A sample of courses regularly offered by the Department:
Introduction to Theatre, Performance Studies, Acting I: Introduction, Elements of Theatre Production I & II, 
Theatre Production Laboratory, Black Performance Modes, Acting II: Characterization, Acting Techniques (Linklater), Stage Movement, Stage Management, Beginning and Intermediate Ballet, Production Management, Theatre Production Laboratory II, Scene Painting,  The Critical Eye: Theatre in Boston, History of Theatre I & II, Playwriting I & II.

Upper-level Performance or Production Courses:
Acting Techniques II, Acting III, Dance: History and Performance, Stage Movement II, Choreography, Playwriting II, Stage and Media Lighting, Stage Design I, Costume History and Design, Ritual and Performance (Dance), Directing I & II, Dance for Musicals

Upper-level Dramatic Literature/Crit/History Courses:
Greek/Roman Theatre and Drama, Shakespeare on the Stage, Experimental Theatre I and II, American Theatre and Drama, Modern Theatre and Drama, American Musical Theatre, Contemporary Theatre and Drama, Comedy and Tragedy, Farce and Melodrama.

Courses for Seniors with Department of Theatre majors:
Theatre Practicum in Directing, Theatre Practicum in Design, Honors Project in Theatre, Teaching Assistantships, and Readings and Research in Theatre.

COURSE DESCRIPTIONS

CT 060 Introduction to Theatre (Fall/Spring:3)
Core Course
A survey course for primarily non-majors, its aim is to impart an appreciation of the theatre as an artistic and humanizing experience. There will be discussion of the various elements that contribute to the development of theatre as a specialized art form: historical and cultural influences, staging styles and techniques and the multiple genres of dramatic writing. Several plays illustrating the above will be read and attendance at selected performances is required.
The Department
 

CT 062 Dramatic Structure and Theatrical Process (Fall:3)
Core Course
Required for all Theatre majors
An advanced introductory class primarily intended for, though not limited to, Theatre majors. Students will study a series of plays in order to familiarize themselves with varying dramatic structures and genres, and to build an understanding of how plays function from a performance sensibility. Students will also study the process of staging plays, the various production elements, with a larger consideration of how the theatre functions both practically and theoretically in contemporary society.
Scott T. Cummings
 

CT 101 Acting I: Introduction (Fall/Spring:3)
Students are responsible for learning the actor's basic rehearsal disciplines, such as line memory, improvisation and acting choices. They explore and apply these disciplines during the class-time rehearsal of four or five short scenes. Students are also responsible for learning and executing certain basic voice and movement techniques during the rehearsal.
John Houchin
Luke Jorgensen
The Department
 

CT 110 Beginning Ballet I (Fall:3) 
This course is designed to challenge both the experienced and beginner dancer. Individual attention will be given with the goal of perceiving the technical and artistic aspects of dance as a performing art. Each class will incorporate barre and center work with phrases appropriate to the individuals in the class. Students will become familiar with the vocabulary and the historical background of ballet. Work in anatomy, kinesiology, costume design and music will be introduced. Dress code will be leotard and tights or unitard and ballet shoes. A pianist will accompany each class.
Margot Parsons
 

CT 111 Beginning Ballet II (Spring:3) 
Prerequisites : Permission of instructor
This course, a continuation of Beginning Ballet I, is designed to challenge both the experienced and beginner dancer. Individual attention will be given with the goal of perceiving the technical and artistic aspects of dance as a performing art. Each class will incorporate barre and center work with phrases appropriate to the individuals in the class. Students will increase their ballet vocabulary and their understanding of the historical background of ballet. In addition, there will be readings in anatomy and dance criticism. Dress code will be leotard and tights or unitard and ballet shoes. A pianist will accompany each class.
Margot Parsons
 

CT 140 Elements of Theater Production I (Fall: 3)
No experience necessary
Required for all Theatre majors
Will also be particularly useful to those non-majors who wish to work on productions at the Robsham Center.
Corequisites : CT 145
The course introduces the history, theory and practice of technical theater production as well as the elementary principles of design through lectures, discussion, observation and hands-on experience. Completion of the course will equip students with the basic knowledge and minimum skills necessary for the preparation and execution of scenery, costumes and props for the stage.
Crystal Tiala
Sheppard Barnett
Jacqueline Dalley
 

CT 141 Elements of Theatre Production II (Spring: 3)
Required for Theatre majors
Open to interested non-majors
Prerequisites : CT 140 or permission of instructor
Corequisites : CT 145
This class is a continuation of the Elements of Theatre Production I class. In addition to learning more of the basic knowledge and skills necessary for the preparation and execution of theatrical stage work, students will also learn basic principles and skills of stage design, costume design and lighting design.
Crystal Tiala
Sheppard Barnett
Jacqueline Dalley
 

CT 145 Theater Production Laboratory I (Fall/Spring: 1)
This is a one-credit course that can be repeated according to departmental procedures.
Corequisites : To be taken in conjunction with CT 140 Elements of Theatre Production or independently.
This course familiarizes the student with specific equipment and skills needed for the preparation of scenery, costumes, lighting and sound for theatre production.
Crystal Tiala
 

CT 150 Theater Production and Laboratory II (Fall/Spring: 2)
This is a two-credit course for those students approved to work on Department of Theatre productions under appropriate faculty supervision. If approved, students may take the course for work as a performer in a designated role, as a stage manager or as a set, light or costume designer.
Crystal Tiala
 

CT 180 Introduction to Black Theatre (Spring:3)
Cross listed with BK240
Students will examine the African-American experience as it is reflected in theatre created by, for and about African-Americans. We will study major sociopolitical movements, such as the "Black Arts Movement" and their impact on the political consciousness of the artist. Students will also develop analytical, oral and written skills in play-reading and through reading selected writings of theatre critics and scholars as they respond to developing trends in African-American theatre.
Elizabeth Hadley Freydberg
 

CT 201 Acting II: Characterization (Spring: 3)
Prerequisites : CT 101 and permission of instructor
This course presupposes some exposure to the actor's basic rehearsal disciplines. It is built upon the foundation of skills and knowledge established in CT 101, Acting I. Students are responsible for applying and developing those disciplines through the rehearsal and performance of three or four scenes of their own choosing. Although not restricted to majors, this course is not recommended for students unwilling to devote considerable effort to the exploration and development of the discipline of acting.
The Department
 

CT 202 Acting Techniques I (Fall: 3)
This class offers hands-on experience in the basic craft of acting. It would be useful to those interested in considering the profession and to those wishing to sharpen their communication and verbal skills. Through voice and movement work, improvisation and group performance exercises designed to free emotional spontaneity and to encourage creativity, students will have the opportunity to explore text and develop confidence in their performance skills.
The Department
 

CT 205 Elements of Dance (Spring: 3)
This course is designed to develop the student's knowledge and experience of dance as an art form. The elements of dance used in ballet, modern and jazz will be introduced along with the principles of composition. The aesthetics of dance as an art form will also be studied. Students will be reading texts as well as viewing dance works in live performance and on video. This course will provide a groundwork for students who wish to do further work in technique, composition and performance.
Robert VerEecke, S.J.

CT 206 Dance for Musicals I (Spring: 3)

CT 210 Intermediate Ballet I (Fall:3)
Prerequisites : CT 111 or permission of instructor
This course is designed to challenge the intermediate dancer who has a solid command of ballet vocabulary and who has had two to three years of secure ballet training or who has completed Ballet II. Individual attention will be given with the goal of perceiving the technical and artistic aspects of dance as a performing art. Each class will incorporate barre and center work with phrases appropriate to the individuals in the class. Students will increase their ballet vocabulary and their understanding of the historical background of ballet. In addition, there will be readings in anatomy and dance criticism. Dress code will be leotard and tights or unitard and ballet shoes. A pianist will accompany each class.
Margot Parsons
 

CT 211 Intermediate Ballet II (Spring: 3)
Prerequisites : CT 210 or permission of instructor
A continuation of Intermediate Ballet I (CT 210). As in Intermediate Ballet I, individual attention will be given with the goal of perceiving the technical and artistic aspects of dance as a performing art. Each class will incorporate barre and center work with phrases appropriate to the individuals in the class. Students will continue to increase their ballet vocabulary and their understanding of the historical background of ballet. In addition, there will be further readings in anatomy and dance criticism. Dress code will be leotard and tights or unitard and ballet shoes. A pianist will accompany the class.
Margot Parsons
 

CT 215 Dance: An Invitation to the Sacred (Fall: 3)
Although dance experience is not required, it is recommended.
This course explores the sacred place of the body in prayer and worship in the contemporary experience. It will include a study of the language of movement and dance as it relates to the dynamic movement of religious experience. Biblical stories and psalms will be used as well as the individuals' religious experience. It will include a study of movement and dance used in ritual and liturgical context, as well as in artistic performance. Readings will include works on dance composition and movement improvisation, as well as contemporary studies of sacred and liturgical dance.
Robert VerEecke, S.J.
 

CT 220 Stage Movement I (Fall: 3)
Does not require previous experience
Through warm-up exercises, discussion of design, time, motivation and individual problem solving, students will be introduced to the body as an instrument of the actor. The course will include practical experience in movement, experimentation, preparation of lines and reading assignments. Students will explore the difference between the actor's emotions and the viewers' response and try to understand how the body can be used to heighten communication. Working from a realized center, students try to experience greater freedom of the voice and interpretive expression.
Pamela Newton
 

CT 236 Stage Management (Spring: 3)
This course is a lecture/laboratory course with the major emphasis on the practice and application of the art and science of stage management. Stage Management is the function of the individual that oversees the organization and function of the backstage operations during rehearsals and performance of a theatrical production. Course work will include a thorough investigation of the theory and principles of human resources management as well as technical production. Special emphasis will be placed on the application of theory to actual stage management situations.
Howard Enoch
 

CT 237 Production Management (Fall: 3)
This course is a lecture/laboratory course with the major emphasis on the practical application of the art and science of production management. Production management is the function of the team that oversees the organization and budgeting of theatrical productions. Course work will include a thorough investigation of the theory and principles of human resources management, budget planning and implementation, the basics of graphics design, page layout and technical production. Special emphasis will be placed on the application of theory to actual production management situations.
Howard Enoch
 

CT 238 Marketing the Arts (Spring: 3)
The course will have a major focus on the practical application of the art and science of marketing the arts, especially theater, in today's increasingly competitive economic environment. Specifically, the course will investigate the evolution of modern marketing, market principles and terms, marketing approaches and management and strategic marketing plans. The course will also investigate fund raising, financial management and economics and the arts. Practical experience will include workshops in program and poster layout and design, advertising campaigns for arts events and surveys of the effectiveness of arts marketing at Boston College. Special emphasis will be placed on the application of theory to actual arts marketing situations.
Howard Enoch
 

CT 246 Scene Painting (Fall, every other  year:  3) 
Supplies fee required for this course
This course introduces to students basic techniques employed in theatrical scene painting, including research, preparation, and execution. The role of the scenic artist as it relates to the integration of a complete stage design with other design elements will be explored in lecture/discussion, demonstration and field trips. Emphasis will be placed on the principles of color theory and the choice and application of specific materials used in the classroom and studio experience. Additionally, students may have the opportunity to participate in department production situations at the discretion of the instructor.
Crystal Tiala
 

CT248 Computer Aided Drafting and Design (Fall, every other  year: 3)
Computer-aided drafting and design technology is an indispensable design tool for theatrical, architectural, mechanical, industrial and landscape design. This course will use VectorWorks software to  introduce students to 2-dimensional drafting and 3-dimensional modeling for a theatrical stage design context.   Projects will include precise working drawings, quality renderings with realistic textures and dramatic lighting and shadowing, 3-D models and animated presentations including ‘fly-over’ and ‘walk through’ effects.    
Crystal Tiala
 
 

CT 260 The Critical Eye: Theatre in Boston (Spring: 3)
While it is understood that the art of the theatre is only realized in performance, we all too often rely on the script alone when we study the theatre. This course examines the script in performance to help the student develop an informed critical eye. We will travel throughout Boston to see eight to ten plays in area theatres. The primary goal of this course is to develop the means to critically evaluate performance and to investigate the process and value of the artist's interpretation of a text.
Christopher Jones
 

CT 275 History of Theatre I (Fall: 3)
This course follows the simultaneous development of the actor, playwright, architect and director from the Egyptian theatre through to the Elizabethan and Jacobean theatre. The course will also study the development of dramatic structure and form over time. In a larger sense, it will examine the role and function of theatre in each successive society, determining how the stage reflects the social, political and cultural concerns of each age.
John Houchin
 

CT 276 History of Theatre II (Spring: 3)
This course is a continuation of History of Theatre I. It too follows the simultaneous development of the actor, playwright, architect and director, but it takes the story from the year 1642 to the present. The course will also study the development of dramatic structure and form over time. As in the first half of the course, this class will examine the role and function of theatre in each successive society, determining how the stage reflects the social, political and cultural concerns of each age.
John Houchin
 

CT 285 Playwriting I (Spring: 3)
This is a laboratory course dealing with the basic elements of the playwright's art. Students will learn how to write for the stage, as opposed to the page. They also will study the range and function of a variety of dramatic forms. A fully developed short play will be required.
Scott T. Cummings
 

CT 300 Acting Techniques II (Spring: 3)
Prerequisites : CT 202
This course is a continuation of Acting Techniques I. It builds upon the foundation of Linklater voice and character skills developed in the previous course and includes greater emphasis on application through specific textual work.
The Department
 

CT 304 Acting III (Fall: 3)
Prerequisites : CT 101 and CT 201, as well as some stage experience; permission of the instructor
This course takes the basic acting skills for granted and proceeds to examine specific problems in scene study and script analysis. Understanding the text and translating that understanding through performance is the basis of the several scenes that are performed as works in progress.
The Department
 

CT 305 Dance: History and Performance (Fall: 3)
Through readings, films and concerts, the student will be exposed to the various periods of dance: Renaissance, Romantic, Classical, Modern and Contemporary. Students will be expected to choreograph and perform their own works as well as do those of professional choreographers.
Robert VerEecke, S.J.

CT 306 Dance for Musicals II (Fall: 3)
 

CT 310 Stage Movement II (Spring: 3)
Prerequisite : CT 220 or permission of instructor
This course will build on the material introduced in Stage Movement I. The students will use skills in body awareness and observation of physical characteristics to develop more believable characters for the stage. Class sessions will focus on efficient body usage, self testing and the in-depth study of how personality and state influence movement patterns. Students will learn additional warm-up techniques and will be introduced to a basic vocabulary for movement observation.
Pamela Newton
 

CT 321 Choreography: Composition and Movement (Spring: 3) 
Prerequisites : Permission of instructor or department
Making dances involves energy, skill and enthusiasm. This course will introduce concepts of dance composition while encouraging new approaches to the interplay of movement and sound. We will consider shape, dynamics, rhythm, motivation, abstraction and mood. Each class will begin with warm-up exercises and work into creative problem-solving. Through improvisation and short movement studies, the teacher will introduce the basic tools of choreography. Looking at the works that other students have constructed, the class will then learn how to turn theory into effective dance phrasing. Active individual participation will culminate in the making of longer dance pieces. Students will be encouraged to stretch both their bodies and their ways of thinking. This class encourages the exploration of the rhythms, images and conflicts of the 1990's.
Pamela Newton

CT 340 Stage and Media Lighting (Fall: 3)
The theory of illumination for the arts is explored in its fullest implications. Theater, dance, cinema, video, photography and rock and roll lighting will be used as examples of the art of creative illumination. As an art form and a practical science, media lighting presents a complex subject for detailed investigation. Some drafting ability and practical experience in one of the areas previously mentioned is desirable as background for the course.
Howard Enoch

CT 352 Stage Design I (Spring)
Supplies fee required for this course
This course will concentrate on set design for the stage. We will study communicating with image and creating three dimensional spaces appropriate to dramatic action on stage. This will include some basic work at script analysis from the perspective of a designer. The student will learn the techniques of drafting, rendering and model-making skills that are then used to create a final design project.
Crystal Tiala

CT 358 Costume History and Design (Spring: 3)
Prerequisite : CT 141 or permission of instructor
Following the evolution of clothing and costumes of major historical periods, emphasis will be placed on the impact of style on social and class distinctions, the psychology of dress and the cultural differences of clothing. Using scripts from major historical periods, the design process will focus on theory, conceptualization and design principles to capture character, personality and visual impact. Various types of design for different performance disciplines are investigated.
Jactueline Dalley
 

CT 361 Shakespeare On the Stage (Fall: 3)
Cross listed with EN 245
William Shakespeare wrote his plays to be performed. Consequently, the most effective method of understanding his work is through performance. Lectures will describe the condition of Elizabethan England and its theatre, providing a larger social and historical context in which to view the playwright and his work. The class will read, analyze and discuss some ten to twelve Shakespearean plays, including his comedies, tragedies, history plays and the so-called problem plays. Students will also be expected to perform scenes from Shakespeare's plays, not to show off their acting skills, but rather as a means to explore how each play works.
Stuart J. Hecht
 

CT 363 Experimental Theatre I (Fall: 3)
Cross listed with EN 242
This class will investigate the drama and theatre of Europe from 1880-1993. During this period, the European theatre, like the continent itself, was in a state of continual revolution. Realist playwrights such as Ibsen, Shaw, Hauptman and Gorki scandalized audiences with dramas that challenged traditional sexual, religious and political values. In the same period Symbolists and Expressionists used theatre to access the spiritual anguish of human existence while Futurists and Dadaists created an aesthetic of chaos. Perhaps no other period in theatre was as frenzied, provocative and entertaining. Students in this class will study a number of scripts as well as a wide variety of production philosophies, design techniques and acting styles from this period. Emphasis will be based on individual and group presentations rather than upon examinations. 
John Houchin
 

CT 364 American Theatre and Drama (Spring: 3)
What is the relationship between American Theatre and society? How has America's theatrical and dramatic development paralleled its larger cultural development? This course will attempt to trace American theatre and drama from its inception through to the present, from Tyler to Belasco, and from O'Neill to Mamet and beyond. Special emphasis will be placed on how the plays and their productions reflect America's changing social, political and cultural concerns.
John Houchin
 

CT 365 Modern Theatre and Drama (Fall: 3)
Cross listed with EN 240
In one sense, the purpose of this class is to review the development of modern drama from its roots in Ibsen through to the present. In order to do this we will read some ten to twelve plays, including works by such playwrights as Ibsen, Chekhov, Shaw, Pirandello, Brecht, Pinter, Beckett, O'Neill, Shaffer, Shepard, August Wilson and Craig Lucas. In another sense, this is a class in learning how plays work. We will examine each play's dramatic structure and consider how exactly form (style) reflects content. In all cases, we will consider each work's thematic content and the implications of performance elements.
The Department
 

CT 367 American Musical Theatre (Fall: 3)
An examination of the development of the American musical, from its roots through its 19th century inception and on to the present. We will trace the evolution of this theatrical form through study of its leading creative artists and productions, with special emphasis placed upon the careers and contributions of its leading composers and performers. This will include the work of George M. Cohan, Irving Berlin, George Gershwin, Cole Porter, Roders with Hart and with Hammerstein, Leonard Bernstein, Stephen Sondheim and Andrew Lloyd Webber. The course will use lecture, discussion, presentation, film and recordings to examine musical theatre's growth and development.
Stuart J. Hecht
 

CT 368 Contemporary Theatre and Drama (Spring: 3)
Cross listed with EN 249
This seminar will survey important playwrights and trends in theatre over the past two decades. Although the course will center on American playwrights (Mamet, Shepard, Wilson, Fornes and others), influential dramatists from around the world (Fugard, Havel, Soyinka, Churchill, Friel) will be considered as well. Special topics include the legacy of the off-off Broadway theatre movement of the 1960's, the decentralization of the American theatre, the impact of performance art and director's theatre on conventional dramaturgy, the challenge of multi-culturalism and inter-culturalism, gender, post modernism, and popular theatre. Students will be expected to read several plays a week, to attend local productions and to engage in a major research project.
Scott T. Cummings
 

CT 370 Classical Greek Drama in Translation (Spring: 3)
Cross listed with CL 202
Selected plays from fifth-century Attic drama, including Aeschylus' Oresteia trilogy, Sophocles' Antigone and Oedipus Rex, Euripides' Medea, Hippolytus and Bacchae, Aristophanes' Frogs and Lysistrata, will be read in English. Secondary readings, visual materials (videotapes of performances and slides), and discussion will focus on the development of classical drama, the ancient theatre, stage craft and contemporary society, including the roles of men and women and issues of justice, heroism and ethics. This course satisfies the Core requirement in Literature and it would be of interest to students of the theatre, English and other literatures that have been influenced by the form and content of classical drama. Provision may be made for Classics students to read certain portions in Greek.
Dia M.L. Philippides
 

CT 373 Experimental Theatre II (Spring: 3)
This course will investigate trends in American theatre from 1960 to the present. Included in this study will be playwrights such as Edward Albee, Sam Shepherd, David Mamet, August Wilson and Susan-Lori Parks. Of major importance will be the impact of such pivotal theatres as Richard Schechner's Performance Garage, Joseph Chaiken's Open Theatre, Richard Foreman's Ontological Hysterical Theatre, Elizabeth LeCompte's Wooster Group. Topics will include off- and off-off-Broadway political theatre, the rise of the regional theatre, multiculturalism, gender and performance art. Students will be expected to read plays and critical essays. They will also see at least two productions in the Boston area. Class work will culminate in final class presentations.
John Houchin
 

CT 385 Playwriting II (Spring: 3)
Enrollment is limited
Prerequisites: CT 285/EN 241 and permission of instructor
This writing-intensive course extends the work initiated in Playwriting I. Students are expected to complete a fully scripted long play, one that demonstrates a firm command of practical dramaturgy, character development and theatrical narrative. In some instances, staged readings will be arranged in order to test a script under performance conditions. Although the emphasis of the course is placed on student writing, readings and lectures will introduce basic aspects of dramatic theory and current developments in performance practice will be discussed.
Scott T. Cummings
 

CT 405 Ritual and Performance (Spring: 3)
Theatre and dance have their roots in ritual and religious expression. Using the elements of ritual (myth, story, movement, dance and music), this course explores the performance experience. Primitive myth and ritual, Greek theatre, liturgical drama and dance, musical theater with ritual elements will be studied and worked with to deepen the student's experience of ritual and performance. The course is open to all who are willing to develop or discover their performing skills in theater and movement.
Robert VerEecke, S.J.
 

CT 430 Directing I (Fall: 3)
Prerequisite: Permission of instructor
A course in the fundamentals of script analysis, staging and interpretation. Students learn through both lecture and practical application of the basic skills that constitute the stage director's craft. Previous acting or other stage experience, along with background in dramatic literature, is strongly recommended.
Stuart J. Hecht
 

CT 431 Directing II (Spring: 3)
Prerequisite: Permission of instructor
This course is built upon the foundations of skills and knowledge developed in Directing I. The students will further refine skills acquired in the first course and will also gain an understanding of the theoretical aspects of the director's craft.
Stuart J. Hecht
 

CT 432 Directing Lab I (Fall: 3)
Corequisite: CT 430
To be taken in conjunction with CT 430 Directing I. This course provides students enrolled in Directing i with a setting to test out ideas and develop directorial skills through concentrated scene work.
Stuart J. Hecht
 

CT 433 Directing Lab II (Spring: 3)
Corequisite: CT 431
To be taken in conjunction with CT 431 Directing II. This course is a continuation of CT 432 and functions in much the same way though now in relation to the material covered in Directing II.
Stuart J. Hecht
 

CT 450 Teaching Assistant ship (Fall/Spring: 2)
This lab class may not be used toward the six lab credits required to major in Theatre.
This course is limited to senior Theatre majors who have already taken the course for which they wish to serve as an assistant
Prerequisites: Senior standing, 12 credit hours in Theatre and permission of the instructor.
This two-credit laboratory course is intended to provide undergraduate theatre majors with teaching experience. Students assist a professor in planning and implementing various aspects of a course.
The Department
 

CT 530 Theatre Practicum in Directing (Fall/Spring: 3)
Only those students who have successfully completed both directing classes may be considered to direct a Workskhop production
Prerequisite: Permission of sponsoring instructor
This is a Senior project in which a limited number of students direct a Departmental Workshop production, contingent upon the acceptance of a written proposal submitted to the faculty. An independent study for those students interested in advanced study in directing, done under close faculty supervision.
Stuart J. Hecht
 

CT 540 Theatre Practicum in Design (Fall/Spring: 3)
Prerequisite: Permission of sponsoring instructor
This is a Senior Project involving the design of sets, lights, and/or costumes for a departmental main stage production. Candidates are selected in the second semester of their junior year and will at that time discuss the scope of the project with the faculty. Consultation with the faculty will determine whether the students enroll for Practicum in the fall or the spring semester of their senior year. Consideration for enrollment will be given to those students who have successfully completed the design sequence, including four of the six required Theatre Production Laboratories. The student will document the design work throughout the process. Evaluation will be made in the form of a faculty discussion and critique of both process and product.
Crystal Tiala
 

CT 550 Honors Project in Theatre (Fall/Spring: 3)
Prerequisite: Permission of sponsoring instructor
A year-long project open only to senior theatre majors. An advanced independent study in the area of readings and research, though it may include a performance or production aspect. This will result in a written thesis at year's end.
Stuart J. Hecht
 

CT 598 Readings and Research in Theatre (Fall/Spring: 3)
Prerequisites: Senior standing and 12 credit hours in theatre, and permission of instructor required
Students are not encouraged to employ this course for anything but a very specific research program, which must be approved in advance by a Theatre faculty member.
John Houchin
Stuart J. Hecht
Crystal Tiala
Scott T. Cummings