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PMA 4351 : Transpositioning the Body II
Crosslisted as: PMA 3351 Semester offered: Spring 2018 Instructor:
This course continues the work done in PMA 3351. At an advanced level, this course will further explore the choreographic and design principles of contemporary choreographer, William Forsythe, who began his tenure as an A.D. White Professor-at-Large in 2010. The course will begin by using tools developed by Forsythe in his CD ROM, Improvisation Technologies and will continue to be structured through student and faculty consultation. The long term goal is to establish curriculum that can continue to develop new performance and installation work based on Forsythe's philosophies in his various fields of interests and how they relate to concert dance. Collaborations between fields such as dance, architecture, engineering and other design fields will be cultivated.
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PMA 4350 : Technology and the Moving Body II
Crosslisted as: PMA 3350, VISST 3758, VISST 4758 Semester offered: Spring 2018 Instructor:
Continuation of PMA 3350. PMA 4350 expands on principles explored in PMA 3350 using more complex and interactive software and spatialities. Students must create work utilizing projections and built objects or interactive web based projects.
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PMA 4230 : Pre-Professional Technique & Repertory
Semester offered: Spring 2018 Instructor:
Pre-professional/Advanced ballet or modern technique with modern and contemporary ballet company repertory rehearsal and performances. This class meets 2 days per week, 3 hrs. 10 minutes per day with additionally scheduled rehearsal and performance times TBA. This course is a continuation of, and supplement to, PMA 3210 and PMA 3220.
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PMA 4225 : Mapping the Moving Body II
Crosslisted as: PMA 3225 Semester offered: Spring 2018 Instructor:
This course will continue the critical inquiry investigated in Mapping the Moving Body. Intended for advanced students, it will address the dialogue between contemporary choreography and current sociopolitical theory. The class will choose to study one choreographer or theorist whose negotiations across critical boundaries of the global, postmodern space will afford a framework for the making of an original, collaborative work.
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PMA 4222 : Advanced Dance Technique
Semester offered: Spring 2018 Instructor:
Advanced and pre-professional advanced ballet and modern technique. This class meets 4 days per week. This course is a combination of PMA 3210 and PMA 3220 in the same semester.  Attendance to concerts and related presentations, and short critical analysis of those events are required.
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PMA 4190 : American Shakespeare
Crosslisted as: AMST 4194, ENGL 4291 Semester offered: Spring 2018 Instructor:
John O'Connor
What is distinctive about American Shakespeare? Is it merely a less confident cousin of its more prestigious UK relative; or does it have a character of its own? What is currently happening with 'American Shakespeare' that is not happening anywhere else? This course is designed explicitly to exploit the wide variety of human and material resources of the DC and surrounding area, such as the Folger Shakespeare Library and Theatre, the Shakespeare Theatre and the Blackfriars Playhouse at Staunton. While encountering a number of plays, students will have the opportunity to see at least three live performances and numerous movies, consider the history of Shakespeare in America and learn from actors, directors, scholars and designers.
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PMA 3815 : Acting in Public: Performance in Everyday Life
Semester offered: Spring 2018 Instructor:
Telling jokes to a friend, making introductions, guiding meetings large and small, constructing and delivering business presentations, legal arguments or formal speeches are all examples of public performances.  The purpose of this course is to increase the student's effectiveness in meeting the demands and enjoying the opportunities of public performance.  The focus of this course is the student him/herself. What are the hallmarks of effective performance and how can you learn them? Employing techniques from actor/director training as well as dramatic writing, this course focuses the student on their own resources and self-imposed restrictions as a public speaker in everyday life. Subjects explored will include stage presence, audience connection, stage fright and mannerisms, speech making as storytelling, and gaining familiarity and finding comfort with one's own voice and gestures.  Public speaking will be taught as a craft that can be learned through understanding and practice.Acting skill and experience are not required to take this course.   Students must, however, be willing to attend all classes and learn by doing.  Class size limited to 12 students.
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PMA 3800 : Acting II
Semester offered: Spring 2018 Instructor:
Practical exploration of the actor's craft through exercises in physical and psychological action, improvisation and scene study.
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PMA 3757 : American Drama and Theatre
Crosslisted as: AMST 3360, ENGL 3360 Semester offered: Spring 2018 Instructor:
Explores major American playwrights from 1900 to 1960, introducing students to American theatre as a significant part of modern American cultural history. We will consider the ways in which theatre has contributed to the construction and deconstruction of a national identity. Similarly, we will examine the influence of the American Theatre on and in film. We will pay special attention to the social, political, and aesthetic contexts of the time period and discuss the shifting popularity of dramatic forms, including melodrama, realism, expressionism, absurdism, and the folk play, in the American theatre canon. Authors include O'Neill, Glaspell, Odets, Rice, Hellman, Hughes, Miller, Williams, and Albee, among others.
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PMA 3751 : Global Stages II
Semester offered: Spring 2018 Instructor:
This course is designed to introduce students to a range of historical, cross-cultural, and transnational performance texts, theories, and practices; to motivate students to examine the broad social, political, cultural, and economic contexts in which performances take place; and to familiarize students with the major methodologies and paradigms for the creation, spectatorship, and interpretation of embodied performances. Our investigations of these issues will be routed through three organizing concepts: conquest, commerce, and community.
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