Educational Theatre (MPAET-GE)

Play and audience analysis, directing methods, production techniques. Each student plans a complete children's theatre production. Laboratory experience recommended.

Play and audience analysis, directing methods, production techniques. Each student plans a complete children's theatre production. Laboratory experience recommended.

Design for today's stage in period and modern styles. Methods of originating and presenting a design conception. Practice in scene sketching. Three hours of laboratory per week.

Exploration of the images of women in diverse styles of dramatic literature from the Hellenic period to the present. Students participate in scenes and class discussion and investigate women currently in theatre as actresses, playwrights, directors and critics.

Methods and materials for role-playing, story dramatization, mask, puppetry, and improvisation as applied to the elementary classroom, in such areas as learning processes, motivation, communication and classroom management. Relationship of drama and theatre to the elementary curriculum. Student will use drama and theatre to address the human development processes that impact on the K-6 child's readiness to learn, such as culture, nutrition, personal safety and community. Laboratory experience required: 15 hours. .

Theories and practices of dramatic art in relation to principles and curriculum of secondary education. Attention given to assembly programs, creative and formal techniques of play production for school, extracurricular club, camp, and playground

This course will examine the ancient art of storytelling as a performance form (developing expressive tools, creativity, physical and vocal skills); as it has appeared throughout history (in mythology, folk tales, legends, fairy tales, fables); and as it can enhance curricular subject areas (math, science, social studies, literature, and history), relate to the New York State Learning Standards for Arts Education and the Standards for English and Language Arts. Oral history projects will also be explored through the telling of personal stories and students will attend and analyze a performance at the Program in Educational Theatre's Storytelling at the Provincetown Theatre.

This course explores the playful elements in personality, culture and the arts, through vocal and movement improvisation, song, mask work, exploration and creation of ritual, story writing and telling, and investigation of the clown/fool/trickster. Students examine theoretical interpretations of play in performance studies, child development and Drama in Education practices. Students discover and analyze the meaning of creative play in their personal development as artists and teachers, through exploration of humanizing principles that unite aesthetics and education.

A historical and critical investigation of the origin and development of musical comedy; European and native influence; important lyricists, composers, performers, directors. Changes in the modern musical theatre; analysis of current Broadway and off-Broadway productions includes required attendance at selected performances. All theatre expenses are the responsibility of the student.

Techniques and practice of creative drama. Students lead classes; weekly critiques. laboratory experience.

An overview of current global approaches to approaches to youth theatre, drama in education, & theatre for young audiences.

Site visits to cultural houses, educational institutions, & community venues which specialize in drama & youth. Investigation & studies of new global initiatives.

Research procedures in all phases of theatre and educational theatre.

Historical and practical experience in basic mask and puppet-making techniques. Exploration of the uses of masks and puppets and their importance in theatre. Laboratory three hours a week.

Backgrounds of American theatre. Important writers, actors, directors, producers, and educators in the theatre and changes in dramatic forms and production from their beginnings in American colonial life to the present.

​Advanced Directing​ is an examination of advanced techniques of directing through the practical directing of scenes, exploration of rehearsal tools for work with actors, and the creation of original staging formats. Innovative directing techniques will be explored, including a study of Naturalism, Realism, Viewpoints, Rasa Boxes, and Expressionistic and Brechtian devices. Students will work towards developing their own directorial voice and performance aesthetics through​ practical and​ dynamic use of the theatre space.

Scenes from period plays ( Greek, Roman, Elizabethan, neoclassical French, Restoration, eighteenth-&-nineteenth-century European) are studied and acted. A course in performance styles and techniques for actors, directors, designers, teachers, and those interested in theatre history and criticism. Additional hours of rehearsal.

Scenes from period plays (Greek, Roman, Elizabethan, neoclassical French, Restoration, eighteenth-&-nineteenth-century European) are studied and acted. A course in performance styles and techniques for actors, directors, designers, teachers, and those interested in theatre history and criticism. Additional hours of rehearsal.

An exploration of applied theatre which includes studies in community and participatory art forms. Students experience and investigate a range of genres in applied theatre, including community theatre, prison and juvenile justice theatre, theatre for older people, theatre of the oppressed and theatre for development.

An exploration of applied theatre which includes studies in community and participatory art forms. Students experience and investigate a range of genres in applied theatre, including community theatre, prison and juvenile justice theatre, theatre for older people, theatre of the oppressed and theatre for development.

Modern dramas from diverse cultures not ordinarily considered in detail in other courses. The theatre in each country as an art form, an institution, and a social force.

Principles and methods of play writing. Completion of several writing assignments is required, including a one-act play. Plays of special merit considered for program production.

Writing of a full-length play or musical. Plays of special merit considered for program production.

This course examines a range of techniques for the reflective theatre director, focused on, but not limited to: context-responsive production pedagogy, critically engaged text selection, differentiated preparation/planning, flexible navigation of rehearsal processes, and the creation of person-first, living/breathing theatrical moments. Student directors navigate the paradoxes of the profession at each stage of development, reconciling the innate complexities and emergent rewards inherent in the collaborative-autonomy demanded by the discipline.

Through scholarly discussions, introduction of techniques, & resource sharing, students will explore a broad range of theories & methodologies of devised theatre. Through readings, students will investigate experimental, avant-garde & postmodern performance theory & develop an in-depth understanding of dramatic & narrative structures, which outline how collective & contemporary theatrical art has been conceived, produced & managed. The course will culminate in developing new work for a Devised Theatre Showcase.

Physical Theatre is the study of physical, vocal & improvisational exercises designed to free the creative imagination & develop performance skills. Through the layering of words, sound & movement, students will hone the essential ingredients & tools of the performer's craft. Focus will be on vocal & movement techniques exploring atmosphere, imagery, gesture, isolation, abstraction, timing, rhythm, spatial awareness, character development, mime, body graphics, viewpoints, & the theories of Yakim, Delsarte & Laban. The creation of original material will also be studied.

Focuses on techniques used to create ethnodrama and documentary theatre scripts composed from interview transcripts, field notes, journal entries, and/or print and media artifacts. Through readings, literature reviews, data collection and analysis, performance of data, and construction of scripts, students gain skills to create ethnodrama and documentary theatre scripts. Perspectives on the aesthetics, ethics, limitations, and challenges associated with the forms are also explored. Coursework is informed by the mission and work of the Verbatim Performance Lab.

Course focuses on creating live and/or mediated ethnotheatrical verbatim performances using various source materials such as interview transcripts and recorded broadcasts. Through theoretical readings, performance viewings, source material selection, and performance creation, participants acquire analysis skills and ethnoacting techniques used to create verbatim performances. Participants gain insights into the aesthetics, ethics, opportunities, and challenges associated with the verbatim style, and an understanding of its value as a tool for education and activism.

Course focuses on using verbatim performances and techniques to explore subject areas and disciplines outside of drama and theatre. Through readings, performance viewings, and interactive activities, students gain the ability to create curriculum utilizing verbatim performance as an investigative tool. Special emphasis placed on translating and adapting the language and experience of performance and theatre for teachers and students working in core curricular areas. Coursework is informed by the mission and work of NYU Steinhardt’s Verbatim Performance Lab.

Course provides students with internship experience via arts-based research and performance projects with the Verbatim Performance Lab (VPL). Students support all stages of the VPL process including project development, data collection, creation and production, dissemination, and assessment. Students attend biweekly lab meetings, receive individualized supervision and mentoring, give an oral presentation on their assigned project at a lab meeting, and generate an original written project proposal incorporating VPL’s techniques. Permission of instructor required.

Supervised student teaching in elementary classroom settings, followed by scheduled conferences with field supervisor. Strident teachers will observe, plan, teach and evaluate drama activities, integrated across the elementary school curriculum, N-6.

Theories of light and lighting. The practice of lighting the stage. Experiments with light as a design element. Laboratory experience is required.

No Course Description Available

No Course Description Available

Examines Shakespeare in performance and in the classroom. Dramaturgy, scene analysis, and youth theatre included.

Examines Shakespeare in performance and in the classroom. Dramaturgy, scene analysis, and youth theatre included

Involves developing appropriate goals, negotiating and enacting appropriate learning experiences, and assessing student learning. The critical analysis of student teaching of the English/Drama class during the semester is designed to promote the student's development as a reflective practitioner.

Costume Design for the modern stage and the history of fashion. Three hours of practical laboratory a week.

Relationships of theories of dramatic art to general educational principles; present practices and potential of education drama at all levels of instruction. Uses of theatre and drama in education from the Greeks to present day. The history and philosophy of drama in education as they relate to a variety of classroom strategies, including the use of new technologies. The impact of human developmental processes, such as culture, personal safety, and nutrition on learning through theatre and drama. Individualizing instruction to prepare students with special needs for their highest levels of achievement.

Relationships of theories of dramatic art to general educational principles; present practices and potential of education drama at all levels of instruction. Uses of theatre and drama in education from the Greeks to present day. The history and philosophy of drama in education as they relate to a variety of classroom strategies, including the use of new technologies. The impact of human developmental processes, such as culture, personal safety, and nutrition on learning through theatre and drama. Individualizing instruction to prepare students with special needs for their highest levels of achievement.

In this course students will continue the exploration begun in Acting: Fundamentals with in-depth scene and monologue preparation from the contemporary stage. Studio work will focus on the given circumstances, creating a physical life for the character, and miming the relationships that drive the play.

In this course students will continue the exploration begun in Acting: Fundamentals with in-depth scene and monologue preparation from the contemporary stage. Studio work will focus on the given circumstances, creating a physical life for the character, and miming the relationships that drive the play.

This course offers students opportunities to explore the development & implementation of acting curricula for young actors, specifically focused on the performance of contemporary scenes & monologues, with young people between the ages of 12 & 18; these young actors are all members of the NYU-Steinhardt Youth Theatre Ensemble. The curricula will be created & examined from artistic, technical & pedagogical perspectives, using 20th & 21st century texts from a variety of sources. In a uniquely theoretical & practical setting, students will explore the exercises as a community - led by the course instructor, ultimately partnering with the NYU-Steinhardt Youth Theatre Ensemble to investigate specific approaches to acting in process - using scaffolding assessment & performance as benchmarks for reflection & revision.

It should be noted that independent study requires a minimum of 45 hours of work per point. Independent study cannot be applied to the established professional education sequence in teaching curricula. Each departmental program has established its own maximum credit allowance for independent study. This information may be obtained from a student's department. Prior to registering for independent study- each student should obtain an Independent Study Approval Form from the adviser.

Problems in academic theatre: research projects; instructional procedures; creative expression in acting, directing, and writing. Exploration of the uses of drama at all levels of education.

An advanced seminar which examines the key considerations which drive research activity in applied theatre. Students canvas the territory of applied theatre, the purposes of an applied theatre, and the challenges researchers face when designing, implementing and presenting their applied theatre studies. Students create their own applied theatre research project which can include a creative component.

The technique of 'stepping into the shoes of someone else' is at the heart of educational drama. This course focuses on the use of role play as a strategy in the classroom and similar settings, and it explores how teachers may employ this complex convention. It will define those characteristics that are specific to educational role-play and will provide participants with opportunities to practice the techniques and skills required or its successful implementation. The course will focus primarily on the strategy of teach-in-role. Students will be required to complete a written assignment.

This course provides an essential foundation upon which to build a drama-in-education practice. It introduces students to many drama-in-education strategies; critiques the educational rationale which supports them; and analyzes the process of structuring drama work as a medium for learning across the curriculum and beyond. Students will gain practical hands-on experience of working with young people (from the CAT Youth Theatre) using the main dramatic conventions of the drama-in-education canon; they will experiment with ways in which to sequence these conventions; and will become critically acquainted with the pedagogical principles which delineate the teaching terrain of the drama-in-education practitioner. Students will be required to read a prescribed text, keep a journal, and write a sequence of session plans.

An increasing number of arts institutions, community based organizations, schools and colleges are recognizing the important role of the arts as an essential part of the educational process. The course will introduce students to the basic issues implicit to the collaboration between artists and teachers in an educational setting. It will examine the different perspectives from which artists and teachers often view each other and their work; and will encourage students to identify the common ground that exists in respect to both aims and processes. It will introduce students to some of the fundamental pedagogical issues that confront teachers and artists alike (e.g. the role and relative merits of didacticism, self-discovery, creative expression, freedom, discipline, structure, and cultural relativity etc.) and equip them with some practical strategies and approaches to such tasks and challenges as defining objectives, planning lessons, leading discussions, general classroom management, and the maintenance of a productive learning environment.

This course fosters connections between arts-based activities and classroom curriculum. Participants become familiar with artistic strategies for integrating curricula in school and alternative education settings. Exploration focused on, but not limited to: situated learning as a theory for effective lesson planning, drama as a curricular entry point, dramatic investigation of source material, methods of engaging in reflection through drama, and potential adaptations for target populations.

Educational theatre practitioners need not only an understanding of the basic conventions of educational drama but a wider understanding of the climate of education and the arts. Professionals must be able to respond to the changing needs of urban students, the challenges of today's society and the broader national educational goals. The class is designed for students who have basic knowledge of the conventions of educational drama and theatre who wish to transfer their classroom experience of a broader venue. Students will build an understanding of different strategies for structuring drama curriculum building to a larger drama program. Participants will develop curriculum targeted at a particular population that they may encounter working as a professional in the field and explore curriculum development for both short and long term programs including the elements involved in creating and developing new drama programs within already existing arts programs or other related settings. Students explore the variety of issues involved in developing new drama programs including assessing a community's needs, recognizing cultural influences and developing long term goals.

This practical course is designed to introduce drama activities to students and professionals who work with young people with special needs. With increased number of inclusion classrooms and mainstreaming of students with special needs this course is designed for both special and general education educators. Participants will review the current trends and classifications of special education and explore the development and implementation of drama curricula for emotionally disturbed and learning disabled populations. Participants will learn curriculum design and adaptation, effective drama strategies for classroom management, receive an overview of terms and definitions for special education. Appropriate for K-12 educators.

This course is an introduction to the sociopolitical activist forms that make up the arsenal of the Theatre of the Oppressed. Originally developed in Brazil by theatre innovator Augusto Boal, these forms were inspired by the educational theories of Paulo Freire and employed with peasants and workers throughout Latin America. Now they are used internationally and have been developed and adapted by countless companies and practitioners. This introductory level course will engage students with the foundational theories, through the writings of both Freire and Boal, and given them a sound exposure to the interactive games and exercises that form the bedrock of this work. Students will investigate social, political, pedagogical and artistic intersections through Image Theatre, Forum Theatre, and Newspaper Theatre.

This class focuses on examining the function and facilitation skills of the 'Joker' (the facilitator role in Theatre of the Oppressed) across a diversity of contexts and communities as well as examining the history and practice of Invisible Theatre, Rainbow of Desire, and Legislative Theatre techniques. These components of Theatre of the Oppressed are at the heart of the intersection between theory, theatre, civic and political engagement, and personal and social change. These techniques allow us to more introspectively examine the ways in which we interact as human beings in an ever-changing society. The course focuses on both the theoretical foundations of the work, as well as the application of these techniques in practice.

Participants will be introduced to practical drama strategies for bringing the plays of Shakespeare to life in the junior and senior high school setting. Students will be required to complete a written assignment.

This course will introduce participants to ways of using drama to develop literacy skills. The twelve-hour intensive will involve both theoretical and practical drama work designed to enhance a range of work in the language arts classroom. Students will be required to complete a written assignment.

Based on the work of the Creative Arts Team's acclaimed High School Program, this intensive introductory course focuses on the use of drama and theatre techniques to address critical issues facing young people. Participants will explore the step-by-step process of designing workshops using techniques such as the mini-script, literature-to-life (using short stories, newspaper articles, etc.), still pictures/tableaux, and role-play. Students will be required to complete a written assignment.

This course explores the possibilities and challenges educational theatre practitioners, and teachers in general, face as they explore such issues as ethnicity, sexual orientation, gender, socioeconomic class ability, nationality, and linguistic diversity with their students. One of the primary course objectives is to equip teachers with effective instructional strategies and sufficient knowledge regarding the education of culturally and linguistically diverse learners to accommodate such learners. Equal time will be spent in the course on theoretical frameworks, practical techniques, and dramatic activities.

This course focuses on the social effects of applied theatre in community, vocational & educational settings. Informed by the work of Paulo Freire as well as other critical theorists & arts activists, like Augusto Boal, Bertolt Brecht, bell hooks, & Tony Kushner, students will explore projects which have a social justice & human rights agenda.

No Course Description Available

This course is designed for students who would like to develop knowledge and skills in planning and leading theatre workshops with young people. The course explores the theory and practice of creating theatre with young people from a youth-centered perspective, offers practice in designing workshops, and culminates with an in-course opportunity to initiate practical work with young people. The course will include a written assignment.

This course is designed for students who would like to develop knowledge and skills in planning and leading theatre workshops with young people. The course explores the theory and practice of creating theatre with young people from a youth-centered perspective, offers practice in designing workshops, and culminates with an in-course opportunity to initiate practical work with young people. The course will include a written assignment.

This course provides an essential foundation upon which to build a drama-in-education practice. It introduces students to many drama-in-education strategies; critiques the educational rationale which supports them; & analyzes the process of structuring drama work as a medium for learning across the curriculum & beyond using the main dramatic conventions of the drama-in-education canon, they will experiment with ways in which to sequence these conventions & will become critically acquainted with the pedagogical principles which delineate the teaching terrain of the drama-in-education practitioner. Students will be required to read a prescribed text, keep a journal, & write a sequence of session plans.

This intensive course is designed for graduate students, and junior and senior high school teachers who want to learn strategies for assessing student achievement in drama work. Participants will review the principles, approaches, and current trends in assessment and will learn to assess student program in dramatic work by designing effective rubrics. Participants should be prepared to complete a short reading assignment, participate in drama work and writing exercises, &, after the course is complete, prepare an assessment model based on a curriculum unit of their choice.

The formulation of doctoral research strategies in educational theatre. Planning of relevant methodology; evaluation of research problems in progress.