Through exploring electronic art and experimenting with microprocessors students will learn to make artwork using light, sound, and movement. Controlled by writing simple computer code, microprocessors are the components students will use here to make time-based objects. In tracing the history of electricity’s development and its evolution we will explore how humans evolve with our technology. In following the path of historical development for computer technology the class will also read philosophy that accounts for the agency of objects.

Course Description

Performance Foundations provides students with an academic and practical exploration of the fundamental theories, practices and elements of performance viewed the lens of the mind, the body and the breath.  Students will explore these fundamentals through the study and practical examination of current performance practices, analysis of text and the presentation of a performance.

 

Course Objectives

 

Performance Foundations is designed to provide students with an academic and practical foundation in modern performance practices.  Through the study and analysis of contemporary and historic texts, including Viola Spolin, Tadashi Suzuki, Deborah Wagner, Eugenio Barba and Jacque LeCoq, the exploration of acting, voice and movement technique and the attendance and study of live performance, students will gain the fundamental academic and practical skills needed for further study.  All studied through the lens of the mind, the body and the breath, the major touchstones of the course will be the exploration of text through exercises and the creation, rehearsal and performance of an original monologue. 

Learning Outcomes

The overall objective of the course is to provide students with the opportunity to develop foundational knowledge of performance practices.  Students will;

 

a)     Engage with the texts of leaders in the field of performance practice and integrate that knowledge in a practical setting

b)     Develop skills to critically analyze text, live performance and related support material

c)     Engage with readings and practical exercises that foster the development of foundational knowledge in acting, voice and speech and movement

d)     Develop pedagogical skills and critical thinking tools that support an enhanced academic and artistic practice

 Introductory Painting offers an in-depth exploration of contemporary painting processes and practices using traditional and non-traditional materials, techniques, and concepts.

 Students will engage in a series of research and painting projects that will examine contemporary aspects of painting as a distinct discipline. Students will be expected to complete a portfolio of paintings suitable for in class critical analysis and public group exhibition.

 Course Description: Painting as an expressive medium is premised on knowledge of contemporary art combined with a technical mastery deployed within a personal practice that evokes formal as well as conceptual innovation. In this course, students will engage in an in-depth exploration of contemporary painting processes and practices using traditional and non-traditional materials, techniques, and concepts.

Students will be working independently in the class and will consult with the professor about their project(s); with the goal of the creation of artwork of some kind to be presented to the class for group evaluation twice during the semester. Production plans for the work to be completed during the course are developed in consultation with the professor and organized around student determined materials, methods, and topics of interest.

This course is a practical survey of the song as a genre, from John Dowland to Franz Schubert to The Beatles to Lady Ga-Ga, with a particular focus on text setting, harmony, and arranging. Practical assignments include analysis, composition, and performance, both in group and individually. The final project comprises the individual composition and performance of an original song.

Music Literacy for Actors and Dancers is a course for the performer who has not yet developed a connection between his or her musical experience and standard aspects of musical performance, with a special focus on the acquisition of fluency reading the notated score and the development of effective study and practice habits. Music materials used in class or assigned for homework will be spoken, clapped, sung, and played. FNAR 1743 Music Literacy for Actors and Dancers is a co-requisite of FNAR 1733 Intro to Musical Theatre.

Tonal Music, Harmony and Counterpoint I-II, is a hands-on study of the grammar of tonal music. Assignments include exercises in four-voice harmony in choral and keyboard styles, exercises in two- and three-voice species counterpoint, the composition of original pieces for small chamber combinations, frequent formal analysis of standard masterpieces from the literature, and formally written responses to secondary sources. Students are expected to sing and/or play their assignments in class. Prerequisites: FNAR 1023, or permission by the instructor. For this class, it is assumed that students can recognize notes on the staff and on the instrument in real time; match pitch and sing in tune; possess basic ear training; and recognize, write, transpose, and perform basic theoretical elements, such as intervals, scales, chords, and key signatures. 

In this course we will look at “art” as something that has necessarily entered our consciousness from the realm of “things” and think about why this may be so. We will approach art as a method of communication that is both physical and cognitive. By examining the art work made during the twentieth century and its history, one that was rife with movements and manifestos, we will find out what the fundamentals of art have become for our time. The course is formatted with alternating lecture and laboratory classes where students can put into practice the ideas we encounter.