Department of Dramatic Art
Center for Dramatic Art, CB# 3230; (919) 962-1132
ADAM N. VERSÉNYI, Chair
The study of dramatic art focuses upon the great dramatic texts of the classical and modern periods and introduces the student to the variety of artistic endeavors necessary to realize the text in theatrical performance. Majors concentrate on the literature and history of the theatre while investigating the processes involved in acting, directing, design, costume, and technical production.
Courses focus on the connections between theatre and society, between theatrical performance and the visual arts, and between dramatic literature and philosophy, history, and other literary forms. The study of theatre embraces a range of subjects in the humanities and fine arts, including literature, language, aesthetics, culture, and performance.
Dramatic Art Major, B.A.
DRAM 120 Play Analysis
Three courses in dramatic literature/theatre history/criticism. Two courses must be chosen from DRAM 281, 282, and 283. The remaining course can be chosen from DRAM 281, 282, 283, 284, 285, 286, 287, 289, 291, 292, 297, 298, 486, 488, or 489.
Two courses in acting (DRAM 150), directing (DRAM 300), and design (DRAM 277, 465, 466, 467, 468). Only one course from each area may be counted toward the major.
One course in costume production or technical production: DRAM 191 or 192
Production Practicum: DRAM 193 Production Practicum with PlayMakers Repertory Company (transfer credit not allowed). This course fulfills the General Education experiential education requirement.
Students planning to major in dramatic art should complete DRAM 120 preferably during their first year. The major provides a broad basis for understanding and appreciating theatre as a cultural entity and as an artistic process. The program also provides opportunities for students to learn and develop basic skills in the various areas of theatre practice. All General Education requirements apply.
Because the College of Arts and Sciences allows a total of 45 credit hours (15 three-hour courses) in a student's major to count toward graduation, as many as seven electives can be selected from the range of offerings in the department. Students may choose to concentrate on an area (or areas) of special interest within the major: acting, directing, voice, movement, technical production, design (scenic, costume, sound, and lighting), costume history, costume construction, dramatic literature and criticism, dramaturgy, stage management, theatre management, and playwriting.
Students majoring in dramatic art cannot pursue the minor in dramatic art.
Dramatic Art Minor
The minor in dramatic art consists of four courses. Students select four courses from one of the following concentrations:
Dramaturgy: DRAM 120 Play Analysis, and three courses chosen from DRAM 281, 282, 283, 284, 285, 286, 287, 289, 291, 292, 297, 298, 486, 488, 489
Theatrical design: DRAM 120 Play Analysis, and three courses chosen from DRAM 277, 280, 465, 466, 467, 468, 470, 475, 480, 566, 567
Theatrical production: DRAM 191 or 192 (related to area of concentration), and three courses chosen from DRAM 193, 277, 460, 465, 466, 467, 468, 473, 474, 567, 650
Theatre management: DRAM 193 Production Practicum (related to area of concentration), and DRAM 279, 491, and 493
Students pursuing the theatre management concentration are strongly encouraged to complete a fifth elective course chosen from ECON 101, BUSI 101, 405, 406.
Writing for the Stage and Screen Minor
The minor in writing for the stage and screen is an interdisciplinary program drawing upon the faculties and resources of the Department of Dramatic Art, Department of Communication Studies, and the Creative Writing Program of the Department of English and Comparative Literature. For additional information, please see the Department of Communication Studies in this bulletin.
All majors and minors have a primary academic advisor in Steele Building. Students are strongly encouraged to meet regularly with their advisor and review their Tar Heel Tracker each semester. Every student whose primary major is dramatic art will also be assigned a departmental advisor, beginning in the junior year. The department's director of undergraduate studies and undergraduate advisor work with current and prospective majors by appointment. Please contact the department at CB# 3230, (919) 962-1132. Further information on courses, undergraduate research opportunities, the honors program, careers, and graduate schools may be obtained from the department's Web site: drama.unc.edu.
Special Opportunities in Dramatic Art
Honors in Dramatic Art
In order to receive departmental honors, students must have a 3.3 overall grade point average, a 3.6 grade point average in dramatic art, and complete at least five of the eight core courses in the major by the end of the junior year. Students enroll in DRAM 691H (three hours credit) and 692H (three hours credit) during their senior year and complete a special project (essay or creative endeavor) approved by the department. A student may then be designated as a candidate for undergraduate honors or highest honors based on department review of the special project or performance.
Two undergraduate students are elected each year from among the majors to serve as representatives to the faculty. They attend faculty meetings and host events that bring students and faculty together.
The Department of Dramatic Art's Kenan Theatre Company (KTC), offers many opportunities for interested studentsmajors and nonmajors aliketo participate in performance and production. Each year the department supports four to six full productions in the Elizabeth Price Kenan Theatre. Seasons may include classic plays, contemporary plays, musicals, and original works. A faculty and peer-elected board of five undergraduate students act as producing directors for KTC and oversee the department season. Productions are directed by faculty and guest artists as well as by students. Undergraduate students are involved in the technical components of production as designers, carpenters, painters, electricians, seamstresses, and sound engineers. The KTC producers select an undergraduate prop supervisor, wardrobe supervisor, master electrician, master carpenter, and a technical director for the entire season. Designers are selected on a per show basis and can include undergraduates, graduate students, and faculty.
PlayMakers Repertory Company
Several types of student involvement with PlayMakers Repertory Company (PRC, a professional LORT/AEA theatre on campus) are possible. Technical assistance, running crews, internships in administration, and assistant stage management positions are open to undergraduates. Auditions are held during the year for appropriate supporting and understudy roles. PRC engages resident and guest professionals active in regional and commercial theatres as guest actors, directors, and designers. Students have opportunities to associate with and learn from these professionals throughout the year.
With more than 300 programs available in 70 countries, there are many international experiences structured to enhance the student's undergraduate career. Major and minor credit is available as well as General Education credit. Departmental approval for theatre courses is arranged with the director of undergraduate studies and is coordinated by the Study Abroad Office.
Specific study abroad opportunities for dramatic art students include, but are not limited to, a semester or yearlong exchange program at Trinity College Dublin, the National University of Ireland in Galway, or Queen's University in Belfast, North Ireland; a summer or semester at the Gaiety School of Acting; or a summer or semester taking coursework and pursuing a drama-related internship in Dublin or London. Students are also eligible for the Elizabeth Malone Roughton Study Abroad Scholarship, a scholarship awarded to a dramatic art student studying in Ireland for a semester and completing a theatre-related internship as part of the program.
Each spring the Department of Dramatic Art awards several monetary prizes to its undergraduate majors (and graduate students) who are continuing into the next academic year. The prizes have been endowed by generous alumni and friends, including Andy Griffith and George Grizzard. In addition, the Sam Selden Prize in Playwriting, the Wes Egan Award in Design, and the Lillian Chason Scholarship are awarded competitively each year.
Faculty and departmental advisors are available to help students define areas of interest, understand the existing knowledge base in a particular area, and develop a plan for meaningful undergraduate research. These goals can be realized through departmental independent study and honors research. See the director of undergraduate studies and the honors advisor for more information. Additional resources are available through the Office for Undergraduate Research at unc.edu/depts/our.
The Department of Dramatic Art's offices, classrooms, studios, rehearsal hall, and construction shops are located in the Center for Dramatic Art. Each year the Department of Dramatic Art's Kenan Theatre Company (KTC) supports four to six full productions in the Elizabeth Price Kenan Theatre. The Department also sponsors a variety of other productions such as student-directed work in the smaller classroom environment. The department provides showcase venues for new student writing, including readings, fully produced plays, and the Samuel Selden Playwriting Contest.
Graduate School and Career Opportunities
The dramatic art major is associated with a variety of career opportunities, including graduate study, public relations, communications, arts management, public service, teaching, and theatre-related careers, including literary management, stage management, acting, design, publicity, marketing, fund-raising, technical production, sound and lighting technology, box office management, costuming, electrics, and stage craft.
McKay Coble (Milly S. Barranger Distinguished Term Professor), Raymond E. Dooley, Roberta A. (Bobbi) Owen (Michael R. McVaugh Distinguished Professor in Dramatic Art), Kathy A. Perkins, Craig W. Turner, Adam N. Versényi.
Janet A. Chambers, Michael J. Rolleri.
Julia Gibson, David B. Navalinsky, Karen O'Brien, John Patrick, Jiayun Zhuang.
Professors of the Practice
Judith L. Adamson, Joseph Haj.
Jeffrey Blair Cornell, Julie Fishell, Gregory Kable.
David A. Adamson, Kimball King (Professor Emeritus of English), Adam Maxfield, Mark Perry, Rachel Pollock, Kathryn Williams.
Adjunct Assistant Professor
Jade R. Bettin.
Milly S. Barranger (Alumni Distinguished Professor), Russell B. Graves, David A. Hammond, Leon Katz, Bonnie N. Raphael.
Director of Undergraduate Studies, Center for Dramatic Art, (919) 962-1132, firstname.lastname@example.org.
DRAM 80 First-Year Seminar: Psychology of Clothes: Motivations for Dressing Up and Dressing Down (3). The course seeks to help students find ways to articulate their own motivations for dress and then apply the ideas they have discovered to the ways in which individuality as well as group attitudes are expressed through clothing.
DRAM 81 First-Year Seminar: Staging America: The American Drama (3). This seminar examines American drama from its colonial origins to the present as both a literary and commercial art form. The focus throughout will be on the forces that shaped American drama as well as drama's ability to shed light on the national experience.
DRAM 82 First-Year Seminar: All the World's a Stage: Drama as a Mirror of Society (3). This seminar examines how theatre evolves from and reflects the society that generates it, and how understanding that society can enrich our responses to plays.
DRAM 83 First-Year Seminar: Spectacle in the Theatre (3). This course examines how the theatrical designer uses scenery, costumes, and lighting to help create a production. Students will apply these techniques in creating their own design projects.
DRAM 84 First-Year Seminar: The Inherent Qualities of Theatrical Space (3). This course examines what elements contribute to the theatricality of space. Through research and creative projects, students will gauge how a space informs what goes on inside it.
DRAM 85 First-Year Seminar: Documentary Theatre (3). This course explores the political and social ramifications of documentary theatre in the United States. Students will investigate a local community of their choosing and create an interview-based performance.
DRAM 86 First-Year Seminar: Rediscovering the Mind-Body Connection (3). This seminar will focus on developing our unique mind-body connection. By encouraging small and large changes in behavior students will learn how their body is used to create their world.
DRAM 87 First-Year Seminar: Style: A Mode of Expression (3). This seminar studies the elements of design in their pure form, surveys a history of period styles and theatre, and identifies their causes.
DRAM 88 First-Year Seminar: Ecology and Performance (3). This seminar will guide students through researching, developing, and producing new performance works inspired by socio-ecological issues. This task involves student-directed research and experiential learning. Students will integrate an understanding of performance techniques, "green theatre," and notions of sustainability into an ecologically-driven work for performance.
DRAM 89 First-Year Seminar: Special Topics (3). This is a special topics course. Content will vary.
DRAM 115 Perspectives in Drama (3). A survey of plays from the Greeks to the present, analyzed through such elements of the dramatic text as action, character, structure, and language.
DRAM 116 Perspectives in the Theatre (3). A survey of the interrelationships of acting, directing, designing, and playwriting through the study of major periods of theatrical expression and representative plays.
DRAM 117 Perspectives in World Drama (3). A survey of non-Western drama and theatre with emphasis on the historical and aesthetic development of those regions.
DRAM 120 Play Analysis (3). DRAM 120 is the first course in the major and the minor in dramatic art. Development of the skill to analyze plays for academic and production purposes through the intensive study of representative plays.
DRAM 131 Writing for the Screen and Stage (COMM 131) (3). See COMM 131 for description.
DRAM 134 Theatrical Auditions (3). Permission of the instructor. Practice in the techniques necessary for successful auditions for the theatre.
DRAM 135 Acting for Nonmajors (3). Introduction to basic processes and techniques of acting for the stage.
DRAM 140 Voice Training I (3). Fundamental principles underlying the effective use of voice and speech in performance.
DRAM 145 Acting for the Screen and Stage (3). The course focuses on developing acting techniques for use in front of the camera and the way they are differentiated from those used on stage.
DRAM 150 Beginning Acting for the Major (3). Prerequisite, DRAM 120. Introduction to acting tools, emphasizing playing actions and pursuing an objective within personalized given circumstances. Performance work drawn from short scripted, improvised, and contemporary scenes.
DRAM 155 Movement for the Actor (3). Introduction to physical training. Individual/group exercises explore relaxation, breath, concentration, flexibility, and imaginative response that become physical tools for acting. May include stage combat, juggling, mime, improvisation, games, and yoga.
DRAM 160 Stagecraft (3). General survey of materials, equipment, and processes used in technical theatre.
DRAM 165 Stage Makeup (13). Students cannot receive credit for both DRAM 164 and 165. A study of principles and techniques for stage, film, and television makeup, including corrective makeup, old age, 3-D, casting for prosthetic pieces, and methods for creating fantasy forms. Also applicable to film and television.
DRAM 191 Technical Methods: Scenery (3). DRAM 191 or 192 required for dramatic art majors. Permission of the instructor for nonmajors. Introduction to equipment, procedures, and personnel in the design and execution of plans for scenery, lighting, properties, and sound for theatrical productions.
DRAM 192 Technical Methods: Costume (3). DRAM 191 or 192 required for dramatic art majors. Permission of the instructor for nonmajors. Introduction to equipment, procedures, and personnel in the design and execution of costumes for theatrical productions.
DRAM 193 Production Practicum (3). Permission of the instructor for nonmajors. Required for the dramatic art major. Practicum in production with PlayMakers Repertory Company in costuming, scenery, lighting, sound, or theatre management.
DRAM 196 Dramatic Art Projects (13). Permission of the department. May be repeated for credit. Restricted to juniors and seniors majoring in dramatic art. Intensive individual work in major areas of theatrical production: design, technical, directing, acting, playwriting, management.
DRAM 215 Studies in Western Drama (3).A study of the thematic and formal developments of Western drama, tracing legacies from classical Greece to the contemporary stage.
DRAM 231 Playwriting I (3). Permission of the department. A practical course in writing for the stage with studio productions of selected works.
DRAM 235 Acting for Nonmajors II (3). Prerequisite, DRAM 135. A further exploration of basic processes and techniques of acting for the stage.
DRAM 240 Voice Training II (3). Prerequisite, DRAM 140. A continuation of DRAM 140.
DRAM 245 Acting for the Camera (3). Prerequisite, DRAM 135 or 150. Permission of the instructor for students lacking the prerequisite. The process of acting and its relationship to the technical and artistic demands of television/film production. Problems of continuity and out-of-sequence filming. Concentration and thinking on camera.
DRAM 250 Intermediate Acting for the Major (3). Prerequisite, DRAM 150. A deeper exploration of fulfilled actions prompted by an objective, with emphasis on developing techniques required by more formally structured texts such as Sophocles, Molière, Ibsen, Shaw, and Chekhov.
DRAM 255 Movement for the Actor II (3). Prerequisite, DRAM 155. Permission of the instructor for students lacking the prerequisite. Development of balance, flexibility, strength, focus, grace, and precision through martial art of T'ai Chi Ch'uan. Emphasis on applying T'ai Chi principles to acting. Chinese philosophical bases for T'ai Chi explored.
DRAM 260 Advanced Stagecraft (3). Prerequisite, DRAM 160. Permission of the instructor for students lacking the prerequisite. The course provides practical applications of principles and techniques used in technical theatre. Lectures are supported by individually scheduled workshop sessions where techniques are applied to a theatrical production.
DRAM 277 Introduction to Theatrical Design (3). General principles of scenic, costume, and lighting design for the theatre.
DRAM 279 Introduction to Theatre Management (3). An overview of the major functions of management in the American nonprofit theatre including marketing, fundraising, finances, strategy and operations. Presentation skills will be practiced.
DRAM 280 Period Styles for the Theatre (3). Students may not receive credit for both DRAM 280 and 480. A study of visual, cultural, and social styles through history as the forms developed, and as they relate to stylistic production for the theatre.
DRAM 281 Theatre History and Literature I (3). Prerequisite, DRAM 120. Survey of theatre practice and writing from the Greeks to 1700.
DRAM 282 Theatre History and Literature II (3). Prerequisite, DRAM 120. Survey of theatre practice and writing from 1700 to 1920.
DRAM 283 Theatre History and Literature III (3). Prerequisite, DRAM 120. Survey of theatre practice and writing from 1930 to the present.
DRAM 284 Studies in Dramatic Theory and Criticism (3). May be repeated for credit. Seminar in dramatic theory and criticism with emphasis on the modern period.
DRAM 285 Modern British Drama (3). Evolution of modern British drama from 1956 through the present.
DRAM 286 Modern Irish Drama (3). This course surveys Irish drama from the 1890s to the 1980s, investigating a broad range of plays in relationship to the sociopolitical and theatrical conditions of their emergence and reception.
DRAM 287 African American Theatre (3). This course investigates the history and legacy of African American drama through the study of its literary texts, performance styles, and cultural history.
DRAM 288 Theatre for Social Change (3). This course assesses different models of theatre for social change through change theory, playwriting, and collaboration. Students will be guided through the process of creating new works.
DRAM 289 Contemporary Irish Drama (3). This course investigates Irish drama from the 1990s to the present, exploring how issues and themes of globalization, gender, race, nation, and identity, among others, translate from text to performance.
DRAM 290 Special Topics in Dramatic Art (0.53). The study of a topic in dramaturgy, theatrical design, or theatrical production. Content and instructor will vary. May be repeated for credit.
DRAM 291 Re-Playing Shakespeare in East Asia (3). This course investigates how Shakespeare is retold and relived in the Asian theatre vocabulary through examining aesthetic value, cultural and political identity, postcolonial modernity, and spectatorship in theatrical and cinematic interpretations of Shakespeare.
DRAM 292 "Corner of the Sky": The American Musical (3). This course considers the anatomy and diversity of the American musical, exploring its history and aesthetics and employing an interdisciplinary approach to examining and celebrating its shows, sounds, stars, structures, styles, and sensibilities, within the genre's dominant contexts of Broadway, Hollywood, and Utopia.
DRAM 294 Arts Criticism (3). An introduction to the principles of arts criticism through study of the work of a variety of critics, by distinguishing between the nature of criticism and reviewing the arts (both performing and plastic), and through the students' own practice of critical writing by means of a series of short essays.
DRAM 297 African American Women in Theatre (3). This course examines the lives of African American women through theatre, heightening awareness, understanding, and appreciation of theatre as a tool for social change and eradicating stereotypes. Themes and production aesthetics will be explored in their social and historical contexts.
DRAM 298 African Women in Theatre (3). This course will examine the lives and the theatrical contributions of African women through published and unpublished materials, production recordings, and interviews. Through understanding the diverse cultures of the continent, theatre is seen as entertainment and as a tool for effecting social change and healing.
DRAM 300 Directing (3). Prerequisite, DRAM 120. Permission of the instructor for students lacking the prerequisite. Generally limited to majors. An introductory course in the principles of stage directing; analysis for concept, organization of production, and methodology of staging.
DRAM 331 Playwriting II (3). Prerequisite, DRAM 231. Permission of the instructor for students lacking the prerequisite. A practical course in writing for the theatre, taught at an advanced level.
DRAM 350 Advanced Acting for the Major (3). Prerequisite, DRAM 250. Permission of the instructor for students lacking the prerequisite. Development of the actor's technique in verse drama with emphasis on scansion and textual analysis as guidelines for actions, characterization, and given circumstances. Scene and monologue work drawn from the works of Shakespeare.
DRAM 393 Professional Theatre Laboratory (112). Permission of the department. Individual programs or internship in acting, directing, design, management, and playwriting under the guidance of professional practitioners in conjunction with PlayMakers Repertory Company or other professional theatre organizations.
DRAM 460 Stage Management (3). Permission of the department. A study of the basic principles and practices of modern stage management.
DRAM 465 Sound Design (3). The study of general principles of sound design for the theatre. Theory and application of sound design techniques for the stage, including script analysis, staging concepts, special effects, sound plots, and technology.
DRAM 466 Scene Design (3). Permission of the instructor. General principles of visual design as applied to scenery for the theatre. Instruction in standard techniques of planning and rendering scene design.
DRAM 467 Costume Design I (3). Permission of the instructor. Studies and practicum in play analysis and costume design for the theatre. Instruction in techniques of planning and rendering costume design.
DRAM 468 Lighting Design I (3). Permission of the instructor. General principles of lighting design as applied to the performing arts. Theory and instruction in standard techniques of lighting for the stage.
DRAM 470 Survey of Costume History (3). A survey of historic costume forms from ancient Egypt to the present time.
DRAM 473 Costume Construction I (13). Permission of the instructor. Beginning instruction in pattern making through flat pattern for theatrical costume.
DRAM 474 Costume Construction II (13). Prerequisite, DRAM 473. Permission of the instructor for students lacking the prerequisite. Beginning instruction in pattern making through draping on a dress form for theatrical costume.
DRAM 475 Costume History: Africa, Asia, and Arabia (3). A survey of the traditional costume forms on the African Continent, in Asia (China, Japan, India), and on the Arabian Peninsula.
DRAM 480 Period Styles for Production (3). Students may not receive credit for both DRAM 280 and 480. A study of the historical development of Western minor arts and the ramifications of reproducing them for the theatre.
DRAM 484 Studies in Dramaturgy and Criticism (3). This seminar seeks to introduce students to the principles of arts criticism through study of the work of a variety of different critics, by distinguishing between the nature of criticism and reviewing the arts, and through the students' own practice of critical writing.
DRAM 486 Latin American Theatre (3). This course explores the historical and aesthetic development of Latin American theatre, focusing on particular factors that distinguish this theatre from the Western European tradition.
DRAM 488 United States Latino/a Theatre (3). Investigation of United States Latino/a theatre texts and performance practices as a discreet genre. United States Latino/a theatre will be distinguished from the dominant culture, and diversity of forms and styles discussed.
DRAM 489 Carnivals and Festivals of the African Diaspora (3). This course will examine the role of Carnival in the African Diaspora, exploring its history, its many theatrical forms and its fusion with European and indigenous American cultures. Through examining published and unpublished texts the development of the Carnival will be understood as an expression of freedom and cultural survival.
DRAM 491 Issues in Arts Management (3). Arts management issues taught through analysis of case studies. Course includes management theories, organizational structures, and current issues.
DRAM 493 Theatre Management (3). Practicum in theatre management procedures and business of the theatre involving box office, audience development, research, publicity, operational, and contract procedures in regard to artists, technicians, managers, and producers. Students actively engage in management areas of the PlayMakers Repertory Company and productions of the Department of Dramatic Art.
DRAM 566 Advanced Scene Design (3). Prerequisite, DRAM 466. Permission of the instructor for students lacking the prerequisite. Advanced study of the principles and practice of designing scenery for the theatre.
DRAM 567 Costume Design II (3). Prerequisite, DRAM 467. Permission of the instructor. Practicum in costume design for the theatre, focusing on the requirements of professional theatre production and alternative costume design solutions.
DRAM 586 Costume Seminars I: Dyeing and Painting (13). Prerequisite, DRAM 192. Permission of the instructor. Taught in a four-semester rotation. May be repeated for credit for a total of six hours for undergraduates and 12 hours for graduate students. Series of topics in costume for use in design and production for the stage.
DRAM 587 Costume Seminars II: Millinery and Hair (13). Permission of the instructor. Advanced costume production techniques with an emphasis on millinery and hair design.
DRAM 588 Costume Seminars III: Masks and Armor (13). Permission of the instructor. Advanced costume production techniques with an emphasis on creating masks and armor.
DRAM 589 Costume Seminars IV: Decorative Arts (13). Permission of the instructor. Advanced costume production techniques with an emphasis on decorative arts.
DRAM 590 Advanced Special Topics in Dramatic Art (0.53). The study of a topic in dramaturgy, theatrical design, or theatrical production for advanced undergraduates and graduate students. Content and instructor will vary. May be repeated for credit.
DRAM 650 Costume Production I: Couture Methods (0.53). Prerequisite, DRAM 192. Advanced construction techniques in theatrical costuming with an emphasis on couture methods.
DRAM 666 Media in Performance (COMM 666) (3). Required preparation, one performance studies course above COMM 400. Permission of the instructor for students lacking the required preparation. Project-based class where students acquire skills and critical approaches to create collaborative, professional, multi-media works.
DRAM 667 Advanced Costume Design I (13). Permission of the instructor. Study of costume design for students concentrating in costume production.
DRAM 691H Honors Project in Dramatic Art (3). Required preparation, 3.3 cumulative grade point average and permission of the department. The commencement of a special project (essay or creative endeavor), approved by the department, by a student who has been designated a candidate for undergraduate honors.
DRAM 692H Honors Project in Dramatic Art (3). Prerequisite, DRAM 691H. Permission of the department. The completion of a special project by a student who has been designated a candidate for undergraduate honors.
DRAM 697 Senior Seminar (3). Close study of the interrelationships between theory and practice in contemporary world theatre, placing developments in their cultural contexts, and exploring current theatrical trends in an international framework.