SiMON FRASER
MEMORANDUM
UNIVERSITY
?
S
1,
9b - /.
50
?
,.........SENATE .......................................... .
?
From ... SENATE. C0IT.TEE .ON .UNDERQMDUATE .....
STUDIES
CENTRE FOR THE ARTS - NEW COURSE.
?
Subject... PROPOSALS,. .COURSE . CHANGES, . PROGRAM....
?
Date. . . NOVEMBER. .12.,. .19.80...........................
CHANGES
Action undertaken by the Senate Committee on Undergraduate
• Studies at its meeting of November 4, 1980 gives rise to the follow-
ing motion:
"That Senate approve and recommend approval to the
Board of Governors, as set forth in S..80-150, the
following changes:
i) New Course Proposals and some Course Changes:
1.
FPA. 166-3 - Introduction to the History of Art 1
(discontinue FPA 107-3)
FPA. 167-3 - Introduction to the History of Art II
(discontinue FPA. 108-3)
2.
FPA. 327-3 - History of Dance: Origins to the 20th Century
(discontinue FPA. 326-3)
FPA. 328-3 - History of Dance: The 20th Century
(discontinue FPA. 326-3)
3.
FPA. 433-5 - Directed Studies in Film Production IV
(accompanied by curriculum changes for:
FPA. 430-5 - Directed Studies in Film Production I -
description change
FPA. 431-5 - Directed Studies in Film Production II -
description and prerequisite change
FPA. 432-5 - Directed on
in Film Production Ill -
description and prerequisite change)
4.
FPA. 370-3 - Technical Theatre
ii) Changes in Programs:
1. Visual Art Minor
a)
Lower division requirements
b)
Upper Division requirements
2. DanceMajOt
a)
Lower division requirements
b)
Upper division requirmentS
3. Film Minor
a) Upper division requirements."
The documentation includes reference to funding and other
requirements.
liME / rn
S
.
SIMON. FRASER UN!VERSITY$
_
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,
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7^j
MEMORANDUM
?
•Secretary to the Senate Committee
?
Faculty of Interdisciplinary Studios
..........on Undergraduate. .Studes................... .
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dr
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ric4. p'cc.....
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Subject.....
Centre.
for.
W.Va.
Now.
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Date. .
October. 24.,.
.i0
Proposals,
I.S.C.
80-21(a)
FPA.166-3, Introduction to the History of Art I.
FPA.167-3, Introduction to the History of Art II.
It is proposed that the courses FPA..107-3, Introduction to Art history -
the Seventeenth Century,
and
FPA.108-3, Introduction to Art History - the
Eighteenth Century, should be dropped from the
Calendar upon the approval
of FPA,166-3
and
FPA 167-3.
FPA.327-3, History of Dance: Origins to the 20th Century.
FPA. 328-3, History of Dance: The' 20th Century.
It is
proposed that the course FPA
326-3, History of Dance,
should
be
dropped
from the Calendar upon the approval of FPA 327-3
and
FPA 328-3.
F1 3
A.433-5, Directed Studies in
Film
Production IV.
In conjunction with this new course proposal, changes in
Caldndar
descrip-
tions for the existing courses FPA.430-5, FPA.431-5
and
FPA..432-S were
presented, in order to define these courses more clearly.
FPA 370-3. Technical Theatre.
This course is intended as a sequel to FPA.170-3, Introduction to
Technical
Theatre.
The above items were discussed and approved at a meeting of the
Faculty of Interdisciplinary Studies Undergraduate Curriculum Committee
held on Tuesday, October 21, 1980. Would you please place them on the next
agenda of the Senate Committee on Undergraduate Studies.
Janet
M.Bnchet
^
AIR mum
SAttachments
cc C. Griffiths
From
Suzie Szekeres, Secretary to
Curriculum Committee
Centre for the Arts
Date
October 14, 1980
.
SiMON FRASER UNIVERSITY
MEMORANDUM
To
?
Janet Knutsen, Secretary to Dean?
interdisciplinary Studies
Subject
Additional Calendar Changes:1981/82
to he presented to FISC mtg. of Oct-21
The attached are proposed calendar changes to be presented to FISC at the
October 21 meeting.
I am re-submitting tho changes for the FPA. MAJOR because there was an omission
Of
' on
1uiflt
in the Rationale that was distributed for the Oct. TA meeting.
Other additional proposed calendar changes are for the following
FPI\.4 30-S
FPA.431-5
FPA.432-5
FILM MINOR
VISUAL ART MINOR
DANCE MAJOR
Dposais being submitted as as follows:
INTRODUCTION TO THE HISTORY OF ART I
INTRODUCTION TO THE HISTORY OF ART II
HISTORY OF DANCE: ORIGINS TO THE 20TH CENTURY
HISTORY OF DANCE: THE 20TH CENTURY
DIRECTED STUD3.E.3 IN FILM PRODUCTION IV
r
Jh
f
format of (1) Present Calendar Entry
?
roposed Change (3) Rationale
has been used, except in cases where there is a joint rationale for the
new course proposals and related calendar changes - the Rationale in these
cases comes at the end.
All additions or changes from the present calendar entries are typed in
Italics.
Course proposals are being sent to the regular channels across campus to
check for course-overlap.
New Course Pr
FPJ\. 166-3
FPA. 167-3
FPA. 327-3
TPA. 328-3
FPA. 433-5
ss/atta. -
fl
I 'W
FPA.166-3 &FPA.167-3
(New Course Proposals)
AND
VISUAL ART MINOR
(Changes)
SENATE cO?11TTEF ON 1JNDERCHADLIATE STUDIES
NEW
COURSE PROPOSAL FORM
1. Calendar information
?
Department:
Centre for the Art lie
Abbreviation Code:
FPA.
?
Course Number:
166 ?
Credit Hours:
3
?
Vectori-o-o
Title of Course:
INTRODUCTION TO
THE HISTORY OF ART I
Calendar Description of Course:
An Introduction to the history of the visual arts
from pre-historic times to the end of the Gothic era. A systematic chronological review
of
the major works in the Western tradition, placed in their social, institutional
and stylistic context. Introduces concepts necessary for analyzing general historical
development in the arts and for analyzing the meanings of individual works.
Nature of Course
Lecture
Prerequisit es
(or special
instructions)
:
For students intending to minor in Visual Art,
it is recommended that this course be taken concurrently with FPA.160-3.
What course (courses), if any, is being dropped from the calendar if this course
is
approved:
FPA.107-3
2.Schlifl
flow
frequently will the course be offered?
?
Each fall semester
Semester in which the course .i1l first be offered?
1981-3
Which of your present faculty
would
be available to make the proposed offering
possible?
Bruce Barber & Jeff Wall
3.
Objectives of the
Course
1) To provide a systematic, basically chronological intro-
duction
-
to the major corpus of artistic products of the Western tradition, placed in
Ih'ir so(---ial, institutional and stylistic setting. 2) To provide an introduction to
the arsilytical concepts by which historical periods and stylistic movements are
identified and distinguished in their development. 3) To provide an introduction to
the kinds of concepts and methods necessary for analysis of the meaning of individual
works.
4.
jctary and Space Requirements
.
(for information only)
What additional resources will be required in the following areas:
Faculty ?
None
Staff
Library
Audio Visual
Space
Equipment
Approval
D4
tc:
O?
?
y
partment."th1irmafl
-
le
D-21
?
NOV
4
10
cyr
Clhairman,
Dean
5.
SCUS
•73-36b:-
(When completing thi
n
form, for instructiOns
8CC
Memorandum
SCUS 73-34n.
SENATE COMMIT1FE ON UNDERCRADII ATI-:
STUDIES
NEW COURSE PRO['OSA[. FOR1I
Calendar Information
?
Department:
Centre for the Arts
?
Abbreviation Code:
FPA
?
Course Number:
167
?
Credit Hours:
3
Vector:
4-p--0
Title
of Course:
INTRODUCTION TO
THE
HISTORY OF ART II
Calendar Decriptiofl of Course: A
sequel to FPA.166. An introduction to the history
of the visual arts from the beginnings ofthe Renaissance around 1400 to the
end of the Second World War.
A
systematic chronological review of the major
works in the Western tradition, placed in their social, institutional and stylistic
context. Introduction of concepts necessary for analyzing general historical
development in the arts and for analyzing the meaning of individual works.
Nature of Course
Lecture
Prerequisites (or special instructions):
FPA.1663. For student$intendinq to minor in
visual art, it is recommended that this course be taken concurrently with F1
1 A.161-3-
What course (courses), if any, is being dropped from the calendar if this
course is
approved:
?
FPA.108-3
2. Scheduling
How frequently will the course be offered?
?
Each Spring Semester
Semester in which the course will first be offered?1982-1
Which of your present faculty
would
be available to make the proposed offering
possible? ?
Bruce Barber & Jeff Wall
ob
jectives of the Course
1) To provide a systematic, basically chronological- intro-
duction to the major corpus of artistic products of the Western tradition, placed in
their social, institutional and stylistic setting. 2) To provide an introduction to
the analytical concepts by which historical periods and stylistic movements are identified
and distinguished in their development. 3) To provide an introduction to the kinds
of concepts necessary for the analysis of the meaning of individual works.
4. Budgetary and Space RequJreIne
?
(for:informatiOfl only)
What additional resources will be required in the following areas:
Faculty ?
None
Staff
Library
Audio Visual
Space
Equipment
5.
Approval
Date:______________
• ________
- -
?
partment Chairman
/
critc
7-34b:- (When completing this form, for instructions
8CC
Memorandum SCUS 73-34n.
FPA. 166 & 167
INTRODUCTION TO THE HISTORY OF ART I & II
These courses,to be given sequentially each academic year, will be primary
requirements for the Visual Art minor. Students will be advised to take
them in their first year. They will be able to take them in the second
year, although this is less desirable and should be made clearin all
counselling; under no circumstances will students be permitted to register
for third year Visual Art courses without having completed these courses
successfully.
The courses have three primary objectives:
1)
To provide a systematic, basically chronological introduction to
the major corrus of artistic products of the Western tradition,
placed accurately within their social, institutional and stylistic
setting.
2)
To provide an introduction to the analytical concepts by which
historical periods and stylistic movements are identified and
distinguished in their development.
3)
To provide an introduction to the kinds of concepts and methods
necessary for analysis of the structure of meaning in individual
works of art.
The courses are not primarily a history of ideas as they are expressed or
embodied historically in works of art, nor are they a social history of
art and the institutions within which it is produced and utilized, although
in many ways they rest upon such studies. The courses intend to establish
a firm and organized primary awareness of the kinds of products and problems
central to our ideas of art, and a first level of active familiarity with
the
most important works. The establishment of the basics of a systematic
conceptual vocabulary, dealing with the social, technical, iconographical
and stylistic aspects of artistic development is central.
[<E9UIPED TEXT: H. W. Janson, History of Art (2nd ed.), 1978.
No textbook is entirely satisfactory. Janson's work, however, remains the
most accessible and well-organized, up-to-date one.
?
This assessment is
based on the function of the text in the courses. The courses are not to
be restatements of Janson's text, although they may follow its chronological
sequence. The text is understood as a central source of basic information
upon which the lecturer must construct a unified and organized, conceptually
vivid presentation of the essential. mater
1.31.
The text must he augmented systematically with other reading material which
deils with the subject from the most significant perspectives.
.
Arnold Hauser, The Social History of Art
(4 vols.), 1951.
Elizabeth G. Halt, A Documentary History
of Art (2 vols.), 1957.
Ernst Gombrich, The Stary of Art, 1950.
Art and Illusion, 1972.
PECOMMENDED READING MAY INCLUDE:
S
Library resources must
he
seriously improved to support this course.
. ?
Multiple copies (probably 12) of each of the recommended texts must:
he
placed on a secure permanent reserve.
Slide library resources must also be enlarged. This should take place in
the semester prior to the first offering (ie. summer 1981).
Consistent links with course offerings in the Humanities Minor Programme
should be encouraged through counselling in the Centre for the Arts.
These courses can be taken by Visual Art minor students as their electives
outside FPA.
The following subject outline is based on a course organized in two two-
hour lectures per week.
FPA. 166-3
INTRODUCTION TO THE HISTORY OF ART I
WEEK 1: 1 General introduction.
2 The Age of Barbarism-Art and TechniCSThe Concept of the
'Pre-Historical'.
WEEK 2: 1 The Old and New Stone Age.
2 The Emergence of the 'Oriental Despotisms'-. Pre-'Western'
Ancient Art: Egypt.
WEEK 3: 1 Assyrian, Sumerian, Persian Art.
2 Aegean Art-
WEEK 4: 1 Greek Art and the Origins of the Western Tradition:
I: Archaic Art: the Kouros and the meaning of the Body;
Vase Painting.
2 II: The Athenian
p
olis, the City-State, the Theatre, and
the development of classical'Greek Architecture.
WEEK
5:
1 & 2 Classical Greek Architecture and Sculpture;
'Classicism' as a concept in the history of art;
Relationships between the arts in the Classical period.
WEEK 6: 1 Democracy and Slavery: The break-up of Classical Culture.
2 Later Greek Art: Hellenism. . .
?
0
WEEK 7: 1 Etruscan Art and the transition from Greek to Roman Culture.
2 Republican and Imperial Rome: Roman Architecture.
WEEK 8: 1 Roman Sculpture.
2 Roman painting and the origins of Western illusionism.
WEEK 9: 1 The Decline of Rome: the blending of North and South, East and
West in the emergence of Christian Europe in the Feudal System.
2 A brief survey of the Orient in the era of the emergence of the
great world religions (Buddhismfl and Islam).
W1-1:K10: 1 Byzantine Art (iconoclasm; Istanbul and Moscow).
2 Early Christian Art: the Catacombs, the Basilican, the
Narrative Cycle.
WEEK ii: 1 Medieval Art: the rise of the North and the Unification of
Christian Culture: Carolingian Art: the Monastery as Factory-
2 Romanesque Art: the Town and the Development of the Cathedral.
WEEK
12:
1 The Gothic:
•
the emergence of the modern idea o an 'TntOrfldt.iOrIaI
Style' : The Town, the Guild, and t1le per Fcl: ion OF tho CdthodrI1.
2
Gothic SculptUrc and the Cathedral.
WiEK 13: 1 Gothic Painting: Stained Glass, Illuminated Manuscript,
Jewellery, the Altarpiece (Italy and the North).
2 Figurative Illusionism: Christ and Narrative Space:
Cimahue, DucCio, Giotto, MasacCio.
FPA. 167-3
INTRODUCTION TO THE HISTORY OF ART II
WEEK 1: 1 Transition from the Gothic and the emergence of the modern
bourgeois form of culture: the role of painting in the
development of the relationships between the arts.
2 The Florentine Renaissance: Urbanism and Painting: the
development of the system of Perspective.
WEEK 2: 1 Florence: Architecture (Brunelleschi) and Sculpture (Donatello,
Ghiberti).
2 Leonardo da Vinci.
WEEK 3: 1 Leonardo/Michelangelo and the traditions of Florence and Rome.
2 Michelangelo: Florence and Rome.
WEEK 4: 1 Raphael and the Academic Conception of Beauty and Authority.
2 Venice: Trade, Architecture, Oil Painting.
WEEK 5: 1 The Northern Renaissance: Alchemy and Late Gothic Classicism:
Albrecht Diirer, Bosch.
2 The Northern Renaissance and the international crisis of
Mannerism (Grunewald, Cranach, Breughel)
WEEK 6: 1 International Mannerism: new concepts of space and meaning
(Tintoretto and the Italians, El Greco).
2 The Baroque: Protestantism and the Spirit of Capitalism; the-
Reformation and Counter-Reformation as social struggle: I:
Bernini.
WEEK 7: 1 The Roman Baroque in Architecture and Painting: the Caracci,
Caravaggio.
2 The Baroque as an International Style: Ruhens and Velazquez:
the Politics of the Courts; the Medieval Revival.
WEEK 8: 1 The Baroque as an International Style: Rembrandt, Hals, Vermeer.
2 The Cultural System of Louis XIV: Versailles, the Unified
National Academy of Arts and Sciences, the formalization of
Art Theory: Mansart, LeBrun, Poussin.
WEEK 9: 1 Modern England, the Glorious Revolution, the Restoration, and
the Rococco: Inigo Jones, Christopher Wren; the English
Academy.
2 The Rococo, the Bourgeois Revolution, Neo-Classicism: Wirickelmann,
David, Goya,Piranesi.
WEEK 10: 1 Neo-Classicism as an International Style: Architecture,
Urbanism and Industrialism in Europe and America.
2
Romanticism: Country/City, Europe/America: Painting in !uropc
from David to Degas.
. ?
WEEK 11: 1 Romanticism and its Consequences in Europe and America:
Architecture, the Garden and the Ruin; the Painting as private
property.
2 Realism, Photography, Impressionism: the City and the
Industrialization of the Arts: Courbet, Manet, Deqas, Montt.
WEEK 12: 1 Post Impressionism, Symbolism, the Machine City and the rise
of Mass Culture forms.
2 Mass Culture, the Revolution, and the Avant-Garde: the modern
structure of art: Expressionism, Cubism, Futurism.
WEEK 13: 1 European Art between the Wars: Surrealism, Constructivism,
Abstract Art.
2 The maturity of America and the emergence of 'American-type'
art.
0
.
CURRICULAR CHANGES
The VISUAL ART MINOR
1. Present Calendar
Lower Division Requirements - as prerequisites
Visual
Art Minors will complete 21 hours of prerequisite Lower Division
credit, distributed as follows:
Any two
of:
FPA.110-6
The
Arts
in Context:
The Renaissance
FPA.113-6
The
Arts
in Context:
European Romanticism
FPA.114-6
The
Arts
in Context:
The Modernist Era
FPA.116-6
The
Arts
in Context:
North American Styles
Plus all of:
FPA.160-3 ?
Introductory Studio in Visual Art I
FPA.260-3
?
Studio in Visual Art I
FPA.261-3
?
Studio in Visual Art II
Upper Division 3uiremefltS
Visual Art Minors will complete 17 hours of Upper Division credit,
distributed as follows:
All of:
FPA.360-3
?
Studio in Visual Art III
FPA.361-3 Studio in Visual Art IV
FPA.366-3 Problems in Visual Art I
FPA.367-3 Problems in Visual Art II
FPA.469-5
?
Directed Studies in Visual Art
N.B. The attention of all students is drawn to FPA.176-3, Photography As
An Art Form.
S
0
CURRICULAR CHANGES - VISUAL ART MINOR - cont'd.
2. Proposed Changes
Lower Division Requirements - as prerequisites
Visual Art Minors will complete 21 hours of prerequisite Lower
Division credit, distributed as follows:
Any
one
of:
FPI\.110-6 The Arts in Context: The Renaissance
FPA.113-6 The Arts in Context: European Romanticism
FPA.114-6 The Arts in Context: The Modernist Era
FPA.116-6 The Arts in Context: North American Styles
Plus all of:
FPA.160-3 Introductory Studio in Visual Art I
EP1I.166-3 Introduction to the History of Art I
PPA.167-3 Introduction to the History of Art II
FPA.260-3 Studio in Visual Art I
FPA.261-3 Studio in Visual Art II
Upper Division Requirements
Visual Art Minors will complete 17 hours of Upper Division
credit, distributed as follows:
All of
FPA.360-3 Studio in Visual Art III
FPA.361-3 Studio in Visual Art IV
FPA.366-3. Problems in Visual Art I
FPA.367-3 Problems in Visual Art II
FPA.469-5 Directed Studies in Visual Art
N.E. The attention of all students is drawn to FPA.176-3,
Photography As An Art Form.
:. Rationale
This is the only Centre
.
for the Arts minor program that requires
two context courses . The newly proposed FPA. 166 and FPA. 167 meet the
specific needs of a sequential art history background, and the substi-
tution does not alter the total number of, credit hours required.
.
.
FPA.327-3 & FPA.328-3
(New Course Proposals)
AND
DANCE MAJOR
.
(Changes)
410
Tha rman,
Sc
S
SENATE COMMITTEE ON UNDERGRADUAT
E
STUDIES
-
NEW COURSE PROPOSAL FORM
CENTRE FOR THE ARTS
1. Calendar Information
?
Department:
Abbreviation Code: FPA.
?
Course Number:
?
327 ?
Credit
Uou rs:
?
Vector: 2_TS
Title of Course:
?
HISTORY OF DANCE: ORIGINS TO THE 20TH CENTURY
Calendar Description of Course: Survey of the function and form of dance from
primitive culture through the 19th century ballet in Tsarist Russia. Emphasis
will he upon Western theatre dance and evolution of the classical ballet.
(Students with credit for FPA.326 or KIN.310 may not take this course for further
crcdi L).
Nature of Course Lecture/Seminar
Prerequisites (or
special instructions):
What course (courses), if any, is being dropped from the calendar if this course is
approved:
FPA. 326-3
2.Schdulifl
Uow frequently will the course be offered? Once a year.
semester in which the course will first be offered? 19821 or 1982-3
Which of your present faculty would be available to make the proposed offering
possible?
Iris Garland.
3. ObjectiveS of the Course
1)
To acquaint students with the historical background of contemporary dance.
2)
['0
enable students to understand the art form of dance in an historical and
critical context.
4. Bxidgetary and Space Requirements
,.. (for information only)
What additional resources will be required in the following areas:
Faculty
None
Staff ?
None
Library - from emergent program funding
Audio Visual - from emergent program funding (films)
Space ?
None
Equipment None
5. Approval
Date: ?
•/ , /
Ix
Department Chairman
SCIJS 73-34b:- (When completing thiH form,. for instructions ace Memorandum SCUS 73-34a.
FPA. 327-3
HISTORY OF DANCE:
?
ORIGINS TO THE 20TH CENTURY
TOPIC
FILM
The Function of Dance in Primitive Culture
TRANCE AND
MAGIC. . .MYTH.. .RITUAL
DANCE ?
[N ?
Di\].I
Dance and the Origin of Greek Theatre
The Roman Pantomime
The Middle Ages and Denial of the Body
The Dance of Death
16th C.
Renaissance Court Spectacle and Politics
Catherine de Medici and The Ballet Comique
de la Reine
17th C.
L'Academie Royale de Danse and Louise XIV
as the Sun King - Jean Baptiste Lully
Ballet Enters the Theatre... End of Amateurism
HOW ?
LA.LLEI' ?
13Fx;AN
18th
C.
The Virtuoso
ianuer..
.Marie Carcju,
?
ar1
?
Salle
The Vestris Family
The Rise of the Choreographer: Reforms of
Ballet d'Action (Weaver, Noverre)
.
French Revolution and the Rise of Bourgeois
BALLET ENJEkST
Ballet - Dauberval and La Fille Mal
WORLD ST/\CE
Garde
Forerunners of Romanticism - Didelot, Vigano
19th C
The Romantic Revolution
Marie Taglioni, and La Sylphide The duality of
Fanny Eisler, and La Cachuca
j
Romantic Ballet
?
GISELLE: The Epitome of the Romantic Ballet
?
GISELLE
?
Theophile Gautier, Carlotta Grisi,
?
Karen Krui.n
Jules Perrot
?
Frank Auqustyri
?
The Demise of Romanticism and New Life From
?
TCiLAIKOVSKY AND
Russia (Petipa and Ivanov)
?
TIlE RUS$HANS
Sleeping Beauty, Swan Lake, The Nutcracker
The Russian Imperial School - consolidating
tradition and the seeds of reform.
0
EPA. 327-3
HISTORY OF DANCE: ORIGINS TO THE 20TH CENTURY
SELECTED BIBLIOGRAPHY
TRIBAL CULTURES AND RITUAL
Benedict, Ruth. Patterns of Culture. New York: Houghton Mifflin Co., 1934.
Boas, Franziska. The Function of Dance in Society. New York: The Boas
School, 1944.
C.O.R.D. Journals. New Dimensions in Dance Research: Anthropology and
Dance, 1977.
Fraser, Sir J.G. The Golden Bough. New York: Macmillan, 1935 (abridged
edition, 195)
Gorer, Geoffrey. Africa Dances. London: John Lehman, 1949.
Harrison, Jane. Ancient Art andRitual. New York: Henry Holt & Co., 1913.
Lange, Roderyk. The Nature of Dance: An Anthropological Perspective.
London, 1975.
Oesterly, William. The Sacred Dance. New York: Macmillan, 1923.
Ridgeway, William. The Dramas and Dramatic Dance of Non-European Races.
Cambridge University Press, 1915.
Royce, A. The Ahthropolq9y of Dance.
Sachs, Curt. World
—
History of Dance. New York: W.W. Norton & Co., 1937.
Spence, Lewis. Myth and Ritual in Dance, Game and Rhyme. London: Watts,
1947.
Wosien, Maria-Gabriele. Sacred Dance:Encounter With The Gods. London:
Thames & Hudson, 1974.
GRLECE AND ROME
Beare, W. The
!e. London: Metheun, 1950.
Lawler, Lillian.
?
"Terpsichore", Dance Perspectives XIII.
Lawler, Lillian. Dance in Ancient Greece.
0
Lawler, Lillain. Dance Of The Ancient Greek Theatre.
Nicoll, Allardyce. Masks, Mimes, and Miracles. London: Harrap, 1933.
MEDIEVAL
Chambers, E.K. The Medieval Stage.
Kurtz, Leonard. The Dance of Death and the Macabre Spirit in European
Literature. Gorden Press
,
, 1975.
Taylor, H.O. The Medieval Mind. London: Macmillan, 1938.
Warren, Florence. The Dance of Death. London: Osford University Press, 1931.
Whyte, Florence'. The Dance of Death in Spain and Catalonia. Arno Press, 1977.
RENAISSANCE - 16TH AND 17TH CENTURY
Arbeau, Thoinot. Orchesography
?
New York: DanceHorizons, 1968 (first
published 1588).
Beliojosa, Baldassarino. Ballet Amique de la Royal. (libretto) 1582.
Christout, Marie-Francoise. Le Ballet de Cour de Louis XIV. Paris: A. et
J. Picard, 1967.
Horst, Louis. Pre-Classic Dance Forms. New York: Dance Horizons, 1937.
Kinkeldez, Otto. A Jewish Dancing Master of the Renaissance Brooklyn.
1966, Guglielmo Ebneo.
MacGowan, Margaret M. L'Art du Ballet de Cour. Paris: E.C.N.R.S., 1936.
Prunieres, Henry. Le Ballet de cour en France. New York: Johnson Reprint
Corporation.
Strong, Roy. Splendor At Court. Boston: Houghton Mifflin Co., 1973.
Welsford, Enid. The Court Masque. Cambridge: The University Press, 1927.
BALLET - 18TH CENTURY
Lynham, Deryck. The Chevalier Noverre. London: Dance Books, 1972
Noverre, Jean Georges. Letters on Dancing and Ballets. New York: Dance
Horizons, 1966 (first published 1803).
Rameau, Pierre. The Dancing Master. New York: Dance Horizons, 1931.
Winter, Marian H. The Pre-Romantic Ballet. Brooklyn: Dance Horizons, 195.
3
19TH CENTURY ROMANTIC BALLET
?
.
Aschengreen, Erik. "The Beautiful Danger: Facets of the Romantic Ballet".
Dance Perspectives No. 58.
Beaumont, Cyril W. The Romantic Ballet As Seen By Theophile Gautier.
New York: Dance Horizons, 1932.
Beaumont, Cyril W. The Ballet-Called Giselle. New York: Dance Horizons,
1948.
Blasis, C. The Code of Terpsichore. 1976
Blasis, Carlo. Theory and Practice of the Art of Dancing. New York:
Dover, 1830.
Binney, Edwin. Les Ballet deTheophile Gautier. Paris: Nizet, 1965.
Bruhn, Erik and Moore, Lillian. Bournonville and Ballet Technique. London:
Dance Books, 1961.
Guest, Ivor. The Romantic Ballet in Paris. Conn.: Wesleyon University
?
?
Press, 1966.
?
-
Guest, Ivor.' The Romantic Ballet in England. (Ibid. 1972).
Guest, Ivor. The Ballet of the Second Empire (1847-1858). London: Adam
and Charles Black, 1955.
Guest, Ivor. A Gallery p[Romantic Ballet.
Guest, Ivor. The Divine Virginia: A Biography of Virginia Zucchi. New
York: Mared Deffer, Inc., 1977.
Guest, Ivor. Fanny Ellsler. Conn.: Wesleyon University Press, 1970.
BALLET - 20TH CENTURY
Alexandre. The Decorative Art of Leon Bakst. New York: B. Blom, 1971.
Baryshnikov, M.; Rhail. Baryshnikov at Work. Knopf, 1976.
Beaumont, Cyril. Complete Book of Ballets. New York: G.P. Putnam, 1938.
?
Beaumont, Cyril.
?
Michel Fokine and His Ballets. London: Beaumont, 1935.
Benois, Alexandre. Reminiscences of the Russian Ballet. London: Putnam,
1947.
Buckle, Richard, Nijinsky. London: Weidenfeld & Nicolson, 1971.
Clarke, Mary. The Sadler's Wells Ballet. London: A. and C. Black, 1955.
4
Demidov, Alexander. The Russian Ballet: Past and Present. Doubleday, 1977.
.De Valois, Ninette. Come Dance With Me. London: Dance Books, 1973.
(an autobiography).
Fokine, Michel. Fokine: Memoirs of a Ballet Master. Boston: Little
Brown, 1961.
Gregory, John. Diaghilev's Oversight and the Aftermath. London: 1954.
Grigoriev, S.L. The Diaghilev Ballet 1909-1929. New York: Dance Horizons,
1953.
Hodgson, Moira. Quintet: Five American Dance Companies. Morrow, 1976.
Karsavina, Tamara. Theatre Street. New York: Dance Horizons, 1931.
Kirstein, Lincoln. Nijinsky Dancing. New.York: Knopf, 1975.
Kochno, Boris. Diaghilev and the Ballet Russes. New York: Harper and Row,
1970.
Lieven, Peter A. The Birth of the Ballet Russes. Boston and New York:
Houghton Mifflin Co., 1936, 1956.
MacDonald, Nesta. Diaghilev Observed.
Mazo, Joseph. Dance is a Contact Sport. New York: Saturday Review Press.
Nijinsky, Romola. Nijinsky. New York: Mis. Press, 1968.
Reynolds, Nancy. Repertory in Review. 40 Years of the New York City Ballet.
New York: The Dial Press, 1977
Roslavleva, Natalia. Era of the Russian Ballet. London: Gollanez, 1966.
Spencer, Charles. The World of Serge Diaghilev. London: 1974.
Swift, Mary Grace. The Art of the Dance in the U.S.S.R. Indiana: University
of Notre Dame Press, 1968.
Taper, Bernard. Balanchine. New York: Macmillan, 1974.
The Serge Lifar Collection of Ballet Set and Costume Designs.
0
SENATE COMMITTEE ON UNDERCEADU ATE STUDIES?
NLW COURSE PROPOSAl. FORM
CENTRE FOR THE ARTS
1. Calendar Information
?
Department:
Abbreviation Code: FPA.
?
Course Number:328
?
Credit Hours: 3 Vector: 2-0-1
Title of Course: HISTORY OF DANCE: THE 20TH CENTURY
Calendar Description of Course: Survey of the development of the modern dance from
Loie Fuller and Isadora Duncan through the post-modern present, and the reformation
of the ballet from Fokine and Diaghilev to contemporary ballet. Emphasis will be
upon Western Theatre dance. This course is a continuation of FPA.327-3.
Nature of Course Lecture/Seminar
Prerequisites (or special instructions):
FPA.327-3 or Departmental permission.
(Students with credit for
FPA.326
or
KIN.310
may not
take this
course for further credit).
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? 1982-1 or 1983-1.
Which of your present faculty wDuld be available to make the proposed offering
possible?
Iris Garland
3. Objectives
-
of the Course
1)
To acquaint students with the historical background of contemporary dance.
2)
To enable students to understand the art form of dance in an historical and
critical context.
4.
?
jctaryand Space Requirements (for information only)
What additional resources will be required in the following areas:
Faculty None. A visiting appointment has been implemented once a year in the
Dance Area as part of the new Major program.
Staff
?
None.
Library From-emergent program funding.
Audio Visual
From emergent program funding (films).
Space
?
No special needs.
Equipment ?
No special needs (slide and film projector).•
C
5. Approval
?
Date;
Departmei-ëhairmafl
zcrv
?
__
airman, SCU
SCUS 73-34b:-
(When completing this form, for instructions see Memorandum SCUS 73-34u.
FPA. 328-3
HISTORY OF DANCE: THE 20TH CENTURY
- Dance at the turn of the century: Decadent tradition and popular
commercialism.
- The modern dance revolution: Loie Fuller, Isadora Duncan, Maud Allan
- The Ballet reformation: Diaghilev's Ballet Russess 1909-1929
1909-1914 Impressionism. Romanticism-Exoticism (Fokine and
Nij insky)
1914-1924 Expressionism-Cubism-Cerebalism (Massine)
1924-1929 Sophistication-Return to Classicism (Nijinsky,
Balanchine)
- Denishawn. Ethnic Eclecticism, Mysticism, and Commercialism (Ruth
St. Denis and Ted Shawn)
- The Modern Dance Pioneers
Mary Wiginan - German Expressionism
Martha Graham - The Interior Landscape
Doris Humphrey and Charles Weidman - Man in the Social Context
- Dance as Social Commentary. Dance in the Thirties (The New Dance
Group)
- The Aftermath of Diaghilev (Balanchine, Tudor, Ashton)
- Freedom from Meaning (Merce Cunningham and John Cage)
- Gesamtkunstwerk: Aiwin Nikolais and Total Theatre
- Dance as Life: Dance in the 60's (Yvonne Ranier, Anna ilalprin, The
Judson Group)
- Development of dance in Canada (the boom of the late 60's and 70's)
Effects of the Canada Council on the development of dance
Modern dance arrives in Canada (Le Group de la Place Royale,
TDT, etc.)
The growth of
.
the NatiOnal Ballet of Canada, the RWB, and Les
Grand Ballet Canadiens to international status.
- Post-Modern Dance (the Grand Union, dance as process, Contact
Improvisation, etc.)
- The State of the Art and State Art: effects of economics on dance
companies and the patterns of subsidization' of the arts and its
relationship to the dance.
.
FPA. 328-3
HISTORY OF DANCE: THE 20TH_CENTURY
SELECTED BIBLIOGRAPHY
MODERN DANCE
Armitage, Merle.
?
Martha Graham.
?
New York: ?
Dance Horizons, 1937.
Cohen, Selma Jean.
?
Doris Humphrey: ?
An Artist First.
?
Conn.: ?
Wesleyen
University Press,
?
1972.
Cohen, Selma Jean (ed.)
?
The Modern Dance:
?
Seven Statements of Belief.
Conn.: ?
Wesleyet University Press,
?
1966.
Cunningham, Merce.
?
Changes: ?
Notes on Choreography.
?
New York:
?
Something
Else Press,
?
1968.
Duncan, ?
Isadora. ?
Art of the Dance.
?
New York: ?
Theatre Arts, 1928.
Duncan, ?
Isadora. ?
My Life.
?
New York: ?
Liveright, ?
1927.
Duncan, ?
Irma. ?
Duncan Dancer.
?
Conn.: ?
Wesleyen University Press, 1966.
Forti, Simone.
?
Handbook in Motion.
?
Halifax: ?
The Press of the Nova Scotia
College of Art and Design.
Foster, John.
?
The Influences of Rudolph Laban.
?
London: ?
Lepus Books, 1977.
Graham, Martha.
?
The Notebooks of Martha Graham.
?
New York: ?
Hercourt, Brau,
Jovanovitch, ?
1973.
Klosty, James.
?
Merce Cunningham.
?
New York: ?
Sat. ?
Review Press,
?
1975.
Martin, John.
?
America Dancing.
?
New York: ?
Dance Horizons, 1936.
Mazo, Joseph.
?
Prime Movers: ?
The Makers of Dance in America.
?
Morrow, 1977.
McDonagh, Don;
?
Martha Graijj
p.
?
New York: ?
Praeger, 1973.
McDonagh, Don.
?
The Rise and Fall and Rise of Modern Dance.
?
New York:
Curtis Books,
?
1971.
Morris, Gay.
?
"La ?
[ole". ?
Dance Magazine.
?
August 1977.
?
pg.
?
37.
Rainer, Yvonne.
?
Work 1961-1973.
?
Halifax: ?
The Press of the Nova Scotia
College of Art and Design,
?
1974.
Schlundt, Christena.
?
The Professional Appearances of Ted Shawn and his
Men Dancers. ?
New York: ?
Public Library, 1967.
Schlundt, Christena.
?
"Into the Mystic With Miss Ruth".
?
Dance Perspectives.
No. ?
46, ?
1971.
Sherman, Jane. Soaring: The Diary and Letters of aDenishawfl Dancer iLthe
Far East. Wesleyen Press, 19/b.
Siegel, Marcia. 'Nik: A Documentary". Dance Perspectives, No. 48, 1971.
Sorell, Walter. Hanya Holm. Conn.: Wesleyen University Press, 1969.
St. Denis, Ruth. An Unfinished Life. New York: Dance Horizons, 1939.
Stearns, Marshall. Jazz Dance: The Story of American Vernacular Dance.
New York: Macmillan, 196
Steegmuller, Francis, Your Isadora: The Love Story of Isadora Duncan
and Gordon Craig. New York: Random House, 1974.
Terry, Walter. Ted Shawn:
.
?
ofAmricafl Dance. Dial Press, 1976.
Wigman, Mary. The Language o
.
fDance. Conn.: Wesleyen University Press,
GENERAL DANCE HISTORY AND THEORY
Anderson, Jack. Dance. New York: Newsweek Book, 1974.
Austin, Richard. Images of the Dance. London: Vison Press, 1975.
Austin, Richard. The Ballerina. London: Vison Press, 1975.
.
?
Balanchine, George. Complete Stories of the Great Ballets. New York:
Doubleday, 1954.
Beaumont, Cyril. Ballet Design: Past and Present. New York: Studio
Publications, Ltd., 1946.
Beaumont, Cyril. Complete Book. of Ballets. New York: Garden City
Publishing Co., 1941.
Beaumont, Cyril. Ballets Past and Present. London: Putnam, 1955.
Beaumont, Cyril. A Manual of the Theory and Practice of Classical
Theatrical Danci_ng
?
ecchetti Method). London: C.W. Beaumont, 1960.
Beaumont, Cyril. Complete Book of Ballets. New York: Putnam, 1938.
Beaumont, Cyril. Ballet Desjn: Past and Present. London: The Studio, 1946.
Best, David. Expression in Movement and the Arts: A Philosophical Enquiry..
London: Lepus Books, 1974.
Brinson, Peter. Backround to European Ballet. Leyden: A.W. Sifthoff, 1966.
Clarke, Mary and Clement Crip. Ballet: An Illustrated History. London:
A. and C. Black, 1973.
Daicroze, Emile Jacques. Eurythmics, Arts and Education. New York: Arno,
Denby, Edwin, LookingajDllS!. New York: Curtis Books, 1949.
Emery, Lynne.
?
Black Dance in the U.S.
?
from 1916-1970. ?
Palo Alto:
?
3
National ?
Press ?
Books, ?
1972.
Guest, ?
Ivor. ?
The Dancer's Heritage:
?
A Short History of Ballet.
?
London:
A. ?
and C. ?
Black, ?
1960.
Haberman, Martin.
?
Dance: ?
An Art in Academe.
?
New York: ?
Teacher College
Press, ?
1970.
Horst, Louis and Carroll
?
Russell. ?
Modern Dance Forms.
?
New York:
?
Dance
Horizons, ?
1960.
Humphrey, Doris.
?
The Art of Making Dances. ?
New York:
?
Grove Press, 1962.
Hutchinson, Ann.
?
Labanotation. ?
2nd edition. ?
New York: ?
Theatre Art
Books, ?
1970.
Kaprelian, Mary. ?
Aethetics for Dancers:
?
A Selected Annotated Bibliography.
CAHPER, ?
1976.
Karsavina, Tamara.
?
Classical ?
Ballet: ?
The Flow of Movement.
?
New York:
Theatre Art Books.
Kirstein, ?
Lincoln.
?
Dance: ?
A Short History of Classical
?
Theatrical
?
Dancing.
Langer, Suzanne.
?
Problems in Art. ?
Cambridge: ?
Harvard University Press, 1942.
Magriel, ?
Paul ?
(ed.) ?
Nijinsky, ?
Pavlova, Duncan: ?
Three Lives ?
in Dance. ?
Da
Capo Press, ?
1977.
Martin, John. ?
Introduction to the Dance.
?
New York:
?
Dance HoI'izons, 1939.
Martin, John. ?
The Dance.
?
New York: ?
Dance Horizons, ?
1947.
May ?
Olga. ?
The American Ballet.
?
Phila.: ?
MacRae Smith Co., ?
1959.
Migel, Parmenia.
?
The Ballerinas from the Court of Louis XIV to Pavlova.
New York: ?
Macmillan, ?
1972.
Moore, ?
Lillian. ?
Artists of the Dance.
?
New York:
?
Dance Horizons,
?
1938.
Oxenham, Andrew and Michael
?
Crabb. ?
Dance Today in Canada. ?
Simon & Pierre
Publishing Co., ?
1977
Phil ?
,.Richard and Mary Whitney.
?
Danseur: ?
The Male in Ballet. ?
McGraw-
Hill,
?
1977.'
Reich, Steve.
?
Writings About Music.
?
Halifax: ?
The Press of the Nova
Scotia College of Art and Design.
Roslavleva, ?
Natalia. ?
Era of the Russian Ballet.
?
New York:
?
E.P.
?
Dutton &
Co.,
?
Inc., ?
1966.
Rust,
?
Frances.
?
Dance in ?
London: ?
Rontledge & K. ?
Pand, ?
1969.
Sachs, Curts.
?
TheCommonwealth of Art.
?
New York: ?
W.W. ?
Norton, ?
Inc. ?
1945.
Shawn, Ted. ?
Every Little Movement. ?
Brooklyn:
?
Dance Horizons, ?
1968.
(Del Sarte)_
Siegel, Marcia.
?
At the Vanishing Point:
?
A Critic Looks at Dance..
?
New York:
Saturday Review Press, 1972.
.
RATIONALE FOR THE
PROPOSF IV
FPA.327-3 AND FPA.328-3
FPA.327-3 HISTORY OF DANCE: ORIGINS TO THE 20TH CENTURY
FPA.328-3 HISTORY OF DANCE: THE 20TH CENTURY
The scope of the presentFPA.3263 HISTORY OF DANCE (which covers all of
the material in the proposed two courses) is too broad. This proposal
will split the present course into two courses in order to cover the same
amount of material. In the present situation there is not enough time to
cover the post-modern period of dance which is of vital importance,
particularly with the recent establishment of the dance major. The other
periods may be covered in more depth and with major students in the proqram
now it is essential to do this. The 20th century has produced many changes
and has far better documentation (including films) for study. This is the
reason for dividing the course at the 20th century rather than an earlier
period.
FPA.326 will be dropped from the Calendar. Faculty resources have increased
by one full-time faculty member and one semester visitor each academic year.
Also, Iris Garland has been relieved of administrative duties as Associate
Director and is teaching a full load. This enables the course to be offered
within present faculty resources.
.
[I
CURRICULAR CHANGES ?
The DANCE MAJOR
1. Present Calendar
The Dance Major
The Centre for the Arts offers a Bachelor of Arts Degree with a Major in
Dance
for students wishing to specialize in contemporary dance. The Dance
Program
consists of courses in 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 pro
c
' im is designed for students who wish to pursue the study of
dance within an academic environment which encourages exploration and inte-
gration of the stimuli from other artistic and academic disciplines.
General Requirements for the Dance Major
1.
For a general degree with a Major in Dance, students must complete a total
of 120 semester hours.
2.
Entry into the Major will be contingent upon acceptance into the first upper
division studio course (FPA.320).
3.
Auditions will be held prior to registation for entry into studio courses requir-
ing Departmental permission (FPA.122. 220. 320) for students initially enter-
ing the Department. Contact the Departmental Office for information.
4.
To complete a General degree with a Major in Dance, students must com-
plete 24 credit hours outside the Department as part of degree requirements.
Lower Division Requirements -
as prerequisites
At least 30 hours in FPA. courses, including 21 required hours as listed:
Required Courses—
all of:
FPA. 122-3' Contemporary Dance I
FPA. 123-3' Contemporary Dance II
FPA. 125-3 ?
Structural Approach to Ballet I
FPA. 220-3 ?
Contemporary Dance Ill
FPA. 221-3
?
Contemporary Dance IV
FPA. 120 and 121 may be substituted for FPA. 122 and 123
plus any one of:
FPA. 110-6
?
The Arts in Context: The Renaissance
FPA. 113-6
?
The Arts in Context: European Romanticism
FRA. 114-6
?
The Arts in Context: The Modernist Era
FPA.
016-6 ?
The Arts in Context: North American Styles
Suggested Courses:
FPA. 104-3
?
Fundamentals of Music
FPA. 126-3
?
Structural Approach to Ballet II
FPA. 132-3 ?
Introduction to Film-making
FPA. 150-3 ?
Basics of Theatre
FPA. 15 1-3
?
Introduction to Acting
FPA. 160-3 ?
Introductory Studio in Visual Art I
FPA. 170-3
?
Introduction to Technical Theatre
• ?
FPA. 225-2
?
Ballet for Modern Dance I
FPA. 226-2 Ballet for Modem Dance 11
.
Upper Division Requirements
I. For a Major in Dance, students must complete at least 29 to 31 hours in
Dance courses, distributed as follows:
Required courses—
all of:
FPA.
320-5
Contemporary Dance V
FPA.
321-5
Contemporary Dance VI
FPA.
324-3
Dance Composition
FPA.
326-3
History of Dance
FPA.
420-5
Contemporary Dance VII
FPA.
421-5
Contemporary Dance VIII
any one of:
FPA. 423-5
Directed Studies in Choreography
FPA. 424-5
Directed Studies in Dance Performance
FPA. 425-5
Intensive Studies in Dance
FPA. 426-3
Dance Analysis
FPA. 429-5
Directed Studies in Dance Research
2.
In addition, for the General degree. students must include 7 to 9 additional
hours in FPA. courses which may include general electives in Dance but must
. ? include
one of:
FPA. 382-3 ?
Aesthetics of Performance
FPA. 384-3 ?
Criticism of Performance
3.
For any General degree program, an overall minimum of at least 45 hours of
upper division credit is required.
In selecting courses to fulfil 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
?
KIN. 10-3 ?
Current Topics in Human Nutrition
?
KIN. 241-3
?
Sports Injuries, Prevention and Rehabilitation
?
KIN. 326-3 ?
Functional Anatomy
?
CMNS 258.3 ?
. Explorations in Sound Tape Recording
?
CMNS 259-3 ?
Acoustic Dimensions of Communications
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.
S
CURRICULAR CHANGES - The DANCE MAJOR - cont'd.
2. Proposed Changes
?
0
The Dance Major
The Centre
for the Arts offers a Bachelor of Arts Degree with a Major in
Dance for students wishing to specialize in contemporary
dance. The Dance
Program
consists of courses in 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 program is designed for students who wish to pursue the study of
dance within an academic environment which encourages exploration and inte-
gration of the stimuli from other artistic and academic disciplines.
General Requii .ments for the Dance Major
1.
For a general degree with a Major in Dance, students must complete a total
of 120 semester hours.
2.
Entry into the Major will be contingent upon acceptance into the first upper
division studio course (FPA.320).
3.
Auditions will be held prior to registation for entry into studio courses requir-
ing Departmental permission (FPA.I22. 220. 320) for students initially enter-
ing the Department. Contact the Departmental Office for information.
4.
To complete a General degree with a Major in Dance. students must com-
plete 24 credit hours outside the Department as part of degree requirements.
Lower Division Requirements -
as prerequisites
At least 30 hours in FPA. courses, including 21 required hours as listed:
Required Courses—
all of:
FPA. 122-3 0
Contemporary Dance I
FPA.
123-3
Contemporary Dance II
FPA.
125-3
Structural Approach to Ballet I
FPA.
220-3
Contemporary Dance Ill
FPA.
221-3
Contemporary Dance IV
FPA. 120 and 121 may be substituted for FPA. 122 and 123
plus any one of:
FPA. 110-6
?
The Arts in Context: The Renaissance
FPA: 113-6
?
The Arts in Context: European Romanticism
FPA. 114-6
?
The Arts in Context: The Modernist Era
FPA. 116-6 ?
The Arts in Context: North American Styles
Suggested Courses:
FPA. 104-3
?
Fundamentals of Music
FPA. ?
126-3 ?
Structural Approach to Ballet II
FPA, 132-3
?
Introduction to Film-making
FPA. 150-3
?
Basics of Theatre
FPA. ?
15 1-3 ?
Introduction to Acting
FPA, 160-3 ?
Introductory Studio in Visual Art I
FPA.
170-3 ?
Introduction to Technical Theatre
FPA.225-2 ?
Ballet
I
FPA.226-2 ?
Ballet
11
CURRICULAR CHANGES - The DANCE MAJOR - cont'd.
Upper Division requirements
S
.
?
1. For a Major in Dance, students must complete at least 29 to
31 hours in Dance courses, distributed as follows:
Required courses-
all of:
FPA.320-5 Contemporary Dance V
FPA.321-5 Contemporary Dance VI
FPA.324-3 Dance Composition
FPA.420-5 Contemporary Dance VII
FPA.421-5 Contemporary Dance VIII
plus one of:
FPA.327-3 History of Dance: Origins to the 20th Century
FPA.328-3 History of Dance: The 20th Century
plus any one of:
FPA.423-5 Directed Studies in Choreography
FPA424-5 Directed Studies in Dance Performance
FPA.425-5 Intensive Studies in Dance
FPA.426-3 Dance Analysis
FPA.429-5 Directed Studies in Dance Research
2. in
addition, for the General degree, students must include 7
to 9 additional
S ?
hours in FPA. courses which may include general electives in Dance but must
include
one of:
FPA. 382-3
?
Aesthetics of Performance
FPA. 384-3 ?
Criticism of Performance
3.
For any General degree program. an
overall minimum of at least 45 hours of
Upper division credit is required.
In selecting courses to fulfil 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
KIN. 110-3 ?
Current Topics in Human Nutrition
KIN. 241-3
?
Sports Injuries, Prevention and Rehabilitation
KIN.
326-3 ?
Functional Anatomy
CMNS 258-3 ?
Explorations in Sound Tape Recording
(MNS 259-3
?
Acoustic Dimensions of Communications
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.
S
CURRICULAR CHANGES - The DANCE MAJOR - corit'd.
3. Rationale
It is proposed
for Proposed
that FPA.326-3
Change from
be dropped
FPA.326-3
in favour
to one
of
of
FPA.327-3
FPA. 327 or
and
328
?
0
FPA.328-3 which will enable the material to be covered more reason-
ably. (See rationale for FPA.327-3 and 328-3). It also does not
increase the number of hours required in the major by allowing a
choice.
.
.
FPA. 433-5
(New Course Proposal)
AND
FPA. 430-5
FPA. 431-5
FPA. 432-5
FILM MINOR
.
(Changes)
C
SENATE COMMITTEE ON M1 DERCADUT
F
STUDIES
NEW COURSE PROPOSAl. FORN
CENTRE FOR THE ARTS
1. Calendar information
?
Department:__
Abbreviation
Code: FPA. Course Number: 433
?
Credit Ilours
?
5 Vector:
Study
Title of Course: DIRECTED STUDIES IN FILM PRODUCTION IV
Calendar Description of Course: This course requires a substantial contribution to
a film production undertaken by the Simon Fraser Film Workshop and participation in
other workshop activities. Students will focus on the completion of film projects
begun in FPA.432, with particular emphasis on editing, sound composition, cine-
language, structure, and presentation context.
Nature of Course Directed Study
Prerequisites
(or special instructions): FPA.430 and FPA.432and permission of
the Department.
What course (courses), if any, is being dropped from the calendar if this course is
appyoved: None
2. Scheduling
how frequently will the course be offered? Once a year (Spring)
Semester in
which the course will first be offered? Spring 1982
Which of your present faculty would be available to make'the proposed offering
possible? Nick Kendall, Al Razutis, David Rimmer
3.
objec
t
ives of the Course
1) To enable students to complete original film projects in a manner appropriate
to film as an art form. 2) To provide students with an understanding of
contemporary practice in film editing and sound composition. 3) To explore
the potentials of filmic presentation.
4.
jctary and Space Reguireme . (for information only)
What additional resources will be required in the following areas:
S
Faculty None
Saff
Library None
Audio Visual None
Space
Equipment
5. Approvnl
Z'z
-/.-
Department Chairman
ZOe
E&O
JZ)i,
QQ n A
Dean
IE
4 80
/
rman, SCUS
34
SCIJS 13-34b:- (When completing this form, for instructions ace Memorandum SCUS•73-8.
FPA. 433-5
.
?
DIRECTED STUDIES IN FILM PRODUCTION IV
This course is intended to complete the student's two-semester
program in advanced filmmaking. Students will be expected to complete
projects begun in FPA.432 in a manner appropriate to film as an art
form. Special emphasis will be placed on contemporary attitudes towards
image and sound, and resultant structural organization. Similarly,
students will be encouraged to explore, through practice, Post-Modernist
influences in the areas of composition and cine-language.
Possible areas of exploration may include: a) film as multi-media
event and performance, b) 3-D film, c) cine-structural essays, d) film
as
environment.
Course Requirements
Public presentation of the student's completed project.
Written analysis of project.
Special Requirements
Students will be expected to pay a laboratory fee. Enrollment will
be limited to 6 students.
Prerequisites: FPA.430 and 432 and permission of the Department.
CURRICULAR CHANGES
FPA. 430-5
?
S
1.
Present Calendar
FPA.430-5 DIRECTED STUDIES IN FILM PRODUCTION I
This course requires a substantial contribution to a film production
undertaken by the Simon Fraser Film Workshop and participation in
other workshop activities. The exact nature of each student's
involvement will be assigned by the supervising instructor.
(Directed Study)
Prerequisites: FPA.231 and permission of the Department. Students
should expect to pay a laboratory fee.
2.
Proposed Change
FPA.430-5 DIRECTED STUDIES IN FILM PRODUCTION I
This course requires a substantial contribution to a film production
undertaken by the Simon Fraser Film Workshop and participation in
other workshop activities. A
particular emphasis will be
placed on
the areas of screenwriting and dramatic film direction, and
the
exact nature of each student's involvement will be assigned by the
supervising instructor. (Directed Study)
Prerequisites: FPA. 231 and permission of the Department. Students
should expect to pay a laboratory fee.
/
/
7.
\I( (//
S
CURRICULAR CHANGES'
FPA. 431-5
1.
Present Calendar
FPA.431-5 DIRECTED STUDIES IN FILM PRODUCTION II
This course requires a substantial contribution to a film production
undertaken by the Simon Fraser Film Workshop and participation in
other workshop activities. The exact nature of each student's
involvement will be assigned by the supervising instructor.
(Directed Study)
Prerequisites: FPA.231 and permission of the Department. Students
should expect to pay a laboratory fee.
2.
Proposed Change
FPA.431-5 DIRECTED STUDIES IN FILM PRODUCTION II
This course requires a substantial contribution to a film production
undertaken by the Simon Fraser Film Workshop and participation in
other workshop activities. Students will participate in group film
productions possibly in fields of documentary and dramatic production.
Particular emphasis will be given to advanced film craft.
(Directed
Study)
Prerequisites:
FPA.430
and permission of the Department. Students
0 ?
should expect to pay a laboratory fee.
- ?
i-
CURRICULAR CHANGES
FPA. 432-5
1.
Present Calendar
FPA.432-5 DIRECTED STUDIES IN FILM PRODUCTION III
This course requires a substantial contribution to a film production
undertaken by the Simon Fraser Film Workshop and participation in
other workshop activities. The exact nature of each student's
involvement will be assigned by the supervising instructor.
(Directed Study)
Prerequisites: 2PA.231 and permission of the Department. Students
should expect to pay a laboratory fee.
2. Proposed Change
FPA.432-5 DIRECTED STUDIES IN FILM PRODUCTION III
This course requires a substantial contribution to a film production
undertaken by the Simon Fraser Film Workshop and participation in
other workshop activities. Students will work on individual film
productions with emphasis on film as art.
(Directed Study)
Prerequisites:
FPA.430
and permission of the Department. Students
should expect to pay a laboratory fee.
.
.
-
?
/7- - -
/
RATIONALE FOR NEW COURSE PROPOSAL FOR FPA.433-5, AND FOR CALENDAR CHANGES
FOR FPA.430-5, 431-5 and 432-5
.
1)
The existing calendar descriptions are vague and imply that film
production is primarily undertaken in FPA. 430. Over the last two
years, we have been featuring screenwriting workshops and directing
workshops as the necessary prerequisites for actual film production
work. The proposed changes would simply acknowledge this and inform
the prospective student of the areas of emphasis in each course.
2)
FPA.432 features an advanced level of filmmaking. FPA.231 as
prerequisite will not suffice. FPA.430 is the necessary training
ground for work at an advanced level, and students should be advised
of these requirements in the Calendar.
3)
FPA.430 is now considered to be a necessary foundation for all other
courses within the Simon Fraser Film Workshop.
4)
FPA.431 would focus on group productions of both documentary and
dramatic nature. These productions would be conducted on an inter-
mediate craft level and feature original student screenplays.
5)
FPA.432 and FPA.433 represent an advanced program in the art of film-
making, featuring original student projects, and a comprehensive
process of investigation. Students whose interests are primarily
•
?
vocational (i.e. craft-oriented) would not be accepted to FPA.433,
but rather be referred to FPA.431.
0
CURRICULAR -CHANGES
?
The FILM MINOR
1. Present Calendar
The Film Minor
Lower Division Requirements -
as prerequisites
Film Minors will complete 24 hours of lower division prerequisite credit.
distributed as follows:
any one
of:
FPA. 110-6
?
The Arts in Context: The Renaissance
FPA. 113-6
?
The Arts in Context European Romanticism
FPA. 114-6
?
The Arts in Context: The Modernist Era
FPA. 116-6
?
The Arts in Context: North American Styles
plus all of:
FPA. 132-3
?
Introduction to Film-making
FPA. 133-3
?
Film-making Fundamentals
EPA. 230-3
?
- The Crafts.of Film I
EPA. 231-3
?
The Crafts of Film II
FPA. 236-3
?
The History and Aesthetics of Cinema I
EPA. 237-3
?
The History and Aesthetics of Cinema II
Upper Division Requirements
Film Minors also will complete 18 hours of upper division credit. distributed
as follows: .
?
-
all
of:
EPA. 430-5
?
Directed Study in Film Production I
FPA. 431-5 ?
Directed Study in Film Production II
EPA. 432-5
?
Directed Study in Film Production Ill
plus one of:
EPA. 334-3 ?
Film Analysis
EPA. 382-3 ?
The Aesthetics of Performance
Students intending to minor
in
film are advised to take FPA. 176-3 Photography
as an Art Form.
0
-
?
CURRICULAR CHANGES - The FILM MINOR - cont'd.
2. Proposed Changes
.
The Film Minor
Lower Division Requirements
as
prerequisites
Film Minors will complete 24 hours of lower division prerequisite credit.
distributed as follows:
any one of:
EPA. 110-6
?
The Arts in Context: The Renaissance
EPA, 113-6
?
The Arts in Context European Romanticism
FPA. 114-6
?
The Arts in Context: The Modernist Era
EPA. 116-6
?
The Arts in Context: North American Styles
plus all of:
FPA. 132-3
?
Introduction to Film-making
FPA. 133-3
?
Film-making Fundamentals
FPA. 230-3
?
- The Crafts of Film I
FPA. 231-3
?
The Crafts of Film II
FPA. 236-3
?
The Histor y
and Aesthetics of Cinema I
EPA. 237-3
?
The Histor y
and Aesthetics of Cinema II
per Division Requirements
Film Minors will complete 18 hours of upper division
credit, distributed as follows:
both of:
?
-
W ?
FP?1.430-5 Directed Studies in Film Production I
FPP432-5 Directed Studies in Film Production III
plus one of:
FPA.431-5 Directed Studies in Film Production II
FPA.433-5 Directed Studies in Film Production IV
plus one of:
FPA334-3 Film Analysis
FPA.382-3 The Aesthetics of Performance
Students intending to minor in film are advised to take
FPA.176-3:Photography As An Art Form.
7.
O
-
?
-
:1'/
/-/7(C)
NOV 4
80
Dean
SENATE
COQ1ITTEE
ON UNDERCRADUATE STUDIES
?
NFN COURSE PROPOSAL FORM
Calendar Information
?
Department:_CENTRE _FOR THE
ARTS
Abbreviation Code:
FPA ?
Course Number:
370
?
Credit Hours:
3
?
Vector:
0-2-4
Title Of Course:
Technical Theatre
Calendar Debcription of Course:
For students who have gained the basic knowledge of technical theatre.
Students will study various scenographic techniques and participate in
the realization of related aspects of production.
Nature of Course
Seminar/laboratory
Prerequisites (or special instructions):
FPA 170
?
written 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?
fall and spring
Semester in which the course sill first be offere
d ?
1981-3
Which of your present faculty
would
be available to make the proposed offering
possible?
John Macfarlane
•3. Objectives of the Course
The course is intended to give accreditation to studies which are now being
carried on in an informal manner within teaching productions and to provide
additbnal and continuing study in more detail than possible in FPA 170.
A.
Budgetary and Space Requirements for information only)
What additional resources will be required in the following areas:
Faculty
o
S af I
Library
Audio Visual
Space
Equipment
5. Approval.,.
Date:
(j.
-
Depart
SCUS
73-34b:- (When completing this form, for instructions
8CC
Memorandum
SCUS
73-34a.
FPA. 370-3
TECHNICAL THEATRE
IPA. 370 will consider selected topics of technical. theatre in the context
of the historical development of theatrical performance from the specific
point of view of scenography and stage technology. It is intended that
although the focus of the course is on the technical aspects of performance
- the student shall not lose sight of the ultimately unified nature of a
theatrical work of art. Artistic and aesthetic considerations will be
seen to have detailed implications for even the most basic technical
aspects of theatre, dance or other live performance forms.
The course will have a coordinator who will also conduct seminars and
labs on some topics. Professionals in scenography and stage technology
will be utilized as visiting instructors in their fields of expertise.
These professionals will often be working on teaching productions and open
labs will often be structured around the realization of scenographic
concepts in these productions. Since a given event will lend itself
to study of certain techniques, the actual topics considered will vary
from semester to semester. However, it is anticipated that stage
management, lighting and audio will be considered each time the course is
taught.
Topics will probably be considered for between two and three weeks each
and would likely therefore include at least two areas of specialty in
addition to the three mentioned above. Possible topics for the course
would include the following:
1)
Lighting the stage
- lighting instruments
- control equipment
- cueing
- basic concepts of lighting design
2)
Audio in the Theatre
- recording and reproduction equipment and techniques
- sound environments and their creation
3)
stage Management
- the role of the stage manager in production
4)
Scenic Painting
- historical techniques and modern developments
5)
Set construction techniques
- the relationship between
scenographic
styles and construction
techniques
6)
Costumes
7)
Scenic projection - conventional and laser
8)
The impact of new technology
- computers ?
.
- new materials
• ?
SiMON FRASER UNIVERSITY
MEMORANDUM
To ?
Harry Evans, Reaistrar
?
From ?
Grant Strate, Director
0
?
. ?
.. ..........
.
Centre for the Arts
Subject. ?
Curricular submissions:.
?
.
?
.......
.
Dale. ?
November 19, 1980
FPA.370 and FPA.433
In answer to your queries regarding the two new course proposals, I
offer the following explanations:
FPA.370 TECHNICAL THEATRE
This course is sequential to FPA.170, INTRODUCTION TO TECHNICAL THEATRE,
presently taught by John Macfarlane who also acts as Technical Director
to the Centre.
This proposal for the new course fits into our current negotiations with
Dean Calvert to redefine several staff positions in relationship to
technical theatre teaching positions. There has been discussions between
the Dean and the Vice President Academic in this regard and a full rational-
ization has recently been submitted.
In a nutshell, the plan is to raise John Macfarlane to be director of all
production, equipment and space operations at the Centre while still retain-
ing teaching responsibilities for FPA.170. His present position of Technical
. ?
Director will then be open. We intend to fill this position with a technical
theatre person who will also teach, presumably, FPA.370. In any event we
will have on board sufficient faculty to offer this course.
The request for one teaching assistant predates the plan mentioned above and
should be deleted from this proposal.
FPA.433 DIRECTED STUDIES IN FILM PRODUCTION IV
• ?
The Budgetary and Space Requirement items listed in our submission, namely:
Staff - Assistant Production Manager
Space - Increased post-production space
Equipment - Additional production and post-production capabilities
is a bureaucratic mistake. Simply put,those items should not be there and
I request deletion.
A short history of our curricular process this fall will explain how this
mistake came about. As you are aware there are a number of course changes
and new course proposals coming from the Centre. On the first go-round
our Departmental Curriculum stated that all submissions which required
additional faculty, space or equipment resources would not be considered by
the Committee. The film programme had designed an expanded minor programme
for long-term consideration. FPA.433 was part of this package and still
fits into the film programme's long-term curricular ambitions. When FPA.433
came back before the DCC it was the intention of all concerned to mount
this course within existing resources and make a case for an expanded minor
programme at a later date and coincident with the Centre's submission for
. ?
long-term curricular growth to be finalized before the end of this academic
year.
./2
./2
Unfortunately the second draft of the proposal for FPA.433 was approved by
the DCC without catching the additional resource items still included
inadvertently. I have checked with the film programme and with the Chair-
person of the DCC and all agree that these items should be deleted from
the submission.
/
/
GSI
s s
cc. Dean T. Calvert, IDS
Evan Alderson, Centre
John Macfarlane, Centre (FPA.170, 370)
Al Razutis, Centre (Film)
Iris Garland, Chairperson, Centre DCC
.
S
SiMON FRASER UNIVERSITY
?
MEMORANDUM
To .......
Harry EVanS ?
.From
•
Registrar ?
Head Humanities Librarian
New Course Proposals
28
'••
370, ..33
?
.Date.....
These course proposals require no extra funding for library materials.
They will be supported by normal allocations and the additional funds
already in hand for the emergent program in dance.
c. Dr. T. Calvert, Dean IDS
Tony Besant, Centre for the Arts
[I:
