TAPS

This course adapts curriculum originally designed for the various schools of modern improvisation (including the iO, the Annoyance and The Second City). Listening skills, the ability to work well with others as a team, and building scene work organically are highlighted. You will leave this class a better communicator, with interpersonal tools that support other facets of your life.

From 2000-2018, the graphic novelist Jason Lutes published Berlin, a sprawling, formally inventive, & idiosyncratic account of life in the German capital city during the years just prior to National Socialism. Court Theatre, the Tony award winning professional theater on the UChicago campus, has commissioned the playwright Mickle Maher to prepare an adaptation of Lutes’ novel for Court’s 2024-25 season; David Levin is the collaborating dramaturg. This interdisciplinary team-taught seminar invites students into the process of adaptation, exploring a range of practical, conceptual & artistic challenges. The course will take place in two locations: at Court Theatre (where we will attend rehearsals for the world premiere production) and in a theater lab on campus, where we will consider a range of critical and creative materials – e.g., Lisa Kron and Jeanine Tesori’s adaptation of Alison Bechdel’s graphic novel Fun Home or Walter Ruttmann’s 1927 film “Berlin: Symphony of a Metropolis” – to establish a dialogue between Lutes’ novel, its progenitors, and the work in Court’s rehearsal room. An additional & significant component of our work will involve creative exercises. Students will prepare adaptations of their own – first, of Lutes’ novel, then of works of their own choosing. Artists from Court’s production will join us for workshop sessions. The seminar aims to serve as a creative and critical forum, exploring the challenges of adaptation while generating diverse forms of practice.

This course is a practical introduction to the art and craft of songwriting for musical theater. Students will analyze and practice song form, storytelling through music, and the writing of lyrics and melody for character and tone. In addition to presenting and workshopping new song material weekly, students will learn about orchestration, arrangement, and the structure of the theatrical score by discussing standout examples of the genre. As individuals or in teams of two, students will develop a catalog of character- and story-driven songs to be performed in cabaret at the end of the quarter. A basic ability to read music is expected; experience in songwriting is not required.

This studio-based course with a seminar component offers an overview of the formal practices and contemporary trends that shape dance as an art form. The class is designed for students who seek to gain a working knowledge of dance and deepen their physical skills. A range of contemporary dance forms and practices will be covered. Topics may include modern dance, hip hop, partnering techniques, social dance forms, improvisation, somatic practices, dance composition, and more. Lectures, viewings, and discussion will support experiential practice components. No previous experience with dance or performance is required. This course meets the general education requirement in the arts.

Approaching theatrical design as a visual art, we will achieve a basic understanding of the theory, methodology and artistic expression fundamental to each area of design for the stage—scenic, costume, lighting and sound. We will learn how each discipline approaches and executes visual (aural in the case of sound) communication involved in the design process. Students will learn the professional design process, from contracting through production. Projects for this course will be completed using a combination of mediums and materials. If students are away from campus, there will be discussions of what materials may suit each student best based on available resources. Creativity in execution of visual communication will be of great importance. Students will learn to show collaborators ideas instead of talking about them.

This course offers an introduction to a number of significant dramatic works and seminal figures in the theorization of theater and performance. But the course's aspirations go much further: we will be concentrating upon the intersection of interpretation and enactment, asking how these pieces appear on stage and why. This will not be merely descriptive work, but crucially it will be interpretive and physical work. Students will prepare and present applied interpretations-that is, interpretations that enable conceptual insights to take artistic form. Throughout, we will be searching for that elusive combination of philological rigor, theoretical sophistication, and creative inspiration-probing the theoretical stakes of creativity and testing the creative implications of analytic insights.

This course introduces fundamental concepts of performance in the theater with emphasis on the development of creative faculties and techniques of observation, as well as vocal and physical interpretation. Concepts are introduced through directed reading, improvisation, and scene study.

This course introduces students to a range of theatrical concepts and techniques, including script analysis and its application to staging, design and acting. Throughout, we investigate how theater – as a collaborative art form – tells stories. Students will act, direct, and design. In doing so, they will gain an understanding of a variety of processes by which scripts are realized in the theater, with an emphasis on the text’s role in production rather than as literature.

This advanced acting course builds upon fundamental acting training and develops advanced skills for the performer. The focus will be on acting methods that are useful for multiple types of material; best practices in monologue, scene study, and ensemble work; and multiple approaches toward rehearsal processes. In preparation for weekly in-class performance work, students will be required to collaborate with scene partners outside of class and to dedicate themselves to a disciplined practice of self-study. For enrollment in this course, please submit a Statement of Intent at this link: https://forms.gle/KduDPpafN58XcRnw8. Questions? Email vwalden@uchicago.edu.

This course is a hands-on introduction to Neo-Futurism: a method of transforming your own thoughts, feelings, and experiences into creative, task-oriented, audience-participatory, non-illusory, unique theatrical events. Students are encouraged to find their own voice as fully rounded theater artists by writing, directing, and performing their own short performances using their own lives as source material. By pursuing the goal of absolute truth on stage, we focus on an alternative to narrative Realism by embracing such elements as deconstruction, found-text, collage, abstraction, sythesis, and chaos. Classes consist of original group exercises as well as presentations of weekly performance assignments.