COURSE BOOKLET 2020-2021 - Theater, Dance & Media
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2020-2021 COURSE BOOKLET
Cover Photo Credits (L-R): 1. Production photo from Truth Hurts. Dec 2019. A Priori Photography. 2. Production photo from Terminal Hip: American Dream in HD. Feb 2020. Photo by Julius Wade. 3. Photo from Harvard Dance Project Open Studio Shar- ing. May 2020. 4. Production photo from Harvard Dance Project: Seminal Voices (Bill T. Jones, Story/Time excerpt). Apr 2019. Liza Voll Photography.
WELCOME FROM TDM Welcome to Theater, Dance & Media. With increased intensity during the last decade, the performing arts have become a powerful and dynamic arena for artistic innovation and social debate. We invite you to be part of this growingly vibrant and global community of cultural change-makers! By combining practical studio training in theater, dance, and new media tech- nologies with the study of the history and theories of performance, the TDM curriculum offers you the unique opportunity to enhance your creative skills and critical-thinking abilities at the same time, in collaboration with worldwide renowned practitioners and scholars from the American Repertory Theater, the Harvard Dance Center, and myriad departments in the Arts and Humanities. The undergraduate program in TDM provides a home for a wide range of thought-provoking master classes and guest lectures at Farkas Hall and the Harvard Dance Center, which both welcome prominent artists and visionary intellectuals to share their work in and on the many interconnected performing arts disciplines. TDM also opens up a world of invaluable creative possibilities, through both student-generated and professionally-led productions. Whether you want to prepare for a career on or behind the stage, or pursue further studies in the finest Master’s or Graduate programs around the world; whether you’ve always wanted to take a professional acting, directing, play- writing, or choreography class; whether you’re thirsty to learn more about the performance history of Shakespeare or reflect on the inextricable connection between race, gender, and performance--TDM is for you. We welcome you to visit our concentration home in Farkas Hall for a tour of its state-of-the art theater, studio, seminar hall, and scene-building shop and to attend our open houses and concentration information sessions. We look forward to meeting you!
THEATER, DANCE & MEDIA COURSE CATALOG
PAT H W AY S
First or second-year students interested in exploring the range of offerings in Theater, Dance &
Media are encouraged to begin with these introductory courses that count towards concentra-
tion credit.
*Note: While the classes below emphasize the interdisciplinary connections between theater,
dance, and media, for ease of reference in this catalog, they are grouped according to the disci-
pline prioritized in the course content.
T: THEATER
theater & performance
Is acting or directing your passion? Are you unclear about what devised
theater is but game to try it out? Interested in how a show comes together?
The following classes are some that allow you to explore these crafts at a college level and even
participate in a professionally directed show.
TDM 90AR Production Studio: Making Horizontal Theater
TDM 90BR New Species: A Hybrid Studio
TDM 109 Beginning Acting Through Scene Study and Monologue Work
TDM 110 Foundations in Acting: Pathways
TDM 118 Acting Alone: Voice, Speech and Monologue
TDM 115 Acting Shakespeare
TDM 119 Vocal Production for the Stage
TDM 125X Performing Criticism
TDM 130R Directing
TDM 131 Directing Lab
TDM 138X Anti-Theater
TDM 169B Theater 000
Would you like to explore writing for the stage?
TDM CKR Introduction to Playwriting Workshop
TDM 164H Playwriting: Ritual Practice and Curious Worlds
ENGLISH CTV Writing for Television: Developing the Pilot: Workshop
Do you want to understand how the stage can change the way we under-
stand ethnic, social, and national identities?
TDM 114K Squaring the Circle: Russia, Art, Revolution
TDM 181B Street Dance Activism: Embodying Liberation Through
Somatic Practices and Rituals of Breath
TDM 182B Black Arts Movement to #blacklivesmatter
AFRAMER 188Z African Voices for Freedom, Citizenship and Social Justice
COMPLIT 135 History of Theater
ENG 90PO Prison and Performance
ENG 224SR Shakespeare and Racial Justice
FRENCH 80 French Theater Across Time: An Introduction to Performance
AFRAMER 145X The Hiphop Cipher: “These Are the Breaks”
4
Have you wondered how designers conjure up visual and auditory worlds on
stage? Are you interested in designing and fabricating projections, cos-
tumes, sets, sounds, and lights for theater, dance or performance?
TDM 150 Directorial Concepts and Set Design of the 20th and 21st
Centuries
TDM 151 Design Foundations: Scenography 1
TDM 158A Transformative Design: Introduction to Costume Design
TDM 169B Theater 000
TDM 169S Singer + Song = Story
TDM 169SC This is a show tune, but the show hasn’t been written for it yet.
AFVS 254/ Audio in Multimodal Practice
ANTHRO 1839
MUSIC 160R Composition: Proseminar
D: DANCE AND PERFORMANCE
studio classes & critical studies
Are you interested in opportunities to explore a new physical practice? Or to
advance your current performance and movement research?
TDM 90DR Harvard Dance Project
TDM 148P Koteba Performance: Traditions of the Bamana
TDM 149 Latinx Movement Practice
ARTS 20 The Garden
M: MEDIA
the intersection of media-based technologies with live arts
Eager to explore how media culture and technology has changed the
landscape of the performing arts? Wondering how media functions on the
stage and how forms of theater and dance have been radically changed
by innovations in digital technologies (games, video, animation, virtual and
augmented reality)?
TDM 169B Theater 000
AFVS 134S Nah; or, gestures of resistance: Performance, Technology, and
Refusal
AFVS 157L Immersive Media as Art
AFVS 161L Enter the Media Verse
AFVS 283 Screens: Projecting Media and the Visual Arts
ARTS 27 How to Be A Tool: Storytelling Across Disciplines
VIS 2481 Public Projection: Projection as a Tool for Expression
Communication in Public Space
5
THEATER, DANCE & MEDIA COURSE CATALOG
Courses in TDM are taught by faculty from a variety of departments and concentrations within FAS.
FA L L 2 0 2 0 C O U R S E S
Theater, Dance & Media
TDM CKR Introduction to Playwriting: Workshop
TDM 90AR Production Studio - Making Horizontal
Theater
TDM 91R Supervised Reading and Research
TDM 98 Junior Tutorial
TDM 99A Senior Tutorial
TDM 109 Beginning Acting Through Scene Study and
Monologue Work
TDM 114K Squaring the Circle: Russia, Art, Revolution
TDM 118 Acting Alone: Voice, Speech, and the Monologue
TDM 125X Performing Criticism
TDM 130R Directing
TDM 134R CoLLab: Disruptive Performance in Liquid Times
TDM 149 Latinx Movement Practice
TDM 150 Directorial Concepts and Set Designs of the 20th and 21st
Centuries
TDM 158A Transformative Design: Introduction to Costume Design
TDM 164H Playwriting: Ritual Practice and Curious Worlds
TDM 169B Theater 000
TDM 169S Singer + Song = Story
TDM 174B Nonprofit Producing: Resourcing Creativity and Innovation
TDM 181B Street Dance Activism: Embodying Liberation Through So-
matic Practices and Rituals of Breath
ARTS 20 The Garden
African & African American Studies
AFRAMER 188Z African Voices for Freedom, Citizenship and Social Justice
AFRAMER 134X How Sweet is it to be Loved by You: Black Love and the
Emotional Politics of Respect
AFRAMER 145X The Hiphop Cipher: “These are the Breaks”
Anthropology
ANTHRO 1400 Quests for Wisdom: Religious, Moral and Aesthetic Experi-
6 ences in the Art of Living in Perilous Times
Architecture (Graduate School of Design)
VIS 2481 Public Projection: Projection as a Tool for
Expression Communication in Public Space
Art, Film, and Visual Studies
AFVS 108 Stranger than Fiction
AFVS 134R Nah; or, gestures of resistance: Performance, Technology,
Refusal
AFVS 283 Screens: Projecting Media and the Visual Arts
Classics
CLASPHIL 260 Plautus
Comparative Literature
COMPLIT 135 History of Theater
English
ENG CTV Writing for Television: Developing the Pilot: Workshop
ENG 90CP Contemporary American Playwrights: Seminar
ENG 90HB Five Shakespeare Plays
ENG 90SM Speculative Modes: Fiction, Technology, Justice
ENG 90TS Why We Tell Their Stories
ENG 177PM Broadway, 1940 - Present
ENG 224SR Shakespeare and Racial Justice
Folklore & Mythology
FOLKMYTH 114 African Storytellers and Oral Traditions: Folklore and the
Verbal Arts from Abidjan to Zanzibar
General Education
GENED 1153 Shakespeare’s Timeliness
History of Arts and Architecture
HAA 186X Chinese Sonic Painting: How to Picture Voice
Music
MUSIC 160R Composition: Proseminar: Composing Theater
Romance Languages & Literatures
FRENCH 80 French Theater Across Time: An Introduction to Perfor-
mance
ROM-STD 168 Futurisms (a comparative history)
Sociology
SOCIOL 1153 Subcultures
7
THEATER, DANCE & MEDIA COURSE CATALOG
SPRING 2021 COURSES
Theater, Dance & Media
TDM CAMR Advanced Playwriting: Workshop
TDM 90BR New Species: A Hybrid Studio
TDM 90DR Harvard Dance Project
TDM 91R Supervised Reading and Research
TDM 97 Sophomore Tutorial
TDM 98 Junior Tutorial
TDM 99B Senior Tutorial
TDM 110 Foundations in Acting: Pathways
TDM 112R Advanced Acting: Contemporary Texts
TDM 115 Acting Shakespeare
TDM 119 Vocal Production for the Stage
TDM 131 Directing Lab
TDM 138X Anti-Theater
TDM 148P Koteba Performance: Traditions of the Bamana
TDM 151 Design Foundations: Scenography 1
TDM 161 Live Art from Archival Sources: Devised Theater Workshop
TDM 169SC This is a show tune, but the show hasn’t been written for it
yet.
TDM 194 The Power and Relevance of the American Musical: 1776
and Other Musicals
TDM 1433 Topics in Advanced Performance Theory: Gender and Sex-
uality
8
Art, Film, and Visual Studies
AFVS 157L Immersive Experience as Art
AFVS 254/ Audio in Multimodal Practice
ANTHRO 1839
AFVS 161L Enter the Media Verse
ARTS
ARTS 27 How to Be A Tool: Storytelling Across Disciplines
English
ENG 90SD Staging Shakespeare
ENG 90PO Prison and Performance
ENG 90SW Shakespeare’s Women
General Education
GENED 1156 Modern Art and Modernity
Music
MUSIC 284R Soundscape Composition and Social Justice
Romance Languages & Literatures
FRENCH 225 How to Read Theater. History of Drama/Theories of Repre-
sentation/Creative Practice
9
C ODANCE
THEATER, U R S &E MEDIA
D E SCOURSE
C R I PCATALOG
TIONS
Theater, Dance & Media pirationally democratic: generated by and
with communities through interviews.
TDM CKR In this workshop students will build and
Introduction to Playwriting perform a full-length piece of horizontal
Sam Marks theater. They will collectively choose the
This workshop is an introduction to writ- topic and scope of the production, study
ing for the stage through intensive read- existing models, and interrogate the de-
ing and in-depth written exercises. Each sign of live theater on digital platforms
student will explore the fundamentals in order to develop an original aesthetic
and possibilities of playwriting by gener- sensibility for an online presentation. Stu-
ating short scripts and completing a one dents will determine whom to interview
act play with an eye towards both exper- and about what subject of interest; they
imental and traditional narrative styles. will conduct those interviews, record them,
Readings will examine various ways of cre- and transcribe them; and they will use ver-
ating dramatic art and include work from batim language from those interviews to
contemporary playwrights such as Ken- build lyrics, write songs, monologues, and
neth Lonergan, Martin McDonagh, Suzan dialogue, ultimately constructing a full-
Lori-Parks, and Sarah Ruhl as well estab- length play with music and/or a musical.
lished work from Anton Chekhov, Sarah In addition, students will examine existing
Kane, and Harold Pinter. models of horizontal theater and discuss
the politics of representation and risks of
TDM CAMR/ENGLISH CAMR appropriation that surface in this kind of
Advanced Playwriting Workshop work. Models of meaningful horizontal
Sam Marks theater include: Lynn Nottage’s Sweat, the
This workshop is a continued exploration Tectonic theater Company’s The Laramie
of writing for the stage. Students will be Project, Anna Deavere Smith’s Fires in the
encouraged to excavate their own voice Mirror, The Civilians’ In the Footprint, and
in playwriting. They will examine and at- Pearl/D’Amour’s 5 Miltons.
tempt multiple narrative strategies and Horizontal theater is a document of the
dialogue techniques. They will bolster present moment - its content informed by
their craft of playwriting through generat- the context in which it is made - and this
ing short scripts and a completed one act. semester our production will inevitably be
Readings will include significant contribu- shaped by the challenges and opportu-
tors to the theatrical form such as Ibsen nities of pandemic time. We will explore
and Beckett as well as contemporary dra- the paradoxes streaming video platforms
matists such as Annie Baker, Caryl Chur- offer for live performance - intimacy and
chill and Sam Shepard. alienation, a virtual-near and a tangible-far
- and how these platforms recommend
TDM 90AR performative approaches that unify pro-
Production Studio: Making Horizontal cess and execution.
Theater This workshop has the spirit of a lab,
Jay Stull and EllaRose Chary wherein the aesthetics of horizontal the-
This workshop teaches the practices and ater are modeled, deconstructed, ques-
politics surrounding what has been de- tioned, and ideally re-invented, where stu-
fined variously as “non-fiction,” “doc- dents think seriously about the identities
umentary,” “interview-based,” or “in- of their subjects as well as their own, and
vestigative” theater. We call this theater where conversations about art-making,
“horizontal” because its text, source performance, and politics are courageous,
material, and process are multivariate, generous, and daring.
self-consciously non-hierarchical, and as- TDM production studios frame and in-
10volve participation in Theater, Dance & to participate.
Media’s twice yearly professionally direct-
ed and designed productions. The pre- TDM 90DR
ponderance of time for this course will be Harvard Dance Project
dedicated to the rehearsal process and Laura Rodriguez (LROD)
performances, where the integration of The Harvard Dance Project will be a re-
theory and practice, and theater, dance, mote studio-based course focusing on
and media take place. Students will meet project based collaborative performance
with the course head for seminar discus- research, choreographic composition, cu-
sions and studio work at designated times ration and camera dances, video editing
(TBD) to examine the entire performance for movement, and links choreographic
process through a creative lens. Rehearsal thinking to other fields. The course will
dates and times are TBD. explore interdisciplinary approaches to fa-
cilitate independent and interdependent
TDM 90BR virtual performance possibilities in Spring
New Species: A Hybrid Studio 2021. Over the course of the semester,
Phillip Howze and Tara Ahmadinejad students will have opportunities to curate,
Co-taught by multidisciplinary artists Phil- showcase, and deepen their performance
lip Howze and Tara Ahmadinejad, New practices.
Species: A Hybrid Studio, is a research
and production-centered studio course TDM 91R
designed especially for students who are Supervised Reading and Research
interested in rewilding their curiosities and Debra Levine
engaging new skills. Working individually Theater, Dance & Media concentrators
and collectively, students will generate (and others with special permission) may
interdisciplinary performance works that arrange individually supervised reading
defy definition, and take advantage of and research courses; the permission
remote engagement and collaboration. of the Director of Studies is required for
Riffing off of themes in Howze’s latest in- these courses.
terdisciplinary play--which examines our
relationship to community and the con- TDM 97
temporary moment through the lens of Sophomore Tutorial
land, artifact, burial rites, and the poetry Julia Smeliansky
of personhood--students will create their What are theater and dance? What is at
own original works that will culminate in stake when a performance is live or re-
an end-of-semester production, directed corded? How do performers use space,
by Ahmadinejad. time, and bodies to make meaning? What
TDM production studios frame and involve is the relationship between a perfor-
participation in Theater, Dance & Media’s mance and a script? Why do performers
twice yearly professionally directed and and audiences gravitate to live arts? How
designed productions. The preponder- do economic and political circumstances
ance of time for this course will be dedi- shape live performances? This sopho-
cated to the rehearsal process and perfor- more tutorial in Theater, Dance & Media
mances, where the integration of theory provides students with an intellectual and
and practice, and theater, dance, and me- practical foundation to the concentration
dia take place. Students will meet with by exploring these questions and more.
the course head for seminar discussions Readings will include theoretical texts
at designated times (TBD) to examine the from Schechner, Phelan, and Chaudhuri,
entire performance process through a dra- alongside scripts and other performance
maturgical lens. No previous theater ex- materials by Kennedy, Bausch, Kaprow,
perience is required. Students from other and Smith. Assessments emphasize how
concentrations are strongly encouraged to write about performance and how per-
11THEATER, DANCE & MEDIA COURSE CATALOG
formance serves as a form of criticism. class does require a great deal of outside
work. Students should expect to spend
TDM 98 4-6 hours per week on class work, includ-
Junior Tutorial ing time for analyzing texts and rehearsal
The junior tutorial is a unique opportuni- time for the scenes and monologues.
ty for junior concentrators and tutors to
explore creative and critical performance TDM 110
project. The junior tutorial involves studio Foundations in Acting: Pathways
labs and typically culminates in longer Johnny Kuntz
projects, which can be performance-based A beginning acting class that explores the
or critical/historical. basic techniques of acting, including the
various entry points to building a character
TDM 99A as well as various techniques to rehearsing
Senior Tutorial: Senior Thesis Project a scene or speech. Beginning with exercis-
Debra Levine es that flex the imagination and heighten
Supervised individual tutorial in an inde- observation; the course will then move to-
pendent scholarly/critical subject or per- wards work on an actor’s instincts, rhythm,
formance-based project. focus, trust, concentration, text analysis,
language and other techniques, with an
TDM 109 ongoing emphasis on improvisation and
Beginning Acting Through Scene Study the actor’s imagination. Students will
and Monologue Work select, edit (if necessary), memorize and
Marcus Stern perform two contrasting monologues of
This is a beginning acting class designed their choice during the course. Speeches
both for students who have had no previ- will receive in-class feedback and coach-
ous acting, performance or arts class ex- ing. Especially suitable for first-year and
perience at all, as well as for students who sophomore students as well as for direc-
have had a fair amount of acting experi- tors, writers, designers, dramaturgs, stage
ence. The focus is on scene and mono- managers, choreographers and dancers
logue work using contemporary texts from interested in learning more about acting
theater, television and film. Core compo- techniques in performance.
nents of the class include the idea of sim-
ply working from yourself, “action-based TDM 112R
acting” (how one person is trying to Advanced Acting: Contemporary Texts
change/affect another person in a scene), Marcus Stern
and how to read a scene or monologue to Using contemporary text from TV, film,
figure out what your character might want and theater, this course introduces ad-
from that situation. Students learn how to vanced acting techniques through scene
rehearse outside of class with a long-dis- and monologue work. Core components
tance scene partner, and how to present of the class include the idea of “simply
that work both live and in a pre-recorded working from yourself” and action-based
format. This class can also be helpful for acting, which explores how one person
directors, writers, designers, dramaturgs, is trying to change/affect another person
stage managers, choreographers and in a scene. In addition, students will learn
dancers interested in learning more about how to read a scene or monologue to fig-
acting techniques in performance. It is ure out what your character might want
important to note that while the class is from that situation, audition techniques,
intentionally designed to be as unintimi- how to choose material that best suits the
dating and accessible as possible, created individual actor for auditions and scene
with the absolute beginner in mind, the work, text analysis, and personalization of
12a character. All of the concepts are aimed TDM 118
at the creation and refinement of an acting Acting Alone: Voice, Speech, and the
process that can be specifically tailored to Monologue
the individual actor. This course has been Remo Airaldi and Ericka Bailey
adapted for the online classroom, and TThis course will explore the rehearsal
we’re excited about the concrete results and performance of theatrical mono-
we’re seeing from the student actors who logues with a particular focus on voice and
have been working with us virtually! speech training. The ability to work on a
monologue--whether in the context of a
TDM 114K/SLAVIC 114 play or as an audition piece--is a founda-
Squaring the Circle: Russia, Art, Revolu- tional skill for all actors. We will explore
tion various warm-up techniques to allow
Daria Khitrova greater vocal and physical expressiveness
Wherever an avant-garde movement in both classical and contemporary materi-
sprang up, its artists would announce they al. We’ll study specific approaches to help
were there to change the world. Nowhere students “act alone” creatively, honest-
did this promise come closer to fruition ly, and spontaneously. Students will also
than in Russia of the 1920s. This course work on the presentation of a monologue
explores Russian and Soviet avant-garde in the context of an audition and will learn
art and its most radical manifestations in to create an effective self-tape.
literature and dance, on stage and screen,
in visual arts and in the ways of life. We will TDM 119
examine the way art and political revolu- Vocal Production for the Stage
tion impact each other and focus on the Erika Bailey
many “isms,” avant-garde and otherwise, Whether one is performing in a play,
that shaped society and the arts during a pitching an idea, presenting research or
period of rapid modernization and exper- leading a group, the ability to use one’s
imentation: Futurism, Suprematism, Con- voice effectively is a primary element in
structivism, Productivism and others. We the success of the performance. The im-
will look at works by Malevich and Mey- portance of a rich and varied voice has
erhold, Tatlin and Mayakovsky, Rodchenko only increased as we communicate and
and Stepanova, Nijinsky and Meyerhold, perform through zoom and other online
Vertov and Eisenstein. platforms. Using several major techniques
of voice training from the field of acting,
TDM 115 students will learn the possibilities, nuanc-
Acting Shakespeare es and power of the human voice. We will
Remo Airaldi explore both ideas of vocal authenticity
This course is an intensive study of Shake- and vocal transformation.
speare’s dramatic works from the point
of view of the actor. It is important to re- TDM 125X/ENGLISH 90PR
member that Shakespeare’s verse dramas Performing Criticism
were written to be performed and that David Levine
only when they are approached this way What makes “Great Criticism?” Analytic
- as playable, theatrical texts - that they clarity? A surfeit of objectivity? Dedica-
have their maximum impact. Through text tion to art and artists? Or is great criticism
analysis, scene study, vocal work, and act- more like great art, relying on a strong
ing exercises we attempt to find not only point of view and deep personal invest-
the meaning, but the music and theatrical ment? This course tests the latter view,
power of Shakespeare’s words. by treating works of criticism as dramat-
ic monologues to be analyzed, invested
with desire, and performed. We will use
techniques of script analysis to pay closer
13THEATER, DANCE & MEDIA COURSE CATALOG
attention to how arguments are construct- video experience is necessary. While we’ll
ed, and acting techniques to listen close- look at how the camera and editing are
ly for the ways that criticism is always, to used in some of the storytelling, this is not
quote Nietzsche, “the confession of its a technical filmmaking class. The central
originator, and a species of involuntary focus is on how a director’s personal expe-
and unconscious autobiography.” riences and/or passions can creatively and
This course will range through the histo- concretely shape their story telling.
ry of English criticism from Philip Sidney
to Zadie Smith. Students will also learn TDM 131
basic techniques of script analysis, acting, Directing Lab
and public speech, and apply these tech- Shira Milikowsky
niques to works of criticism, culminating This class is designed for students inter-
in a final recorded performance of an es- ested in expanding and exploding their
say-as-monologue. understanding of theater and perfor-
mance studies. Directing lab is actually a
TDM 130R laboratory: a place for hypothesis, experi-
Directing mentation, and practice. Over the course
Marcus Stern of American theater history thus far, who
Redesigned in response to the pandem- have been the great experimenters?
ic, this is a directing class for storytelling Which directors have broken the rules and
and some of the various forms it can take re-defined the game? Does innovation
online. It’s a class for directors, actors, come from a single auteur, a tightly wo-
writers, choreographers, dancers and any ven ensemble, a well-funded institution or
others interested in exploring online vo- a band of rogue outsiders? This class will
cabularies, refining their voice as storytell- tackle these and other questions, weaving
ers and artists. The course accommodates together theory and practice to provide
all levels of directing, from beginners with students with a holistic understanding of
no experience, to advanced directors who the American avant-garde and a set of
are interested in a career of directing in practical tools with which they can tackle
theater and/or film. The emphasis is on their own, burning artistic questions.
telling stories that are of personal inter- At the root of experimentation are ques-
est to you, defining your story points and tions of power and oppression. As we
desired visceral impact, and learning tech- examine the innovators of American the-
niques to help you accomplish your vision. ater in the 20th and 21st century, course
Each student directs 5 very short pieces in materials inherently probe questions of
the first 8 classes and then 3 longer pieces access and inclusion. Who is invited in?
over the rest of the term. Directors learn Who is left out? Which creators truly held
how to work with long-distance actors in the tools to challenge the status quo? Was
terms of staging and acting values and their work allowed to be seen, heard, and
how to assess actors’ spaces for directo- felt? In this course students will engage in
rial possibilities. Students usually pre-re- these questions not only by reading the
cord their work for presentation but have history, but by creating and directing their
the chance to present stories live online own work, inspired by the artists and pro-
during class time. Students may direct ductions studied.
their own writing (however, feedback and Convention tells us that ‘you have to know
focus will primarily be on the directorial the rules to break them, but Directing Lab
choices), and direct themselves as actors isn’t a course about convention. This class
if that’s of interest to them. Students will is open to students with all ranges of di-
use free basic video editing software to recting experience - including none. The
create their video work, but no previous only prerequisite is curiosity.
14TDM 134R that are action oriented). The final results
CoLLab: Theater, Dance & Performance in of our research will be recorded in a col-
Liquid Times lectively authored digital book, a platform
Debra Levine that allows for different formats of critical
The poet Askia Muhammad Tore asked analysis to be staged alongside the rich
whether Black music could become “a media that served as our research archive.
potent weapon in the Black freedom The book will document our collective re-
struggle.” Can we ask the same of theater flection on the significance of each of the
and performance that we might identify projects we have identified and the hope
as what playwright Naomi Wallace calls, is that the act of bringing each individual
“engaged” ? Wallace offers the term up project together might reveal some com-
through example rather than definition: monalities, some new possibilities of aes-
“Engaged, for example, with questions thetic and political solidarity.
of power and its myriad forms; questions
of who has it and who doesn’t, and the TDM 138X
reasons why. Questions of what happens Anti-Theater
to those who struggle with their disem- David Levine
powerment; who we are allowed to touch, Do you ever get the feeling theater isn’t
what colour of skin articulates which de- meeting the demands of the moment?
sire; what orifices are worthy of worship; Maybe it’s a problem with its values. Or
which of us is beaten to death for not fol- maybe its structures. Maybe some combi-
lowing the rule book on acceptable sexual nation.
conduct - all these are questions intimate- In this class, we’ll attempt to make theater
ly connected to our social contracts.” that avoids empathy, uplift, catharsis and
If this is a moment when what we former- universality in favor of excess, critique,
ly believed were necessary qualities of precision and laughter.
of theater and performance— including: The result may not look exactly like The-
presence, simultaneity, buildings, proxim- ater.
ity, liveness, actors, and audiences – are But what is this institution? How does it
not fully operative, how can we use this operate? What are its myths? Who does it
aesthetic disruption to rethink the ethical grind up? What are its products?
possibilities and priorities of the practice How can we avoid them? What should art
and the field? What now can be done as do? Whom should it serve? Can you give
theater? What now can be performance? up on “success”?
This research-based class will develop These questions will be addressed
a partial snapshot of this historical mo- through discussions, critiques, readings,
ment in contemporary theater and perfor- and the work you make.
mance. Together we will sift through the We’ll begin by unstaging two classics of
overwhelming numbers of performance institutional theater, Webster’s Duchess
works, talks, TikTok manifestos, chats, of Malfi and Miller’s Death of a Salesman.
debates, panels and archival materials ac- Both are expressive of ideologies (patriar-
cessed on the internet after CoVID restric- chy, oligarchy, racism) that structure both
tions shut down face-to-face assembly in America and the American theater, and to
theatrical venues and we will identify what that extent, they’re fertile soil for whatever
we think is both aesthetically compelling we mutants we decide to plant there.
and “engaged.” Class participants will be We’ll end with you staging your own work,
responsible for deconstructing the aes- your own way, from whatever sources you
thetics and ethics of those works and per- choose.
formance-based initiatives, teaching what
they learn to one another throughout the
semester using the format of “teach-ins”
(practical, participatory learning sessions
15THEATER, DANCE & MEDIA COURSE CATALOG
TDM 148P Together we will investigate and deepen
Koteba Performance: Tradition of the our use of horizontal and vertical weight,
Bamana isolations, polycentric movements, and
Jeffrey L. Page hip whining techniques. We will weave
African Dance techniques are often a survey of the history, art, and literature
lumped into a monolith within the con- from the Latinx experience through an
tinent of Africa’s 54 sovereign countries, embodied experience while fostering our
over 3000 ethnic groups, and over 2100 virtual community. LROD (el rod) will facili-
languages. tate Latinx Movement Practice with radical
This class will focus on the West African tenderness to embrace deeper states of
country of Mali, the region of Africa that power, awareness, and energetic align-
is well-known for inspiring the creation of ment during movement rituals for height-
the Blues, Hip-Hop, and Jazz. Within Mali, ened connectivity, and restorative power.
we will focus on the Bamana ethnic group ¡Vamos a Bailar!
(French colonizers have misnamed this
group as Bambara). TDM 150
Koteba is more than a dance genre, which Directorial Concepts and Set Design of
the Bamana people hold dear. In fact, it the 20th and 21st Centuries
is a performative structure that fully en- Julia Smeliansky
compasses the folklore of the Bamana--in What are the similarities between Las
the same way that Sanskrit of India and Vegas pop diva concert design and per-
Noh of Japan are performative structures. formances at the Theater of Dionysus in
Koteba, as a festival is done seasonally. 5th Century BCE Athens? How do theater
Its witty, satirical storytelling weldeds so- architecture and design reflect changes in
cio-political protest to combat corruption society? What is the process of designing
and maintain the historical benchmarks-- an opera or a musical? This course will in-
all through the scope of art. troduce students to some of the most in-
There will be live drumming for this class. fluential 20th and 21st-century directors,
The technique as far as dance goes will designers, and performance artists. We
strengthen rhythmic comprehension and will explore a range of artistic movements
syncopation abilities. The relationship be- that cross-pollinated the visual arts and
tween the artist and their art is elastic. This theater over the past century, and trace
form will help artists embody and discover the artistic heritage of current theatrical
a sense of elasticity between dance and experiments to their avant-garde roots.
music. We will also speak to Malian artists Examining how meaning in the theater is
about the relationship between the dance derived not only from text but also from
and its folklore. spatial composition, light, and overall
design concept, we will study a variety
TDM 149 of approaches to storytelling in theater,
Latinx Movement Practice dance, and opera. Working with primary
Laura Rodríguez sources in the Harvard Theatre Collection,
A warm invitation to get up, connect with students will develop and present short
our bodies, and move together after a creative projects based on a wide range
long day of zooming. Latinx Movement of theatrical texts. Students will also meet
Practice rigorously explores the social with guest artists to engage in a dialogue
and communal Latin Diaspora of move- about contemporary design practices.
ment, migration, and music from Mexico,
the Caribbean, South America, and the
United States. The course is taught with a
blend of English, Spanish, and Spanglish.
16TDM 151 performer and shift the very terms of rep-
Design Foundations; Scenography 1 resentational embodiment. For the actor,
Dede Ayite design can change one’s understanding of
Great design for live performance requires the physicality, the intellectual and emo-
synergy between all the key elements to tional life of the character they are en-
unlock the visual power of a play. This gaged to portray. Students will learn how
course explores the fundamentals of set, to sketch and design costumes that assist
costume, lighting and sound through in transforming the performer’s body, and
critical texts and applied projects.Stu- how to collaborate with everyone involved
dents will be taught the fundamentals of in a theatrical production.
design with an emphasis on script analy- After carefully following the steps of a pro-
sis, research and the articulation of a de- fessional costume designer preparing for
sign concept through rendering, collage, theatrical work, students in the class un-
model building with an introduction to dertake an individual design project, from
basic drafting principles. The goal is for start to finish, under the supervision of the
students to develop key skills for conceiv- professor.
ing and designing visual elements for live
performance. Students should not expect TDM 161
a technical survey, but rather an explora- Live Art from Archival Sources: Devised
tion of how visual elements shape a given Theater Workshop
performance. James Stanley
How can vinyl records, legal transcripts,
TDM 158A classic movies, home recordings, 19th
Transformative Design: Introduction to century burlesque routines, or old pho-
Costume Design tographs become the raw materials for
Dede Ayite some of today’s most compelling theater?
If all that is truly needed to tell a great sto- And how do these works ask audiences
ry is an actor and an audience then what to reconsider our inheritance of the past,
is design for the stage and what can it do? creating a dialogue between the past and
This class explores the design of visual the present? This course focuses on the-
and material elements for the stage. How ater-makers and processes of production
it can amplify, interpret and extend the that turn objects, archives and cultural
message of the production to the viewer data from the past into vibrant forms of
through delight, astonishment and provo- contemporary performance. In the first
cation. Together we will explore how cos- half of the course, we will explore works
tume design can even assist in changing a by Tina Satter, Alison S. M. Kobayashi, Phil
cultural narrative. Soltanoff, Kaneza Schaal and Object Col-
Transformative Design is rooted in the lection (among others), meet with these
principles of theatrical design practice as artists to discuss their processes, and take
a process to explore the breadth of these a deep dive into our own archives at the
questions. The professor will first demon- Harvard Libraries. Moving from theory to
strate the design process that a costume practice, we will then devise our own solo
designer undertakes, from start to finish. and collaborative works based on objects
Students will learn how to read and re- and artifacts of our choosing. This course
search an existing dramatic text as a de- is for writers, directors, designers and per-
signer and how to manifest the vision of formers willing to work across disciplines.
the designer’s other collaborative artists
– director, choreographer, dramaturg and TDM 164H
actors – in visual terms. Playwriting: Ritual Practice and Curious
Design (whether a designer creates a Worlds
costume, a prosthetic, a material prop or Phillip Howze
piece of scenery) can also transform the A play is a new world in and of itself. What
17THEATER, DANCE & MEDIA COURSE CATALOG
sorts of strange, curious worlds are theater art historical, with subjects ranging from
makers crafting today? What approaches light, sound, physics and color, to sur-
are they taking to create these worlds? veillance and identity politics. Our goal is
In this playwriting course we will explore to find the impact of the subtle gesture;
both text and non-texts, the wild (as well develop specificity in word choice, move-
as the conventional) to discover what ment, and timing; develop the storytelling
drives contemporary plays, devised works, voice; and build basic skills in performance
and performance today. documentation. Naturally we will be part-
We will discuss the practices employed by nering with the camera as the conduit for
various playwrights and directors—partic- live action.
ularly women and artists of color—and try Students of all concentrations are wel-
our own hand at some of these approach- come, with no requirement for prior
es. In addition, we will see live perfor- experience in acting, performance, or
mances in realtime; engage special guest/ movement. For students with theater ex-
visiting artists; collaborate with fellow perience, this will be an opportunity to re-
classmates; and expand our curiosities. configure your toolbag. All students must
Most importantly, we will write. This is an be ready to be open-minded, non-judge-
exploratory writing workshop with a focus mental of their peers, and desire to find
on generating new material. By the end the goodies that are just beyond their
of the semester, you will have created a comfort zone.
portfolio of new works, ideas, processes
and rituals. TDM 169S
Singer + Song = Story
TDM 169B Stew
Theater 000 This course is an immersive, songwrit-
Lex Brown ing-based introduction to Stew’s
Where do you see yourself in 5 years? musical theater-making practice, a process
On Broadway or in a bunker? As we find which views the nexus of writer and song
ourselves gearing more toward the latter, as the seed out of which a more personal,
this course will help students unthink what visceral musical theater can emerge. Sing-
they know about theatrical performance er + Song = Story believes in a theater
and strip it down to its most mobile and that seeks, via a respect for the inherent
visceral parts. Theater 000 considers dra- dramatic potential of song itself, to cap-
matic performance an essential human ture the intensity of personal testimony
activity: an interpretive skill that can serve that characterizes the best rock, pop, rap,
as entertainment, information sharing, or blues and folk songs of our country and
escape strategy. Under our unusual cir- the world, with the goal of bringing that
cumstances in an ambient disaster, we testimonial fire to the American theater
will delve into the creative process with a stage, screen, and street.
search for raw, poetic, and comedic expe-
riences, to “touch reality” at a time when TDM 169SC
we need it the most. This is a show tune, but the show hasn’t
Using a variety of techniques and prompts, been written for it yet.
we will devise theater from its most el- SCRAAATCH
emental parts – vocalization, light, and This course is a sound studio/workshop
movement. Beginning with a piece made exploring the way sound communicates
completely in darkness, students will pro- narrative, examining the way sound aids
gressively build toward a piece with light, narrative in drama and beyond as well
sound, movement, music, set, etc. Our instances where artists and musicians
texts will be technical, philosophical, and have created music for imagined dramas
18or conceptualized a song or album as a nonprofit producing, and the role of the
drama, which is what Nina Simone is de- audience in performance - and how all of
scribing in the line from the song “Mis- these must change going forward.
sissippi Goddam” from which the course
title is derived. Students will listen to Or- As a culminating project, students will ap-
son Welles’ 1938 radio drama “The War of ply what they’ve learned over the course
the Worlds”, watch films, listen to songs, of the semester and work with the profes-
albums and soundtracks, and create sional artists to develop producing plans
stand-alone compositions that function and strategies for a range of theatrical
or are conceptualized as teleplays and performances and experiences, centering
soundtracks. Students should be pre- anti-racist practices.
pared to think critically and experimentally
about sound and the work they produce TDM 181B
and be able to articulate their process and Street Dance Activism: Embodying Liber-
goals for their work. This class will include ation Through Somatic Practices and Ritu-
projects, readings, screenings, listening als of Breath
sessions, discussions, and workshops. Shamell Bell
Caring for myself is not self-indulgence. It
TDM 174B is self-preservation, and that is an act of
Nonprofit Producing: Resourcing Creativi- political warfare.” – Audre Lord
ty and Innovation In this participatory hybrid course, we ex-
Diane Borger plore the creation and implementation of
This course will explore theater-producing Street Dance Activism as a Co-choreo-
models in the nonprofit sector and imag- graphic somatic healing modality, and
ine ways to break boundaries and produce form of spiritual transcendence, through
work in new ways. Nonprofit theater in the participating in the Global Dance Med-
United States has historically been a pre- itation for Black Liberation and deeply
dominately white institution that has been engaging with The Ritual of Breath is the
built on and benefited from racist policies. Rite to Resist. Street Dance Activism’s 28
Working to dismantle those structures and Day Global Dance Meditation features
build anti-racist practices into producing embodied meditation & movement ses-
theater will be at the core of this course. sions led by Black, Indigenous, People of
The course will be undertaken with guest Color + Queer guides from multiple wis-
collaborators Dayron J. Miles (A.R.T.) and dom traditions and healing practices. We
Maria Manuela Goyanes (Woolly Mam- are honored to have Street Dance Activ-
moth Theater, Washington D.C.), in ad- ism community organizers and guides as
dition to five professional theater-makers featured guest speakers throughout the
who will work directly with students in course. It takes 28 days to change a hab-
small groups with particular attention to it, so imagine if we took 28 days to focus
new models of producing that embed an- on our liberation. Liberation not only as
ti-racist practices. a single entity, but as a global, collective
Students will learn about the history of consciousness. Black liberation is your lib-
theatrical producing and the evolution of eration, and your liberation is Black liber-
the job of the producer. The course will ex- ation.
amine the role of the producer in facilitat- This interdisciplinary course uses somat-
ing creative development and providing ic practices to engage with the historical
dramaturgical support, as well as resource context and legacy of public rituals of
allocation, budgeting, and contract nego- extreme violence against Black people
tiation and writing. Additional units will as both sites of anti-Black state, and non-
focus on labor negotiations and collective state sanctioned disciplinary projects, as
bargaining agreements, financial analysis, well as time-spaces of radical resistance.
artistic mission and vision, commercial vs. At the center of these forms of violence
19THEATER, DANCE & MEDIA COURSE CATALOG
are the control of breath as life force, and writes in his seminal piece: “ The Black
as a sign of freedom. Critically engaging Arts Movement is radically opposed to
the libretto of The Ritual of Breath is the any concept of the artist that alienates him
Rite to Resist, this course examines the from his community. This movement is the
murder of Eric Garner in 2014 in a po- aesthetic and spiritual sister of the Black
lice-executed choke hold as a key event Power concept. As such, it envisions an art
that both harkens back to a long history that speaks directly to the needs and aspi-
of lynchings and shootings and also to a rations of Black America.
history of how Black communities have or- As this course begins during the celebra-
ganized around and resisted these forms tion of Dr. Martin Luther King Jr.’s birth-
of violence. We discuss the past, present, day, let’s place MLK in the context of the
and future all occurring in the now as we material conditions in Black communities
examine the murder of George Floyd in during the Black Arts Movement, which
May 2020 as an officer pressed his knee Larry Neal coined as the “aesthetic and
against Floyd’s neck for nearly eight min- spiritual sister of Black Power.” This act
utes as Floyd repeatedly lamented that he is often seen as the starting point of the
could not breathe. His death sparked a Black Arts Movement. In a Time article,
global uprising against racial injustice and “A Riot Started in Newark 50 Years Ago.
police brutality. It Shouldn’t Have Been a Surprise,” Arica
We explore theories of ritual and per- L. Coleman writes, “Martin Luther King Jr.
formance to understand how artists and aptly predicted just such a riot in a speech
communities come together as collectives titled “The Other America,” which he de-
to contextualize and re-present impossi- livered at Stanford University on April 14,
ble terrors. Artists and grassroots organiz- 1967, three months prior to the unrest.
ers use aesthetics and collective action to “All of our cities are potentially powder
transform the horror of being subject to vi- kegs,” he said. While King maintained his
olence at any moment into rituals of breath commitment to nonviolent civil disobedi-
and potential social transformation. This ence, he also recognized the psychology
course then teaches students theories of of oppression.
ritual and performance as ways that com- In this course, we will explore the legacy
munities have historically engaged and of the Black Arts Movement and its mani-
confronted histories of anti-Black violence festations in today’s Black liberation move-
in order to conceive of new future possi- ment. In addition to required and suggest-
bilities to embody liberation in the face of ed readings, we will supplement course
disciplinary actions meant to contain and lectures with selected films and musical
choke Black people. It is my intent for us selections. This course takes an ethno-
to become guides to bring social activists graphic and interdisciplinary approach to
into the classroom and the pedagogy out mapping the historical, geographical, and
into the streets. socio-political trajectory of the Black Arts
Movement to #blacklivesmatter by high-
TDM 182B lighting the motivations, strategies, and
Black Arts Movement to #blacklivesmatter experiences of community organizers on
Shamell Bell the ground. The narratives of grassroots
This course situates the “Black Arts Move- organizers from groups such as Justice
ment”(1965-1975) in its historical context, 4 Trayvon Martin and those organizing
but also places our explorations in this for #blacklivesmatter across the United
present moment where artists continue to States, will provide nuance to our under-
light the torch of art reflecting the times, standing of an international movement
as our ancestor Nina Simone so eloquent- that we now know as Black Lives Matter.
ly asserts as “our duty”. Scholar Larry Neal Students will be encouraged to explore
20their own foundations and personal sto- intersect with race. Topics include racial-
ries connecting them to the Black liber- ized and gendered structures of feeling;
ation struggle past, present, and future. queer transnational social histories; tech-
The course culminates with a “Community nosexuality and mutation; and minor keys
Gathering” that will feature short student of Black unruliness and fugitivity. Reading
documentaries of their group projects. includes works by José Esteban Muñoz,
The gathering will include a collaboration Paul Preciado, Saidiya Hartman, and Ka-
with Dartmouth Students, activists on the reem Khubchandani.
ground, and community members to con-
tinue to move the work of the people on African and African
the ground forward, and the work of the
students outside of the classroom, and American Studies
into the community. AFRAMER 134X
How Sweet is it to be Loved By You: Black
TDM 194 Love and the Emotional Politics of Respect
The Power and Relevance of the American Marcyliena Morgan
Musical: 1776 and Other Musicals The word ‘love’ is almost never used in
Ryan McKittrick, Diane Paulus, Jeffrey L. any portrayal or description of the Afri-
Page can American community’s daily life in
With a focus on the American Repertory contemporary media and in the social sci-
Theater’s upcoming revival production of ences. But love, as a human experience,
the musical 1776 co-directed by Jeffrey L. is central to our understanding of what it
Page and Diane Paulus, this course exam- means to be a vital member of a culture
ines how the musical theater can uniquely and society and thus respected, nurtured,
and powerfully inspire audiences to reflect etc. This seminar examines the love that
on history, politics, race, and identity. An- difference makes. It is a comprehensive
alyzing scenes and songs from 1776 and study of the representation of gender,
other musicals including West Side Sto- love and sexuality in African American and
ry, Cabaret, Hair, The Wiz, and Hamilton, African Diasporan culture. It introduces
students will explore the multiple layers students to some of the principal ques-
of meaning created by the combination tions of feminist theory, as viewed from
of music, lyrics, choreography, staging, the social sciences and humanities in-
book scenes and design. Students will cluding anthropology, psychology, media
read works by theorists, historians and studies and literature. Love, in all its many
practitioners, examining the cultural sig- forms: familial, erotic, romantic, frater-
nificance of these shows in the years they nal, is abundant, sometimes dominant, in
opened on Broadway, how they have black culture in the form of song, film, po-
evolved in revivals and adaptations over etry and rhyme, and literature. This course
time, and how they resonate today. In ad- will review and analyze the ‘look of Black
dition, students will engage directly with love’ in the humanities and social scienc-
guest artists who will share their practical es and writings on intersubjectivity, family,
experience creating work in the musical language, culture and ritual. It will also
theater. look at the absence of love within and to-
ward the African American community as
TDM/WGS 1433 well as love’s role in movements like Black
Topics in Advanced Performance Theory: Lives Matter. We will closely read, watch
Gender and Sexuality and listen to some of the many Black art-
Robin Bernstein and Debra Levine ists who have looked deeply at this thing
In this seminar, we will listen to and par- called Love. How Sweet it Is explores
ticipate in current conversations in Per- and analyzes Black Love from disciplinary,
formance Theory about gender and sex- social and cultural perspectives including:
uality, especially as both these categories family, romance, gender, sexuality, racism,
21THEATER, DANCE & MEDIA COURSE CATALOG
and physical and emotional health, institu- course as we explore activism and artivism
tions and space, place and home. through music, hip-hop, verbal and visual
performance, slam poetry, street art, ur-
AFRAMER 145X ban culture, and the media. We will build
The Hiphop Cipher: “These are the social and political portraits of activists
Breaks” and artivists, using digital tools of collab-
Marcyliena Morgan orative annotation and authoring/publish-
The Hiphop Cipher is an in-depth look at ing multimedia-rich content that explore
hiphop culture and production. It is for expressions of community engagement,
students who are familiar with hiphop as a student protest, counter-discourse, coun-
cultural and artistic movement and enter- terculture, political dissent, civil disobedi-
prise and/or have taken courses on hiphop ence and political solidarity in Africa. We
and popular music and culture. The focus will look at contemporary activists such as
of the course will be the year 1995. The Stella Nyanzi, Octopizzo, Sona Jabartheh,
course will closely examine a particular is- Keyti, Colonel Karbone 14, Bobi Wine,
sue and topic and includes guest lecturers Docta, Elom 20ce, and others to under-
and master classes on areas or issues in stand some of the concerns faced by the
hiphop culture, art, scholarship and per- youth and citizens in contemporary Africa.
formance. Fall Winter 2020 will feature
Artist in Residence and Grammy Winning Anthropology
producer 9th Wonder (Patrick Douthit). ANTHRO 1400
Quests for Wisdom: Religious, Moral and
These are the Breaks: The connection be- Aesthetic Experiences in the Art of Living
tween vinyl from the 60’s, 70’s and 80’s in Perilous Times
and birth of what we now know as hip-hop Arthur Kleinman, Davíd Carrasco, Michael
music, is a connection that is known by Puett, Stephanie Paulsell
producers, DJ’s and collectors of music, This is an experimental course taught from
but not to academia. Various political, cul- the perspectives of anthropology and re-
tural, and social movements of the 1960’s ligious studies intended to be transforma-
created an environment for the stories of tive for students and teachers alike. Our
soul, jazz, and funk produced in the 1970’s, goal is to develop, in collaboration with
which in turn created the platform for our enrolled students, a pedagogy for foster-
most treasured hip-hop albums (Illmatic, ing students’ personal quests for wisdom,
The BluePrint, The Chronic, College Drop- through lectures and readings, through
out, The Minstrel Show). “Diggers” from extensive conversation, and also through
around the world travel from country to other experiences inside and outside of
country, from record shop to basement, class, including dramaturgical experienc-
in search of the original “breaks” used es with film or theater, caregiving, and
for these albums, in some cases for 10+ meditation.As teachers we are inspired by
years. This course examines the important William James’s conception of knowledge
break beats in hiphop and the cultural, po- in the University as intended forstrategies
litical and social movements and contexts needed to live a life of purpose and signif-
that the beats, songs and production rep- icance that also contributes to improving
resented. the world. In the words of Albert Camus,
“Real generosity toward the future lies in
AFRAMER 188Z giving all to the present.” Together, we
African Voices for Freedom, Citizenship will engage with the problems of danger,
and Social Justice uncertainty, failure, and suffering that led
Freedom, citizenship and social justice the founders of the social sciences and
in Africa will be the primary focus of this humanities to ask fundamental questions
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