Carmen must give a presentation in her Spanish 3 class for Hispanic Heritage Month, but she doesn’t speak Spanish. Is she less of a Latina, as some girls think? “No Hablo Español,” written by Rosa Estevez of Fairdale High School in Louisville, explores how language and cultural perceptions affect one’s sense of identity. It was among the seven short plays produced by the 2017 New Voices Young Playwrights Festival at Actors Theatre of Louisville.

This series of six lectures introduces six plays from the Elizabethan and Jacobean theatre. Once popular and now little-known, they can tell us a lot about what their first audiences enjoyed, aspired to and worried about - from immigrants in early modern London to the role of women in the household, from what religious changes might mean for attitudes to the dead to fantasies of easy money and social elevation. Each lecture outlines the play so there is no assumption you have already read it, then goes on to try to understand its historical context and its dramatic legacy, drawing parallels with modern film and contemporary culture as well as with Elizabethan material. The lecturer's aim with students in the room and with interested listeners on iTunes U is to broaden our understanding of the theatre Shakespeare wrote for by thinking about some non-Shakespearean drama, and to recreate some of the excitement and dramatic possibilities of the new, popular technology of Renaissance theatre.

ePub version of text The Tragedie of Othello, the Moore of Venice by William Shakepeare, 1564-1616.

This course provides continued work in the development of play scripts for the theater. Writers work on sustained pieces in weekly workshop meetings, individual consultation with the instructor, and in collaboration with student actors, directors, and designers. Fully developed scripts are eligible for inclusion in the Playwrights' Workshop Production.

ePub version of text The life and death of King Richard the Second by William Shakepeare, 1564-1616.

ePub version of text The Tragedy of Richard the Third: with the Landing of Earle Richmond, and the Battell at Bosworth Field by William Shakepeare, 1564-1616.

ePub version of text The Tragedie of Romeo and Ivliet by William Shakepeare, 1564-1616.

This class focuses on reading a script theatrically with a view to mounting a coherent production. Through careful, intensive reading of a variety of plays from different periods and different aesthetics, a pattern emerges for discerning what options exist for interpretating a script. Students discuss the consequences of those options for production.

This course focuses on reading a script theatrically with a view to mounting a coherent production. Through careful, intensive reading of a variety of plays from different periods and different aesthetics, a pattern emerges for discerning what options exist for interpretating a script.
The Fall 2005 version of this course contains alternate readings and assignments sections.

In this activity from the Commonwealth Theatre Center in Louisville, Kentucky, students select several emotions and determine what these emotions would look like in a drawing and as a selfie. To understand and express our emotions we need to learn how to properly define them.

Three hundred and eighty years after his death, William Shakespeare remains the central author of the English-speaking world; he is the most quoted poet and the most regularly produced playwright — and now among the most popular screenwriters as well. Why is that, and who "is" he? Why do so many people think his writing is so great? What meanings did his plays have in his own time, and how do we read, speak, or listen to his words now? What should we watch for when viewing his plays in performance? Whose plays are we watching, anyway? We'll consider these questions as we carefully examine a sampling of Shakespeare's plays from a variety of critical perspectives.

The Great Depression had an enormous impact on theatre across the United States. Productions decreased dramatically, audiences shrank, and talented writers, performers, and directors fled the industry to find work in Hollywood. But despite adversity, the show went on. The public construction projects of the Works Progress Administration built new theaters in cities across America. The Federal Theatre Project was established to fund theatre and performances across the country providing work to unemployed artists. This influx of new artists had transformed the industry, opening theatre to new voices, themes, and audiences. This exhibition explores these Depression-era changes and their impact on American theater. This exhibition was created as part of the DPLA’s Digital Curation Program by the following students as part of Professor Anthony Cocciolo's course "Projects in Digital Archives" in the School of Information and Library Science at Pratt Institute: Kathleen Dowling, Laura Marte Piccini, and Matthew Schofield.

Students are introduced to the sound environment as an important aspect of a room or building. Several examples of acoustical engineering design for varied environments are presented. Students learn the connections between the science of sound waves and engineering design for sound environments.

Welcome to our Introduction to Theater – Learning Resources Spring 2018 book. The purpose of this book is to provide open educational resources for those who study Theater. It’s being authored by many helpful Cleveland State University Theater students, as well as Lisa Bernd, PhD, and Heather Caprette, MFA. In the spirit of open, it’s our desire that any alterations of the assignments be shared openly with others, at no charge, but realize we can’t control for this and there’s not always an easy way for someone to share publicly. Many authors of OER generate resources to freely help students and teachers because they realize the challenges students are facing with affording an education and educational materials. We realize this challenge and it’s our desire that these resources be provided for free.

Staging Shakespeare is series of brief video commentaries on performing and directing Shakespeare including extracts of two plays- 'The Tempest' and 'Two Gentlemen of Verona'. An English teacher also explains how she uses IT resources to engage students.

Story circles can be used to build a sense of community in the classroom. The technique was pioneered by the late John O’Neal, a civil rights activist and theater artist. He developed the story circle process while moderating audience discussions after performances. He found that audience members listened more and found common ground by telling personal stories instead of trying to persuade and argue their points.

The videos here demonstrate how a story circle works. A facilitator offers a prompt, and then individuals have a set amount of time to respond with a relevant story from their lives. No one interrupts. After everyone has a turn, the group talks together. From the individual stories, the group then creates one story or takeaway.

In these videos, Bob Martin, a community arts specialist in Eastern Kentucky, facilitates a story circle, adapted to an online format because of the COVID-19 pandemic. In the first video, Martin explains the ground rules and quotes O’Neal: “Share the story that comes from the deepest place.” He gives the group this prompt: Tell a story about a time when you were unexpectedly proud of your place or your community.

Students will review what theatrical interpreters consider when signing live performances. After creating a list together, students will be grouped into two or three, analyze their movie clip and work together to interpret it. Students will learn more about interpreting live performances, and how to best interpret performances.

This course explores the creation (and creativity) of the modern scientific and cultural world through study of western Europe in the 17th century, the age of Descartes and Newton, Shakespeare, Rembrandt and Molière. The class compares period thinking to present-day debates about the scientific method, art, religion, and society. This team-taught, interdisciplinary subject draws on a wide range of literary, dramatic, historical, and scientific texts and images, and involves theatrical experimentation as well as reading, writing, researching and conversing.

Unlike film, theater in America does not have a ratings board that censors content. So plays have had more freedom to explore and to transgress normative culture. Yet censorship of the theater has been part of American culture from the beginning, and continues today. How and why does this happen, and who decides whether a play is too dangerous to see or to teach? Are plays dangerous? Sinful? Even demonic? In our seminar, we will study plays that have been censored, either legally or extra-legally (i.e. refused production, closed down during production, denied funding, or taken off school reading lists). We'll look at laws, both national and local, relating to the "obscene", as well as unofficial practices, and think about the way censorship operates in American life now. And of course we will study the offending texts, themselves, to find what is really dangerous about them, for ourselves.

Lyndy Franklin Smith, artistic director of the Lexington Theater Company, explains how a production goes from studio to the stage, beginning with music, then moving to choreography, rehearsals, and blocking. She describes the adjustments made as they move to rehearsing on stage at the Lexington Opera House.