- ?
SiMON FRASER
MEMORANDUM
UNIVERSITY
?
2 . (o
1
0
0
........................................................
.
ENATE
.
from
SENATE cOMMITI'EE ON UNDERGRADUATE STUDIES
FINE AND PERFORMING ARTS - CHANGE ?
NOVEMBER 17, 1982
Subi.d
...................................................
i
?
Date
...................................................
Action undertaken by. the Senate Committee on Undergraduate Studies
at its meeting of November 16, 1982 gives rise to the following motion:-
MOTION:
"That Senate approve and recommend approval, to the Board of
Governors, as set forth in S.82-126
a) Prop
FPA.
FPA.
FPA.
FPA.
FPA.
FPA.
O ?
FPA.
FPA.
FPA.
Dséd new courses -
111-3 Issues in the Fine and Performing Arts
212-6 The Arts in Context: Baroque and Enlightenment
312-6 The Arts in Context: Baroque and Enlightenment
215-6 The Arts in Context: The Contemporary Period
315-6 The Arts in Context: The Contemporary Period
224-3 Dance Composition I
?
322-3 ?
Ballet III
323-3 Ballet IV
?
332-5
?
Screenwriting and Film Directing.
with discontinuation of
EPA. 116-6 The Arts in Context: North American Styles
FPA. 216-6 The Arts in Context: North American Styles
b)
Changes in requirements for the Minor in Dance; and
Changes in requirements for the Major in Dance.
c)
Changes in requirements for the Film Minor"
It was noted that there was request for nine new courses but that
in reality the impact was not that great. ?
The proposal provides for extension
of current patterns rather than introducing fully new courses.
?
Intent is to
provide offerings over a five semester pattern rather than the current four
semester pattern.
?
All of the proposals are in keeping with the earlier approved
five-year development plan.
FOR INFORMATION:
Many of the changes in the submission made from the Centre for the Arts
are of a housekeeping nature.
Acting under delegated authority at its meeting of November 16, 1982
the Senate Committee on Undergraduate Studies approved changes as follows:-
a) ?
ARTS IN CONTEXT
1)
change
FROM - FPA.
in number,
110-6
?
prerequisiteThe
Arts in Context:
?
European
Romanticism
TO ?
- FPA. 210-6
?
The Arts in Context:
?
The Renaissance
2)
Change in description, prerequisite
FPA. 310-6
?
The Arts in Context:
?
The Renaissance
3)
Change in number, description, prerequisite
FROM - FPA. 113-6
?
The Arts in Context:
?
European Romanticism
TO ?
- FPA. 213-6
?
The Arts in Context:
?
Romanticism
4)
Change in title, description, prerequisite
TO ?
- FPA. 313-6
?
The Arts in Context:
?
Romanticism
5)
Change in title, description, number, prerequisite
FROM - FPA. 114-6
?
The Arts in Context: The Modernist Era
TO ?
- FPA. 214-6
?
The Arts in Context: Modernism
6)
Change in description, prerequisite
TO ?
- FPA. 314-6
?
The Arts in Context:
?
Modernism
b) ?
DANCE
1)
Change in relationship between FPA. 120/121 and
FPA. ?
122/123
2)
Change in description
FPA. 220-3
?
Contemporary Dance III
FPA. 22173
?
Contemporary Dance IV
3)
Change in description, title, prerequisite, vector
FPA. 324-3
?
Dance Composition II
4)
Change in course description
FPA. 320-5
?
Contemporary Dance V
FPA. 321-5
?
Contemporary Dance VI
FPA. 420-5
?
Contemporary 'Dance VII
FPA. 421-5
?
Contemporary Dance VIII
5)
Change in number
FROM - FPA. 327-3
?
History of Dance: Origins of the 20th Century
TO ?
- FPA. 328-3
?
History of Dance: The 20th Century
6)
Change in prerequisite
FPA. 426-3
?
Dance Analysis
c) ?
FILM
1).
Change of title, prerequisite
FPA. 234-3 ?
Introduction to Film Studies
2)
Change of prerequisite
FPA. 331-3
?
The Crafts of Film III
FPA. 334-3
?
Film Analysis
3) Change of title, prerequisites
FPA. 430-5
FPA. 431-5
FPA. 432-5
FPA. 433-5
4)
change in prerequisite
FPA. 436-5 ?
Selected Topics in Film Studies I
I
?
-3-
d) THEATRE
1)
Change of description, title
FPA. 151-3 to FPA. 151-3 Introduction to Acting I
2)
Change in title
FROM - FPA. 250-3 Dramatic Interpretation I
TO ?
- FPA. 250-3 Acting II
FROM - FPA. 251-3 Dramatic Interpretation II
TO ?
- FPA. 251-3 Acting II
FROM - FPA. 252-3
TO - FPA. 252-3
FROM - FPA. 253-3
TO ?
- FPA. 253-3
FROM - FPA. 254-3
TO ?
- FPA. 254-3
FROM - FPA. 255-3
TO ?
- FPA. 255-3
Theatre Production I
Playmaking I
Theatre Production II
Playmaking II
Supplementary Studies for Actors I
Theatre Laboratory I
Supplementary Studies for Actors II
Theatre Laboratory II
S
. ?
FROM - FPA. 350-3 Scene Studies for Actors I
TO - FPA. 350-3 Acting III
FROM - FPA. 351-3
Scene Studies for Actors II
TO - FPA. 351-3 Acting IV
FROM - FPA.
352-3
Theatre Production III
TO ?
- FPA.
352-3 Playinaking III
FROM - FPA. 353-3
Theatre Production IV
TO ?
- FPA.
353-3
Playmaking IV
FROM -
FPA.
354-3
Supplementary Studies for Actors III
TO ?
- FPA. 354-3
Theatre Laboratory III
FROM - FPA. 355-3
Supplementary Studies for Actors IV
TO ?
- FPA.
355-3
Theatre Laboratory IV
(The following pages are not included at Senate - 21,22, 23, 24,
25,
26,
28, 29, 30, 35, 37, 38, 44, 45, 53, 59, 60, 61, 62, 63, 64,
65, 66,
67,
W ?
69, 70, 71, 72, 73)
P R rs- /
'
V
C"
'73(7
October 1982
Centre for the Arts. Summary of Proposed Calendar Changes: Interdisciplinary Area
FPA.11l-3. Issues
in
the Fine and Performing Arts.
?
It is proposed to add a new
course, FPA.111-3, as an introduction to some basic issues in the fine and performing
arts. This course will be a recommended preparation for the Department's Arts in
Context courses.
FPA.110-6 The Arts in Context: The Renaissance,
FPA.113-6 The Arts in Context: Euro p
ean Romanticism,
FPA.114-6 The Arts in Context: The Modernist Era, and
FPA.116-6 The Arts in
•
Context: North American Styles.
It is proposed to drop these first year Arts in Context courses.
FPA.210-6 The Arts in Context: The Renaissance,
FPA.213-6 The Arts in Context: Romanticism, and
FPA.214-6 The Arts in Context: Modernism.
It is proposed to replace FPA.110-6, 113-6 and 114-6 by these second year courses
with essentially the same content. Note the new titles for FPA.213-6 and 214-6
and new prerequisite structure. FPA.116-6 will not be replaced.
. ?
FPA.212-6 The Arts in Context: Baroque and Enlightenment and
FPA.215-6 The Arts in Context: The Contemporary Period.
It is proposed to introduce these new courses - which will be taught concurrently
with FPA.312-6 and FPA.315-6 - to become part of the sequentially offered
Departmental series: The Arts in Context.
FPA.310-6 The Arts in Context: The Renaissance,
FPA.313-6 The Arts
in
Context: European Romanticism, and
FPA.314-6 The Arts in Context: The Modernist Era.
It is proposed to restructure the prerequsites of these three courses and to
introduce new titles for FPA.313-6 and FPA.314-6.
FPA.312-6 The Arts in Context: Baroque and Enlightenment and
FPA.315-6 The Arts in Context: The Contemporary Period.
It is proposed to introduce these new courses - which will be taught concurrently
with FPA.212-6 and 215-6 - to become part of the sequentially offered Departmental
series: The Arts in Context.
FPA.316-6 The Arts
in
Context: North American Styles.
It is proposed to drop this course from the Arts in Context series.
0
SiMON FRASER UNIVERSITY
?
MEMORANDUM
Marc Diamond, Chairman
?
Evan Alderson, Jeff Wall, and Donna Za
To
..........................................................
.
From
.....................................................
Departmental Curriculum Committee
?
Centre for the Arts
Context Courses
?
20 September, 1982
Subject
.....................................................
.Date ..... .................................................
Following the various departmental discussions of the Context courses and
their place in the curriculum, we are submitting the following proposal for
a partial restructuring and reori entation of courses:
1)
There should be five context courses, covering sequentially the Western
European tradition from the Renaissance to the present. The division would
be as follows: The Renaissance (to roughly 1600); Baroque and Enlightenment
(c. 1600 to c. 1750); Romanticism (c. 1750 to c. 1850); Modernism (c. 1850 -
1920); and the Contemporary period (c. 1920 to the present).
?
The North
American Styles course should be dropped, although much of its most immediately
useful material would find a place in the modernist and contemporary courses.
The net increment of one course should entail no increase in costs, because
the courses would be planned to run sequentially, completing a cycle every
two and a half years, instead of the present two year cycle. The intent of
this change is to provide a clearer sequence of courses than exists at
present and to give attention to periods now neglected in the 17th, 18th, and
20th centuries.
2)
Each course should endeavour to examine within its own purview problems
and conditions which have particular relevance to the present situation of
art-making. The courses should be historical in their basic orientation,
but each course should constitute a kind of preamble to the modern situation.
This emphasis would not require large changes in the way the courses are
presently taught, and certainly should not preempt attention to the particulars
of a given period. However, the clear enunciation of this aim within an
historically oriented sequence should go some way toward alleviating the
impression among some students that the courses are abstract and irrelevant
requirements.
3)
Courses should be taught at the 200 and 300 levels. The bifurcation of
levels seems essential in order for the courses to fit within the varied
curricular patterns of the Centre, in order to draw a maximumaudience, and
in order to enable interested students to take as many of the courses as
possible. The introduction of the proposed FPA.11l and the existing and.
proposed historically oriented courses at the lower division in each
discipline should provide sufficient grounding for 200 level students. The
separation of tutorials, described below, should overcome the awkwardness of
the present 100/300 levels arrangement.
4)
Tutorials would no longer be divided by discipline, but would be separate
for 200 and 300 level students. As the disciplines have developed their own
lower division history courses, the need for disciplinary tutorials has waned.
Moreover, this requirement has sometimes led to the undesirable practice of
tutorials taught as semi-separate courses by people not closely connected with
the rest of the course. The reorientation of tutorials into lower and upper
division would provide for ways to meet the different needs of the presumed
S
.12
3
• ?
Memo to Marc Diamond
from E. Alderson, J. Wall, D. Zapf
20 September, 1982
Page 2
'different audiences at the 200 and 300 levels: the lower division tutorials
could be oriented so far as necessary toward helping students master lecture
material, through discussion and regular written assignments; the upper
division tutorials could be more specialized, taking advantage of the skills
of those teaching them to examine the period through a given discipline or
through a given set of problems. These tutorials might involve "practical
explorations in an art form" where appropriate, as might the lower division
tutorials in more limited ways. Instead of continuing the language in the
calendar description, however, it would seem more appropriate to allow for
and encourage imaginative teaching of various kinds in all tutorials at their
own level. With this change the 200 and 300 level courses in a given semester
would share only the course lectures; separate tutorials and examination
- -
?
requirements would provide a clearer differentiation between the courses
than at present.
5) The restructuring of the courses should permit more coherent and economical
teaching arrangements for the courses. We propose that normally three. faculty
representing different areas of competence would be responsible for the pair
of courses, 200 and 300 level, in a given semester. The division of'duties
among these three might vary considerably, depending upon their own desires
and the surrounding conditions. One faculty might take primary responsibility
• ?
for the lectures and teaching upper division tutorials, while another faculty
(or sessional) gives a body of lectures, attends all lectures and gives both
lower division tutorials, and a third faculty, heavily committed elsewhere,
gives a. number of lectures and teaches the second upper division tutorial. ' In
another case the three faculty might share the course planning and presentation
responsibilities more equally. In any event, the new system should permit
greater responsiveness to actual course enrollments and should encourage
fuller responsibility for the courses by all those participating in teaching
them. It is hoped that regular faculty who are qualified to teach in the
courses but who have not done so could be drawn into participating in
exchange for sessional relief
in
their own areas.
EA/JW/DZ
•
SiMON FRASER UNIVERSITY
MEMORANDUM.
,
Marc Diamond Chairperson D.C.C.
?
Evan Alderson
To...........................................................From .......................................................
Centre for the Arts
FPAlll ?
1 October, 1982
Subect........
..................................................
Date
...................................................
As you know, this course has been in the planning stage for some time. The basic
intention' of the course is to provide a specifically introductory interdisciplinary
course within the Centre which is not historically delimited like the Context courses
but which can serve usefully as a preparation for them.
?
The experience of the
Context courses, over several years is that upon entering the University
. many
students have adequate intellectual and cultural preparation to accept and benefit
from the challenge those courses provide. A number of intellectually capable
students who attempt these courses, however, simply have not had the opportunity
to consider very-basic matters of criticism and perception of the arts nor have
had critical exposure to a variety of art forms. The Context courses necessarily
pre-suppose cultural preparation of this kind. Although it seems inadvisable to
make this course the only available pre-requisite for the Context courses - the
available lower division history courses within each discipline will also serve
this 'purpose - it is hoped that the course will be attractive to students who
need to increase the level of their general cultural preparation for studies in
the Centre.
Aside from its use as an'àvailable pre-requisite for the Context course's, the
introduction of'this course would seem to offer some further advantages. First, it
will provide an interdisciplinary perspective on the arts at an introductory level.
Second, it is specifically designed in relation to studies in the Centre for the
Arts.
-
Although some of the matters it addresses are basic issues of art appreciation
such as would be approached from other angles in introductory literature or
aesthetic courses, it is oriented toward aspects of art criticism which receive
more concentrated attention in various upper division courses in' the Centre.
However, in keeping with the educational philosophy of the Centre, it concentrates
on specific and direct experience of individual' works of art, and develops critical
issues from that experience, assuring at the least that students who take it will
have been exposed to specific works in a variety of art forms. Finally, because
it is structured to require the regular writing of short papers, it will provide a
means for the Centre to monitor the writing ability of its students and to assist
them in improving their writing skills.
E. Alderson
MP F
SENATE CO?11TTEE ON uNI)ERc.)Arn
I
AT
I:
STUD! ES
NEW COURSE PROPOSAL. 1:0Iui
•.
Calendar Information
?
Department: ?
Centre for the Arts
EPA.
?
ill
Abbreviation Code:
?
Number:
?
Hours:
3
?
Vector: 2-1-2
Title of Course:
Issues in the Fine and Performing Arts
Calendar Descri
p
tion of Course:
This course introduces students to some basic issues
in the fine and performing arts through the presentation and discussion of selected
works in dance, film, music, theatre and visual art. It is designed to give students
who intend further study in one or more of these arts some familiarity with critical
issues affecting all of them. It is a recommended preparation for the Department's
"Arts in Context" courses.
Nature of Course.
lecture/tutorial
Prerequisites (or
special instructions):
none
What course (courses), if any, is being dropped from the calendar if this course is
approved: ?
none ?
- ?
-
2. Scheduling
How frequently will the course be offered?
?
once a year
Semester in which the course will first be offered?
?
1983-3
Which of your present faculty would be available to make the proposed offering
possible? E. Alderson with the assistance of specialized faculty or sessionals
0
3. Objectives of the Course
see attached memo and course outline
4. Budgetary and Space Regirene
?
(for information only)
What additional resources will be required in the following areas:
S.
Faculty
Staff
Library
Audio Visual
Space
Equipment
$500 .per annum
5. Approval
Date:
20 October, 1,982
•/
4:A
epartment ?
airman
1
o(J ?
1167-
Chairman, SCUS
SCUS 73
.
-34b:- (When completing this form, for instructions see Memorandum SCUS 73-34a.
Attach course outline).
'7
COURSE OUTLINE
FPA.111-3 Issues in the Fine and
Performing Arts ?
I a
The following outline presents nine basic questions to be addressed in. the course,
together with a brief explanation of the approach to each question and examples
of art works' or art historical topics which might provide the "texts" for the
discussion of each. It should be understood that the particular examples of art
chosen for presentation and some emphases of the course would depend upon the
knowledge and interests of the course instructors. It is anticipated, however,
that the central concerns of the course - an introduction to these basic critical
issues through an exposure to and explication of works in various art forms from
various periods - would remain constant.
1)
THE QUESTION OF FORM
'A basic discussion of the phenomenon of structure in works of art
Possible example: Beethoven's 3rd symphony
2)
THE QUESTION OF FORMAL VARIETY
Some discussion and presentation of various works exemplifying the wide range of
relative "orderedness" which has been considered appropriate in art.
Possible examples: paintings by Raphael, Tintoretto, Turner, Pollock, Stella;
music by Bach, Webern,Reich; a romantic ballet, folk dance,
post-modern dance
S
3)
THE QUESTION OF REPRESENTATION
Abasic introduction to mimetic theory; realism/abstration; in abstraction, what
is being represented?; representational conventions and their acceptance.
Possible examples: Hitchcock The Birds; lonesco Rhinoceros; Stravinsky/Bejart
The Firebird; Hogarth drawings; Manet's Olympia; Kadinsky,
Klee, Ernst
4)
THE QUESTION OF HISTORICAL INFLUENCE
An examination of artistic response, both in style and subject matter, to
historical situations and events. Two approaches would be taken, one biographical
discussion of a single artist, the other a presentation-of selected works created
by various artists within a limited time and place.
Possible examples: .
The Life and Times of Gustav Courbet;
The
Arts in the
Weimar Republic (or a portion thereof)
5)
THE QUESTION OF INSTITUTIONS
An examination of the use of the arts for institutional purposes and the effect
of such 'use on formal traditions. The issue to be approached through discussion
of a single historical example with as much specificity as time will allow.
Possible example: The Arts under the Court of Louis XIV
12
COURSE OUTLINE
FPA.11l Issues in the Fine and Performing Arts
Page 2
6)
THE QUESTION OF SENSIBILITY: CLASSICISM AND ROMANTICISM
A discussion of classicism and romanticism viewed as basic categories of
taste and perception.
Possible examples: Balanchine Concerto Barocco; Graham Night Journey;
Cocteau Blood ofa Poet; Antonioni Zabriski Point;
Renais Last Year at Marienbad; paintings by Munch, Seurat
7)
THE QUESTION OF PERSONAL RESPONSE
An introduction to the importance of subjective experience in art judgment,
emphasizing the student's awareness and articulation of his or her own responses.
Possible example:
?
Copland Appalachian Spring, followed by Graham/Copland
Appalachian Spring
8)
THE QUESTION OF DIFFICULTY IN ART
What is the artist's responsibility to make his or her work accessible, and
to whom? What is the viewer's responsibility when confronted by work which
is not immediately pleasing or understandable? Some discussion of modernist
tendencies to avant-guardism, elitism, self-reflexivity.
Possible examples: A Michael Snow film; a Morton Feldman composition;
a John Chowning composition; minimalist painting and
sculpture; Clyfford Still, Mark Rothko; Beckett Happy Days
9)
THE QUESTION OF FUNCTION
A brief examination of the range of functions art and art-making can serve, both
at a personal and a societal level. The emphasis here will be on the student's
own prospective choices and awareness of the social implications of those choices.
S
FPA.11l Issues in the Fine and Performing Arts
COURSE REQUIREMENTS
Students are required to attend two one hour lectures, a one hour tutorial,
and one two hour period for the presentation of films, slides or music each
week.
There will be no midterm or final examination, though quizzes are a possibility.
Students will be required to write 6 short papers (2-3 pages each) during the
course. The subject matter of these papers will be chosen from a total of
9 sets of topics distributed in class.
.
.
0
SENATE COMMITTEE
ON %JNflERClADTL!!th.
tThflSI
PROrOSAL. FORM
NEW
•
daL.iflf0!.!3ti0B
?
Department:
Centre for the Arts
?
Abbreviation Code:
FPA ?
Course Number:
212
?
Credit Hours
?
6_ Vector:
6-2-0
?
Title of Course:
The Arts in Context: Baroque and Enlightenment
Calendar Description of Course:
A selective study of painting, sculpture, architecture,
music, dance and theatre in the context of the 17th century and the first half of the
18th
separate
century.
tutorials
Lectures
and separate
for this
examination
course and
requirements.
for FPA.l2
3
are the same, but they have
/
Nature
of
Course
lecture/tutorial
p 1 cqUi6itC6
(or special instructions):
Any one of the following: FPA. 102, 103, 111*, 127 128 136, 137, 166, 167 or equivalent.
Students who have completed FPA.312 may not take this course for further credit.
* ropo ed cour e
What coarse tcourBe5), if any, is being dropped from the calendar if this course is
approved:
?
NONE
2.
How frequently will the course be offered?
Once every 2½ years
Semester in which the course will first be offered?
1984-1
Which of your present faculty oud be available to make the proposed offering
possible? ?
Alderson, Blaser, Wall and others as guest lecturers
rse
103.—
j_
itiVCS
ofthe
_____
see attached course outline
4. Budgetfl
.
Y and
S
p ac
e
Requirements
(for information only)
What additional resources will be required in the following areas:
Faculty
Saf
I
Library
Audio Visual
Space
Equipment
S.
pjoval
20 October, 1982
DaLc
partment airman
NONE
?
0
2'!lfoLk.
t''6z-__
-
?
Chairman, SCUS
scuS 73-34b
?
(When completing this-forms, for instructions see Memorandum SCUS 73-34a.
Attach course
outline).
SENATE COHMITTE ON IJ?il)ERC.RM)UATE
STUDIES ?
(0
NLW
COURSE PROPOSAL. FORM
Centre for the Arts
1. calendar Information
?
Department
Abbreviation
Code:FPA. ?
Course Number:
?
312 ?
Credit
Title of
Course:
The Arts in Context: Baroque and Enlightenment
Calendar Description of Course:
A selective study of painting, sculpture, architecture,
music, dance and theatre in the context of the 17th century and the first half of the
18th century. Lectures for this course and for FPA.212 are the same, but they have
separate tutorials and separate examination requirements.
Nature
of
Course
Lecture/Tutorial
Prerequisites (or special instructions):
60 credit hours which must include
any one of FPA. 210, 213, 214 or 215, or any two of FPA.102, 103,
111k,
127 128'
136, 137, 140, 150, 166, 167 or equi'va1nts. Students who have com1éted FPA.212 may
not take this course for further
reig cdrrmthe
C3 P
e
f
i
0
se is
What course (courSes), If any,
approved:
?
none
2.
Scheduling
How frequently will the course be offered?
?
Once every 2½ years
Semester in which the course will first be offered?
1984-1
Which of your present faculty
would
be available to make the proposed offering
possible?
Alderson, Blaser, Wall and others as guest lecturers
3.
jectivCi of the Course
see attached course outline
14
4
•
Budgetary
and Space RegtiIreThCf
.
(for information only)
What additional resources will be required in the following areas:
Faculty
Staff
Library
NONE
Audio Visual
Space
Equipment
5. Approval
Date: ?
20 October, 1982
%
mcn ?
a rman ?
.
De ?
Chairman, SCUS
SCUS 73-34b:- (When completing this form, for instructions see Memorandum
SCUS 73-34a.
Attach couroc outline).
Course Outline for
FPA.212 and 312
The Arts in Context: Baroque and Enlightenment
(As in previous outlines for context courses presented to Senate, the following
is one way in which the course material might be taught, rather than the standard
way in which it should be taught.)
The course will be structured into five sections:
1) The City and the Court (about 3 weeks)
Several European cities will be examined through slides and maps - among them
at least the Rome of Bernini, the Amsterdam of Rembrandt, the London of
Christopher Wren, the Paris and Versailles of Louis XIV. The emphasis will
be -
on architecture and the organization of space, with some attention to the
decorative arts. This section will serve to introduce some of the historical
foundations for the period and some of the themes for the course. For example:
a)
The political and geographical diversity of Europe in the seventeenth
century, with attention to the effects of the Reformation and Counter-
Reformation.
b)
The effects of economic expansion and colonization in creating new
demand for the arts
40
c) The growth of royal power and the development of patronage, with particular
attention to the court of Louis XIV, the Academy and the salon.
d) Ways in which the political, social and intellectual climates become
determinants of style: spatiality, allegoricism, formal intricacy,
public and private decoration.
The following three sections will take up arts and artists individually, locating
them within the thematics of the first section and modifying those generalizations
through the close examination of selected works.
2) Music (about three weeks)
a)
G. Gabrieli and the beginnings of baroque style
b)
The rise of instrumental music and the alterations of musical instruments.
The creation of virtuosic instrumental music.
c)
The development of opera from the late Italian Renaissance: Monteverdi,
Purcell, Lully, A. Scarlatti, Handel -- to Rameau and Gluck.
d)
The life and works of J.S. Bach -- as exemplar of baroque style and
the situation of music in the period.
.
?
continued
12
2
3) Theatre and Dance (about 2 weeks)
a)
The development of theatrical spaces: the Globe, court theatres,
Comedie Francaise, Theatre Royal (Covent Garden). The closing of the
theatres
in
England; royal patents
in
France.
b) The court entertainments: masque, ballet, opera.
c)
Varieties of dramatic literature. Possible examples: Shakespeare, Hamlet;
Moliere, Tartuffe; Congreve, The Way of the World; Lessing, Miss Sara Sampson.
4) Visual Art -- primarily painting (about 3 weeks)
Attention to a range of painters for different regions of Europe,.with
emphasis on the detailed examination of a few works: Caravaggio, Canaletto,
Guardi; El Greco, Velasquez, Murillo; Rubens,Van Dyck; Hàls, Rembrandt, Vermeer;
Poussin, Le Brun, Watteau.
5) Rationalism, empiricism and neo-classicism (about 2 weeks)
As a reprise of some of the issues of the first section and to establish a
departure point for romanticism, certain issues of intellectural history will
be addressed, with some reference to related manifestations in the arts of
the eighteenth century. ?
4
D
a)
A brief description of rationalist and empiricist philosophy from
Descartes to Hume.
b)
Developments in science, particularly Newton.
c)
TheOries of Government: Hobbes, Locke and the Philosophes; Reading:
Locke, from Two Treatises of Government; Pope, Essay on.Man;
Voltaire, Candide.
continued
S
-3-
Course Requirements
EPA . 212
Tutorial: Studentswill write 3 short papers to be assigned on different
topics in the course.
Lecture: ?
Midterm and final examinations concentrating on basic mastery
of the course material
EPA. 312
Tutorial: Students will join in an extended study of a single artist or set
of artists or an aesthetic or cultural problem of the period. They
will be required to complete a short paper at midterm and a longer
paperôr project by course end.
Lecture: ?
Midterm and final examinations with questions separate from the
EPA.212 examinations, examining both basic mastery of course
material and the ability to reflect more widely on issues raised
in the course.
SENATE COMMITTEE ON I NI)ERGM)UAT
I
STUDIES
NEW COURSI PROPOSAL. FORM
Department: Centre for the Art
Abbreviation
Code:EPA.
?
Course Number:215
?
Credit Itours:6
?
vector:
Title of Course: The Arts in Context: The Contemporary Period
Calcnda Description of Course: A selective study of painting, sculpture, architecture,
music, aance, fiim and theatre in their context from about 1920 to the present. Lectures
for this course and for FPA.315 are the same, but they have separate tutorials and
separate examination requirements.
Nature of Course. Lecture/Tutorial
Prerequisites (or special instructions): *
?
* ?
*
Any one of the following: EPA.102, 103, 111, 127, 128, 136, 137, 166, 167 or equivalent.
Students who have completed FPA.315 may not take this course for further credit.
*proposed course
What course (courses), if any, is being dropped from the calendar if this course Is
approved: FPA.116
2.
Scheduling
How frequently will the course be offered? once every 2½ years
Semester in which the course will first be offered? 1985-3
Which of your present faculty would be available to make the proposed offering
possible? ?
Alderson, Blaser, Wall, Maclntyre, Diamond, Garland
3.
Objectives of the Course
see attached course outline
4.
Bud
1
et
ary and Space Re ilreue
?
(for information only)
What additional resources will be required in the following areas:
Faculty
Staff
Library ?
NONE
Audio Visual
Space
Equipment
1. Calendar Information
5. Approval 20 October, 1982
Date:
par tmcn t
- j1r0.
•
?
Pen
Chairman, SCUS
SCUS 13-34b:- (When completing this form, for instructions see Memorandum SCIJS 73-34a.
Attach caurue outline).
SENATE CO1ITTEEON_UNPERCRADLIAT1:_STUD1IS
?
'S.
NEW COURSE PROPOSAL '01W
.1. Calendar Information
?
Department:
Centre for the Arts
?
Abbreviation Code:
?
FPA.
Course Number: 315
?
Credit Hours:
6
?
Vector: 6-2-0?
Title of Càurse:
The Arts in Context: The Contemporary Period
Calendar Description of Course:
A selective study of painting, sculpture, architecture,
music, dance, film and theatre in their context from about 1920 to the present. Lectures.
for this course and for FPA.215 are the same, but they have separate tutorials and
separate examination requirements.
Nature of Course.
Lecture/Tutorial
Prerequisites (or special instructions):
60 credit hours which must inc'ude *
any one of FPA.210, 212 213 or 214, or any two of FPA.102,103,
111*,
127, 1289
136, 137, 140, 150, 166', 167.or equivalents. Students who have completed' FPA.215
may not take this course for further credit
. . ?
*proposed new course
What course (courses), if any, is being dropped from the calendar if this course is
approved:
FPA.316
2. Scheduling, ?
0
how frequently will the course be offered?
once every 2½ years
Semester in which the course will first be offered?
1985-3
Which of your present faculty would be available to make the proposed. of ferin
possible? Alderson, Blaser, Wall, Maclntyre, Diamond, Garland
0
3. ObjectivesoftheCourse
see attached course outline
4.
Budgetary and Space Requirements (for information only)
What additional resources will be required in the following areas:
Faculty
Staff
Library ?
' ?
NONE
Audio Visual
Space
Equipment
5.
Approval
Date:________________________
20 October, 1982
•airman -
?
Dc
?
Chairman, SCUS
SCUS 73-34b:-- (When completing
this
form, for instructions see Memorandum SCUS 73-348.
Attach course outline).
?
0
I'-,
COURSE OUTLINE
FPA. 215/315 ?
The Arts in Context: The Contemporary Period
This course will introduce students to some of the important works of art of Europe
and North America created between 1920 and the present and to the environment of their
creation. Any such undertaking must be highly selective, at once imposing the
coherence of a point-of-view and acknowledging the extraordinary diversity of
artistic production, in the period. The following outline is one imagining of how
such a course might be structured. Specific readings and works to be emphasized
within such a structure would be the choices of those organizing the course at the
time it is taught.
The course is divided into three main sections. The first section concentrates on
the relationship of art production to political and economic processes between
1920 and 1945, without excluding detailed attention to specific works.
?
In the
post-war period a somewhat arbitrary division is made between a brief study of
large cultural forces together with works which exemplify them and some attention
to contemporary styles in various art disciplines.
I 1920-1945 ?
(6 weeks)
1. Europe/America in the 1920's - The social order resulting from World War I
and the Russian Revolution
A.
Emergence of communications media/culture corporations (Hollywood, RCA as
American model), 'Fordism' and tycoonism
B.
Sovietism and the Third International as a cultural force - Constructivism,
montage, futurism (Elsenstein, Mayakovsky, L.issitzky, Tatlin, Malevich,
Vertov, Meyerhold). The heroic constructivist modernism of the Soviet 20's
and the ideal of redesigning society. The ideal of abstract art.
C.
Europe as Weimar - Weimar culture as the model of European developments
- the Failed European revolutions and the rise of fascism in a
social democratic setting
- Americanization: The New objectivity, Bauhaus and UFA culture
- Sovietization: Radical Modernism and Comintern culture - Brecht, Pisicator,
Heartfield
- Expressionism and its decline: German cinema, Fritz Lang
D.
Paris in the Twentieth Century
• - Surrealism and Surrealism in the service of Revolution: Andre Breton,
Benjamin,Peret, Louis Aragon, Artaud
- Maestros and' Tycoons: the art image of the 20's -.Picasso, Cocteau, Dali
- The Readymade: Duchamp
- Modernist Classicism: Leger, Matisse
- Surrealism and Cinema: Buuel
continued ?
0
COURSE OUTLINE
FPA.215/315 The Arts in Context: The Contemporary Period
Page 2
2. The 1930's - Fascism, Stalinism, The New Deal
A.
The Corporate State and Modernism - Mussolini's futurism
B.
Problems in the Third International (Aesthetics of the show trial -
Shostakovich, Lukacs, Dimitrov. The new monumentalism and the Popular
Front (1934-1940). Literature of the International Brigades.
C.
Nazi Culture
- The folk ideal and the Greek ideal - painting, sculpture
- The Big Lie: mass media - radio, literature
?
- Triumph of the will - cinematic Wagnerianism
?
------------- Nazi'architecture and 'the Thousand Year Reich
D.
The New Deal: Popular Monumentalism
- Hollywood Populism: Vidor, Capra
- American Regionalism: Benton, Copland, Barber, Graham, Williams
- The WPA and Documentarism: Walker Evans and Life magazine; committed
literature, The Group Theatre
- The Mass Ornament: musicals, corporate design, advertising
- blues, jazz, radio, records
E.
The art situation in Canada in the '30's.
3. The War and propaganda as modern art
- stereotypage in cinema and comics
- emblems of the state: swastika, hammer and sickle, stars and •stripes
- symbolist docurnentarism: newspaper and magazine design
II POLITICS AND POPULAR CULTURE - 1945 ON (3 weeks
1. Dominance of mass culture forms
A.
Increased centralization of mass media industries
B.
'Technological explosion: t.v., computers, credit cards
C.
Reorganization
,
of culture industry through t.v.: changes in Hollywood;
tie-in, spin-off system; t.v. sports and journalism; 20's montage and
t.v. advertising
D.
Rock n' Roll
continued
it
COURSE OUTLINE
FPA.215/315
?
The Arts in Context: The Contemporary Period
Page ?
0
0,
2. Official Culture
A.
The idea of the Cold War in culture: culture purges
B.
Increased integration of state and corporate structures on New 'Deal pattern
- the Managerial Revolution
- New Art institutions, academies
- NFB, Canada Council, National Ballet, Stratford
- British Council and European variants
C.
The Venice Biennale and the new European Art world
D.
Brecht in the GDR; academicism in Eastern Europe
E.
The new art markets
F.
The career of George B'alanchine
3. Accommodation and Resistance
A.
The literature of existentialism and the theátre'of the absurd - Beckett
B.
Neo-.realism and the revival of personal cinema
- Rosellini, De Sica, Visconti, Pasolini, Antonioni
- Breathless (1959)
- Auteurism and Hollywood as art
C.
The New Left as a cultural movement
- the revival of the Frankfurt school
- Parisian cultural theory
- the student movement and the University as cultural institute
- 1968 Paris., Berlin, Prague
D.
Forms of Counter-culture
- Hippies
?
'
- Pop art and Warholism
- Performance, Theatre, cultural terrorism - Living Theatre, varieties of
performance art, happenings
- Underground cinema
continued ?
. is
S
COURSE OUTLINE
FPA.215/315 The Arts in Context: The Contemporary Period
Page 4
III SOME TRADITIONS OF THE NEW (4 weeks)
1.
Visual Art - Abstract Expressionism, Minimalism, Conceptualism
2.
Music - Webern,Berio, Stockhausen, Cage
3.
Dance - Cunningham, The Judson Church group
4.
Film - the French New Wave and New German Cinema; Godard, Fassbinder;
cinema as social theory
4. Theatre - Brook, Grotowski, Handke
S
0
COURSE REQUIREMENTS
FPA.2l5
Tutorial: Students will write 3 short papers to be assigned on different
topics in the course
Lecture: Midterm and final examinations concentrating on basic mastery of
the course material
EPA. 315
Tutorial: Students will join in an extended study of a single artist or set of
artists or an aesthetic or cultural problem of the period. They will
be required to complete a short paper at midterm and a longer paper or
project by course end.
Lecture: Midterm and final examinations with questions separate from the FPA.212
examinations, examining both basic mastery of course material and the
ability to reflect more widely on issues raised in the course.
aO
.
S
7ñNc
?
October 1982
13
SUMMARY
OF
PROPOSED CALENDAR CHANGES: DANCE AREA
?
Centre for the Arts
...
FPA.120-3/121-3 and 122-3/123-3. A change in relationship is proposed among
the first year dance studio courses.
FPA.220-3 and 221-3. A change in course description is proposed to more fully
identify-the course content of the second year studio courses.
FPA.320-5, 321-5; 420-5, and 421-5. Similar changes are proposed as for
FPA. 220-3/221-3.
FPA.322-3 ?
Ballet III and 323-3 Ballet IV. It is proposed to introduce
third year ballet courses.
FPA.224-3 Dance Composition I and FPA.324-3 Dance Composition ll.It is proposed to
add a course FPA.224-3 Dance Composition I and to provide it as a prerequisite
for FPA.324-3.
FPA.327-3 History of Dance: Origins to the 20th Century and 328-3 History of Dance:
the 20th Century. It is proposed to move the History of Dance courses to the 100 level.
FPA.426-3 ?
Dance Analysis. A change in the prerequisite structure is necessitated
by the realignment of the Dance History courses.
The Dance Minor. Changes proposed reflect the above listed changes.
The Dance Major. Changes proposed reflect the above listed changes.
0
Centre for the Arts
DANCE
Proposed Curricular ?
Change
It is proposed to add a course:FPA.224-3 Dance Composition I and to provide it
as a prerequisite for FPA.324-3 in order to establish a more progressive
learning experience in composition.
is
0
SENATE
CON
uTTII:
ON
UNDERGRADUATE STUDIES
• ?
NEV
COURSE
PIOPOSA[. FORM
Centre for the Arts
S
. Calendar Inform
atio
n
?
Department:____________________
Abbreviation Code:
FPA.
?
Course
Number: 224
?
Credit Hours:
?
3
Vector:
004
Title of Course: Dance Composition I
Caledr
Deacriptlon
of
Course:
Study
in the craft of dance composition emphasizing
specific problems in space, time, dynamics, structure,
and imagery. Students will
perform compositions for critical analysis and participate in the rehearsal and
performance of their colleagues' compositions.
Nature of Course. studio
Prerequisites (or special instructions):
FPA.123
-
3 or equivalent and permission of the Department.
What course (courses), if any, is being dropped from the calendar if this course is
approved: ?
none ?
-
2. Scheduling
how frequently will the course be
offered? ?
once per year
Semester in which the course will first be offered'
?
Fall '83
Which of your present faculty would be available to
make the proposed offering
possible? ?
Garland, Osberg, Aloi
0
3.
Objectives of the Course
see rationale
4.
Budgetary and Space Requirements (for information only)
What additional resources will be required in the following areas:
Faculty
Staff ?
NONE
Library
Audio Visual
Space
Equipment
5.
Approval
Date: ?
20 October, 1982
?
N$2.
•
?
- 1
4
,
^partm^
ent
C
iirman
?
Dean
?
Chairman, SCUS
SCUS 73-34b:- (When completing this form, for instructions see Memorandum
SCUS 73-34a.
Attach course outline).
FPA.224-3. Dance Composition I
?
COURSE OUTLINE
I. Components of Composition
A. Space
1.
Dimension
2.
Planes
3.
Diagonals and transversals
4.
Shaping
5.
Range
6.
Design (floor plan, stage space, etc.)
B. Time
1.
Rhythm (pulse, meter, couterpoint, accent, syncopation, tempo)
2.
Sensed time and metered time
C. Dynamics (Laban's Efforts, Flow, Texture)
D. Gesture (natural, stylized, abstracted)
II.
?
Form
A.
Traditional Forms
(ABA, Theme and Variation, Rondo, Canon, Fugue, Narrative, etc.)
B.
Post-Modern Forms
(Repetition: core phrases, spoken phrases, journey; retrograde; inversion;
pulverization; displacement; cinematic techniques: montage, flashback/
flashforward, etc.)
III. Content
Examples: Symbols, Text, Sculpture, Images, Concepts, Nature, Character
Study, Current Events
IV. Resources
(Selecting music, Props, Texts, Slides, Visuals, Film, etc. and working
effectively with mixed media)
continued
0
FPA.224 (continued)
Page 2
REFERENCES:
Humphrey, Doris. The Art of Making Dances. Grove Press, N.Y. 1962..
Turner, Margery. New Dance: Approaches to Nonliteral Choreography. University of
Pittsburg Press. ?
1971. ?
S
Horst, Louis. Pre-Classic Dance Forms. Dance Horizons, 1960.
Horst, Louis. Modern Dance Forms in Relation to the Other Modern Arts. Dance
Horizons, 1961.
Battock, Gregory. Breaking the Sound Barrier: A Critical Anthology of the New Music.
Dutton. ?
N.Y.
?
1981.
Battock, Gregory. The New Art: A Critical Anthology. Dutton. N.Y. 1973.
?
COURSE EVALUATION:
?
S
?
S
Students will be evaluated on their successful completion of specific compositional
problems, to be performed and critiqued in the class. Students will be expected
to participate in the works of other members of the class. There will be
approximately 12 creative assignments including a final project.
FPA.224-3
Dance Composition I and Changes in
FPA.324-3
Dance Composition II
RATIONALE:
A
reorganization of compositional and choreographic study in the Dance Program
is proposed in order to achieve a more integrated and progressive learning
experience. The introduction of a basic composition course at the lower
division
(FPA.224-3)
will better prepare students for their choreographic
production work at the upper division. Composition and choreographic study and
performance is a unique feature of the
S.F.U.
Dance Program.
While short compositional studies are assigned as part of the studio work in
FPA.122, 123, 220,
and
221,
the main emphasis of these courses is dance technique
and theory.
A
concentrated study of compositional work, form and critical
analysis is needed before the more advanced work of the upper division studio
courses and
FPA.324-3
and the production of student choreographed works.
FPA.224-3
Dance Composition I provides this study and will be required of all Dance majors.
FPA.324-3
Dance Composition II will be organized so that students generate their
own creative topics and structures and develop their dances to performance level
under the guidance of a faculty advisor. These dances will be suitable for
performance in the annual student dance concert. Critique sessions will be held
every week and observations and evaluation given by faculty advisors and other
students in the, course. In the intervals students will rehearse their work. This
formalizes a process which has been occurring without credit and will not require
additional resources or faculty commitments in the introduction of the new
course
FPA.224-3
Dance Composition I. ?
FPA.324-3
Dance Composition II would
be an optional course and students will have to demonstrate in
FPA.224-3
a capability
for independent work.
?
Collaborations with other students (music composers,
visual artists, etc.) will be encouraged and worked into the course structure
where possible (e.g. project collaboration with
FPA.341-3
music students).
The creative work included in
FPA.320, 321, 420,
and 421 will
p rovide a necessary'
enrichment of the process of developing iniprovi:sational skills and providi"ng
stimuli and source materials for the more individual work required in
FPA324-3
and
423-5.
The change in vector for
324-3
from
0-0-4
to
0-2-4
will allow for the several
faculty involved to meet weekly wi'th' all students for a group critique.
FPA.224-3
will inherit both the vector 0-0-4 and the method of instruction from the original
description of
FPA.324-3.
0
39
• ?
New Course Proposals: FPA.322-3 and FPA.323-3. Ballet III and IV
It is proposed to introduce third year ballet courses.
As the Dance programs mature, our students are requiring increased exposure to
the application of placement and anatomical possibilities and the rich vocabulary of
movement and movement combinations derived from the classical code of ballet. The
high standard of dance aspired to by the program requires that ballet studies occur
in conjunction with modern' dance studies.
These courses can be added without additional faculty, space or resources.
Traditionally, once a student of dance reaches an upper intermediate level of
accomplishment, the same material can be covered on a higher level. Therefore,
upper-intermediate students, the level attained during the second year of ballet
classes, are able to cover the same material in the third year and to accomplish
it on an advanced technical level. FPA.322 students will join FPA.225 students
in the'same studio class. FPA.323 students will join FPA.226 students in the
same manner. This is possible in an upper intermediate or advanced level dance.
class due to the, fact that the instructor is able to give individual attention
and correction, and that the different levels of instruction and performance
are traditional and clear to both instructor and -student.
S
•
?
SENATE COMMITTEE ON LJN1)ERCAD1IATESTtIDTIS
?
7
NEW COURSE
p
RorosM.
FORM
1.
Calendar Information
?
Department:
Centre for the Arts
Abbreviation Code: EPA.
?
Course Number:
322 ?
Credit ?
_________
Title of Course:
Ballet III
Calendar Description of Course:
An extension of the theory and practice of classical
ballet technique to an advanced level of performance.
Nature of Course.
Studio
Prerequisites (or
special instructions):
FPA.226 or permission of the Department
That course (courses), if any, is being dropped from the calendar if this course is
approved:
none
2.
Scheduling
How frequently will the course be offered?
once a year
Semester in which the course will first be offered?
?
1983-3
Which of your present faculty 'c.'u1d be available to make the proposed offering
possible? ?
Grant Strate
3.
objectives of the Course
see attached rationale and course outline
4.
Budgetary and Space Requirements (for information only)
What additional resources will be required in the following areas:
Faculty
Saf I
NONE
Library
Audio Visual
Space
Equipment
5. Approval
Date: ?
20 October, 1982
partment
?
a rmnn
\4i
Dean ?
Chairman, SCU?•
SCUS 73-34b:- (When completing this form, for instructions see Memorandum SCUS 73-34a.
Attach course outline).
FPA.322-3 ?
Ballet III
S
This course is an extension of the work completed in FPA.225-3 and 336-3. It will
be taught concurrently with FPA.225-3.
(1)
Barre exercises designed to enhance strength, flexibility, balance and
control. ?
This is an intensive and integral part of each class.
(2)
Centre work combines the various movements and steps of the ballet vocabulary
to challenge students and to increase their endurance and overall mobility.
(3)
In each class students are instructed in phrasing and performance values of
the movement combinations, thus relating the more abstract experience of
the class to the reality of stage presentation.
(4)
Theoretical instruction, discussion, application and assignments are given
to.students throughout the semester of work.
REFERENCES
Kristein& Stuart. The Classic Ballet - Basic Technique and Terminology. Alfred
A. Knopf: N. Y.
W ?
Arlene Croce.
?
After Images. Vintage Books, N.Y..
Barbara Newman.
?
Striking a Balance. ?
Houghton Mifflen and Company, Boston.
Lfl,
SENATE C01IT1lE ON UNI)ERCPADUATE STUDIES
NEW
COURSE PROPOSAL FOIUI
1.
Calendar Information
?
Department:Centre for the Arts
Abbreviation Code:
?
FPA. Courue Number:
_______
33
Credit Hours:3 ?
Vector: 0-0-6
Title of Course: Ballet IV
Calendar Description of Course: Continues and expands upon the work undertaken
in FPA.322 in the theory and practice of classical ballet technique to an advanced
level of performance.
Nature of Course. Studio
Prerequisites (or special instructions):
?
FPA.322 or permission of the Department
What courue (courses), if any, is being dropped from the calendar if this course is
approved:
none
2.
Scheduling
How frequently will the course be offered? once per year
Semester. in which the course will firri be offered?
?
1984-1
Which of your present faculty would be available to make the proposed offering
possible? ?
Grant Strate
3.
Objectives of the Course
see introduction and course outline
4.
Budgetary and Space Requirements (for information only)
What additional resources will be required in the following areas:
Faculty
SLat f
Library
Audio Visual
Space
Equipment
5. Approval
Date:
20
October,
1982
/ . epartme ?
hairman
NONE
S.
7.
?
Chairman,
EUM
S
SCUS 13-34t:-- (When completing this form, for instructions see Memorandum SCLJS 73-34a.
Attach courue outline).
FPA.323-3 ?
Ballet IV
This course is an extension of the work completed in FPA.322-3. It will be
taught concurrently with FPA.226-3.
(1)
Barre exercises designed to enhance strength, flexibility, balance and
control. This is an intensive and integral part of each class.
(2)
Centre work combines the various movements and steps of the ballet vocabulary
to challenge students and to increase their endurance and overall mobility.
(3)
In each class students are instructed in phrasing and performance values of
the movement combinations, thus relating the more abstract experience of
the class to the reality of stage presentation.
(4)
Theoretical instruction, discussion, application and assignments are given
to students throughout the semester of work.
REFERENCES
Cyril W. Beaumont. Manual of the Theory and Practice of Classical Ballet.
Mary Clarke and Clement Crisp. The Ballet Goer's Guide. Alfred A. Knopf.
N.Y.
?
1981.
L3
0
Proposed Calendar Chaje: Dance Minor
It is proposed to change the Dance Minor to incorporate the specific changeslisted
earlier in this package, and to encourage all students to undertake a studio course
in the Minor requirements.
Current Calendar Entry:
DANCE MINOR PROGRAM
Lower Division Requirements - as prerequisites
21 hours of credit, as prerequsite distributed as follows:
all of:
EPA.
120_3*
Introduction to Contemporary Dance
121_3* Contemporary Dance Fundamentals
125-3 Structural Approach to Ballet I
220-3 Contemporary Dance III
221-3 Contemporary Dance IV
*FPA.122 and 123 may be substituted for 120 and 121
plus one of:
EPA. 110-6 The Arts in Context: The Renaissance
113-6 The Arts in Context: European Romanticism.
114-6 The Arts in Context: The Modernist Era
116-6 The Arts in Context: North American Styles .
Upper Division Requirements
16 hours of credit selected from the following:
EPA. 320-5 Contemporary Dance V
321-5 Contemporary Dance VI
324-3 Dance Composition
327-3 History of Dance: Origins to the 20th Century
328-
.
3 History of Dance: The 20th Century
382-3 Aesthetics of Performance
384-3 Criticism of Performance
420-5 Contemporary Dance VII
421-5 Contemporary Dance VIII
423-5 Directed Studies in Choreography
424-5 Directed Study in Dance Performance
425-5 Intensive Studies in Dance
426-3 Dance Analysis
?
.
429-5 Directed Studies in Dance Research
Proposed Calendar Entry:*
DANCE MINOR PROGRAM
Lower Division Requirements - as preprequisites
24 hours of credit,
as prerequisite distributed as follows:
*changes are indicated in italics
?
continued
0
+01
•
?
Proposed Change in Dance Minor (pg.2)
all of:
EPA. 122-3 Contemporary Dance I
123-3 Contemporary Dance II
125-3 Structural Approach to Ballet I
220-3 Contemporary Dance III
221-3 Contemporary Dance IV
plus one of:
EPA. 110-6 The Arts in Context: The Renaissance
113-6 The Arts in Context: European Romanticism
114-6 The Arts in Context:'The Modernist Era
11.6-6 TheArts in Context: North American Styles
plus one of:
FPA.127-3 History of Dance: Origins to the 20th Century
128-3 History of
Dance: The 20th Century
UPPER DIVISION REQUIREMENTS
16 hours of credit selected from the following:
FPA.320-5 Contemporary Dance V
• ? 321-5 Contemporary Dance VI
322-3 Ballet III
323-3 Ballet IV
324-3 Dance Composition II
329-3 Selected Topics in Dance II
382-3 Aesthetics of Performance
384-3 Criticism of Performance
420-5 Contemporary Dance VII
421-5 Contemporary Dance VII
423-5 Directed Studies in Choreography
424-5 Directed Study in Dance Performance
425-5 Intensive Studies in Dance
426-3
.
Dance Analysis
429-5 Directed Studies in Dance Research
Rationale
These changes reflect many of the proposed calendar changes outlined earlier in this
package. The increase to 24 hours of lower division prerequisite credit (from the
present 21) is due to the placement of the dance history courses (either FPA.127 or 128
required as prerequisite) in the lower division. Minors should be. exposed to at least
one of these courses.
?
.
Students who have reached an intermediate level in dance but who are not advanced
enough to qualify for entry to FPA.320-5 (and the advanced technique and theory
stream) will be able to complete a Dance Minor by taking all the theoretical courses
in the upper division along with FPA.425-5
.
(an intensive studio course) which includes
•
?
both intermediate and advanced sections.
It is now considered advisable that students should be required to take a studio
course in the upper division before completing a Dance Minor.
Proposed Curricular Change: THE DANCE MAJOR
It is proposed' to adjust the Major program in the light of the Calendar changes
listed earlier in this package.
Current Calendar Entry:
DANCE MAJOR PROGRAM
The Centre for the Arts offers a Bachelor of Arts Degree for students wishing to
specialize in contemporary dance. The Program consists of courses in contemporary
dance and ballet technique, improvisation and composition; and an opportunity for
performing choreographic, and production work. Historical and critical study of the
arts will be included, and Dance students will be encouraged to take courses within
other artistic disciplines in the Centre for the Arts. This general program is
designed for students who wish to pursue the study of dance within an academic
environment which encourages exploration and integration of the stimuli from other
artistic and academic disciplines.
Lower Division Requirements - as prerequisites
At least 30 hours in EPA. courses including 24 hours as listed:
REQUIRED COURSES
all of:
EPA.
122_3*
Contemporary Dance I
123_3* Contemporary Dance II
.125-3 Structural Approach to Ballet I
220-3' Contemporary Dance III
221-3 Contemporary Dance IV
*FPA.120 and 121 may be substituted for EPA.122 and 123
plus one of:
EPA. 110-6 The Arts in Context: The Renaissance
113-6 The Arts in Context: European Romanticism
114-6 The Arts in Context: The Modernist Era
116-6 The Arts in Context: North American Styles
plus at least one lower division EPA. course outside the Dance Area.
SUGGESTED COW
?
EPA. 104-3 ?
l263
?
132-3?
136-3?
137-3?
140-3?
150-3?
151-3?
160-3?
170-3?
225-3?
226-3
SES
Fundamentals of Music
Structural Approach to Ballet II
Introduction to Film-making
The History and Aesthetics of Cinema I
The History and Aesthetics of Cinema II
Introduction to Contemporary Music
Basics of Theatre
Introduction to Acting
Introductory Studio in Visual Art I
Introduction to Technical Theatre
Ballet I
Ballet II
continued ,
44
Current Cáleñdar Entr
y
: The Dance Major (pg. 2)
S
?
UPPER DIVISION REQUIREMENTS
1. At least 29 to 31 hours in FPA. courses, distributed as follows:
REQUIRED COURSES
all of:
EPA. 320-5
321-5
324-3
420-5
421-5
plus one of:
Contemporary Dance V
Contemporary Dance VI
Dance Composition
Contemporary Dance VII
Contemporary Dance VIII
.
S
EPA. '327-3 History of Dance:'Origins to the 20th Century
328-3 History of Dance: The 20th Century
plus one of:
EPA. 423-5 Directed Studies in Choreography
424-5 Directed Studies in Dance Performance
425-5 Intensive Studies in Dance
426-3 Dance Analysis
429-5 Directed Studies in Dance Research
2. In addition, students must include 7 to 9 additional hours in EPA. courses
which may include general electives in Dance but must include
one of:
EPA.382-3 Aesthetics of Performance
384-3 Criticism of Performance
In addition to these specific requirements, students' programs must fulfill the
following general requirements: 120 semester hours of credit, 45 or which must be
in upper division courses and 24 or which must be completed in courses outside the
Centre for the Arts.
In selecting courses to fulfill the minimum requirements for the degree of 24 credit
hours outside the Department, students may either choose freely or seek Departmental
advice on courses related to the study of Dance in particular, the Department
recommends the following courses:
KIN. 100-3 Introduction to Human Structure and Function
110-3 Current Topics in Human Nutrition
241-3 Sports Injuries, Prevention and Rehabilitation
326-3 Functional Anatomy
CMNS. 258-3 Introduction to Electroacoustic Communication
259-3 Acoustic Dimensions of Communciations I
PHIL. 242-3 Philosophy of the Arts
The Department encourages students to develop coherent programs of study related
to Dance through course-work in other department. Students wishing to do so should
seek Departmental advice at an early stage.
continued
Proposed Curricular Change: The Dance Major (Pg. 3)
DANCE MAJOR PROGRAM
(changes noted in italics)
?
.
The Centre for the Arts offers a Bachelor of Arts Degree for students wishing to
specialize in contemporary dance. The Program consists of courses in contemporary
dance and ballet technique, improvisation and composition; and an opportunity for
performing,choreographic, and production work. Historical and critical study of the
arts will be included, and Dance students will be encouraged to take courses within
other artistic disciplines in the Centre for the Arts. This general program is
designed for students who wish to pursue the study of dance within an academic environ-
ment which encourages exploration and integraion of the stimuli from other artistic
and academic disciplines
LOWER DIVISION REQUIREMENTS - as prerequisites
At least 30 hours in FPA. courses including 27 hours as listed:
REQUIRED COURSES
all of:
FPA. 122-3 Contemporary Dance I
123-3 Contemporary Dance II
125-3 Structural Approach to Ballet I
127-3 History
of
Dance: Origins to the 20th Century
128-3 History
of
Dance: The 20th Century
224-3 Dance Composition I
221-3 Contemporary Dance IV
220-3 Contemporary Dance III
?
S
plus at least one lower division FPA. course outside the Dance Area
SUGGESTED COURSES
FPA. 104-3 Fundamentals of Music
126-3 Structural Approach to Ballet II
132-3 Introduction to Film-making
136-3 The History and Aestheticsof Cinema I
137-3 The History and Aesthetics of Cinema II
140-3 Introduction to Contemporary Music
150-3 Basics of Theatre-
15173 Introduction to Acting
160-3 Introductory Studio in Visual Art I
170-3 Introduction to Technical Theatre
225-3 Ballet I
226-3 Ballet II
UPPER DIVISION REQUIREMENTS
36 to 40 hours in FPA. courses, distributed as follows:
REQUIRED COURSES
all of:
FPA. 320-5 Contemporary Dance V
321-5 Contemporary Dance VI
420-5 Contemporary Dance VII
421-5 Contemporary Dance VIII
S
conti niied
51
Proposed Calendar Entry: The Dance Major (Pg.4 )
plus one of
FPA.324-3 Dance Composition II
423-5 Directed Studies in Choreography
424-5 Directed Studies in Dance Performance
425-5 Intensive Studies in Dance
426-3 Dance Analysis
429-5 Directed Studies in Dance Research
plus one
of:
FPA. 310-6 The. Arts in Context: The Renaissance
313-6 The Arts in Context: European Romanticism
314-6 The Arts in Context: The Modernist Era
316-6 The Arts in Context: North American Styles
plus one of:
EPA. 382-3 Aesthetics of Performance
384-3 Criticism of Performance
In addition, students must include 4 to 6 additional hours in EPA. courses which
may include general electives in Dance.
A maximum
of
42 semester hours
of
credit in upper divisiondznce studio, performance
and choreography courses may be applied toward the general degree requirement of
• ?
120 hours for graduation.
GENERAL REQUIREMENTS: 120 semester hours of credit, 45 of which must be in upper
division courses and 24 or which must be completed in courses outside the
Centre for the Arts.
In selecting courses to fulfill the minimum requirements for the degree of 24 credit
hours outside the Department, students may either choose freely or seek Department
advice on courses related to the study of Dance. In particular, the Department
recommends the following courses:
KIN. 100-3 Introduction to Human Structure. and Function
110-3 Current Topics in Human Nutrition
241-3 Sports Injuries, Prevention and Rehabilitation
326-3 Functional Anatomy
CMNS. 258-3 Introduction to E1.ectroacoustic Communication
?
259-3 Acoustic Dimensions of Communications I
PHIL. 242-3 Philosophy of the Arts
The Department encourages students to develop coherent programs of study related
to Dance through course work in other departments. Students wishing to do so
should seek Departmental advice at an early stage.
continued
5L.
Proposed Curricular Change: The Dance Major (Pg. 5)
Rationale
All of these changes stem from the proposed changes listed earlier in this package.
The change in the number of lower division required hours to 27 from 24 is due to
adding both FPA.127-3 and 128-3 as prerequisites. At present only one of the two
dance history courses is so listed. We feel that both courses present a foundation
for the study of dance and are necessary in order to put the present into context.
This change is parallel to the requirements of two foundation history courses in the
Visual Art and Film' programs.
The omission of FPA.120-3 and 121-3 from the Major will help clarify the status
of those courses in the minds of our students.
The composition course, FPA.224-3, has been added to better balance this emphasis
within the program.
Since students will be taking the History of Dance (FPA.127-3 and 128-3) at the
100 level, we propose that the Arts in Context courses be taken at the 300 level.
The moving of the Arts in Context courses to the upper division has resulted in a
condensing of the grOupings' in the last Calendar. There is no effective change in
hours.
The maximum of 42 semester hours of credit in upper division dance technique/theory,
performance, and choreography courses within the Major has been included to ensure
that upper division students continue to develop interdisciplinary and/or theoretical
interests.
.
1^1
Centre for the Arts
?
October 1982
Proposed Curricular Changes for the Film Minor Program
It is proposed to reorganize the Film Minor to allow greater flexibility
for student choice now that film studies has become a possible focus.
This will require the raising of the Lower Division prerequisite hours from
24 to 27 and the addition of one course, FPA.332-5 Screenwriting and Film Directin.
FPA.332-5 covers an area that has been dealt with within Directed Studies in
Film Production I.
Calendar Change for FPA.234-3 Introduction to Film Studies. Change of title
and prerequisite to clarify central position of course in curriculum.
Calendar Change for FPA.331-3. The Crafts of Film III.
?
Change of prerequisite
to clarify central position of FPA.234-3 in curriculum.
- -
?
New Course Proposal FPA.332-5 Screenwriting and Film Directing. Refocussing of
the study area at a more appropriate level and time in sequence.
Calendar Change for FPA.334-3 Film Analysis. Change of prerequisite to
facilitate optional course progression.
Calendar Changes for FPA.430-5 Directed Studies in Film Production I, FPA.431-5
Directed Studies in Film Production II, FPA.432-5 Directed Studies in Film Production
III, and FPA.433-5 Directed Studies in Film Production IV. Changes in titles and
prerequisites to better illustrate course sequencing to students.
Calendar Change for FPA.436-5 Selected Topics in Film Studies I. Changes in
prerequisite to facilitate optional course progression.
0
FILM MIN
MINOR PROPOSED CALENDAR CHANGES
?
.
Current Film Minor
LOWER DIVISION REQUIREMENTS - as prerequisites
24 hours of prerequisite credit, distributed as follows:
all of:
FPA. 132-3
133-3
230-3
231-3
234-3
plus one of:
FPA. 136-3
137-3
plus one of:
FPA. 110-6
113-6
114-6
116-6
Introduction to Film-making
Film-making Fundamentals
The Crafts of Film I
The Crafts of Film II
Introduction to Film Studies
The History and Aesthetics of Cinema I
The History and Aesthetics of Cinema II
The Arts in Context: The Renaissance
The Arts in Context: European Romanticism
The Arts in Context: The Modernist Era
The
Arts
in Context: North American Styles
UPPER DIVISION REQUIREMENTS
?
.
18 hours of credit distributed as follows:
both of:
FPA. 334-3 Film Analysis
430-5 Directed Study in Film Production I
plus two of:
FPA.
L
131_5 Directed Study in Film Production II
432-5 Directed Study in Film Production III
433-5 Directed Study in Film Production IV
436-5 Selected Topics in Film Studies I
Students intending to minor in film are advised to take FPA.176-3 Photography as an
Art Form. Students intending to minor in film, with an emphasis on film production,
are advised to take FPA.331-3, The Crafts of Film III. Students intending to minor
in film, with an emphasis on film studies, are advised to take FPA.436-5, Selected
Topics in Film Studies I.
continued
0
Proposed Film Minor Reorganization
LOWER DIVISION REQUIREMENTS -- as prerequisites
27 hours of prerequisite credit, distributed as follows:
all of:
FPA.132-3 Introduction to Film-making
133-3 Film-making Fundamentals
230-3 The Crafts of Film I
136-3 The History of Aesthetics of Cinema I
137-3 The History and Aesthetics of Cinema II
234-3 Introduction to Film Theory*
plus one of:
FPA.110-6 The Arts
113-6 The Arts
114-5 The Arts
116-6 The Arts
plus one of:
FPA.231-3 The Craf
239-3 Selected
in Context: The Renaissance
in
Context: European Romanticism
in Context: The Modernist Era
in
Context-: North American Styles-
ts of Film II
Topics in Film I
.
UPPER DIVISION REQUIREMENTS
At least 16 hours of credit, selected from the following:
FPA.331-3 The Crafts of Film III
332-5 Screenwriting and Film Directing**
334-3 Film Analysis
339-3 Selected Topics in Film II
382-3 Aesthetics of Performance
430-5 Advanced Film Production I***
431-5 Experimental Film Production I***
432-5 Advanced Film Production II***
433-5 Experimental Film Production II***
436-5 Selected Topics in Film Studies I
489-5 Interdisciplinary Project in Fine and PerformingArts
*previously listed as 'Introduction to Film Studies'
**new course proposal
***previously listed as 'Directed Studies in Film Production I, II, III, IV'
NOTE: ?
Women's Studies 300 level Special Topics courses
dealing
with Film issues
may be taken for Upper Division Film Minor credit by special arrangement
with the Centre for the Arts.
0
20 October, 1982 ?
57
• PROPOSED REORGANIZATION OF THE FILM MINOR
Rationale ?
0
reater flexibility (in terms of
a more direct integration into
the addition of one course
reorganization of the Upper
339 and 331 are integrated for
The Film Minor is being reorganized to allow for g
course selection) at the Upper Division Level, and
a future Film Major. This reorganization features
(FPA'.332-5 Screenwriting and Film Directing) and a
Division production course progression. FPA.239,
the first time within the Minor curriculum.
LOWER DIVISION
In keeping with our belief that film production and film studies comprise the
necessary 'halves' of a comprehensive grounding in film, the Lower Division
requirements have been altered. The History and Aesthetics of Cinema courses
(FPA.136 and 137 -- the first covering roughly 1896-1940, and the second 1940 to
thepresent) have been added to the Lower Division requirements as co-requisites
with the first year production courses. This change reflects the status which we
feel must be accorded first year film studies courses, since these courses (along
with FPA.234 -Introduction to Film Theory) represent the only film 'studies courses
that will be taken by some film production students. Both courses (the silent era
as well as the sound era) are seen as being necessary for the student's grounding
in film history and aesthetics. This change increases the Lower Division requirements
from 24 hours of prerequisite credit to 27 hours.
Within the' amended Minor program, students would be required to complete a first
year program of core co-requisites in film production and film studies; admission
into the second year would be made by portfolio interview and film faculty approval.
The second year of the Minor allows for greater flexibility: a student may select
between film production and film studies. A student may choose to continue in
film production (FPA.231-3, The Crafts of Film II -- a course that focuses on
synchronous sound craft and techniques) or he or she may choose to continue in
film studies (FPA.2'39-3 Selected Topics in Film I -- a film studies seminar'course).
This option is not only advantageous academically but has practical ramifications
as well. FPA.231 is an equipment-intensive course with severe limits on enrolment
and facilities. By offering a second option to a film studies student, we can
avoid imposing compulsory attendance on students whose interests may lie outside
of synchronous sound and we can avoid over-inflated student numbers - a condition
that is detrimental to the educational environment.
UPPER DIVISION
The Lower Division course pair (FPA.234 and 231) will be maintained as the
prerequisite courses for all Upper Division film production course progressions.
We have eliminated FPA.334, Film Analysis, as a required course for 400-level
production work because this course is taught at the level of-advanced theory'
and may not be appropriate for advanced film production students. We have retained
FPA.234 as prerequisite for Upper Division production courses because we feel that
a general grounding in introductory film theory is indispensable for all production
students. FPA.234 will be maintained as the prerequisite course for all Upper
Division film'studies courses. In the amended Minor, FPA.231 is dropped from
prerequisite listing because it is not necessary to extend the practical studies
of film production into the specialized areas of synchronous sound film-making for
film studies students. Obviously, should a student desire to study synchronous
continued
ST
o ?
Proposed Reorganization of the Film Minor (continued - page 2)
sound, they may do so. The amendments to the prerequisites will allow the
student to determine his or her Upper Division course progression. For example,
a student wishing to emphasize film studies would be able to select the following
Upper Division course sequence:
FPA.334-3 Film Analysis
339-3 Selected
Topics
in
Film II
382-3 Aesthetics of Performance
436-5 Selected Topics in Film Studies I
489-5 Interdisciplinary Project in Fine and Performing Arts
A student wishing to emphasize film production would be able to select a film
production course sequence that may focus on group dramatic productions:.
FPA.331-3 The Crafts of Film III
-- - ------ ----- -- -- ------------
430-5 Advanced Film Production I
432-5 Advanced Film Production II.
or a sequence that feature more experimental-art production work:
.
FPA.334-3 Film Analysis
431-5 Experimental Film
433-5 Experimental Film
489-5 Interdisciplinary
Production I
Production II
Project in Fine 'and Performing Arts
.
The diversity of possible approaches to film studies and production requires a
flexibility at the Upper Division for student course planning. However, the
specific skills and knowledge that are required for advanced film production
work also require the existence of specific courses dedicated to the development
of those skills and knowledge (e.g., FPA.331-3, 332-5). Admission to the Upper
Division courses is by portfolio interview with the film faculty; these admission
procedures are more in keeping with the' principles of counselling and course planning.
NEW COURSES
FPA.332-5 is introduced as a third year course to better meet the student's needs
for a course specific to screenwriting and dramatic direction (in cinema). We
feel that it is necessary to offer this course at a 300 level once a year. The
introduction of FPA.332-5 will allow the student to explore screenwriting and
dramatic direction separately from production.
?
Our current model allows some
screenwriting and dramatic direction within the rubric of Directed Studies in
Film Production I in the Spring.
The 400-level production courses will be broken up into two distinct course 'streams'
Documentary and Dramatic productions 'requiring full crews, locations and large
casts (FPA.430 and 432), and the experimental, art productions which occupy and
entirely different place in the film production curriculum and whereby a student
engages in more process oriented work without the need to conform to conventional
production models.' We anticipate that these changes will not only benefit our
existing Minor, but will also allow for a smoother transition to' any proposed
Major program.
• ?
••
October 1982
• ?
Centre for the Arts
Summary of Proposed Calendar Changes: Theatre Area
There are no new courses being proposed. The revisions asked for will
clarify the structure and content of the existing- Theatre Minor. The
Theatre area feels the current entries provide inadequate descriptions
of the current Theatre curriculum. Course content remains unchanged.
FPA.151-3 (Introduction to Acting I). A new description of course content
is proposed. The purpose of this change is to clarify course content.
FPA.152-3 Introduction to Acting II has been introduced and this title
is adjusted to show the relationship.
FPA.250-3, 251-3 Dramatic Interpretation I, II) and FPA.350-3, 351-3
(Scene Study l, II . The proposed calendar revision includes a new course
title (Acting) and new course descriptions. The Theatre Area feels that
t
h e
new titles are more appropriate because both dramatic interpretation
and scene study are only two of the many aspects that make up the acting
program. The description of course content, particularly that of FPA.250,
is intended, to outline the parameters of the acting curriculum. It should
be noted that the content of these courses has moved from an emphasis on
'method' approaches to acting to a broader consideration of the actor's
art. This development is the result of the influence, of such theorists
as Grotowski, Marowitz, Chaikin, and Brook, as well as faculty research.
FPA.252-3, 253-3, 352-3, 353-3 (Theatre Production I, II, III, IV). The
proposal includes a new title for these courses (Playmaking I, II, III,IV).The
Area feels that the present titles are now inappropriate because they might be confuse
with recently instituted courses in technical theatre. The description of
course content, particularly that of FPA.252, is intended to bring Area
objectives for these courses into sharper focus. The area is committed.to
giving students the means to create their own original material for
theatre
through
research into the components of the theatrical event.
FPA.254-3, 255-3, 354-3, 355-3 (Supplementary Studies for Actors I, II, III, IV).
T
h
e
newly proposed titles for these courses (Theatre Laboratory) reflect Area
dissatisfaction with the previous titles which seemed inaccurate. The term
laboratOry •seems appropriate because the course content emphasizes research
and instruction into the technical elements of performance. The revisions'
in the course description are in the interest of clarifying the course content,
which remains unchanged in practice.
14
Proposed Calendar Change for FPA.254
1)
Present Calendar Entry:
FPA.254-3 Supplementary Studies for Actors I
A companion course to FPA.250. It is designed to enlarge each acting student's
experience through appropriate skills-oriented laboratories, production require-
ments, and readings in dramatic literature. ?
(Seminar/Laboratory)
Prerequisites:
FPA.150
or equivalent and admission to PPA.250.°
2) Proposed Calendar Entry:
EPA. 254-3 ?
Theatre Laboratory I
This is the first of four courses in performance research, each one of which is
'attached' to one of the four courses: FPA.250, 251, 350, and 351. The
- - - - - - --- work --is--compr-i-sed- of movement, voice- tr-a-i-n-ing,—p-l-ay--read-ing-, -and -produc-t-ion--------------
work. The play reading seminar will focus on Greek Drama
?
(Seminar/Laboratory)
Prerequisites:
FPA.150
or equivalent and admission to
FPA.250.
3) Rationale:
The proposed change provides a more accurate description of the course content,
as well as placing the course in the context of a series of courses which make
up the theatre laboratory program of the theatre area. The proposed title is
more accurate than the somewhat ambiguous Supplementary Studies.
0
7S
Proposed Calendar Change for FPA.255-3
1)
Present Calendar Entry:
FPA.255-3 Supplementary Studies for Actors II
A companion course to FPA.251. It is designed to enlarge each acting
student's experience through appropriate skills-oriented laboratories, production
requirements and readings in dramatic literature. (Seminar/Laboratory)
Prerequisites: FPA.250 and 254.
2)
Proposed Calendar Entry:
FPA.255-3
?
Theatre Laboratory II
This is the second of four courses in performance research. The work is
comprised of movement, voice training, play reading and production work.
The playreadingsemjnar will concentrateen medieval and Elizabethan
drama.
?
(Seminar/Laboratory)
Prerequisites: FP4.250 and 254.
3) Rationale:
The proposed entry is consistent with the change in the proposed entry for
EPA. 254
S
.
S
1(p
Proposed Calendar Change for 'FPA.350
0
?
1) Present Calendar Entry:
FPA.350-3 Scene Study for Actors I
An approach to the acting of scenes from major plays of the modern era, with
particular emphasis on problems of characterization in realistic drama. (Studio)
Prerequisites:
PPA4. 251
and
255
or equivalent and permission of the Department.
This is a.limited entry course. Written permission
of
the Department is
required in advance
of
registration. Students will normally take
PP/1.350
and
354
concurrently.. .
2)
Proposed Calendar Entr
FPA.350-3 Acting III
Continues and expands upon the work undertaken in FPA.250 and 251. Work with
.established texts will receive increasing emphasis. Scene work may lead to a....
series of informal presentations.
?
(Studio)
Prerequisites:
FPJ1. 251
and
255
or equivalent and permission of the Department.
This is a limited entry course. Written permission
of
the Department is
required in advance
of
registration. Students will normally take
FPA.350
and
354
concurrently.
3) Rationale:
The proposed entry establishes that FPA.350-3 is part of a sequence of acting
courses. The statement in the current entry concerning realistic drama no
longer reflects the primary orientation of the teaching faculty and should be
deleted. The proposed title will establish that the course is part of a.
sequence beginning with FPA.250 (Actingl). It will also be more accurate as
as scene study is only one aspect of the work to be undertaken;
L
Proposed Calendar Change for FPA.351
1)
Present Calendar entry:
FPA.351-3 Scene Study for Actors II
An approach to the acting of scenes from medieval, Renaissance, and later plays,
with particular emphasis on problems of acting in period, verse, and absurdist
drama. ?
(Studio)
Prerequisites:
FPA.350
and
354
or equivalent. Students will normally take
FPA.351
and
355
concurrently.
2)
Proposed Calendar Entry:
FPA.351-3 Acting IV
Continues and expands upon the work of FPA.350.
?
(Studio)
Prerequisites:
FP4.350
and
354
or equivalent. Students will normally take
FPA.351
and
355
concurrently.
3) Rationale:
The proposed entry will make the calendar offerings in acting consistent.
71
.
.
0
Proposed Calendar Change for FPA.352.
1) Present Calendar Entry:
FPA.352-3 Theatre Production III
Gives students experience in preparing and performing in various kinds of
theatrical production under faculty supervision. Students will organize a
production
•
unit which will undertake a series of performance projects. The
projects undertaken will relate to the acting studies in FPA.350. ?
(Studio)
Prerequisite: Admission to
FPA.350.
Normally, students enrolling in this
course should take
FPA.350
and
354
concurrently.
2) . Proposed Calendar Entry:
FPA.352-3 Playmaking III
A course designed
-
to continue the development of the playmaking research begun in
FPA.252 and 253. Emphasis will be placed upon the creation of original - -
material with the possibility of presentation before an audience. (Studio)
Prerequisite: Admission to
FPA.350.
Normally, students enrolling in this
course should take
FPA.350
and
354
concurrently.
3) Rationale:
The proposed entry reflects the changes in the earlier proposed entry for
FPA.252 and 253 and indicates that this course is part of a sequence of
courses.
0
Proposed Calendar Change for FPA.353
. .
?
0
1)
Present Calendar Entry:
FPA.353-3 Theatre Production IV
Gives students experience in preparing and performing in various kinds of
theatrical production under faculty supervision. Students will organize a
production unit which will undertake a series of perofrmance projects. The
projects undertaken will relate to the acting studies in FPA.351
?
(Studio)
Prerequisite: Admission to FPA.351. Normally, students enrolling in this
course should take FPA.352 and 355 concurrently.
2)
Proposed Calendar Etitry:
FPA.353-3
?
Playniaking IV
Continues the playmaking work of FPA.352.
?
(Studio)
Prerequisite: Admission to FPA.351.
Normally, students enrolling in this
course should take FPA. 351 and 355 concurrently.
3) Rationale:
The proposed entry will make the entry consistent with other playmaking courses.
0
1^1
UE
•rProposed Calendar Change for FPA.354
1) Present Calendar Entry:
FPA.354-3
?
Supplementary Studies for Actors III
A companion course to FPA.350. It is designed to enlarge each acting
student's experience through appropriate skills-oriented laboratories, production
requirements and readings in dramatic literature
?
(Seminar/Laboratory)
Prerequisites: FPA.251 and 255.
2)
Proposed Calendar Entry:
FPA.354-3 ?
Theatre Laboratory III
This is the third of four courses in performance research. The work is
comprised of movement, voice training, playreading, and production work.
The playreading seminar will concentrate on drama after 1800.
- ?
-
?
-
?
-
?
(Seminar/Laboratory)
Prerequisites: FPA.252.and 255.
3) Rationale:
The proposed entry will make the entry consistent with other theatre laboratory
courses.
-•' ?
Proposed Calendar Change for FPA.355
1)
Present Calendar Entry:
FPA.355-3 Supplementary Studies for Actors IV
A companion course to FPA.351. It is designed to enlarge each acting student's
experience through appropriate skills-oriented laboratories, production
requirements, and readings in dramatic literature.
?
(Seminar/Laboratory)
Prerequisites: PPA.350 and 354.
2)
Proposed Calendar Entry:
FPA.355-3. Theatre Laboratory IV
This is the fourth Of four courses In performance research. The work is
comprised ofmovement, voice training, play reading, and production work.
The play reading seminar will focus on an aspect of modern drama.
Prerequisites: FA.350 and 354•
?
(Seminar/Laboratory)
3)
Rationale:
The proposed entry will make the entry consistent with other theatre laboratory
courses.
.
.
0
