SIMON FRASER UNIVERSITY
?
MEMORANDUM
MOTION:
?
1. ?
"That Senate approve and recommend approval
to the Board of Governors, as set forth in
S.75-134, the new course proposals for:
G.S. 110-7 - The Arts in Context: The Renaissance
G.S. 140-3 - Basics of Theatre
G.S. 142-3 - An Introduction to Film and Video
Techniques.
2. That Senate waive the normal two semester time
lag requirement in order that these courses may
first be offered in the Spring semester, 1976."
I
SiMON FRASER UNIVERSITY
?
5 7i34
MEMORANDUM
From
Date.
?
1975 ?
.1....
I4YrIONS
That Senate approve and reaninend approval to the
Board of Governors:
GS.110-7 - The Arts in Context: The Renaissance;
GS.140-3 - Basics of Theatre; and
GS.142-3 - An Introduction to Film and Video
Techniques.
That Senate waive the normal two semester time-
lag requirement in order that these courses may first bE? offered
in the Spring semester, 1976.
In order to place these three courses in context,
• ?
SCUS particularly directs the attention of Senators to the attached
excerpt from the minutes of the Academic Planning Committee meeting
of September
17th.
The following points may be salient to consideration
of the motions:
1.
SCUS suspended its rule that it only consider coursesr
which had been circulated to Chairmen of Faculty
Curriculum Committees two weeks prior to the relevant
SCUS meeting. ?
It did so only after members
?
atisfied
themselves that adequate consultation had taken place
and assurances had been provided regarding lack of overlap.
2.
Considerable discussion took place on the number of semester
hours credit allocated to GS.110-7and members were assured
that the objectives and pedagogy of the course requird
substantial time and credit foran intensive and
integrative experience.
3.
Concern was expressed regarding library holdings to support
the courses, particularly
?
GS.110 and the committee was
informed that the presentation of material and the nature
of the tutorial experiences would be such that they would
place less than the usual stress on library resources,
.
Furthermore, a student had been engaged through the summer
employment program to inventory resources available in
the lower mainland through S.F.U., U.B.C. and other
institutions and the availability of adequate resources
to support instruction had been assured.
.
.2
4. Course enrolment limits were questioned. It is anticipated
that GS. 110-7 can accommodate 195 students; GS.140-3,' 45;
GS.142-3, 25. Members asked that where stringent 1imis
were to be placed on enrolment, criteria for admission^be
stated explicitly and made readily available to students.
The statement of prerequisites for GS.142-3 was framed
accordingly.
5. Attention was given to the appropriate timing for
first offering these courses and it was agreed
that mounting the courses in the 1976-1 semester
would provide a useful opportunity for obtaining
information about student interest and for test-
ing and refining the proposed approach to fine
arts. Senate is, therefore, requested to waive
the two semester time-lag requirement. Offering of the
courses in 1976-1 would still be subject to fiscal
and administrative feasibility.
In summary, SCUS recommends the approval of the
three courses as the first step in a coherent approach to develop-
ing a fine arts program. The Committee recognizes that it is not
thereby giving implicit approval to subsequent steps in the develop-
ment of that program.
Daniel R. Birch
ams
att.
S
is
• ?
SiMON FRASER UNIVERSITY
Sc
c
-
MEMORANDUM
0
—
Chairman, .SenateCommitteeQn
?
.From
Dr.
B.G. Wilson
,
, Crma
U.gduate
s
s
Planning
Committee
Subject
?
(r,,o-7•
21.rtsCrs
cS/-o—J
.
.
f./9?-3
.
____
Date .........
19th .SePt embr, 1975.
.
Attached are three course proposals which have been presented to the
Academic
Planning
Committee by the Ad hoc Committee on Fine and Performing
Arts. The courses are part of a series of proposals which, if approved by
Senate and the Board, eventually will result in the establishment of an
integrated program in the Fine and Performing Arts at this University.
While the Committee recognizes the problem of introducing individual courses
with, '
the presc.nce of an integrated program proposal, we feel that these
particular courses are worthy of consideration in their own right. Thus,
they are forwarded to you with our endorsement.
II
•
Attachments
. ?
.
1
SiMON FRASER UNIVERSITY
MEMORANDUM
.
To SENATE COMMITTEE ON UNDERGRADUATE From
Daniel R. Birch
STUDIES
Associ:i.e Vice-President,Academic
Subect
I ?
Committee
Minuc from
pertaining
Academic Planning
to
FINE A
?
?
FORMIN(
23rd September,
ARTS
1975
3.
APC.75-8h: FINE AND rERFoRiTNc ARTS
Professor E. Alderson
attended this portion
?
ret
in Cc
q
?
t ion abo' t the p r)- a
Brown advised I. t L hr proposal i'for A tden)
j
c P 1:rniii r.g had h'ii
.....
prepared
at the
...........................................................................
request
b y
an
of
ad
Academic
hoc Commit
Pl;inning
Lt
(of which
to develop
E. \J.thrs.'n
tii: Fine
was
and
cIitirman)
i'erfonning
fc.rrnt.d
Art;
S
program,
place in the
taking
university.
into consideration studies and dicu
g
sion5 which had taken
E.
Alderson presented an overview of the proposal. The intent wa
to propose a program that could begin on a modest scale and develop into
major program while retaining coherence throughout the development process.
It should not conflict with or imitate programs currently offered by local
colleges or universities and should take into consideration the interest of
students at large as well as those exceptionally talented in the arts. It
should make the best possible use of currently available university and
communit y
resources. Once the general goals had been outlined, the committee
had proceeded by listing all the problems the members could possibly foresee
and arriving at a consensus about ways to solve the problems.
The three courses proposed to be sent to SCUS and Senate are models
of the two kinds of courses which would dominate the program. The first kind
consists of craft courses, represented in the submission by G.S. 140-3 Basics
of Theatre and C.S. 142-3 An Introduction to Film and Video Techniques.These
two courses in conjunction with KIN. 144-3 Aesthetic Forms of Human Movement
(essentially a course in beginning dance currently offered through Kinesiology)
Will
introduce the basics of an art. Students would not have to be familiar
with art to take these courses and two such courses would be required of ary-
one working toward a concentration. However, the courses would also serve 'as
a type of one-semester audition to determine who could proceed to serious
concentration in that particular art.
The other kind of course, represented in the submission by G.S. 110-7
The Arts in Context: The Renaissance, is designed to solve the problems of
arts literacy courses.
?
When the committee reviewed current curriculum for
courses that could be used in a fine arts program, it was found that any arts-
related courses which did exist had been designed for a specific discipline
and were structured in content and prerequisites toward the interests of that
particular department; i.e. Sociology of Art.
?
The General Studies courses
had been established mostly in response to an interest expressed by a
particular faculty member rather than as an attempt to create a unified
program.
?
The Renaissance course was therefore designed to serve as a model
period.
put
for
arts
further
?
together
The
"literacy"
lecture
in
component
a
courses
given pein
would
r
iod
'the
and
be
Fine
complemented
study
Arts
all
Program.the
by
arts
a
?
series
It
relevant
attempts
of tutorials,
in
to
that
each concentrating on a particular art at that period through the practice
of the art itself.
?
The work would not be expected to be of a sophisticated
level but practice would be used as a way to learn about a historical
period.
out
The
practice
the
course
program.together.would ?
serve
?
Students
The
to
committee
bring
would
the
be
felt
expected
arts
these
together
to
principles
take
and
two
to
shouldof
bring
these
?
theor
coot
courses
1ny
?
and
thrugh-
for a total of two of each kind - the craft and the literacy.
The upper levels would gradually move Into different strengths.
200 level courses would serve to continue production courses for arts such
as dance, where constant practice is a necessity.
?
Various streams may develop
in time, such as a high technology stream In cooperation with Computing
•
Science.
The committee expects upper division courses to develop from the
principles established in the lower division but did not suggest any specific
courses.
?
The members felt it would be an attempt to catch a moving object;
that it was necessary to set up long term goals but to expect that the peope
4
?
who became involved along the way would temper the program over time The
essence of the upper division is that there should be two kinds of
?
The
?
available in a given art: one oriented toward performance and the other
oriented toward criticism and understanding art, but with performance
included. It was felt the "critical" stream could be accomplished with
a four year program, but the "performance" stream would require more time
in order to ensure both a broad basis in art during the lower levels and
an increasing intensity in performance during the upper levels. The
committee was suggesting a five year Bachelor of Fine Arts degree.
E. Alderson noted that the committee was recommending initial
development of the performance stream in the areas of film, dance, and
theatre, as these are already strongly developed on campus through the
Centre for Communication and the Arts. At a later date the streams of
visual arts and music should be added.
Discussion proceeded on the proposal. The members were concerned
about budget and space requirements, particularly the need for a large amount
of additional space in 1978. B. Wilson noted that initial funding requirements
had been included in this year's asking budget. Space requirements had been
submitted in the context of estimates for the next five years, so the
50,000 square feet required by Fine Arts had been Included in that budget
request. E. Alderson pointed out, however, that although the space is
required for full development of the Fine Arts Program, the proposal had taken
Into corcideratlon the potential lack of both money and space and was designed
to be limited in several ways. He noted that using the three courses inclded
in the proposal along with
cur
rently-offered workshops within the Centre
for Communication and the Arts would make it possible to offer a minor by
1976/77. The program could be stopped at that point for as long as necessary
until funds became available to progress into the major program. Similarly,
It
for
could
example
be
-
decided
until
funds
to defer
or space
development
became
of
available.
one of the
He
arts
stated
-
that
visual
although
arts
^ I
it would set the major program back considerably if space were not forthcoming
in 1978, the arts program could still continue at the minor level. It was
noted that the proposed schedule for i
m
plementation was included in the
proposal. It was also pointed out that a great deal of transference of
funding would occur between the program and the Arts Centre.
J. Blaney was concerned with budget priorities and whether Fine Arts
should take precedence over other programs for the limited funds available.
He was reluctant to endorse the proposal until other programs such as
community education competing for the same funds had been
'assessed. J. Ellis
concurred with the doubts as to budget priority but commended E. Alderson
on the quality of the program. He suggested an internship year in the
performance stream might relieve some of the cost to the university while
providing excellent training. E. Alderson replied that that aspect had been
investigated but that numerous problems were inherent in having students
spend a year out of the supervision of the university. J.Blaney suggested
that full use of community resources could reduce the costs considerably.
E. Alderson stated that this, too, had been considered and was seen to be
possible in some areas. The committee felt It imperative, however, to
_•
?
?
retain an on-campus presence for the program
to
ensure it served all students?
on campus rather than beconring a rather elite separate school.
R. Brown felt that the priority nature of the program had been
established by the approval Senate had given the proposal originally.
r.
B. Wilson disagreed, as he Felt it was possible for priorities to change
over time, but felt that budget priorities were not the questions in point
at Lhis time. He felt it was in order to vote on the program
irk
principleand
determine the priority in the future.
?
I
R. Brown suggested the committee indicate whether or not the pro-
posal before it was the one Simon Fraser should begin to implement. He did
not feel the proposal itself should go to Senate at this time but that the
three courses should he transmitted to SCUS. There was some comment that
Senate would not want to approve courses in isolation but would probably
require at least an introduction to the program. R. Brown noted that other
fine arts type courses had received Senate approval with the understanding
that upon the implementation of a full fine arts program the courses would
be reviewed. D. Birch suggested that there be consultation with the Registrar
before the courses were given to SCUS.
It was moved and seconded:
"That the 'Propositions toward the Development of an
Arts
Program'
be endorsed by the Academic Planning
Committee."
MOTION APPROVED
It was moved and seconded:
"That the course outlines for
C.S. 110-7 The Arts in Context: The Renaissance
G.S. 140-3 Basics of Theatre
G.S. 142-3 An Introduction to Film and Video Techniques
included in the proposal be forwarded to SCUS for implementation
as early as the 1976-1 semester."
MOTION APPROVED
Although no formal motion was presented, it was agreed that the
Ad Hoc Committee currently chaired by Dr. Alderson should continue develop-
ment of a proposal which would be presented to Senate in the future.
C
SiMON FRASER UNIVERSITY
MEMORANDUM
To ...... I4embers ... of
...
the
... Senate...Corarnittee .... .......................
on Undergraduate S tudies.............................................
Sub
i
ect......
Apologia
.
............................... ...... ..... .................. ...... ...... ....... ..
From......
.
R..
C....
Brown.,.. Dean.,...Faculty ...
of
...........................
Interdisciplinary ..
Studies...................................
Date .....
...l.9,th..Sep ?
.
?
r ,1 9 .7 .5.................................................
.1•
The materials before SCUS concerning three General Studies Fine Arts courses
have been exp.*dited and require the indulgence of the Committee.
In one way or another, the Academic
Planning
Committee has been trying to formulate
a program proposal for the Fine and Performing Arts for at least the last five
years. Consultants have been hired, reports have been drafted and little success
has been achieved. In the Spring of this year, I appointed an Ad Hoc Steering]
Committee, Chaired by Dr. Evan Alderson, to once again attempt to resolve the pro-
blem. The Committee presented a report during the Summer which involves a
series of planned steps which will eventually result in an integrated degree
program in the Fine and Performing Arts. This general proposal has been approved
in principle by the Academic
Planning
Committee, but requires further work befOre
it can be taken to Senate. These three courses represent the first stage in
this
process, however, and the Academic
Planning
Committee has agreed that they
can stand on their own without the formal presentation of a comprehensive
proposal.
In order for these courses to be presented in the Spring, they must go to the
October meeting of Senate. If we do not make that meeting, the scenerio for
the development of the program will be delayed a minimum of another eight
months. I believe that would be a pity. Therefore, I request your indulgence
in .•-waiving the rules of SCUS to this particular case.
RcB/et
Robert C. Brown
U
SiMON FRASER UNIVERSITY
MEMORANDUM
To ...... Mr.....Harry..
Evans ., ......... Secretary ,...........................
?
Senate ...
Committee ... on ... Undergraduate..Stuc ?
Subject ......
Fi.ne...Arts ...
Courses .....................................................
From ..........R..,C...
.
$rc
wn,
Dean
In
ip14zy
....
St
.
u
4
ies
........
.........................
Date
.........
.
l.9.th..Sep.ternb.
er
.,
1975........................
.........
..............
.
This is to confirm that the following courses have been reviewed by the
Faculty of Interdisciplinary Studies Undergraduate Curriculum Committee
and that while there is some general overlap in content with courses in
Communication Studies, the
orientation
of the courses is considerably
different and thus compl*mentary. We endorse the courses.
G.S. 110-7
?
The Arts in Context: The Renaissance
G.S. 140-3
?
Basics of Theatre
G.S. 142-3
?
An Introduction to Film and Video
RCB/et
?
-
Robert C.
Brown
'S
SIMON FRASER UNIVERSITY
MEMORANDUM ?
. .
To...
................... .......
..........................................................................
.........
.From.. ........ ....... ..Evan Alder. soji....C1iajr,
?
........................
......riateçonunitteeon .Uidergraduat.e ?
Arts...Program...Steeringconmit•tee•
Subject
............NW Course Prqppa.1s............................................Date.....................Septiber19
?
.1975 ?
.
c
.. //07
?
Q.f./i/o.-
On behalf of the Arts Program Steering Committee I am presenting
three course proposals. We propose that these courses be introduced this
January as General Studies Courses. In one respect they are similar to
a number of other courses presently in existence: they are General
Studies courses in the area of Fine Arts which eventually will be
continued or dropped, depending on whether they fit in with the longer
term development of an Arts Program at Simon Fraser. We hope that they
can be approved on this understanding. We have been able to secure
sufficient instructional resources to offer these courses in 76-1.
In another sense, however, these courses represent a new departure
in the Arts at Simon Fraser: they are designed to lead toward the
eventual development of a full credit program in the Fine and Performing
Arts. In accordance with the charge to my Committee, we have been
planning for an arts program in such a way that at each stage of its
• ?
development, a coherent group of courses can be made available to student
interested in the Fine and Performing Arts. A tentative version of the
larger plan has received the encouragement of the Academic Planning
Committee; the present courses are consonant with that plan and have
been forwarded to SCUS by the APC.
Although the academic merit of these courses should be considered
independently, I should make some comments here about the place of the
immediate proposals in the larger context. The three courses represent
the two types of courses which we see as constituting the predominant
lower level requirements for any eventual concentration in an art at
Simon Fraser. The first type of course is represented here by' the proposed
General Studies 110--The Arts in Context: The Renaissance. Such courses
will provide the fundamental grounding in art as it has been experienced
and practiced by others--they are what is often called "arts literacy"
courses. They will be neither "art history" nor "art appreciation"
courses in any simple sense, however, for each of them will have two
special characteristics: they will, involve consideration of several art
forms and place these in the context of other cultural developments; and
they will involve practical explorations in a single art form as a means
of appreciating--upon the pulses-
-
the styles and possibilities of arts
within an historical period. All this is explicated further in the
attached documentation surrounding our G.S. 110 proposal.
Here it might be useful to add that we see a sequence of such courses
developing over time, including additional stylistic periods--Enlightenment,
Romantic, Modern, then to Classical and Medieval--and possibly also some area
courses, e.g. North American styles. Each student planning on an Arts
concentration will be required to take two of them. We see the intensive
SIMON FRASER UNIVERSITY
MEMORANDUM
To...
.................. ..............................................................................................
From
...................
Bvan
Alderson.
Se
?
Chairman .
..................riae•
Committee
?
Undergraduate ?
Arts ?
gr ?
Stee
S ?
gC9mttee.....
tudies
Subject ?
Course9P.:.Te2
?
.
?
Date
............. .......
Septembèr19.....9
.
75 ....................... ..... ..............
nature of these courses, reflectedin the G.S. 110 proposal, as
necessary to their purposes.. They are designed to provide an important
context for study of the arts at Simon Fraser--as far as possible
integrating the arts with each other and art theory with art practice.
Individually, they are relatively expensive courses to mount; given
a fuller program, in which these courses would replace an endless
proliferation of possible introductory offerings in each of the arts,
they should prove highly economical.
The second type of lower division course is represented here by Gener1
Studies 140--Basics of the Theatre, and General Studies 142-.-Introduction'
to Film and Video Techniques. These courses, together with the existing
Kinesiology 144, comprise the first of a small number of courses which
will introduce students to the basic craft of individual arts. Similar
courses in music and design will be planned for introduction later.
Each student in an Arts concentration would be required to take two of
these courses as well.
These basic "craft" courses are more usual than the "context" courses
discussed above; any university arts program that does not select
participants by audition prior to entry must have such courses. Despite
the common existence of such courses at other universities, there is
no significant overlap with present credit courses in this University.
G.S. 140 and 142 will, however, replace the non-credit introductory
workshops in these areas offered from time to time by the Centre for
Communications and the Arts. They therefore require relatively little
new expenditure of University monies.
4_
Evan Alderson
a-
/bek
SENATE
COMMITTEE ON UNDERGRADUATE STUDIES
S. ?
NEW COURSE PROPOSAL FORM
,1. Calendar Information
Abbreviation Code:
G.S. ?
Course Number:
110
Department:
Credit Hours:
Genera].
I ?
Vector:5
es
2-0
lit.le of C
o
urs e
:The Arts in Context: The Renaissance
Calendar Description of Course:
A selective study of painting, sculpture, architecture, music, and theatre
in the context of the, Renaissance. Tutorials will involve practical
explorations in a single art form in relation to the styles of the period.
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?
At least once every 2 years.
Semester in which the course will first be offered?
76-1
Which of your present faculty would be available to make the proposed offering
possible?
R. Blaser can be seconded from the English Department.
3.
Objectives of the Course
see attached statement
4.
fludgetary and Space.Requirements (for information only)
What
additional resources will be requiied in the following areas:
Faculty
Staff
Library
Audio Visual ?
$1000
Space CC 7101 and 7102 should be devoted to tutorials in this course
Equipment
One of these rooms should be provided with a studio sink. Studio benches
should be supplied.
5. Approval
Da
tet.
Department
Chairman ?
Dean ?
Chairman, SCJS
SL(;S 73-36b:-
(When completing this form, for instructions see Memorandum SCUS 73Za.
ALach
course
outline).
General Studies 110 - The Arts in Context: The Renaissance
This course assumes that it is possible and desirable to Inculcate a basic
awareness of the traditions of individual art forms by treating them, at the
initial level, in an integrated fashion, cognisant of the interrelationships
both between various arts and art and other developments in a culture. It is
designed to be a highly-intensive course, consisting of five lecture hourser
week plus two-hour tutorial groups.
The lectures will be under the direction of a single person, although
would expect there to be a substantial number of visitors brought in for single
lectures or short series. The lecture will use a large amount of audio-visual
material, and quite possibly some live performance as it can be arranged. it
will deal with several art forms - at least pictorial, sculptural, and architec-
tural arts, music, drama, and possibly dance. It will also attempt to place
these arts significantly in the time. It will not be a survey course, rather
it will select from the incredible richness of the subject those specific tdpics
which the lecturers find most reflective of the whole. The course should be
re-imagined each time it is taught. We attach an initial imagining of the
course by Professor Robin Blaser in lieu of a course outline. We propose tlat
Professor Blaser teach the first offering of the course in the spring of
1976.
He is currently planning the course out more fully, but the attached document
should give some sense of its nature and direction.
The tutorials in the course are designed to reinforce through practical
experience the learning that should take place in the lectures. Each of them
will involve practical explorations in a single art as it was practised in the
period. In a tutorial concentrating on drama, for example, the group of fifteen
12
'
(o
students might spend the semester studying and producing a single Commedja.
By learning the characteristic stylistic exaggeration of this dramatic mode
through themselves enacting it, students should learn in a very powerful way
something important about Renaissance styles. It is important to recognize
that the group would consist of mixed talents. It is designed neither as
pre-professional training for actors, nor an enforced recreation for those not
interested. It is rather a mode of historical learning, in which students at
different levels of skill can apply themselves seriously to the understanding
of Renaissance arts.
There should be a significant range of topics in tutorials, so that students
can have some latitude of choice. Such a tutorial in visual arts might undr-
take a concentrated study of perspective drawing as it was discovered and developed
in the Renaissance. Again, students with different levels of skill could learn
experientially. Another visual arts group might study and practise life drawing,
as a means of appreciating the importance of the renewal of anatomical realism
in the period. Groups in music could undertake more detailed study of specific
musical forms than can be presented in the lectures, together with voice or
recorder experience. We hope that some of the current residents will be able
to undertake tutorial groups. In addition, talented faculty from other departments
can be asked to contribute their knowledge and teaching experience. The co-
operation of the Centre for Communications and the Arts has also been sough
in scheduling events and on-campus productions during
'76-1
which will enrich
the environment for the course.
" .
110
iS
?
ROBIN BLASER
?
May 26, 1975
THE ARTS IN CONTEXT
Outline of a Course in the Renaissance Context
I think of this course as primarily experiential b9 way of slides
and film strips, which would Introduce students to a considerable range
of the painting, sculpture and architecture of the period between rough]J
1450 and 1650. ?
This course is also Intended to be intellectually pene-
trating, even at the Introductory, lower-division level -(I do not
believe in the usefulness of the standard college-outline approach, but
I .
do believe there is a way to present the complexity of imagination, ideas,
attitudes and modes at the introductory level without the reductiveness
often associated with standard history of art courses).
?
The intellectu1
concerns of the course could best be effected by relating the necessary
historical overview to carefully selected examples of painl:ing, sculpture
and architecture which would be studied in depth.
?
To know the range axfd
variety of styles in the period - style considered as the way of imagination
and thoughtfulness, not as generalized characteristics - Is ohe thing;
?
the
instructor should, however, give special attention to the selection of certain
works for study and experience In depth.
?
There should be a kind of dramatic
•
relation between those sections of the course which tend to survey and those
which stop to look In depth.
?
The course should be structured to follow the
Imaginative patterns of the period - (the word imagination is used herewith
full emphasis on image) - which is to say that the point would be to follow
.
the developing modes of an image of the world, as these involve the intr-
change of feeling and thought, content and form, particular and universal,
the conditions of the time and the past.
?
Every effort should be made not to
2.
Robin Blaser ?
May 26, 1975
The Arts in Context (continued)
turn this into aesthetic theory or aesthetic judgment after the event -
such is, in my view a modern misunderstanding of the crucial place of art
in thought - but rather, the course should present the way in which the I
art
of the period entangles men and women with the world - their beliefs and1
disbeliefa included.
The in-depth selection need not always deal with masterpieces.
Here, I think of a few examples in architecture, which would go far towad
presenting the variety of public architecture in the period; the partly
monstrous St. Peter's of The Vatican (1506-1626), the freed, imaglnative
forms of The Tempio Malatestiano (Rimini, 1450-1457) which involved the
work of Matteo de 'Pasti, Agostino di Duccio, Natteo Nuti, Piero della
Francesca, the advice of Alberti, etc., and the very beautiful Santa Maria
del Miracoll (Venice, c. 1489) by Lombardo.
?
Such examples would, of course,
change with the instructor in relation to the way he imagined the course.
Each of the examples I have noted above allows for historical and intellectual
comment on art in context. ?
Sigismundo Malatesta and his Templo could set
the context of Italy - the city states, the contest of ancient and modern, etc.
But these are only examples.
1.
?
I have chosen in this projective of a course to make the Italian as1pect
of The Renaissance central because it seems tome that the course should
not become a survey, simplified and hung out to dry in the wind.
From the Italian centre, it would be possiDle to trace direct inteichange
of elements from the ancient past, the constantly reformed versions of
the Roman imperium, the survival of pagan elements, the Catholic univer-
sality and Its fragmentation, the heretical and the "humanistic" as
3.
Robin Blaser
May
26, l75
ire ?
The Arts in Context (continued)
2.
?
?
In such a course, the transition from the medieval world view to
whatever is meant by The Renaissance would be crucial to the meaning of
the course. ?
The choice of material at the beginning of the course
?
would depend upon the stance of the instructor, but the selection should
be made carefully to allow for the backward and forward movement of imagi-
native content. The choice of material at the beginning and at the end
of the course should open the way to a dynamic relation between this
content and that of other period courses to be offered later.
?
Here,
I notice a few examples in order to imagine this course:
(a)
one could begin by centering on the Imagination of Dante prepaatory
to moving into Renaissance Florence. Useful notice could be given
to Michelino's allegorical portrait (in the Duomo) and of
Botticelli's illustration of The Comedy, thus setting the ground.
(b)
or one could, and probably should, for purposes of transition deal
briefly with the dance bf death motif.
?
(See Huizinga In his
The Waning of the Middle Ages - a useful book, with or withoutagree-
ment with him.)
(c)
or one could open with lectures on tomb sculpture.
?
"...it is
precisely in Its attitude toward the dead that the new epoch nust
vigorously asserted its modernity." (Panofsky, Tomb Sculpture p.67)
The interchange of universal and particular is most clearly sen in
.•
?
this art.
?
I would suggest special attention to Margaret of Aistria's
chapel at Brou (France), 1480-1530.
?
'anofsky speaks of this
?
chapel, "where the intracacies of an autumnal Gothic and the fesh-
ness of a vernal Renaissance form as complete and enigmatic a unity
/
4.
4
?
40^
Rpbin Blaser
?
May 26, 1975
The Arts in Context (continued)
as do the intentionally contradictory ideas in her omnipresent,
calmly disillusioned motto, Fortune Infortune Fort Line.." (
p
. 75
(d)
?
?
or one could usefully describe the transition by way of
Hubert and Jan van Eyck's altarpiece, Adoration of the Lamb
(Ghent, 1415-1432).
?
Here, I am following Huizinga's suggestion
?
that the
Van
Eycks represent the end of a' vision and are not inside
The Renaissance. ?
Certainly, the imagery of that altarpiece offers
a focus from which to move forward into changes of vision.
Or Fra Angelico (1387-1455) - but I become too detailed.
?
These are
only suggestions in order to say that the course is possible wit
planning and It could be fundamental to the àntemperary imaginartion,
since contemporary fragmentation continues to be a departure from
this structure. ?
Or so I see It.
The course would then follow through into an introduction of the
work
of:
?
- ?
I
Donatello ?
(1386-1466)
Brunelleschl ?
(1379-1446)
Masaccio ?
(1401-1428)
Ghibertl
?
(1378-1455)
('Gates of Paradise')
Then broadly and selectively, between 1400 and 1600:
Uccello
Antonio Pollaiuolo
Verrucchio
Piero della Francesca
Si gnore lii
Botticelli
Leonardo
.
Michelangelo
Raphael
Mantegna
Antonello da Messina
Carpaccio
5.
Robin Blaser
?
ildy (•; , •
•
?
The Arts in Context (continued)
Giovani Bellini
Ciorgione
Titian
Tintoretto
Correggio
Veronese
Caravaggio
* Detailed selection for
in-depth study to be made by the
iusttt1(:tr
The above is a standard list which would allow for lectuic-dL;cti;.;;
in detail of religious and secular subjects, of classical
,natter,
the development of portraiture and landscape.
* Here, I have given no outline for the way in which the Italian
Renaissance could be tied to the north.
?
The ties to the north should
be part of the course interest, but I would want to do some
digging,
before I proposed the details.
?
I would not wish to imagiu
course without Bosch, Dtlrer and Breugel.
3. ?
I havealready noted that the way in which the course closes would also
be crucial. ?
In order to imagine the possibility of all this, I
suggest closing with Poussin (1594-1665). ?
The point: hre would be to
end with Poussin's preoccupation with ancient art and cui.ttiro -
ti 11
manner of his use of
It and his mythological
mode.
At the same time that this course is
offered, upper division workiups
in music,
dance and drama should undertake performances of works of the
period.
?
I suggest, without any accurate judgment of tL.21r difficulty:
Claudio Monteverdi's L'Orfeo
(1607)
(the "first Music drama"
-•
Mailing
Phyllis
assures
me this Is
•
]possible)
Lope de Vega's Justice
without Revenge (1631)
'a novelesque play based on Italian fiction"
5.
Robin Blaser
The Arts in Context (continued)
Giovani Bellini
Giorgione
Titian
Tintoretto
Correggio
Veronese
Caravaggio
* Detailed selection for in-depth study to be made by the inst:u:ro)-.
The above is a standard list which would allow for lectuTdL';ct:;:H
in detail of religious and secular subjects, of classical mtt.ter,.
the development of portraiture and landscape.
* Here, I have given no outline for the way in which the Italian
Renaissance could be tied to the north.
?
The ties to the north s1oni.d ?
be part of the course interest, but I would want to do some diggiiig
before I proposed the details.
?
I would not wish to imag.itc
01 ' ?
course without Bosch, Dtlrer and Breugel.
3. ?
1 have.already noted that the way
In
which the course closes would also
be crucial. ?
In order to imagine the possibility of all this, I
suggest closing with Poussin (1594-1665).
?
The
point
here would be to ?
end with Poussin's preoccupation with ancient art and cui.t'irc' -
tii
manner of his use of it and his mythological mode.
At the same time that this course is offered, upper division work;
10
) p5
in music, dance and drama should undertake performances of works of the
period.
?
I suggest, without any accurate judgment of t1.3Ir difficulty:
Claudio Monteverdi's L'Orfeo (1607)
(the "first thusic drama"
Phyllis Mailing assures
me
thisl Is
possihib)
Lope de Vega's Justice without Revenge (1631)
'tj
novelesque play based on Italian fiction"
6. ?
H
Robin Blaser
?
May
26,
1o:'
The Arts in Context (continued)
or Shakespeare's Winter's Tale
These are, as I have said, only suggestions in order to
i1
p
;111 (2
IH
course and a possible structure in Fine Arts.
?
Problems remain: i.e.
history of music and drama in the period, leading to the full. puwr cif
Montevc-;:L, Lope de Vega and Shakespeare.
?
I do not. want
to
Context course in order to cover these, so perhaps special lectures or
seminars could be offered to fill out a necessary sense of
dcol'p1on
My fundamental point is that the course outlined here would
;hu
1h2
interchange of past and present inside the thought and feeling of th
arts - the imagined world. -
*
?
This outline has kept in mind the usefulness of
CXptfOc.1t5,
this
art in .a city which lacks a museum.
?
The instructor
chosen should be absolutely alive to the thoughtful task
of the period. ?
The course should atno pointbe reduced to an
ordinary history of art routine, to a grid of goneral Ideas,
or
to a smattering of this and that.
?
The most careful handling o
the "humanism" of this period would, for example, be crucial to
Renaissance and contemporary meaning.. ?
The complex movon:t
of Renaissance humanism worked from the fragmentation of the so-
called medieval vision toward a new vision of tIie past, which thn
became a reformation of the present.
?
....t refrrizn ton can
be
ibft
open-ended in such a course, since the eonrse is not intended to! he
a matter of intellectual history.
4
• ?
7.
Robin Bliser
The Arts in Context (continued)
May2(;.
A kind of layering and commotion of belief and disbelief
should be shown in the lectures - for example, th vLtii.
.niportance of heresy - the difficulty in yb,1:r;;:n'
"far-out" meaning: i.e., Bosch (1450-1516), on whom and
the Adamites, see Franger, The Nillcniun of
R. B.
. ? .. ?
•.
?
H
SENAT
E
?
O'I UNDERG!UDUATESTUDtES
NE4
COURSE PiO?OS.L F0Ri
• 1. C.itdz1nforrtjon
Department: General Studies
\r.vtatjon Code: G.S.
?
C6rse Nu.nia:
?
14
tredit Four:
3 ?
Vector:
2-1-0
iltie of Course: Basics of Theatre
Calendar Description of Course:
This course is designed to acquaint the student with the basic mechanics
and requirements of the theatre in its four primary areas: acting,
directing, design, and stage management. Students will undertake
small projects in each area in conjunction with the course.
Nature of Course Lecture/tutorial
•
Prerequisites
!
(or special instructions):
None
What
approved:
course
?
(courses),
None, but this
if any,
course
is
replaces
being
dropped
non-credit
from
introductory
the calendar
theatre
if this course is
workshop
2. Schedulin
g
How frequently will
the course
be offered? 2 times per year
Semester
in which the course will
first be
offered? 76-1
Which
possible?
of your pr..sent
faculty would be available to make
the proposed offering
3. ObJectives
ofthe Course
see attached statement
4.
Budgetary and Space-Requirements (for information only)
What additional resources will be required in the following areas:
Faculty
Staff ?
•
Library
Audio Visual
Space
Equipment
5. A
oproval
Date
?
30
Department Chairman
?
Dean
?
cii, scus
scus
73-J4b:-
(When conplettng this foria, for instructions
?
71.-1..:i
•
?
..)'j
i V
J.
N
t
'
'fl V
?
I ? Y
(N NUN ?
C('.ivtJN.:IAHON:, 'iTh
TO: Evan Alderson
FROM: Richard Ouzounian
RE: ?
Basics of Theatre Course! January, 1975
The thurst of the proposed one=semester Basics of Theatre
Course proposed for January, 1975, would be threefold:
1)
It would serve to acquaint the student with the basic mechan-
ics and requirements of the theatre in its four primary areas:
A"TING, DIRECTING, DESIGN, and STAGE MANAGEMENT. (A course in
PLAYWRIGHTING, although desireable, could not be encompassed
in so brief a time span.)
2)
It would provide a linkage with the Theatre productions of the
Centre for Communications and the Arts, and create a more ed-
ucated awareness of these activities.
3)
It would help serve as a two-way assesment of each student's
talents, abilities, and interests, and help the Department
and the student determine whether or not he,
/
she should contin-
ue in
.
theatre, and, if so, in which area.
I would suggest the following structural breakdown for the course.
A)
One two-hour lecture each week, to be given by the Head Instructor
of the course, with occasional guest lecturers. The type of material
to be dealt with will be discussed later.
B)
One one-hour discussion group each week, with the basic group oken
down into as many units as it would take to provide no more than 15
students in each subgroup. Consequently, the number of Assistant
Instructors necessary would depend
Ott
th' enrollment in the course.
C)
One half-hour session biweekly. This
WCt
?
be a pern.al one-on-ne
session between student and instructor, in which the work of t1ie
previous two weeks would be evaluated, discussed, and criticized,.
This personal cont'act is especinlly necessary In theatre.
?
I
.
?
-..-•
..-
?
----
----
(
(2)
COURSE STRUCTURE:
As the Simon Fraser Repertory Ensemble will be presenting Ibsen's PEEP GYNT
as their major production of the first term in 1976, it is to be Loped that
most of the basic material covered in the course would relate back to that
production, thereby rooting whatever is to be discussed in the reality of
an actual production.
Assuming a twelve-week period of class-work (excluding holidays), the
lowing breakdown could be suggested.
WEEK ONE:
LECTURE: INTRODUCTION TO COURSE
DISCUSSION GROUP: INTRODUCTION TO COURSE
WEEK TWO:
LECTUIE: THE ACTOR - BASIC PROBLEMS
DISCUSSION GROUP:
?
SANE
SINGLE SESSION: ASSIGNMENT OF FIRST SCENE
WEEK THREE:
LECTURE: THE ACTOR - SPEECH AND MOVEMENT
DISCUSSION GROUP: SANE
WEEK FOUR:
LECTURE: THE ACTOR - PROUCTION PROBLEMS
DISCUSSION GROUP: MAKEUP, ETC.
SINGLE SESSION: FIRST SCENES, PERFRMANCE AND EVALUATION
WEEK FIVE:
LECTURE: THE DIRECTOR - HIS BASIC DUTIES
DISCUSSION GROUP: SANE
WEEK SIX:
LECTURE: THE DIRECTOR - CONCEPTUALIZING
DISCUSSION GROUP:
?
BASICS OF BLOCKING
SINGLE SESSION: ?
ASSIGMENT OF DIRECTNG SCENE
?
-
WEEK SEVEN:
LECTURE: THE DIRECTOR - EXECUTION
DISCUSSION GROUP: DIRECTOR-ACTOR RELATIO'SHIpS
WEEK EIGHT:
LECTURE:
?
THE DESIGNER - SETTINGS
DISCUSSION GROUP: ACTOR-DESIGNER--DIRECTOR RELATIONSHIPS
SINGLE SESSION: DIRECTING SCENE, PERFORMANCE AND EVAL!ATION
WEEK NINE:
LECTURE: THE DESIGNER - COS'.UMES
DISCUSSION GROUP: PRACTICALITY IN DEGN
.
? WEEK TEN:
?
-
LECTURE: THE DESIGNER - LIGHTING
DISCUSSION GROUP: THEATRE SPACES
SINGLE SESSION: DESIGN PROJECT, ASSIGNMENT
fol-
( 4
?
(3)
WEEK ELEVEN:
LECTURE: THE STAGE MANAGER - HIS DUTIES
DISCUSSION GROUP: THEATRE ORGANIZATION
WEEK TWELVE:
LECTURE: OTHER AVENUES OF THEATRE
DISCUSSION GROUP:
?
GETTING A JOB IN THEATRE
SINGLE SESSION: EVALUATION OF DESIGN PROJECT - FINAL CRITIQUE
This program does not pretend to teach a student all he or she needs
to know about Acting, Directing, Design, or Stage Managemtn in the course'
of one t•rm, but, rather, to provide a basic orientation and familiarity
with the various forms of Theatre Arts, from which the student can choose
which area, if any, is righLfor him/her. Such a system will:also allow
us to evaluate the talents of the students involved and help them to de-1
termine which area they should follow.
?
I
C
7)
Richard Ouzounian
June 10, 1975
SENATE COMMITTEE ON UNDERGRADUATE STUDIES?
NEW COURSE PROPOSAL FORM
,,-... I. Calendar Information
?
Department:
?
General Studies
• Abbreviation Code: G.S.__- Cöürse Number 142
?
Credit Hours:
?
Vector: 2-0-14
Ht le of
Course: ?
An Introduction to Film and Video Techniques
Calendar Description of
Course:
This course is designed to give the student a basic familiarity with
film and video equipment and its use. Lectures and demonstrations will
be accompanied by limited individual projects.
Nature
of
Course ?
Lecture/Laboratory
Prerequisites (or special' instructions):
Admission by interview only. Criteria may be obtained in writing
from the faculty office.
What course (courses), if any, is being dropped from
the calendar if this co
approved:
None, but this course replaces the introductory
non-credit film workshop.
2. Scheduling
How
frequently will the course be
offered? 2 times per year.
Semester in which the course will first be offered?
76-1
Which
possible?
of
?
your
Film
present
and Video
faculty
Residents
would be
can
available
teach this
to
course
make the
in
proposed
addition
of
to
ferin
other duties.
(103..ObJectives of the Course
se is
4.
Budgetary and Space Requirements (for information only)
What additional resources will be required in the following
areas:.
Faculty
Staff
Library
Audio Visual.
$1575 -
stock, processing and maintenance charges.
Space
Equipment ?
$8000 of new equipment desirable but course can be satisfactorily
taught prior to obtaining it.
5. Approval
Department
Chairman
?
Dean
?
airman, S:CUS
Ai
Su
t.jcii
:
.'; 73-34b:-
course
(When
outline).
completing this form, for instructions see Memorandum
SCUS 7-34a.
I.
?
AN INTRODUCTION TO FILM AND VIDEO TECHNIQUES
A one semester course, taught by two faculty with part-time assistance from
the Centre for Communications and the Arts film and vide'o workshop assistants.
Equipment mainly scheduled from CC & A. Space: schedule multi-media theatre
in A/V for lecture-demonstrations and screenings. Labs held in Arts Centre
Area. Sound-Sync Super 8 nun equipment needs to be purchased: 'minimuxn-$Z,OOO.
Office hours and Lab resource hours essential.
Three credit course. Maximum enrollment - 25. Laboratory sessions mainly
demonstrations but with very small individual projects-(e.g. 1 roll/tape per
student) individually booked through lab assistant. 2 hour lecture/demonstrtjons
- 4 hour labs.
WEEK
1•
LID
1.
Introduction-Relationship
Film/Video.
?
Technical orientations.
L/D
2.
Shooting equipment and
lighting
Lab
3.
Practice shooting - 1 roll/tape per student.
L/T)
4.
Critique of video shooting and introduction to studio switching.
Introduction to sound recording.
L/D
5.
Critique of film shooting. ?
Continue with sound recording.
Lab
6.
Sync-Sound shooting seeesion - film.
?
Studio session with
sound-video.
L/D
7.
Intro.to editing.
L/D
8.
Intro. to sound cutting and dubbing.
Lab
9.
Editing session film and video.
L/D
10.
Concepts of post-production.
?
Techniques
for video
experimentation.
L/D
11.
Techniques of post-production,
Lab
12.
Film-final mix.
?
Video-Experimental
forms,
LID
13.
Intro toand ethical behavior connected with;
Scriptwriting
Crew management
Budget
íó
Budget:
Salary Film Instructor/Resident
?
$1,750
Video Instructor/Resident ?
1,750
Lab Assistants(employed by Arts Centre)
• ?
2 0 $500
?
1,000
New Equipment - $8,000 minimum
?
8,000
Stock: 2 x 1 hour x 1"
?
100
25 x 1/2 hour x 1/2"
?
325
(and processing) film: Super 8 mm Sync.
?
750
• ?
Equipment Maintenance: and AN charges
?
500
$13,225
r.
AD
September 1, 1975
.
THE SENATE,
SIMON FRASER
UNIVERSITY
(Amended)
Term expires,
with proviso
individual
continues
in
office until
the
successor
is elected/appointed.
Universities Act
Section 35, 2
a)
Chancellor
J.
Diamond
May
31,
1978
b)
President
P.
Jewett
-
c)
Vice-President, Academic
B.
C. Wilson
-
d)
Deans of Faculties:
Arts
W.A.S. Smith
-
Education
J.
F. Ellis
-
•
Interdisciplinary Studies
R.
C. Brown
-
Science
S.
Aronoff
-
e)
Librarian
D.
A. Baird
-
f)
Dean of Continuing Studies
J.
P. Blaney
-
•
?
g)
Faculty Members:
Arts
W.
E. Williams
May
31,
1978
Arts
R.
K. Debo
May
31,
1977
Education
A.
Kazepides
May
31,
1978
Education
D.
A. Erickson
May
31,
1977
Interdisciplinary Studies
T.
W. Calvert
May
31,
1978
Interdisciplinary Studies
A.
J. Davison
May
31,
1977
Science
J.
S. Barlow
May
31,
1978
Science
C.H.W. Jones
May
31,
1977
Joint Faculty Members:
K.
E. Rieckhoff
May
31,
1978
Y.
Cunningham
May
31,
1978
J.
F. Hutchinson
May
31,
1978
T.
D. Sterling
May
31,
1977
T.
Finlayson
May
31,
1977
A.
H. Curzon
May
31,
1977
E.
A. Fattah*
May
31,
1977
J.P.M. Mackauer
May
31,
1976
R.
L. Carlson
May
31,
1976
B.
D. Pate
May
31,
1976
J.
Walkley
May
31,
1976
E.
•McWhinney
May
31,
1976
D.
I. Allen
May
31,
1976
R.
A. Holmes*
May
31,
1976
• ?
h)
Student Members
J.
A. Catalano
May
31,
1976
M.
M. Dorsel
May
31,
1976
B.
E. Emery
May
31,
1976
S.
Harrison
May
31,
1976
R.
A. Ironside
May 31,
1976
C.
C. McCoy*
May
31,
1976
S.
C. McCoy
May
31,
1976
R
Schiffer
May 31,
1976
M.
Shillow
May
31,
1976
J.
A. Versfelt
May 31,
1976
•
D.
C. Walibaum
May
31,
1976
i)
Convocation Members
D.
E. Knight
May
31,
1978
A.
G. Martel
May
31,
1978
M.
J. Overholt
May
31,
1978
S.
Thomas
May
31,
1978
J)
Government Appointees
P.
H. Doherty
May
31,
1978
L.
Hindle
May
31,
1978
L.
Latham
May
31,
1978
S.
Morin
May
31,
1978
1)
Dean of Graduate Studies
J.
Wheatley
-
Associate Vice-President,
Academic
D.
R. Birch*
-
Section 62.
Secretary of Senate and
Registrar (non-voting)
H.
M. Evans
-
* Membership on Senate approved at meeting of Senate June 2, 1975 for
Associate Vice-President, Academic, and elections of two faculty members
under Section 35(g) and one student member under Section 35(h) followed.
