four times for credit. Two credit hours.
[TD117B]    Contemporary Dance Technique Lab: Intermediate In this studio practicum, students with prior experience will develop greater facility with contemporary/modern dance choreography, a focus on artistry and agency, and a clearer understanding of anatomical structures at work. Warm-up focuses on increasing efficiency of movement articulation at the joints and progressively warming up the body. Then movement will focus on taking the body off center, to the floor, and into the air. May be taken a total of four times for credit. Nongraded. One credit hour.
[TD118]    Dance Technique Lab: Dance Forms of the African Diaspora: Hip-hop

An introductory course geared toward students with little or no dance experience and open to those looking to deepen their practice. Explore dance from a variety of lenses with a special focus on physical and aesthetic properties of the African Diaspora. Look at the athletics and aesthetics of the moving body, execute increasingly complex movement sequences, and examine the metaphoric meaning-making potential of bodies in action. Class focuses on movement and image production/photography and emphasizes understanding historical and cultural contexts of contemporary movement practices as well as the ways individual identity informs movement practices. Remote, but on campus students can meet and use studio spaces. Two credit hours.

[TD118B]    Dance Technique Lab: Intermediate Hip-hop In this studio-based course, students will learn movement techniques rooted in Afro-diasporic aesthetic and physical qualities including groundedness, curvilinearity, polyrhythm, syncopation, and polycentrism. Class is movement-centered, but also emphasizes understanding the historical and cultural contexts, introduces a cross-section of many movement styles under the umbrella term Hip-hop; fundamental pillars of Hip-hop; and both "mainstream" and countercultural level aspects of Hip-hop dance and culture. This course is open to all levels. No previous dance experience required, but those with dance experience are welcome. Nongraded. One credit hour.
[TD120]    First-Year Writing: Performing Spaces/Writing the City Explores how we understand the places, cities, and towns we inhabit. In what ways are our routes through these spaces a kind of performance, and how can writing help us closely observe, describe, analyze, and critique our environments? We'll discuss the embodied and spatial effects of Covid-19 and recent uprisings against anti-black violence and study topics like settler colonialism, resource extraction, redlining, and urban protests, amongst others. Concurrently, we'll try out performance strategies on campus that demonstrate its importance in understanding space. Throughout the semester, we will ask: how does space write the body and how does the body rewrite space? Four credit hours. A, W1.
TD124f    Performance, Politics, and Practice Introduces students to the study of performance by exploring its power and questioning how it frames our world. We examine how performance helps us make sense of and challenge economic, gendered, sexual, racialized, political, and social structures. Through lectures, critical readings, discussion, field trips, and embodied practice, students will study performance as a creative act, a means of understanding power, a methodology for passing on memory and identity, and a way of comprehending the world. Topics include: theater, dance, performance art, everyday life, protest, and the gendered, sexed, and racialized performance of bodies. Four credit hours. A, I. Shanks
TD135s    Introduction to Design

An introduction to three-dimensional design principles with special emphasis on the relationship between architectural space and stage design for the performing arts. This studio course highlights interdisciplinary inspired design while exploring human interaction with the built environment and three-dimensional form. Creative problem solving, imagination, and concept formation are studied through a series of design projects using traditional drawing media, scaled three-dimensional models, and computer-aided design. Students must have access to a laptop for the semester. Four credit hours. A. Thurston

TD139fs    Stagecraft I Introduces students to scenic construction, theatrical rigging, lighting production, and prop-making concepts, techniques, equipment, and materials, emphasizing problem solving through research, experimentation, and collaborative learning while considering the environment, economic choices, and safety. Students will learn to appreciate the performative aspects of stagecraft by participating in a behind-the-scenes role during the construction period, technical rehearsals, and performances of a faculty-directed, department production. Previous experience is not necessary. Four credit hours. A. Ervin
TD141f    Beginning Playwriting An introduction to the playwriting process for students interested in dramatic storytelling and the process of new play development. Student work focuses on 1) close reading and analysis of representative plays in order to understand dramatic structure, characterization, rhythm, imagery, etc.; 2) creative experimentation through a series of writing exercises; and 3) participation in the process of workshopping class products, including offering and receiving constructive criticism. Four credit hours. A. Weinblatt
[TD147A]    Articulating the Physical Addresses writing as a process of discovery, an expression of creative and critical thought, and an embodied pursuit. Opinion, authorship, and identity are interwoven and grounded in the body. Through movement, experiential anatomy, and choreographic thought, we explore the language of/from the body and understand the textual nature of written words, body, self, society, landscape, visual frame, and performance. We look at how choreographic thought informs writing. Translations between the visual and the visceral develop active, individual, confident, and vivid writing voices. No prior dance experience required. Satisfies the Arts (A) and First-Year Writing (W1) requirements. Four credit hours. A, W1.
[TD147B]    Somatic Practices: Yoga Somatic practices guide inquiry into the physical, ask us to identify familiar sensory-motor patterns, and open space for new movement patterning. Somatic practices help improve posture, alignment, efficiency, and health. Somatics refers to perceiving the body from within; reflection spawns transformation. This course teaches the practice of yoga including physical postures, breath (pranayama), and meditation. Yoga is a system of integrated mental and bodily fitness that combines a dynamic physical musculoskeletal practice with an inwardly focused mindful awareness of the self, the breath, and somatic energetic pathways. The systematic practice of yoga has benefits for both the body and the mind. Prerequisite: Concurrent enrollment in Biology 147 and Theater and Dance 147A. Two credit hours.
TD164s    Applied Performance/Production Students participating in Theater and Dance Department productions as performers, designers, stage managers, theater technicians, and other production positions may register for credit. May be taken up to eight times for credit. Nongraded. Prerequisite: Permission of the instructor. One credit hour. Brown, Shanks
TD200f    Technique Lab: Contemporary Dance Beginning II In this studio practicum, students with prior experience will develop greater facility with contemporary/modern dance choreography, a focus on artistry and agency, and a clearer understanding of anatomical structures at work. Warm-up focuses on increasing efficiency of movement articulation at the joints and progressively warming up the body. The center work will focus on complex movement patterns in a dynamic range of qualities, exploring how to apply the principles of ballet vocabulary practiced at the barre in choreography that takes the body off center, to the floor, and into the air. Prerequisite: Theater and Dance 100 or 117. One credit hour. Cumbie
TD201f    Technique Lab: Contemporary Dance Intermediate II In this studio practicum, students with prior experience will develop greater facility with contemporary/modern dance choreography, a focus on artistry and agency, and a clearer understanding of anatomical structures at work. Warm-up focuses on increasing efficiency of movement articulation at the joints and progressively warming up the body. Then movement will focus on taking the body off center, to the floor, and into the air. May be taken a total of four times for credit. Prerequisite: Theater and Dance 101 or 117. One credit hour. James
TD206f    Technique Lab: Ballet Intermediate II Establishes a strong foundation in correct posture, classical placement, musicality, and coordination. Students will develop clear understanding and execution of nuances in classical ballet technique, vocabulary, and artistry. Students must have prior dance training. This class is based on the Vagonava method, but students with any style of ballet or contemporary training are welcome. This Russian training system creates a connected sense of movement and expressive range. Within this method, students will build on their already established foundation of proper posture, placement, coordination, musicality and movement fundamentals to further explore their technique and development of artistry. Prerequisite: Theater and Dance 106 or 116. One credit hour. Shipman
TD211f    Technique Lab: Dance Forms of the African Diaspora Intermediate II: Jazz In this studio-based course, students will learn movement techniques rooted in Afro-diasporic aesthetic and physical qualities including groundedness, curvilinearity, polyrhythm, syncopation, and polycentrism. Class is movement-centered, but also emphasizes understanding the historical and cultural context of Jazz Dance, its roots as an African-American vernacular form and its progression to and adaptation in modern jazz dance styles. Dancers will develop their appreciation and knowledge of a Jazz dance vocabulary through an inclusive learning environment which serves to foster deep engagement and transformative experiences in dance and dance making. Prerequisite: Theater and Dance 111 or 118. One credit hour. Stibal
TD215f    Technique Lab: Acting: Viewpoints This course will introduce you to contemporary actor training with a particular bent toward interdisciplinarity and composition. We maintain this focus primarily because in the reality of the contemporary theater industry, you will likely be called to perform across a range of theatrical styles and conventions as well as within a variety of contexts. Contemporary actors are often called upon to play multiple roles in the production process, to participate in original, self-produced work, and to take creative risk, exploring new and emerging aesthetic styles. The primary objective of this course will be preparing your toolbox to be responsive and adaptable to these conditions. We will root our practice in the Viewpoints Method as one of the most significant performer training methods to emerge in recent history. Our classroom will be a laboratory for fine tuning your sensory perception, your emotional and somatic awareness, and your creative risk taking as you interpret, respond to, and adapt various performance materials. Two credit hours. Brown
[TD216B]    Ballet Forms Technique Lab: Intermediate Establishes a strong foundation in correct posture, classical placement, musicality, and coordination. Students will develop clear understanding and execution of nuances in classical ballet technique, vocabulary, and artistry. Students must have prior dance training. This class is based on the Vagonava method (a training system that creates a connected sense of movement and expressive range), but students with any style of ballet or contemporary training are welcome. Nongraded. Prerequisite: Theater and Dance 116B. One credit hour.
[TD217]    Technique Lab II: Contemporary Dance: Beginning In this studio practicum, students with prior experience will develop greater facility with contemporary/modern dance choreography, a focus on artistry and agency, and a clearer understanding of anatomical structures at work. Warm-up focuses on increasing efficiency of movement articulation at the joints and progressively warming up the body. The center work will focus on complex movement patterns in a dynamic range of qualities, exploring how to apply the principles of ballet vocabulary practiced at the barre in choreography that takes the body off center, to the floor, and into the air. Prerequisite: Theater and Dance 117. One credit hour.
[TD217B]    Contemporary Dance Technique Lab II: Intermediate In this studio practicum, students with prior experience will develop greater facility with contemporary/modern dance choreography, a focus on artistry and agency, and a clearer understanding of anatomical structures at work. Warm-up focuses on increasing efficiency of movement articulation at the joints and progressively warming up the body. Then movement will focus on taking the body off center, to the floor, and into the air. Nongraded. Prerequisite: Theater and Dance 117B. One credit hour.
[TD222]    Revolutionary Performances: Theater and the Energy of the Unspoken (in English) Listed as Russian 222. Four credit hours. A.
[TD223]    Critical Race Feminisms and Tap Dance Listed as Women's, Gender, and Sexuality Studies 223. Four credit hours. A, U.
[TD226]    Contemporary Art and Performance Course focuses on global art from the 1960s to the present, examining how globalization, imperialism, and neoliberalism impact artistic production. Students will study the meanings attached to the category of “contemporary art”; the rise of the curator, biennial, and art fair; and the role protest groups hold in shaping the arts. Because of the embodied nature of many of these subject areas, the course emphasizes performance and embodied practices. We will examine genres like: performance art, post-modern dance, experimental jazz, Afrofuturism, Gutai, Viennese Actionism, as well as institutional critique, conceptual art, and post-minimalism. Four credit hours. A.
[TD237]    Dance for Health How can movement shift our experience of illness or pain? Can we quantify the effects that dance can have on health and well-being? We examine dance can be a tool for transformation, finding joy and creativity for those living with illness. Class explores three methods bringing dance into the spheres of health and well-being: the IMPROVmentŖ method, currently being tested in an NIH-funded randomized clinical trial; Dance for PD; and Dance Movement Therapy. As a culminating project, students will design their own program that brings dance into a healthcare environment. Four credit hours.
TD239fs    Stagecraft II Further exploration of scenic construction, theatrical rigging, lighting production, and prop-making concepts, techniques, equipment, and materials, emphasizing problem solving through research, experimentation, and collaborative learning while considering the environment, economic choices, and safety. An expansion of the course of study from Stagecraft I in which students will examine scene painting, computer-aided drafting (CAD), and CNC computer-assisted woodworking. Independent out-of-class work is essential. Prerequisite: Theater and Dance 139. Four credit hours. Ervin
TD242f    Acts of Activism Looks at the uses of performance and other artistic media to bring about social change, such as protests, marches, walking tours, dance parties, digital media and public theatre. This semester we will specifically explore the role of performance, and aesthetics more broadly, in contemporary activist movements within the context of the global health pandemic and the Black Lives Matter movement. Is art an effective activist strategy today? If so, how, when, where? How is activism itself a performance and what is "performative" activism? We will look at how aesthetics can help build connections across transnational movements as well as across history. How have aesthetic tactics changed over time and across borders and what does this tell us about emerging political landscapes? Four credit hours. A. Brown
TD243f    Leadership Behind the Scenes: Stage Management It takes a coordinated effort by many people to put on a professional performance; stage managers are the conductors behind the scenes of those shows. In this course, students take a peek backstage and learn the complex systems by which productions are fully realized. Class explores techniques for successful collaborative work and helps students identify personal and productive leadership styles. Four credit hours. A. Gallant
[TD245]    Theater of Everyday Life: Art, Identity, and Politics In this course, we will look at the body as theatrical expression and political site. We will explore a range of contemporary artists and emerging practices to interrogate performance that blurs the lines between the stage and everyday life. We will look at how theater has intersected with everything from the visual arts and social media, to architecture and laws to understand how our bodies intervene upon the lived reality of gender, sexuality, race, ability, class and nationality. As a studio class, we will make performances modeled after ground-breaking artists such as Patrisse Cullors, Marina Abramovic, Yoko Ono, and Pussy Riot to interrogate our own identity and social location in relation to broader social and political contexts. No previous performance experience is necessary. Boundaries and Margins humanities lab. Four credit hours. A.
TD246s    Art, Money, Labor: The Crisis of Capitalism Introduces students to the political economies and labor structures that drive cultural production. By focusing on a sites and institutions that support contemporary art - from museums, to art fairs, performance venues, biennials, auction houses, and philanthropic foundations - students will examine the varied, complex, and globalized relationships among contemporary art, money, and labor. We'll also study globally sited artists who understand their work as part of an anti-capitalist struggle and read works by Karl Marx, Stuart Hall, Cedric Robinson, Fred Moten, Edgar Villanueva, Andrea Fraser, and Hito Steyerl, amongst others. Previously offered as Theater and Dance 298B (Spring 2021). Four credit hours. A. Shanks
TD247f    Performing the Museum What does it mean to perform in the contemporary museum? What does it mean to produce artworks, exhibits, or analysis in the wake of an institutional structure invested in the maintenance of Western imperialism, colonialism, and capitalist violence? Class introduces students to these questions by arguing dance, theater, ritual, and performance and analyses grounded in embodiment and corporeality are key to revealing the racialized, gendered, colonial, and economic structures of the contemporary art museum. Semester culminates in performances in the campus museum, and students will work with contemporary artist Dread Scott. Freedom and Captivity humanities lab. Four credit hours. A. Shanks
[TD252]    Choreography for the Camera: The Art of Athletics Examines the aesthetic properties of the expenditure of bodily, physical energy through practical explorations in choreography and filmmaking. We take as source material the effortful movement of athletics, exploring how to aestheticize and translate that action through choreographic logic and by framing it in for the screen. Course begins with contextual theoretical frameworks for choreographic practice and dance for the camera and concludes with practical experience producing a film. Briefly considers notions of spectatorship and audience, considering the distinctions between live events and events on the screen. No prior experience necessary. Four credit hours. A.
TD254f    People, Place, Practice: Intro to Community-Based Performance Offers an introduction to performance-making as a community-based and community-engaged artistic process. Through in-studio, on-campus, and local community collaborations we will explore participatory creative tools and practices for generating movement and text, with an emphasis on co-creation, performance and facilitation. We will move between embodied practice, course readings, discussion, video viewings, and self-directed projects to cultivate a laboratory of doing partnered with the rigor of articulating. Grounded in the study of historical contexts and contemporary practitioners, we will continue to ask: When we say 'community,' or 'artist,' what do we mean and who does that include? Four credit hours. A. Cumbie
[TD258]    Improv Practices in Performance Four credit hours.
TD261Jj    Production 1 In this interactive writing and performance workshop, students will create original story-based performance pieces inspired by the issues that matter to them the most, such as climate change, racial equity, reproductive justice, freedom of speech, LGBTQ+ rights, disability justice, sexual assault, domestic violence, access to education, etc. We will analyze Ted Talks, The Moth, and other popular story-based media to help us understand what elements we need to create authentic connections with audiences. Students will explore a variety of writing and performance styles and techniques to engage in a collaborative creative process. Depending on safety measures, "Show Up. Stand Up. Speak Up." will culminate in a live performance for a small audience which will be filmed to share digitally online. Prerequisite: Permission of the instructor. Three credit hours. A. Team
TD262s    Colby Collaborative Company ompany Offers students the chance to learn and practice a range of dance production topics. Since content will vary, can be repeated once. Students will experience choreography as an unfolding process, creative research, and a collaborative endeavor. At the end, students will be able to demonstrate fundamentals of theatrical production, communicate aesthetic ideas, and collaborate with artistic team colleagues. Four credit hours. Shanks
TD264Af    Colby Theater Company: Gross Indecency The upper classes of Victorian England, historic bastion of sexual propriety, would tolerate almost anything as long as they were not forced to confront it. But what happens when one of England's most famous and beloved authors, Oscar Wilde, is publicly labeled a sodomite? Despite his notorious wit and considerable social privileges, even Wilde could not escape the conservative social morals and surveillance of the law. Within two years, Wilde went from literary lion and West End darling to convicted felon and ruined man. Using transcripts from the sensational trials, personal correspondence, interviews and other source materials, Moisʃs Kaufman's Gross Indecency: The Three Trials of Oscar Wilde explores the individual courage and the societal hypocrisy that collided and colluded to bring about the downfall of the great man of letters whose artistic genius has long been overshadowed by the scandal surrounding his conviction.In staging this play, we will interrogate how histories of surveillance and persecution live on in contemporary legal formations and relate to struggles for LGBTQ+ rights to this day. This performance will use race and gender conscious casting. Students must be enrolled in at least one Technique Lab as a corequisite. Freedom and Captivity humanities lab. Prerequisite: Audition. Two credit hours. Brown
TD264Bf    Colby Dance Company: Repertory Projects This Dance Company focuses on the development of diverse new works directed by faculty and guest artists presented in a shared program. The course itself is open to students of all levels at variable credits; at the beginning of the semester, students will be cast in 1-5 repertory pieces by different choreographers based on their choice and/or audition. Rehearsal schedule for each dancer will vary based on the pieces they are cast in, but rehearsal blocks include MTH 6:30-9; W 4-9; and some weekends. The new works will span styles, this semester including Contemporary, Ballet, and Jazz. Students will experience a range of approaches to the creative process, will develop more range and sophistication in performance, and will be encouraged to embrace the opportunity to exercise agency in both process and in performance. Students must be enrolled in at least one Technique Lab as a corequisite. One credit hour. Kloppenberg
[TD264C]    Applied Performance/Production: Fringe Self Production Lab Auditions held within the first week of classes in February. Students participating as stage managers, performers, designers, theater technicians, and production assistants may register for credit. Nongraded. Prerequisite: Audition. One credit hour.
[TD264G]    Applied Performance/Production: Performance Technology Incubator A student-driven performance incubator exploring the role of computation and digital media technology in live performance. This creative think-tank uses interdisciplinary collaborative process led by professionals in the field to develop an original work for the stage. Students participating as directors, composers, musicians, programmers, performers, stage managers, designers, and theater technicians may register for credit. Performs in Strider Theater March 7-9. Nongraded. Prerequisite: Permission of instructor. Two credit hours.
[TD265]    Topics in Design: Light and Performance Light is essential for life and light can powerfully shape performance meaning on stage. Light and Performance offers an interdisciplinary overview of stage lighting where students collaborate with peers to light and present Department of Theater and Dance performance projects in Strider Theater at the end of the semester. Aesthetics of light, psychology of light, physics, lighting technology, projection, and principles of traditional and contemporary stage lighting are explored in a studio style course using lab spaces in the Runnals Building. All students are welcome regardless of experience. Four credit hours. A.
[TD268]    Design Thinking Studio: Performative Sculpture Listed as Art 268. Four credit hours. A.
TD281s    Directing Emphasizing interactive collaboration, this introduction to directing for the stage will focus on two major components of the director's craft: preparing a text and working with actors. With inspiration and guidance from the writings of experts Katie Mitchell and Anne Bogart, students will practice techniques for investigating and preparing a script and draw on their own creative instincts to create exercises for helping actors connect with text and each other. Students will cast and direct scenes from a selected contemporary play and present them in class for feedback as well as in a final showcase for the public. Stringent attendance and significant preparatory/rehearsal time outside of class required. Four credit hours. Brown
[TD285]    Choreographic Process This introduction to dance-making examines the creative process focusing on physical language, dynamics, and spatial arrangements as possibilities for constructing meaning. We look at movement vocabulary as something that is invented, created personally, crafted carefully in time, space, dynamic arrangement, and relationship to other bodies, always holding the potential for surprise from inside and out. We explore movement ideas, construct and deconstruct movement phrases, discuss readings, choreography, processes, class studies, and roadblocks. Students will begin to discover individual, choreographic points of view and will learn about a diverse set of contemporary choreographers and their work. Four credit hours. A.
TD297j    Tomorrow Will Be Bigger! Performing Protest in Brazil An immersive, interdisciplinary exploration of overlaps between political protest, the performing arts, and social change in Latin AmericaŠs biggest country, from the 1960s until the present day. Using source materials by Brazilian artists, academics, and activists, the course will meld socio-cultural history and creative expression, with a particular focus on the Theatre of the Oppressed methodology and on street-based performance practices. Readings will be complimented by practical workshops, films, and a highly danceable playlist. Three credit hours. A, I. Instructor
TD300f    Technique Lab: Contemporary Dance Beginning III In this studio practicum, students with prior experience will develop greater facility with contemporary/modern dance choreography, a focus on artistry and agency, and a clearer understanding of anatomical structures at work. Warm-up focuses on increasing efficiency of movement articulation at the joints and progressively warming up the body. The center work will focus on complex movement patterns in a dynamic range of qualities, exploring how to apply the principles of ballet vocabulary practiced at the barre in choreography that takes the body off center, to the floor, and into the air. Prerequisite: Theater and Dance 200 or 217. One credit hour. Cumbie
TD301f    Technique Lab: Contemporary Dance Intermediate III In this studio practicum, students with prior experience will develop greater facility with contemporary/modern dance choreography, a focus on artistry and agency, and a clearer understanding of anatomical structures at work. Warm-up focuses on increasing efficiency of movement articulation at the joints and progressively warming up the body. Then movement will focus on taking the body off center, to the floor, and into the air. May be taken a total of four times for credit. Prerequisite: Theater and Dance 201 or 217. One credit hour. James
TD306f    Technique Lab: Ballet Intermediate III Establishes a strong foundation in correct posture, classical placement, musicality, and coordination. Students will develop clear understanding and execution of nuances in classical ballet technique, vocabulary, and artistry. Students must have prior dance training. This class is based on the Vagonava method, but students with any style of ballet or contemporary training are welcome. This Russian training system creates a connected sense of movement and expressive range. Within this method, students will build on their already established foundation of proper posture, placement, coordination, musicality and movement fundamentals to further explore their technique and development of artistry. Prerequisite: Theater and Dance 206 or 216. One credit hour. Shipman
TD311f    Technique Lab: Dance Forms of the African Diaspora Intermediate III: Jazz In this studio-based course, students will learn movement techniques rooted in Afro-diasporic aesthetic and physical qualities including groundedness, curvilinearity, polyrhythm, syncopation, and polycentrism. Class is movement-centered, but also emphasizes understanding the historical and cultural context of Jazz Dance, its roots as an African-American vernacular form and its progression to and adaptation in modern jazz dance styles. Dancers will develop their appreciation and knowledge of a Jazz dance vocabulary through an inclusive learning environment which serves to foster deep engagement and transformative experiences in dance and dance making. Prerequisite: Theater and Dance 211. One credit hour. Stibal
TD339s    Stagecraft III Further exploration of scenic construction, lighting production, and prop-making concepts, techniques, equipment, and materials. In addition to expanding their studies from Stagecraft II, students will examine welding and three-dimensional computer-assisted wood carving. Out-of-class work is essential. Prerequisite: Theater and Dance 239. Four credit hours. Ervin
[TD355]    Applied Choreography Students with previous experience in contemporary choreography at the college level will create original works for formal performance through a rigorous creative process that includes feedback from faculty and peers, presentation of design concepts, and collaboration with student lighting designers. Course will address contemporary issues in dance including viewings of work by active, acclaimed, and emerging professional choreographers. Prerequisite: Theater and Dance 285, or 258 with permission of instructor. Four credit hours.
[TD361J]    Advanced Topics in Performance: Colby on Tour Directed by a collaborative team of guest artists rooted in visual art, theater, and dance, students will collaborate to create a multi-arts, immersive performance to be installed and performed on tour. Each time this course is offered, the production content shifts. Prerequisite: Theater and Dance 164 or audition. Three credit hours.
TD365f    Advanced Topics in Design: Architectural Imaging An intensive study of the integrated use of computer-aided design (CAD). Centering on an architectural concept developed through research and contextual study, students utilize CAD to investigate and test design assumptions and to fully conceive multidimensional architectural expression. Students use their own creative potential to develop virtual architectural models, allowing imagination, critical thinking, and an understanding of traditional and contemporary presentation techniques to define final design expression. Students must have access to a laptop for the semester. Prerequisite: Permission of the instructor. Four credit hours. A. Thurston
TD483f, 484s    Honors Thesis in Theater and Dance Majors may apply for admission in spring of their junior year. Requires research conducted under the guidance of a faculty member and focused on an approved topic leading to the writing of a thesis, an oral public presentation or performance, and a presentation in the Colby Liberal Arts Symposium. Prerequisite: Senior standing, a 3.25 grade point average, a 3.50 major average at the end of January of the junior year, and unanimous approval of the department. Three or four credit hours.
TD491f, 492s    Independent Study Individual projects in areas where the student has demonstrated the interest and competence necessary for independent work. Prerequisite: Permission of the instructor. One to four credit hours. Faculty
TD493s    Senior Seminar This capstone experience offers students the chance to engage in seminar-level discussions on the history and aesthetics of performance and to further develop critical and analytical skills related to performance culture. Taught each year by a different member of the faculty who chooses the theme and identifies reading/viewings from a master list developed by the department. The structure includes seminar-style discussions based on significant weekly readings/viewings, a professional preparation workshop, and peer-to-peer tutorial sessions wherein the reading/viewing material is chosen by the students (with the guidance of the professor) and the discussion is generated and moderated by the students (with input from the professor). Prerequisite: Senior standing as a theater and dance major. Four credit hours. Brown