Course restriction information is only for current Theatre and Dance majors to review. Non-majors, please refer to this page for information.
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T D 312M Movement Improvisation
This course introduces Contact Improvisation as a groundbreaking postmodern dance practice that focuses on spontaneous movement between dancers in physical contact. Students engage with touch, weight-sharing, and nonverbal communication to compose dance in the moment. Exercises emphasize the development of mind/body awareness, functional movement patterns, and improvisational modes of thinking. Rather than learning predetermined steps, students explore new possibilities for movement and creative process through embodied curiosity and focused play.
(Restricted to BA/BFA Dance majors)
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T D 626E Directing the Young Performer
No Instructor Consent Required.
(Restricted to UTeach Theatre students going into their Senior year.)
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Instructor Consent Required
T D 354T SOUND SEMINAR DESIGN SKILLS OWEN, PHILLIP
This course will examine the fundamental aspects of the umbrella term: Sound Design. The goal of this skill-development course is to develop the ability to understand and execute the technical and mechanical sound and audio needs of a theatrical production and how they relate to the creative aspect of generating a design. This includes, but is not limited to: an understanding of sound physics, sound reinforcement, mixing, digital audio workstations, cueing & playback, and troubleshooting. Sound Design has come into its own as a design discipline like scenic, costume, and lighting. It requires unique knowledge and skillsets that require study and practice, while drawing from a myriad of backgrounds and experiences the student may already possess. This course will be tailored to those backgrounds and experiences, and provide the student with an introduction to Sound Design, preparing them to take the course 354T Sound Design in the Spring.give the student a basic understanding of sound design for theatre, film and television. Topics will include the emotional effect of sound on an audience, an introduction to basic equipment used in live theatre, TV, and film, live and studio microphone techniques, and an introduction to Pro Tools, Qlab, ADR and Foley.
No Instructor Consent Required.
T D 354T SOUND AND SPACE SMITH, MATTHEW
This course is a lecture / lab course designed to introduce students to the basic concepts, methods, and systems utilized in the fields of live entertainment and immersive artistic practices. The primary focus is to explore core technologies and illuminate how each area of work within projection, lighting, sound and interactivity relates and is connected to others. Topics include: lighting, projection, digital audio systems, recording techniques, previsualization and content creation.
No Instructor Consent Required.
T D 354T PORTFOLIO FOR DESIGNERS SPECIAL EFFECT CHARACTER MAKEUP HABECK WILLIAMS, MICHELLE
This course explores the study and preparation of students' work as it relates specifically to their chosen career including business plan, resume, CV, website, business card, and portfolio. The course examines interviewing techniques and professional networking methodologies for beginning, sustaining, and archiving a professional career.
Instructor Consent Required.
T D 354T TAILORING I AREVALO, DAVID
Fundamental theory and techniques in tailoring for the live performer.
STEPHANIE
Please contact instructor for course description.
No Instructor Consent Required.
T D 354T 3D PREVISUALIZATION LIVE ENTERTAINMENT SMITH, MATTHEW
This course is a lecture / lab course designed to introduce students to previsualization workflows. The primary focus is to explore core technologies and practices utilized for the creation of 3D environments for live entertainment. Software covered includes VectorWorks, and optionally Light Converse. Students will design and model an original venue for live performance.
No Instructor Consent Required.
T D 354T Projection Design PORTFOLIO FOR DESIGNERS HABECK, MICHELLE
This course explores the study and preparation of students' work as it relates specifically to their chosen career including business plan, resume, CV, website, business card, and portfolio. The course examines interviewing techniques and professional networking methodologies for beginning, sustaining, and archiving a professional career.
Instructor Consent Required.
T D 354T Projection Design
Lab/seminar hybrid page to stage class: Introduction to the creative and technical design process in the field of projection and media design for live performances. Students will realize two designs.
No Instructor Consent Required.
T D 354T Stage Management CLOYES, RUSTY
This course covers the specific aspects of the stage management process for a theatrical production—from auditions, through rehearsal and performance—including the function of various members of the production team, and how the stage manager’s interaction with each member of this team varies. Special consideration will be placed on the stage manager as the hub of communication for a production.This course will explore the application of projection design in live performance. Students will develop a shared vocabulary and skillset to discuss and create a comprehensive projections design as a core member of the collaborative team. This course includes assignments on design ideas, research, systems, content creation, and design execution. Students will have the opportunity to discuss, develop, and design for multiple projects in class, both individually and in small groups. The goal of the course is to have a fundamental knowledge of not only the skills and techniques needed, but the meaning and impact of the choices made by a projection designer on their collaborators, the production, the audience, and the greater theatrical landscape.
No Instructor Consent Required.
T D 354T Stage Management CLOYES, RUSTY
The purpose of this course is for you to learn specific aspects of the stage management process for a theatrical production. We will discuss the function of various members of the production team and how the stage manager’s interaction with each member of this team varies. We will talk about the process of rehearsing a show, from auditions to closing night. We will discuss the process involved for several of the design areas. Most importantly, the role of the stage manager as the hub of communication for a production will be examined and experienced.
No Instructor Consent Required.
(Priority goes to incoming BA Stage Management majors, All other students may need to add to waitlist.)
T D 357T BUTOH MOVEMENT PRACTICE THEORY
Butoh is an avant-garde movement practice first developed in Japan in the late 1950s and 1960s that has since become global and multiply-local. This course is an introduction to butoh practices, which inherently include theories and histories. Students will be introduced to butoh as a dance form and as an approach to movement experimentation through movement in the studio as well as film viewings, readings, writing, and discussion. No dance experience required, although a willingness to experiment with your body, challenge your embodied habits, and explore your body beyond and below the skin are a must.
No Instructor Consent Required.
(Priority goes to incoming BA Stage Management majors, specific BA students in their final semester. All other students may need to add to waitlist.)
T D 357T / LAS 328 / WGS 335 QUEER AND TRANS PERFORMANCE
Survey a wide range of contemporary artists from the Americas to gain a hemispheric look at queer and trans* performance by paying close attention to localized identities and socio-cultural contexts. Draw from case studies in theatre, dance, performance art, and nightlife, to explore the ways performance serves as an alternative space for expression and worldmaking and as a site of activism and resistance for queer and trans* people.
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ANT 324L GLOBAL AFRICAN PERFORMANCE
Explore performance as a mode of political expression through the study of music, dance, theater, and martial arts. Discuss a wide range of social issues, focusing primarily on the United States, West Africa, and Brazil, to understand how artistic expression from the African diaspora can be a key form of protest and social commentary. Demonstrate the complexity of Africa as defined both by local culture and by its diaspora and other global processes over the major phases of the last century.
No Instructor Consent Required.
(Priority goes to specific BA students in their final semester. All other students may need to add to waitlist.)
T D 357T / LAS 328 / WGS 335 BUTOH MOVEMENT PRACTICE THEORY
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QUEER AND TRANS PERFORMANCE
What makes a performance queer or trans*? How are queer and trans* performers proposing novel artistic expressions? By surveying a wide range of contemporary artists from the Americas to gain , this course offers a hemispheric look at queer and trans* performance by paying close attention to localized identities and socio-cultural contexts. Draw Drawing from case studies in theatre, dance, performance art, and nightlife, to we will explore the ways performance serves as an alternative space for expression and worldmaking and as a site of activism and resistance for queer and trans* people.
No Instructor Consent Required.
T D 357T / LAS 328 / WGS 335 GLOBAL AFRICAN PERFORMANCE
Explore performance as a mode of political expression through the study of music, dance, theater, and martial arts. Discuss a wide range of social issues, focusing primarily on the United States, West Africa, and Brazil, to understand how artistic expression from the African diaspora can be a key form of protest and social commentary. Demonstrate the complexity of Africa as defined both by local culture and by its diaspora and other global processes over the major phases of the last century.
No Instructor Consent Required.expression and worldmaking and as a site of activism and resistance for queer and trans* people. Although the critical analysis of gender and sexuality will be at the core of our discussions, students will also utilize intersecting frameworks to approach the work of artists from Latin/x, African and/or Indigenous descent. Using methods and theoretical approaches from fields such as performance studies, critical race theory, Indigenous studies, and gender and sexuality studies, students will develop skills in performance analysis and interpretation. At the end of the semester, students will be versed in a diverse corpus of artistic works and tools that will enhance their academic writing and research skills.
No Instructor Consent Required.
(Priority goes to specific BA students in their final semester. All other students may need to add to waitlist.)
T D 357T CONFRONTING LGBTQ OPPRESSION NGUYEN RAMIREZ, QUYNH-HUONGMICHELLE
Peers for Pride (PfP) is a theatre-for-dialogue peer facilitation program of the Gender and Sexuality Center. Students . Students will take two courses during the academic year in partnership with the Gender for Women’s Gender Studies. During the program, students build applied theatre, critical analysis, and facilitation skills as they build the workshop “What Do Thriving Queer Communities Look Like?” Students create message scenes and activating scenes in the workshop to share skills and build space for conversation and accountability across LGBTQIA+ communities and with supporters of LGBTQIA+ communities. Through their facilitation and reflection after workshop facilitation, students continue to build a knowledge of performance-based social justice facilitation in higher education and of intersectional LGBTQIA+ realities.during the academic year in partnership with the Center for Women’s Gender Studies, School of Social Work, and Theatre and Dance. Learn basic facilitation skills while taking an in-depth look at some issues facing lesbian, gay, bisexual, transgender and queer individuals. Instagram: @peersforpride
Instructor Consent Required. This is the first course of a two-semester sequence.
To Apply: please fill out this online application and someone from the Gender and Sexuality Center’s Education Team and the instructor will contact you in 1-3 business days to schedule a 30-60 minute informal meeting (via Zoom or in person) prior to course registration. This 1:1 allows for the teaching team to understand your learning goals, co-curate possible topics for the fall semester as we believe power sharing and knowledge are reciprocal, and for us to begin to connect with each other before class starts as community building is vital and central to the course ethics.
Application Deadline: For priority consideration, submit application by August 1st or prior to the first class of fall semester but there is no firm deadline.
For further questions, comments, etc, please email the instructor at michelle.ramirez@austin.utexas.edu